vaysh: (Default)
[personal profile] vaysh
On September 3, [livejournal.com profile] kitty_fic posted the POV Flowchart. It's a tool to supposedly help you choose your point-of-view when writing fiction.

I have been baffled by this chart; I can't say I really understand it. But there are many schools in Creative Writing, and one of the problems is that they all use different words to mean the same or similar things.
What I think is going on in the POV Flowchart is an attempt to talk about point-of-view and narrative distance.

I found one article that explains "Narrative Distance" quite well. It's awfully formatted, which is why I am reposting it here in its entirety:

Narrative Distance, by Mary Rosenblum )

Important things to note:
• Narrative distance applies to all pov choices; it doesn't matter whether you write with a first or third (or second) person narrator.
• Narrative distance can and should change within the scene, depending on how close or how distanced you want your readers to be from your pov character.
• But the point-of-view character should never change within the scene (with exceptions.)
• All of us use narrative distancing intuitively; it's not something with clear-cut rules that one can study and learn.
• But if a passage does not feel right, if it feels too emotional or is lacking emotion, if it starts to get boring, the problem may be that the narrative distance is too distanced or too close.

Any thoughts, questions, more insights that you have in this topic, please comment. I love to discuss this stuff. Examples from your own or other fic are great, too. :)

kitty_fic: (Default)
[personal profile] kitty_fic
Originally posted by [livejournal.com profile] sp_owl at Writers' Couch--Omniscient vs. Head-hopping
This is from a blog by Jami Gold. I found it interesting.
Read more... )

kitty_fic: (Default)
[personal profile] kitty_fic
Some interesting writing meta/articles/topics/discussions/etc (or whatever you want to call them) posted by [livejournal.com profile] loaded_march:

I've found these to be interesting and helpful, so I thought I'd share a few of them, such as: Dealing With Writer's Block and Writing Every Day.

Plus here are a couple of the most recent posts: Plots and Plotting and Writing Action.

There are lots more on topics such as worldbuiding, writing dialogue, setting the scene, etc.

[livejournal.com profile] loaded_march isn't in the HP fandom so you may or may not be aware of her, but she recently put together a masterpost of her posts about writing... you can see the complete list HERE.
kitty_fic: (Snape // Trust)
[personal profile] kitty_fic
Originally posted by [livejournal.com profile] kitty_fic at References for Writing Romance Stories
I've been reading some meta/articles/thoughts on plotting and therefore angsting over the outline/plot of my [livejournal.com profile] paperlegends (or maybe it was the other way around and I was angsting and therefore researching plot)

Then... I realized that the reason none of that was working for me was because they were basically outlining adventure stories or great epic/classic novels and not romances...

Then... I remembered seeing a list of elements for a romance story at one point in time, so I went looking for it:

1-Society Defined
2-The Meeting
3-The Barrier
4-The Attraction
5-The Declaration
6-Point of Ritual Death
7-The Recognition
8-The Betrothal

I also turned up these references in my search, which seem really helpful also! YAY!
kitty_fic: (cupcakes // snowflakes)
[personal profile] kitty_fic
I found this very enlightening! I thought I'd share it here in case it might help anyone else!


Do You Have A Premise or a Plot? by Janice Hardy

I keep a file with all the book ideas that come to me. It’s closing in on 40 ideas right now, but that doesn’t mean I have 40 books waiting to be written. Many (okay, most) of these ideas are nothing more than premises.

And a premise isn’t a plot.

Great ideas can make great books, but only if that idea includes the vital components of a plot. A character with a problem that must be solved or they will suffer the consequences of that failure.

Goal–Conflict–Stakes.

Quite often, a premise lacks at least one if not all three of these. It’s usually a great idea filled with lots of potential, but it’s all setup or setting and there’s no story.

(Excerpt from this article by Janet Hardy)
[identity profile] treacle-tartlet.livejournal.com



25 THINGS WRITERS SHOULD STOP DOING

by terribleminds, author of 'The Penmonkey's Paean'

1. Stop Running Away
Right here is your story. Your manuscript. Your career. So why the fuck are you running in the other direction? Your writing will never chase you — you need to chase your writing. If it’s what you want, then pursue it. This isn’t just true of your overall writing career, either. It’s true of individual components. You want one thing but then constantly work to achieve its opposite. You say you want to write a novel but then go and write a bunch of short stories. You say you’re going to write This script but then try to write That script instead. Pick a thing and work toward that thing.

Read the rest at terribleminds...
ext_135179: (Bellatrix - Crucio)
[identity profile] thisgirl-is.livejournal.com
io9 would like to help you out with that.

THIS is a really interesting post which breaks Writers' Block down into 10 different categories, to help better understand exactly what the problem is and, even better, what to do about it.

Categories include: You have a ton of ideas but can't commit to any of them, and they all peter out; You're stuck in the middle and have no idea what happens next; You have a terrible feeling your story took a wrong turn a hundred pages back, and you only just hit a dead end. All these, and more! Go check it out. (And the awesomely terrible cheesy sci-fi covers they've posted with it, IDEK why.)

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