Google Twenty rules for writing detective stories (1928) by S.S. Van Dine THE DETECTIVE story is a kind of intellectual game. It is more — it is a sporting event. And for the writing of detective stories there are very definite laws — unwritten, perhaps, but none the less binding; and every respectable and self-respecting concocter of literary mysteries lives up to them. Herewith, then, is a sort Credo, based partly on the practice of all the great writers of detective stories, and partly on the promptings of the honest author's inner conscience. To wit: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Spacejock Software Bookphile Opines: Adults reading Young Adult Literature. | Writing is Joy Creative Mind Mapping for Novelists Brainstorming ideas seems to be one of the hardest stages in the writing process for many novelists. As I discussed in a previous post, this storm of ideas that flash and thunder in our brains often appears unruly and difficult to harness. I introduced the practice of mind mapping, which is used across many disciplines—such as in classrooms for essay writing and in business meetings to problem-solve. Mind mapping can be used in just about any situation when ideas need to be reeled in and transformed into practical application. Mind Map on the Macro and Micro Levels I’ve never seen anyone specifically focus on novel structure or fiction plotting via mind mapping, so I’m going to show you ways I feel mind mapping can be useful for the novelist. Going deeper, you can merge mind maps, which I’ll explain in a later post. Brainstorming Characters and Theme Together I’m a character-driven novelist, so I always first start with character ideas along with theme. Focusing on Theme in Your Mind Map
Flightradar24.com - Live flight tracker! 25 Things Writers Should Know About Creating Mystery 1. Your Story Must Be An Incomplete Equation A complete equation is 4 + 5 = 9. It’s simple. Clean. 2. This isn’t a list about murder mysteries. 3. A news story is upfront. 4. Put differently, have you heard the one about Betty Crocker and the Egg? 5. Not every mystery is a worthy one. 6. A good ol’ big-ass mystery is a meteor that punches a hole in that once-complete equation we were talking about. 7. Instead of one big mystery, consider instead (or in addition) a series of smaller mysteries: little mini-arcs that rise on the question mark and fall toward the answer. 8. A tiny point, but one worth mentioning: sometimes creating mystery is not an act of asking a question but the deed of providing a clearly incorrect answer. 9. To create suspense and invoke tension, offer the audience a mystery. 10. A mystery must have stakes — we must know why it exists, and what it means for it to go unanswered. 11. Exposition is the mystery-killer. 12. 13. 14. 15. Conflict and mystery go hand in hand.
Write or Die by Dr Wicked | Putting the 'Prod' in Productivity 102 Resources for Fiction Writing « Here to Create UPDATE 1/10: Dead links removed, new links added, as well as Revision and Tools and Software sections. Are you still stuck for ideas for National Novel Writing Month? Or are you working on a novel at a more leisurely pace? Here are 102 resources on Character, Point of View, Dialogue, Plot, Conflict, Structure, Outlining, Setting, and World Building, plus some links to generate Ideas and Inspiration. 10 Days of Character Building Name Generators Name Playground The Universal Mary Sue Litmus Test Priming the idea pump (A character checklist shamlessly lifted from acting) How to Create a Character Seven Common Character Types Handling a Cast of Thousands – Part I: Getting to Know Your Characters It’s Not What They Say . . . Establishing the Right Point of View: How to Avoid “Stepping Out of Character” How to Start Writing in the Third Person Web Resources for Developing Characters What are the Sixteen Master Archetypes? Building Fictional Characters Fiction Writer’s Character Chart Speaking of Dialogue
How to write a book - Now Novel Søren Kierkegaard (1813–1855): Either/Or Summary Kierkegaard wrote Either/Or soon after receiving his doctorate and breaking his engagement with Regine Olsen. Either/Or is his first major work and remains one of his most widely read. Music and drama create different kinds of aesthetic experiences. The extreme difficulty of achieving true aesthetic pleasure leads A to claim that boredom is the most common, and unpleasant, human state. Johannes Climacus, the pseudonymous author of the “The Seducer’s Diary,” which is the most famous section of Either/Or, further explores how to maximize aesthetic pleasure. The second part of Either/Or, written under the pseudonyms B and the Judge—who eventually converge into a single character—takes the form of a letter written by the Judge to A. The Judge goes on to claim that A’s devotion to the aesthetic prevents A from making any significant choices. Analysis It is tempting, but incorrect, to read Either/Or as an explanation of how one can move from the aesthetic life into the ethical.
25 Things Writers Should Stop Doing I read this cool article last week — “30 Things To Stop Doing To Yourself” — and I thought, hey, heeeey, that’s interesting. Writers might could use their own version of that. So, I started to cobble one together. That is, then, how you should read this: me, yelling at me. Then go forth and kick your writing year in the teeth. Onto the list. 1. Right here is your story. 2. Momentum is everything. 3. You have a voice. 4. Worry is some useless shit. 5. The rise of self-publishing has seen a comparative surge forward in quantity. 6. I said “stop hurrying,” not “stand still and fall asleep.” 7. It’s not going to get any easier, and why should it? 8. You don’t get to be a proper storyteller by putting it so far down your list it’s nestled between “Complete the Iditarod (but with squirrels instead of dogs)” and “Two words: Merkin, Macrame.” 9. The mind is the writer’s best weapon. 10. 11. 12. Writers are often ashamed at who they are and what they do. 13. Yeah, yeah, yeah. 14. 15. 16. 17. 18.
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