did you see that people are not gonna watch the next teen wolf episode, unfollow the teen wolf twitter/tumblr etc??? what do you think of it? tbh i only go to your blog when these things happen bc u and beaconchills have the best opinions ever i always agree with them 100% and just BLESS U TWO
Okay, so before I get into the meat and potatoes of this topic, you should know that most of my knowledge on the Teen Wolf Blackout is best laid out in this post, which I’ve come to think of as the call-to-arms of sort for this thing. If you’re unfamiliar with the idea but interested in my opinion of it, I suggest you start there and come back here.
Also, do you have any tips on staying focused when writing?
Find a workplace. Some people can only work efficiently in certain places. Certain environments will boost your productivity, while others will completely ruin it. Find the places where you’re the most…
“Children’s and YA books are about being brave and kind, about learning wisdom and love, about that journey into and through maturity that we all keep starting, and starting again, no matter how old we get. I think that’s why so many adults read YA: we’re never done coming of age.”—Betsy Cornwell, interview in Uncommon YA (via betsycornwell)
“Goodnight Moon does two things right away: It sets up a world and then it subverts its own rules even as it follows them. It works like a sonata of sorts, but, like a good version of the form, it does not follow a wholly predictable structure. Many children’s books do, particularly for this age, as kids love repetition and the books supply it. They often end as we expect, with a circling back to the start, and a fun twist. This is satisfying but it can be forgettable. Kids — people — also love depth and surprise, and “Goodnight Moon” offers both. Here’s what I think it does that is so radical and illuminating for writers of all kinds, poets and fiction writers and more.”—In a wonderful essay from NYT’s Draft series, Aimee Bender considers what writers can learn from the beloved 1947 children’s book Goodnight Moon. Pair with what editors and mentors can learn from the great Ursula Nordstrom, the legendary children’s book editor responsible for Goodnight Moon as well as other children’s classics like Where the Wild Things Are, Charlotte’s Web, and The Giving Tree. (via explore-blog)
Over-explanation. This includes prologues. “Prologues are never needed. You can usually throw them in the garbage. They’re usually put on as a patch.”
Too much data. “You’re trying to seduce your reader, not burden them,” Friedman said.
Over-writing, or “trying too hard.” “We think the more description we add, the more vivid it will be; but we don’t want to be distracted from the story” we open the book for.
Beginning the novel with an interior monologue or reflection. Usually this is written as the thoughts of a character who is sitting alone, musing and thinking back on a story. Just start with the story.
Beginning the novel with a flashback. Friedman isn’t entirely anti-flashback, but the novel’s opening page is the wrong place for one.
Beginning a novel with the “waking up sequence” of a character waking, getting out of bed, putting on slippers, heading for the kitchen and coffee…a cliche
Related cliche: beginning the novel with an alarm clock or a ringing phone
Starting out with an “ordinary day’s routine” for the main character
Beginning with “crisis moments” that aren’t unique: “When the doctor said ‘malignant,’ my life changed forever…” or “The day my father left us I was seven years old…”
Don’t start with a dialogue that doesn’t have any context. Building characterization through dialogue is okay anywhere else but there.
Starting with backstory, or “going back, then going forward.”
Info dump. More formally called “exposition.”
Character dump, which is four or more characters on the first page.