Writer’s block can actually be a blessing… if you can get beyond the sticking point. The very fact of being blocked says something positive (while also saying something that needs attention) about your story sensibility… it’s not working (either the story or your story sense), and so you stop. Perhaps a good thing. Much better to wait it out, to pound it out – using that same story sensibility to arrive at a better plan – than say “screw it” and finish and submit something that doesn’t work as well as it should.
If you are a self published writer, this may be the most important video you will ever watch. It is not enough to write the book, you also have to get somebody to read it.
Read The Full Article at The Ten Commandments of Writing Failure |.
Story Value: These are human experiences that can shift in quality from positive to negative or negative to positive from moment to moment. For example happy/sad, wisdom/ stupidity, love/hate, freedom/slavery, innocence/experience, etc. Every scene must turn a Story value or it is not a scene. It must start someplace (happy) and end somewhere else (sad) or there is no movement, no change and the Story stops dead in its tracks.
Polarity Shift: The polarity shift is simply shorthand for the value valence change from +/- or -/+. Remember that change can occur in a scene that moves from good to great or bad to worse too. +/++ and -/– are perfectly valid polarity shifts and are essential to building the thriller’s progressive complications. Choosing when to escalate the complications in your overall Story can make or break it from one that “works” to “doesn’t work.”
Turning Point: the precise beat when the value in the scene shifts from positive to negative or negative to positive etc. Turning points can either happen through action (a bomb blows up) or revelation. (“I’m you’re father, Luke.”)
via Tracking the Scene.
When a Story “works,” it makes you want to keep reading it or listening to it, or watching it. And what will happen next–while completely in keeping with its initial promise (a Western, a Bildungsroman, a ghost Story around a campfire, whatever)–delights over and over again. But the kicker is that the climax will be utterly refreshing. By Story’s end, the listener or reader or watcher has to be, at the very least, surprised and satisfied by the payoff of the Story’s initial promise.
How can you tell if a piece of writing is strong? Whether you’re editing for a publishing company, working as a freelancer, or self-editing, correctly assessing the quality of the work is imperative. In this excerpt from The Editor’s Companion, Steve Dunham discusses four marks of good writing and how you can recognize them.
Read the article at 4 Marks of Good Writing.
What do you do when you’re in the middle of working on your writing, and you get stuck? And then you start beating yourself up, which only makes it worse. This happens to everybody — butSorry Please Thank You author Charles Yu has some terrific advice on how to cope.
Daydreaming is essential to being a writer. If there weren’t authors the world over walking around bumping into things because their minds were so fully immersed in their stories, there would be no novels. Have you ever been told that plotting is an important aspect of writing a book? Well, guess what plotting is: Daydreaming! Every plot and character, every line of dialogue and setting and description has to be dreamed up by the writer before it can appear on the page. As a writer I spent lots of time staring at a computer screen, but I spend an equal amount of time staring into space figuring out what I’m going to write next.