Observe your feelings

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If something scares you, chances are, you’re not the only one who will find it scary.           © sxc

A couple of days ago I wrote a post about the perils of “writing what you know”. Today I will explain why I think writing about what you know, is a good idea. (Aaaah, the fickleness of the female heart!) At least, when it comes to feelings. Observing them well, is like digging up gold for a writer. Continue reading

A strong protagonist: keep it simple, then oppose that

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Lisbeth Salander: smart and socially inept (and Gothic).
The rest is filler.

A lot of writing gurus will tell you a character for a fictional work cannot be one dimensional. They will tell you a good protagonist is a complex, evolving creature. It is my humble opinion that this is utter BS. I say: keep it simple. Continue reading

Fast or slow?

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Fast is for action…

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… nice and slow is for other scenes. © sxc

 

 

 

 

 

 

 

 

 

 

 

 

As he hears the soft but unmistakeable clutter of metal behind him, he spins around on his heels with the speed of a leopard in full attack. What he sees, takes his breath away and makes him fear his days are numbered. It is Xena, the mythical warrior princess, coming at him with eyes ablazing and swaying some sort of circular weapon he has never seen before, leaving him in the dark on how he is to defend himself against it.

There are quite a few reasons why this piece of text stinks. But one of them is the huge clash between the pace of the text and the supposed speed of the action described. Continue reading

The work-writing combination

625469_10200765814763420_644865026_nFriday I’m in love. Because tomorrow it will be weekend and weekend means time to write.

I try to work on my manuscript a little bit every day, but in the weekend I get to write for hours on end. By Sunday evening I should even be able to see a noticeable difference in my word count. When I have been writing on a new chapter, it should have went up (fun fun fun!), if I have been rewriting, it should have gone down quite a bit (less fun, but necessary).

Yet every Sunday evening, when I look at what I’ve really achieved… well, it kinda makes me feel like sticking my pants down and moon the hell out of everybody who spent the whole weekend chilling by a poolside sipping beer. Especially my boss, who expects me back on the job the following morning. Continue reading

“The road to hell is paved with adverbs”

“The road to hell is paved with adverbs”, wrote Stephen King in ‘On Writing’. As a rule, I agree. Totally. They tend to weaken a sentence. As do most adjectives, for that matter.

Adverbs, to my opinion, are especially dreadful in dialogues:

“Well, you tell me”, she said perkily.

If a character is perky, then make her say perky things. Or better still: make her say things in a perky way. Simply calling her actions or lines perky, isn’t going to cut it. A character’s voice should be made clear through dialogue and actions, not adverbs. Continue reading