Ever try to write yourself out of trouble?
Susan (Wife/Partner/Princess) is an avid and talented knitter. She’s well beyond socks and scarves. She’s knit sweaters that would keep naked Eskimos warm. She’s knit shruggs (a kind of half-shawl that’s heavy like a rug and ever so warm and toasty!) that people line up for. Some of her projects are blow offs, easy-peasy and she does them to relax. Some are challenges. She does difficult patterns to teach herself so it’ll be easier the next time.
Sometimes – and it doesn’t matter whether it’s a new, difficult pattern or one she’s knitting from memory – she’ll stop, pull her needles from the yarn and “rip out the pattern.” She holds whatever she’s knitting in one hand, grabs the hanging yarn in the other and pulls.
All the stitches come out. All that knit-one-pearl-two gone. History. Obliterated. Forever. No CTL-Z, no undo, only a…
Continue reading “Ripping Out the Pattern”
A worthwhile read to get you to the next level regardless of what level you’re on
Nuance. Technique in Fiction is a must read because it teaches nuance.
It teaches much more. Just when I thought my brain had filled with as much technique and suggestion as possible, there’d be another bit that I had to write down and practice so I could remember it.
The basic takeaway is that authors should read this book after they’ve finished something big (novella, novel, novelette, noveletta, novina…okay, maybe not a novina) so they can figure out how to improve their writing during the rewrite/editing process. Story writers will also benefit provided they give themselves some down time between writing and editing so their minds can absorb what’s in these pages.
Continue reading “Macauley and Lanning’s “Technique in Fiction””
Real horror is subtle. It seduces.
One of the finest pieces of horror I’ve encountered is Loren Eiseley’s “The Dance of the Frogs“. I doubt Eiseley wrote this intending it to be horror. If he did, I have to find more horror writing by him (consider “The Fifth Planet“. Not quite horror but damn close). It is brilliant.
Horror done well is subtle. Horror can’t wack you over the head. It has to seduce you. It has to sneak up on you, entrap you. Horror, done well, must take you from comfort and peace to helplessness and inevitability.
Horror done well allows you no sure escape. Questions regarding safety, yes, freedom from worry, no. The original 1956 Invasion of the Body Snatchers movie (with the original ending and based on the Jack Finney novel, The Body Snatchers) is an excellent example of horror. Horrific things do not make good horror, horrifying situations make good horror.
Continue reading “Analyzing Loren Eiseley’s “The Dance of the Frogs” as Horror”
They came, they saw, the did nothing else. They’re stage direction.
The last character to define is the one who only comes on stage once, isn’t really acknowledged by any other character and never shows up again. That’s a stage direction character.
Do they show up once and never again?
The children pulled back when Tommy picked up the…”
Most readers who read the above want to know what Tommy picked up. The reason some of you want to know Tommy picked up is because “The children pulled back” and humans, because of the way we’re designed, want to know what’s causing defensive reactions (pulling back is a defensive, flight based reaction).
Continue reading “Characters Part 5 – Stage Direction Characters”
A worthy read for authors regardless of genre
On Writing Science Fiction
is about writing science fiction only as a topic, not as a focus. Somewhere in the book is a money-line about the book teaching writing first, fiction writing second and writing science fiction last.
Quite true and accurate! This book is a gem for anyone who wants to write. Don’t worry about the genre aspect, it’s a great study.
Continue reading “On Writing Science Fiction: The Editors Strike Back”