expositively

teachingliteracy:

amandaonwriting:
How to end your novel
The Dos and Don’ts By James V. Smith Jr.
Don’ts
Don’t introduce any new characters or subplots. Any appearances within the last 50 pages should have been foreshadowed earlier, even if mysteriously.
Don’t describe, muse, explain or philosophize. Keep description to a minimum, but maximize action and conflict. You have placed all your charges. Now, light the fuse and run.
Don’t change voice, tone or attitude. An ending will feel tacked on if the voice of the narrator suddenly sounds alien to the voice that’s been consistent for the previous 80,000 words.
Don’t resort to gimmicks. No quirky twists or trick endings. The final impression you want to create is a positive one. Don’t leave your reader feeling tricked or cheated.
Dos
Do create that sense of Oh, wow! Your best novelties and biggest surprises should go here. Readers love it when some early, trivial detail plays a part in the finale. 
Do enmesh your reader deeply in the outcome. Get her so involved that she cannot put down your novel to go to bed, to work or even to the bathroom until she sees how it turns out.
Do resolve the central conflict. You don’t have to provide a happily-ever-after ending, but do try to uplift. Readers want to be uplifted, and editors try to give readers what they want.
Do afford redemption to your heroic character. No matter how many mistakes she has made along the way, allow the reader—and the character—to realize that, in the end, she has done the right thing.
Do tie up loose ends of significance. Every question you planted in a reader’s mind should be addressed, even if the answer is to say that a character will address that issue later, after the book ends.
Do mirror your final words to events in your opener. When you reach the ending, go back to ensure some element in each of your complications will point to the beginning. It’s the tie-back tactic. Merely create a feeling that the final words hearken to an earlier moment in the story.
By James V. Smith Jr.
Source for Dos and Don’ts. Visit Writers Digest for more.
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teachingliteracy:

amandaonwriting:

How to end your novel

The Dos and Don’ts By James V. Smith Jr.

Don’ts

  1. Don’t introduce any new characters or subplots. Any appearances within the last 50 pages should have been foreshadowed earlier, even if mysteriously.
  2. Don’t describe, muse, explain or philosophize. Keep description to a minimum, but maximize action and conflict. You have placed all your charges. Now, light the fuse and run.
  3. Don’t change voice, tone or attitude. An ending will feel tacked on if the voice of the narrator suddenly sounds alien to the voice that’s been consistent for the previous 80,000 words.
  4. Don’t resort to gimmicks. No quirky twists or trick endings. The final impression you want to create is a positive one. Don’t leave your reader feeling tricked or cheated.

Dos

  1. Do create that sense of Oh, wow! Your best novelties and biggest surprises should go here. Readers love it when some early, trivial detail plays a part in the finale. 
  2. Do enmesh your reader deeply in the outcome. Get her so involved that she cannot put down your novel to go to bed, to work or even to the bathroom until she sees how it turns out.
  3. Do resolve the central conflict. You don’t have to provide a happily-ever-after ending, but do try to uplift. Readers want to be uplifted, and editors try to give readers what they want.
  4. Do afford redemption to your heroic character. No matter how many mistakes she has made along the way, allow the reader—and the character—to realize that, in the end, she has done the right thing.
  5. Do tie up loose ends of significance. Every question you planted in a reader’s mind should be addressed, even if the answer is to say that a character will address that issue later, after the book ends.
  6. Do mirror your final words to events in your opener. When you reach the ending, go back to ensure some element in each of your complications will point to the beginning. It’s the tie-back tactic. Merely create a feeling that the final words hearken to an earlier moment in the story.

By James V. Smith Jr.

Source for Dos and Don’ts. Visit Writers Digest for more.


5 Reasons Writers Should Consider Working As Background Artists (“Extras”) by David Kelleher →

The opportunities for the inexperienced to get on a professional set are rare, but there is always a demand for extras. Most background artists do not even need to act, just walk up and down (the cross) and have a certain look/age/wardrobe that signals to a viewer that you belong at that particular location e.g. police house, hospital. After working background for a while you will truly understand the meaning of typecasting.

So how can background acting help you as a writer?


Antagonist Prompt: Research

fuckyeahcharacterdevelopment:

We should always write what we know. But oftentimes, we have to branch out into unfamiliar waters. We have to research. Pick one area you’ve had to research for your antagonist and describe what you had to do. 

  • What is that area?
  • Did you interview any professionals? (For example, I had to interview a couple astrophysicists)
  • Did you have to purchase dictionaries for jargon/slang? (Had to do this in order to describe constructing a building)
  • Did you go out and experience the area yourself? Say your antagonist is an archer. Did you go out and practise archery to get a feel for it so you could write from experience?
  • What were your references?
  • Did you have to adjust anything to apply it to your antagonist’s world/culture? For example, take modern medicine and coin primitive terms for ointments, antibiotics. Or go the other way and take modern medicine and advance it a thousand years into the future? I use Philip Pullman’s His Dark Materials as a good example. ‘Amber’ became ‘anbar.’ ‘Science’ became ‘experimental theology.’ 

Antagonist Prompt: Music

fuckyeahcharacterdevelopment:

Music is a really, really broad topic. So I’ll narrow this one down. Your antagonist’s favourite music comes on the radio. Or they hear someone playing it. 

  • What is that favourite music? What genre?
  • Is it cultural? Passed down through heritage?
  • Why do they like it so much? 
  • Are they passionate about it or is it kind of surprising? (or both?)
  • What does it sound like? Use links if you can. 
  • What does your protagonist think of your antagonist’s favourite music?