The Blogs of The Scribe
Entrepreneurship possesses many advantages and benefits for those who practice and depend upon it. However, it also has some pitfalls that should be avoided, unconditionally. Numerous pitfalls exist to evade, but some of the primary ones might require practice to assist in their abstinence. Three of the most common things to avoid as an entrepreneur are inexperienced advisors, using one’s self as sole source of information, and procrastination.
Having inexperienced advisors to educate oneself about a field will cause more problems and strife than absolutely necessary. Some friends and members of family are conditioned to believe it is impossible to achieve wealth through one’s own means, and they will often impose their standards and beliefs upon those attempting to achieve more for a number of reasons: (1) some compare themselves to aspiring enterprises and interpret their inability to achieve those ends as a means to assume an aspiring entrepreneur cannot achieve them as well; (2) Jealousy for having the drive to want to achieve something they cannot or the courage to pursue an aspiration when others do not will foster ill advice; and (3) ignorance of a matter that has been instilled into bad counselors from generations of penury will often cause others to project their limitations upon those who make the attempt. All of these types of advisors should be politely and courteously avoided when pursuing one’s entrepreneurial goals.
Another mistake to avoid is completely relying on one’s self as a source of information to acquire those ends. If any beginning entrepreneur had the answers to every problem, process, or matter to becoming successful, everyone would be one. However, achieving these goals will inevitably necessitate assistance. Most successful millionaires have had assistance achieving those ends from numerous people. None of them truly did it by themselves. Many of them already had mentors, were born into a wealthy family, or did close independent research and duplicated the process of those who have already attained it. No one should be deceived by pride or ignorance into believing a single person acquired all of the knowledge, guidance, and experience needed to possess entrepreneurial millions or billions by themselves.
The greatest threat of any entrepreneur is procrastination. Most people with typical jobs can depend upon the same source of employment to provide a check for themselves with different departments (such as collections) handling missed payments for products or services rendered. However, it is the sole responsibility of the entrepreneur to acquire missed payments from their customers from any service or product that has been given to them. Procrastination on this aspect of the business can cost a great deal of time and money one simply cannot afford to waste, especially if the business is just beginning. Nevertheless, having a firm schedule one adheres to for their business can drastically reduce procrastination. Financial records, project development, or new campaigns for services and advertising have to be done constantly in order to stay competitive, and procrastination will severely undermine all of those things.
Building a business is an achievement of viable sustainability, but it will be fleeting if the wrong types of habits manifest themselves in their ugliest forms. One should politely decline to listen to inexperienced advisors to remain focused and avoid bad information and beliefs. An aspiring entrepreneur should abstain from relying upon him or herself as a source for all information about developing and growing a business: otherwise, it will be destroyed before it is built. Preventing procrastination as a practice will allow a business to function much more readily than with its inclusion.
Writing about another person involves more research and accuracy than writing about a fictional character. This is even true if one is creating fictional characters based on real people. Setting up a biography or an autobiography involves three steps: (1) erecting a time line, (2) searching for key relatives and events, and (3) identifying patterns.
Erecting a time line for a biography or an autobiography is the essential, initial step for composing a written work. Most brainstorming with fictional works will usually involve randomly composing a list of arbitrary items that are related to the very first item on the list. Performing the task will essentially be the same with the exception of the list prompting the writer to search for the items or people’s counterparts in reality. For instance, a listing session for a fictional character will usually entail creating imaginary events, relationships, and people. However, these things will warrant research for people having these actual relationships since the person is actually exists. Creating a time line beginning with a person’s birth to the present will entail searching for lineage, cities, towns, positions, and social statuses. The creation of the list and the timeline can work in a synchronistic fashion to one another. All of the details of a person’s life may not necessarily be within the model, but ensuring all of the major events are involved will be a satisfactory representation.
Searching for essential relatives and events is the next step for composing the whole thing after starting a working timeline and a random listing. Interviewing the associates of the person can yield valuable information about the subject’s background and family. If the subject knows enough about their lineage, the research for the writer can be drastically reduced. However, procuring information from www.ancestry.com can yield volumes of information on any given person’s family (with the subject’s permission) if the subject’s knowledge of their family is limited. Having information about a person’s family and contemporaries is essential to documenting major events in his or her life, especially if members of the family or families or contemporaries have been involved with or influenced by major events within the subject’s life.
Gathering enough information about people, places, and events will eventually began to form patterns. Searching for these patterns will allow answers to reoccurring questions to emerge in the process of organizing information. Assimilating this information into a working timeline will inevitably reveal occurrences and people who are very active and influential in the subject’s life. Examining who has attended any major events within the subject’s life will inevitably yield insight into their roles and contributions to these major occurrences. These aspects of the person’s life undoubtedly act as pieces to a puzzle which will reveal clues to how the subject’s life is as a whole.
Knowing how to possibly interview the subject to
create a timeline will also yield the best results. These three main steps are paramount to
composing and producing any biography. These brainstorming techniques foster all of the different aspects of a
person’s life to research and investigate to procure as much information as
possible for erecting a working timeline, listing, and eventual basis for a complete,
written work. The work starts when the
pen touches the paper or the keystroke is made upon the computer.
Has there ever been a movie made with peace and harmony occurring throughout the whole thing? Can anyone say he or she would not be bored if the most exciting thing to happen is the protagonist sitting upon his or her bed? What if there were story without an antagonist, and the protagonist accomplished his or her objectives without ever losing their most valuable assets or nearly losing them? This story would not provide much interest to the person reading it. If everything is harmonious and there were no challenges for the protagonist to overcome, how would the story maintain the reader’s interest? It is very unlikely it would. However, embedding one or multiple conflicts within a story can easily change the reader’s interest. Applying conflict to the protagonist, antagonist, and the plot will increase the probability of maintaining the reader’
Keeping a reader’s interest is easier when conflict is administered to the protagonist. Achieving a certain objective is more than likely going to be a crucial purpose for the protagonist whether he or she realizes it or not. This will more than likely serve as his or her motivation to act throughout the story. If nothing happens to interfere with the protagonist’s objective, then the story would not be very amusing. However, if different events and people are constantly interfering with his or her ability to accomplish or maintain an objective despite his or her determination, the conflict between the protagonist(s) and people or the things interfering with this objective will serve to make the story much more interesting. Making the objective personal for the antagonist makes the conflict exponentially more dramatic.
The same principle applies for the antagonist. Usually, an antagonist or antagonists are going to do anything and everything possible to interfere with the protagonist’s objective whether he or she is aware of it or not. The antagonist will usually exhibit extreme dedication or passion about meddling with the protagonist’s objective for his or her own reasons. For instance, Bruce Wayne is extremely dedicated to keeping Gotham City safe as Batman; however, an antagonist such as The Joker is going to disrupt the peace of Gotham City because he is very passionate about disturbing people. The conflict created between the characters involves fighting between the two and the entertaining application of resources each of them uses in their attempts to stop one another. Joker (the antagonist) views Batman as an obstacle for creating the type of mayhem and terror he wants to impose upon Gotham. Batman (The protagonist) is extremely dedicated to maintaining order and peace in the city and will usually implement extreme tactics to preserve it. The conflict is the source of amusement for ensuring the reader maintains his or her interest in the story.
A plot with artfully embedded conflict will inevitably maintain the reader’s interest. It is one thing for both the antagonist(s) and the protagonist(s) to have conflict with one another, but a plot inundated with conflict will undoubtedly draw readers into
the story. A story with too much harmony and tranquility
will have the reader snoring, but having several acts of conflict or one major
conflict will stir the inclination for a reader to become more engaged. It will evoke questions: How will the main
character deal with this? What will they do? How will this ever be resolved? The conflict in the story does not have to
reside solely within the characters. It
can also be within the setting, or the symbolism of certain aspects of the
story can involve conflict if there are two things, which are naturally opposed
to one another. For instance, a wildlife
preserve next to a toxic-waste dump is the perfect setting for a conflict
involving the story between the two locations.
A story with artfully and well-applied conflict will greatly increase the possibility for readers’ interests in the story to continue. Having conflict applied to the protagonist(s), antagonist(s), and the plot will only serve to enhance it. It should be thoroughly researched for areas to ensure the readers who have visited or lived in real used in the story are not questioning the logic or reality of the area. If anyone is writing a fantasy, it is alright to make some exaggerations. However, their depictions should still reflect the observations of most people who have visited certain areas, especially if the place or location is real and people are capable of visiting them in reality.
What do you really know about the characters you read about in stories? How much can you say about the psychological condition of different people within certain roles? Should a character be given nearly as much depth as someone’s profile or psychiatric evaluation in the real world? You should give characters depth if he or she appears multiple times in a story, despite not being the protagonist or the antagonist. Three things are needed to add depth to a character: background, motive, and essentiality.
Giving a character a background will allow the reader to know this is not just a passing role or someone who will make a single, insignificant appearance throughout the script. You can cue the reader this person will appear in other parts of the story, later. Many times, giving a character a background will indicate they are going to have a crucial role, even if his or her appearances are sparse at different points throughout the story. Sometimes, if a character has a certain background that is related to the climax, his or her presence could also help the story transition.
Providing motives for characters to act upon will also add depth to them. Characters can actually have depth if they have interests in the outcome of the events regardless of being protagonists, antagonists, or either. If they have vested interests in the outcome of the story or a major part of it, they will be motivated to act upon the events to secure their objectives. This will also add intrigue for your readers to see what will happen next, even if they do not make too many appearances in the story. This can be done if they are indirectly or directly helping the antagonists, protagonists, or something else that could influence the outcome of the story.
Essentiality can also create depth for a character. Admittedly, it is not necessary for a
character to have depth in possessing an essential role, but making a character
essential to a plot can contribute depth to his or her purpose within the
story. If you make his or her role an essential
part of the climax, rising action, or the protagonist’s objective, it will
allow your readers to view them in a much greater light. Characters with pivotal roles in the story can
increase depth, intrigue, and interest in their roles.
Adding depth to characters will undoubtedly create intrigue and interest for your readers. This is done by applying demographic information, intention, and necessity. Your readers will undoubtedly remain enticed. Supplying roles with transitional influence and necessary elements will create depth within characters, which will allow them to become pivotal points in the plot. A little depth can go a long way in regards to utilizing characters for events and transitions.
The protagonist and the antagonist are exchanging blows on the rooftop of a very high skyscraper. The protagonist has several brushes with death as he almost plunges to inevitable doom. However, he is able to recover before both of them are dangling from the large tower onto the structure for survival. The antagonist falls to his death in an attempt to kill the protagonist. The protagonist is an inch away from sharing the same fate as the tower’s rooftop is collapsing. The next chapter shows the antagonist making an appearance and attacking the protagonist without yielding an explanation for his survival. Sometimes, plot holes can appear in a story, regardless of how carefully it is written; however, their presence can ruin it if there are too numerous, or one has too much influence on a major aspect of it. Three major ways to reduce or eliminate plot holes are (1) carefully organizing outlines, (2) utilizing content editing, and (3) reviewing characters’ roles for coherence and sensibility.
Plot holes can be prevented in writing by carefully organizing an outline. Organizing an outline helps put the details of any body of work into order to ensure events and characters are appearing at the appropriate times. Furthermore, having an outline allows one to carefully arrange the details in a logical and systemic order. All of these details will prevent plot holes from plaguing any story with incoherence and dissonance. If new ideas emerge, the outline will allow its inclusion without disrupting the coherence of the story.
Utilizing content editing also produces or eliminates the appearance of plot holes. This form of editing evaluates the content of the story such as plot, characters, settings, and other elements to ensure the story is fulfilling its purpose for its composition. It also examines the logical sequences between the events of the story, which also prevents or reduces the amount of plot holes a story may acquire during its creation. This also allows the writer an opportunity to analyze the elements for other things such as entertainment, action, humor, or moral lessons in addition to experiencing its general quality.
Analyzing characters within the story will eliminate and stop plot holes from forming as well. Knowing one’s characters very well will prevent them from doing unlikely things to create potential plot holes. This is done by reviewing the manuscript and reading it in its entirety several times before releasing for publication. Knowing a character’s capabilities will allow the story to proceed with reduced flaws. If a character is incapable of surviving a set of given circumstances or conditions, is it very unlikely the reader will want to continue reading if the character emerges unscathed unless a plausible explanation of the situation is provided. Getting inside of characters’ mentalities will allow stories to occur with the continuity that is needed to transition soundly between events without plot holes.
Having a prudently arranged outline, utilizing stylistic editing, and inspecting characters will undoubtedly reduce anomalies with the potential to interfere with the logic and coherence of a story. Critiques are known for examining every molecule of a story to exploit its flaws to influence their audiences and entertain them. Eliminating plot holes will not necessarily prevent them from giving a story a negative review, but it will give them less to criticize throughout the work.
Blood, organs, and bones are scattered throughout the sidewalk. Trick-or-treaters are missing from their homes past 12:00 am. The police are clueless as to who is committing the crimes. The police find a man who is at the wrong place at the wrong time while the actual killer is still gathering his or her kind of candy. The final page is turned, and the killer is still unknown with an innocent man going to jail in addition to more children continuing to disappear. Many people would not consider this a satisfying ending unless it is a parody, but having an ending which does not bring closure to an issue or intriguing way of leaving it unresolved will only serve to leave the reader feeling empty. Three steps to erecting a satisfying climax are (1) having a plot with a logical order leading sequentially to rising actions,(2) creating characters who would have realistic responses to certain outcomes, and (3) providing an ending which either brings a resolution, an intriguing finality, or continuation to another story.
Construction of coherent plots will allow the climax to be satisfying. If the sequence of events leading to a climax is incoherent and difficult to follow, the reader is going to lose interest in the story. It is alright for the events to seem random and unrelated as long as the explanations are yielded within the story, eventually. It is better if explanations are given in different places throughout the story leading to the climax or rising actions are indicated. If the events are carefully coordinated with one occurrence leading to another with sound coherence, then the ending will seem much more satisfying if it is methodically planned. Having an outline of the story with surprising yet strategically designed details before writing can make incorporating a satisfying climax will make it much better. Plus, this will allow purposefully planned and systematic events to lead to a fulfilling climax.
Erecting realistically effective characters by the ultimate outcomes or the rising actions of a story will also bring satisfactory climaxes to stories. It is alright for a few characters who are not random without anything invested in the story’s outcome to be unaffected by the events, rising action, or the climax; however, the protagonist, antagonists, or essential characters should be involved in the outcome. Otherwise, the story is almost pointless if the primary characters do not have an interest in its outcome or are unaffected by it. If the primary characters are indifferent about the events, the readers may not necessarily oppose this view unless the characters do not know or understand what the ultimate outcome of the story could entail. Having the characters invested in the events or influenced by them will allow the outcome to be much more satisfying.
Having an ending with a satisfying resolution or intriguingly paused continuation will yield satisfaction to the readers. A story usually entails one major conflict or a series of conflicts for a protagonist or a group of protagonists. The conflicts or disruptions in the character’s life will often provide the protagonist and antagonist with reasons to act and the readers to continue following the story. Knowing how to allow the story to progress with multiple occurrences affecting different characters throughout the work will keep the reader interested in what is happening until the rising action leads to a climax that will provide overall satisfaction or intrigue. This needs to be done very strategically or embedded with enough influence upon the characters to maintain the reader’s interest. Having all of the events being relatable, whether it is obvious throughout the story or not, will allow the potential for substantiating climaxes to maintain readers' commitments.
Plots with coordinated patterns of strategically organized occurrences, essential roles affected by numerous random and ultimate events, and delivering an ending with a fulfilling closure or an interesting opening to another story will form a basis for satisfying climaxes. This will slowly build a large following to increase interest in an author’s work. Readers with coherent resolutions in stories will increase the probability of returning to more of the author’s works.
Robert Louis Stevenson‘s Treasure Island will change your current surroundings to one of saltwater grazing your nostrils on a wooden barge full of men who are ready to throw you to the sharks with the slightest provocation or possession of gold in Treasure Island. You might become fully intrigued upon being surrounded by extraordinary people whose natural abilities are magnified by azure rays in Walter Mosley’s The Blue Light. Reading will serve to improve the way aspiring authors write. Three main advantages of reading for writers are education, example, and craftsmanship.
Being able to apply basic principles of education will allow
readers will foster more appreciation for your message. Having a solid foundation of grammatical
skills will permit you to compose sound sentences in coherent fashions for
constructing sound compositions. Furthermore, having knowledge of many given subjects will allow you to
inform your audience of different matters relating to the message you are
conveying. Plus, your readers will
respect you more if they already know something about the subject, and your
content reflects what they already know and expounds upon their personal
reservoirs of knowledge. Having a firm educational foundation will always serve to improve your knowledge and gain your audience’s respect whether you are
writing fiction, autobiographies, self-help, or other books, .
Knowing examples exist for composing various books will also enhance your writing, especially if you constantly read them. Frequent reading will inevitably expose you to diverse styles of writing. Allowing yourself to see the numerous styles of different writers and authors will allow you to compose your own style. This does not mean you need to copy every word of another author’s style because it will not be your voice, just another variation of someone else’s. Increasing your personal library with the greatest amount of books as possible will make you more creative, diverse, and knowledgeable.
Reading will allow you to form and sharpen your own craft. A craftsman without tools is like a captain without a ship. This does not make his or her life less valuable, but it could severely mitigate his or her services or usefulness to anyone who needs the service. If you do not read, you cannot expect for your writing to improve. Acquiring diverse styles, advice, and applications of recent knowledge requires reading to obtain it. YouTube videos are available to view techniques in addition to other videos on the Internet, but learning through reading and applying your own techniques will ameliorate your craft.
Reading constitutes the basis of most forms of learning, especially writing. Acquiring the education to implement sound grammar and composition is paramount. Obtaining many books to read will provide endless examples for crafting your own style. Diverse craftsmanship is another benefit of reading. Therefore; reading is undeniably substantial for writing.
Viktor Frankl is known for being a prisoner of a concentration camp surrounded by the activity of incarceration, torture, and death. Numerous people with him lost the will to live; however, he somehow knew and believed he would survive to give an account of his experience and encourage others not to quit regardless of how dire the situation appeared. Countless worms occupy random sidewalks and become severely dehydrated with the rising sun. A man gathers as many as possible before placing them in cooler soil to prevent the heat from killing them. He cannot save them all because there are far too many, but he manages to rescue many before the remaining ones die. Identifying multiple sources of inspiration for writing will always exist to provide content as subjects for your writing, but books, historical figures, and events are readily available for this purpose.
Books are potential sources of inspiration for you to draw upon. Religious texts such as the King James Version of the Bible have been a source of inspiration for many people. The Diary of Anne Frank is another example of a personal book being inspiring. Finding poignant books are capable of yielding inspiration for you to write regardless of whether they are fictional or true. Some history books have records of things influencing inspiration.
Multitudinous historical figures are capable of producing inspirational feelings in other people or your writing. For instance, many Christians are inspired by Jesus Christ. Countless Muslims are inspired by Muhammad. Buddhists are inspired by Buddha. Inspiration is not merely restricted to religion or religious figures. Numerous African Americans (not all) are inspired by Martin Luther King, Jr., Malcolm X, Thurgood Marshall, Quanell X, Al Sharpton, Cornel West, and many others. People are also inspired by heroic acts and bravery during extreme times of distress, tragedy, and hardship. Chesley Sullenberger III is known for landing an Airbus A320 into the Hudson River on January 15, 2009 during an emergency, saving the lives of 155 passengers. This is enough to generate inspiration for writing for nearly anyone. Heinous figures can inspire people to act together in an effort to cease global tyranny from their wicked influence. History recognizes Adolf Hitler for having conquered different parts of Europe with the Third Reich and motivating countries to form the Allied Forces to stop him.
Events are good sources of inspiration for writers to generate ideas and plots to create stories. Young men and women swept into various divisions of the armed services in droves through a wave of unprecedented patriotism to combat Al Queda, the Taliban, and other terroristic groups after the collapse of the World Trade Center on September 11, 2001. The crashing of the New York Stock Exchange during The Great Depression encouraged many people to pursue entrepreneurial ventures to secure their own futures as opposed to depending on regular jobs from 1935 and 1945. Olympic events such as Derek Redmond’s father helping him finish the 400-meter dash after he tore his hamstring remains one of the most memorable Olympic moments in existence. Having a traumatic or joyous occasion can help produce moments for inspirations in writing.
Sources of inspiration can occur in various forms. Books provide a plethora of actual and imaginary forms of events for different occasions. Historical figures of religion, politics, commerce, war, government, and much more have the capability of manifesting numerous forms of inspiration. Events will stimulate inspiration that will magnify your writing. You just have to keep your eyes peeled for them when they occur.
A writer hacks pointlessly away at his computer in an attempt to create an idea for a story. He thumbs through the pages of several books as though he is a stalker looking for his victim’s phone number in the Yellow Pages. A few strokes of the keyboards lead to as much progress as a hamster sleeping in its wheel. He shoves the chair away from his desk and rises like a rocket. He paces in circles with a mind as empty as space before a sonorous sound interrupts his thinking. The familiar chime leads him to an English brown oak grandfather clock. The clock’s black, metallic, minute hand extends toward the number twelve. His mind began to imagine what it would be like for a boy to live in an enchanted clock. He immediately returned to his computer with his fingers moving across the keys like fireworks. Numerous objects can stimulate the imagination into being creative. Buildings, statues, and bridges are common objects with the capability of stimulating stories.
A foundation for creating stories and accounts will emerge from buildings. Standing on the edge of a skyscraper will have someone imagining what it is like to fall hundreds of feet to death. Viewing a two-hundred-year-old house arouses the curiosity of how it was built and who occupied it from its conception to the present. Having a tour of a wooden, one-bedroom shack makes tourists think about how life was during extreme temperatures without air-conditioning or heat. Thinking about specific events within a building, such as homicide, creates interest in it. All of these things can easily invigorate one’s imagination.
A writer will visualize multiple occurrences from viewing a statue. An image of a lion carved in wood can easily display amber grass with fierce, tawny felines sprinting after gazelles or zebras before pointed teeth plunge into blood-drenched flesh as prey cries in agony before life escapes their throats. Bruce Lee’s image immortalized in stone sends one’s mind into numerous dojo’s with several flying kicks propelling people into walls on the other side of the room. Seeing droves of people with green, camouflage apparel flooding the streets of Pennsylvania Avenue could appear on a writer’s screen after glancing at a statue of a soldier holding a rifle.
Bridges can cross the gap between writer’s block and everlasting creativity. The wind can thrash through an extreme athlete’s hair as the approaching rocks and gravel comes closer to smearing the extreme fanatic’s blood and internal organs against them. Bridges often act as an important reference point of famous stories. For example, Irving Washington used a bridge as a means for Ichabod Crane to escape from The Headless Horseman in The Legend of Sleepy Hallow. The Golden Gate Bridge of San Francisco is constantly referenced throughout countless books, movies, and sitcoms. It is a common point of reference for a multitude of people. A glass bridge suspended over 984 feet above Zhangjiajie Grand Canyon has the potential to generate stories like no other.
Objects possess the potential for inspiration or the focal point for supporting or generating stories. Buildings inspire creativity in structures for characters. Statues ignite the visualizations of characters and animals for writing. Bridges create physical suspension over thrills and depths to occupy the minds of readers for long periods of time. An object is the key to opening a door of written power.
A low-tempo composition with stringed instruments are playing before the swords of two warriors impact one another with the intensity of the music matching the struggle taking place between the adversaries in a movie. A high-tempo, rock instrumental might be playing in a high-speed car chase during a television program. A monotone, string composition could be heard as two lovers stare affectionately into each others’ eyes across well-decorated table during a candlelight dinner in a commercial. Different forms of music influence many numerous aspects of a story; however, music can also aid you in developing settings, characters, and moods by using your imagination.
Music is very capable of stimulating the imagination for settings in a story. One instance of visualizing a character’s world will be as difficult as convincing a vegan to eat a Whopper (hamburger) from Burger King. However, a smooth composition in a relaxed setting will allow a protagonist’s world to appear as vividly as kaleidoscopic image. Seeing the images with the playing music will paint pictures in your mind of the character’s world as you write. Descriptions of the surroundings will become as effortless as the breathing. You will hear the sounds, feel the surroundings, smell the currents, taste the environment, and see the structures or lack, thereof.
Music has the ability to place to characters in your imagination whether you have already created them or have not conceived them yet. Seeing any character in every detail will appear as though they are standing in front of you and having a conversation. The music can stimulate your mind to form their eyes (if they have any or the bandages covering the empty sockets where they should have been). It can also help you develop your characters’ moods. Fostering your characters’ imagination is something your mind will easily accomplish with music.
Having the characters features and settings in conjunction with one another will inevitably establish the mood. Characters can race through the corridors of a hospital with sharp, high-tempo chamber music to establish suspense to express the anxiety surrounding a need to see a friend, relative, or loved one who is sick or injured, severely. A monophonic stringed instrument can play a low-tempo harmony as a killer is creeping upon an unsuspecting victim at a serene lake during the late evening. Choosing the right selection can help determine any mood for the immediate surroundings for the settings.
Knowing how to apply music to establish your story can magnify its detail, intensity, and plot. Utilizing melodies to develop characters will produce life for them in your imagination as though they exist in reality. Applying music will help you visualize settings. A few well-played notes establish vivid settings that will ignite the imaginations of your readers. A few notes will initiate the genesis of a greater work.
Different writing styles saturate the publishing markets across the globe. Some authors write so similarly to others; it almost seems like a legal form of plagiarism. Numerous genres and categories will also resemble each other, closely. Therefore, a question might come to one’s mind upon attempting to write: “How can one writer distinguish him or herself from another or others?” Here is another question someone might ask: “Should one individual’s writing be a replica of another’s with slight variations to make distinctions from another one in order to procure a profit?” No one likes or respects a robot or someone who duplicates another one’s style so closely; they appear to be a variation of another writer unless, of course, the reader does not know the work credited to the acknowledged is not completely original. The tendency to copy another writer’s style may be tempting, but having the satisfaction of honing one’s craft until it renders a unique style is always ultimately better. Distinguishing one’s writing from others, taking one’s time, and honing one’s craft will bring the best results.
Having one’s own style inevitably brings benefits because it is very unlikely one will be mistaken for another person. This will allow one to be distinguished from another. Observing other writing styles for ideas is alright, but always maintaining one’s own voice without plagiarizing another person’s words is what will ultimately allow a writer to receive recognition. Finding different ways to express oneself is essential to separating one’s self as a writer from another. This can be done by practicing on a daily basis and developing one’s voice and style.
Using every second of time to develop one’s craft is essential to allowing it to become better. Duplication is tempting for developing poorly crafted works replicating others’ written prose for fast cash; however, it will only be known as a replicated trend mimicking another person’s voice, which will inevitably fade much faster than the original writer’s popularity. Money may not necessarily arrive in one’s initial stages, but having a diamond developing overtime is better than selling lead. Fast food restaurants are popular, but there are not too many people who would prefer them over an old-fashioned meal.
Working on one’s craft will allow one to brand themselves as a writer. This is done by writing, practicing, and experimenting upon one’s work and sharpening it with each passing day. Looking at the works of authors not only helps expose oneself to various styles, but reading enough of other writers’ works will allow one to create one’s own voice to resonate in the readers’ imaginations. It will inevitably become better through a slow process, and people will respect the workmanship associated with the writing. This will allow branding a writing style for one’s own self to be much easier upon receiving recognition than being a carbon copy of another’s.
Having a brand for one’s work promotes individuality among an ocean of writers. Do not release a replica of another person’s work for fast cash and an everlasting blemish upon one’s brand as a writer. It is not worth compromising one’s potentially outstanding career and reputation as a writer. One should make the most of his or her voice and sacrifice the time necessary to develop it. Having a brand built upon well-developed quality and time will always surpass compromising one’s style for quick cash.
Considering cost is something you should always bear in mind when contemplating publishing. Many of the activities associated with publishing costs money. Editing can usually start at .25 per word. Bowker charges at least $150.00 for a ISBN (International Standard Book Number) and a barcode. Graphic art for book covers as well as their designs can start at anywhere from $100.00 to $250.00 or higher. Printing copies of books with variations between hardbacks and paperbacks will create their own financial burdens. Then, having press releases publicized by newspapers and online circulations will usually cost money with each major publication within the country. Furthermore, the prices of having book signings at different venues can vary depending on where they are conducted. Traditional publishing will usually pay for all of these services, and most people choosing to self publishing will usually pay from their own expenses.
Choosing traditional publishing or self publishing can mean the difference between having all of the influence and control over a book and its distribution as opposed to having little or none at all. Traditional publishing companies usually have control over everything for a book, including plot, characters, and twists. Then, the traditional publishers may set the book’s price without any consideration of what the author wants. You may have little or no influence over the major aspects of the book. The whole book might be rewritten for the sole purpose of making it more “marketable” by the publishing company’s standards. Plus, traditional publishers will usually seize control of the book and your rights to them. However, the essence of the book could be compromised upon submission to the traditional publishers. Some self publishing companies wanting to control the price of the book and its design exist; however, it is far more common for the self publishing companies to allow authors to retain their rights; moreover, the self publishing company will allow you to keep the book just the way you want it. Some might make recommendations for changes upon being prompted or asked.
Knowing as much as you can about utilizing traditional publishing or self publishing will allow you to make a decision about which option of the most beneficial. Having control over your own work is something you should really take into consideration. Being aware of the costs associated with either endeavor might mean the difference between what option you choose. Planning a schedule for the when you want to release a book could influence your decision about whether to choose traditional publishing or self publishing as well.
Determination is usually a characteristic many antagonists will have for obvious reasons. If an antagonist is easily deterred from their objective, it will not be much of a story, especially if most of the opposition within the plot is produced by the antagonist. For example, having a story with a protagonist who a decorated Navy Seal with camouflaged, military combat gear, an M-16, and a Bowie knife who is roaming through the desert is a good way to garner a reader’s interest. However, if the antagonist is a lone, five-year-old boy with a pebble, this story could end very quickly unless there are some other hidden characteristics the audience may not know about. If he attempts to throw the pebble at the soldier and cries because he misses and goes home without ever trying anything else to hinder the soldier, it would not be much of a story. Contrarily, if the Navy Seal has a mission to rescue his wife from a wicked, royal prince with many soldiers at his disposal, the Navy Seal has some opposition he has to combat and consider, seriously. The antagonist usually needs to be very determined and tenacious about how he or she opposes the protagonist. The antagonist will usually have a strong motive for creating opposition for the protagonist whether he or she is aware of it or not. The prince might want to prevent the Navy Seal from recovering his wife because he is in love with her or he wants to cause the Navy Seal some pain or discomfort to him out of spite or revenge for something the decorated soldier did to him or her. The antagonist will usually be someone who will be very determined to bring opposition to the protagonist in a story, consciously or unconsciously.
Having an antagonist with strong emotional overtones will usually add drama to a story. The antagonist will ordinarily be very passionate about producing opposition for the protagonist. He or she may have a lifestyle the protagonist does not condone, which possibly affects other people in a negative way. The antagonist may have to kill many people or get them addicted to a substance in order to sustain a lifestyle he or she truly cherishes with the passion to kill anyone who interferes with it. The antagonist should usually have a very strong reason for wanting to maintain their opposition, which is usually coupled by passion. In the opposite extreme, the antagonist may not necessarily display passion. The character could simply be an extremely frigid individual without any reason for wanting to oppose the protagonist other than simply doing things the protagonist dislikes without knowing or caring how it affects the person or anyone else. Being a cold individual can create passion within the readers or audience for wondering how something or someone can lack compassion or feeling for others. This will often draw the audience into the story more intently.
A story can also be enhanced by the amount of opposition or formidability an antagonist can bring to a protagonist. It will not necessarily be too interesting if the opposition the protagonist faces is not very challenging. The conflict or the climax of the story will not be nearly as satisfying if the antagonist is an easily defeated opponent. For instance, no one would really care about Darth Vader fighting Luke Skywalker if all Luke had to do was breathe in his direction and defeat Darth Vader with his breath. However, people are more drawn in when the antagonist can oppose the protagonist in very challenging ways, especially physically or intellectually. If the antagonist is extremely skilled in martial arts or very clever, it can make the storyline very interesting. Sometimes, having an antagonist with superior intellect or skill to the protagonist will draw an audience’s or reader’s interest. It will make the audience wonder how the protagonist will defeat or survive against someone who is much more powerful or skilled than he or she. The X-Men’s greatest antagonist has always been Magneto. Their victories against him have always been very close and within a small margin.
Having well-developed antagonist(s) is as important to a story as possessing thoroughly effective protagonists, settings, and plots. A story needs to have an antagonist(s) who makes sense. The determination for them should be substantial to the plot and possess a sound reason for them to oppose the protagonist. Ensuring the antagonist has an emotional element such as extreme passion or indifference will draw the readers into the story. Having a formidable antagonist will make the audience more interested in wondering how the protagonist is going to survive or possibly have victory over his or her adversary. The antagonist usually has characteristics opposing those of the protagonist with some exceptions.
Every enjoyable story tends to have a protagonist(s) a reader or a viewing audience really enjoys. I would mention a certain adolescent wizard, but I am trying to avoid law suits. Creating interesting protagonists can really draw and maintain a reader’s interest. If someone has to spend time reading about the events surrounding a primary character in a story, play, or a novel, having a character actually capable of sustaining the reader’s interest or intrigue definitely helps. If the protagonist has characteristics that are compelling to the reader, it helps maintain interest in the story. In other words, it makes the reader care about what happens to the protagonist. Applying empathy to the protagonist, giving a likable personality or character to him or her, and/or placing him or her within intriguing or interesting circumstances will make protagonists irresistible.
Having a character many people can empathize with will increase a reader’s interest. Very few people are going to concern themselves with a billionaire complaining about the expense of jet fuel for their personal aircraft. Fewer will people will trouble themselves about someone crying because they lost a single eyelash. However, a person working in a coal mine for sixteen hours a day as they inhale dangerous fumes to keep a roof over his children’s heads and food in their mouths will draw the interest of overworked readers with children because they can empathize with him. Nevertheless, having an audience to empathize with the protagonists in the stories will require researching them to determine the best method to attract them. If the reader can relate to the character or sympathize with them, then a stronger inclination to read further will develop.
Creating a character with a decent personality or feature will not hinder an author’s following from reading about them. If the protagonist is always volunteering their spare time to help less fortunate people, the reader might be more inclined to see who the main character is or why he or she behaves in a particular manner, especially if this character’s situations are challenging. The protagonist’s traits do not necessarily have to be good qualities to draw empathy from the reader. A reader might actually enjoy reading about a gangster who has to return money he borrowed a heavy mobster by sunset unless he is sleeping in the same shallow graves he used for other people. Some men like to read about conniving, manipulative women who use their bodies and cunning to obtain financial benefits from wealthy men or sex to manipulate powerful men to kill people they do not like. Obviously, a pious, celibate woman who lives in a convent may not be interested in such a story unless this was her life before joining the order.
Creating intriguing or interesting circumstances for a protagonist will inevitably draw and maintain the reader’s interest. For instance, Oedipus Rex, the character of the tragic play of the same name, is destined to slay his father and commit incest with his mother. Some might say this sounds like a typical day in some parts of the southern portion of the United States, but it will draw interest for many because they are not typical circumstances (at least not in some parts of the country). Perhaps, having a protagonist who is cursed with good fortune because everyone who knows the character is constantly attempting to use, manipulate, or deceive him or her into giving them wealth will amuse another person’s imagination. Having odd circumstances such as people dying whenever they arrive into town with little no fault of the character is enough to prompt a shopper to place the book into a shopping cart and proceed to the check-out counter.
Readers will stumble and stagger over themselves to see what happens to a protagonist who has earned the customer’s favor. A senior citizen running through the streets to solve mysteries of murder, theft, and insurance fraud might make some geriatric patients perk up to read the story from their beds, even if it is to laugh or ridicule the idea of someone the same age as him or herself being able to chase criminals. Reading about someone with a nice personality may entice another person to read in hopes of the protagonists receiving fortune for being a wonderful person. Seeing a boy trapped in a forest full of flesh-eating animals could possibly make a person wonder how he is going to survive against such overwhelming odds. Combining those characteristics will allow a character to draw the attention of avid readers and develop an interest in them.
Pages turn in a book as a reader strains her eyes to interpret the text. The plot is keeping the woman’s interest. The characters are intriguing, and sound grammar is not interfering with his or her ability to follow the story. However, the reader feels each sentence is giving her cataracts as she strains to understand the text. Finally, she suddenly shakes her head before seeing if she can toss the book into a receptacle that is ten feet away as though she is playing basketball. Having the most appropriate font has a fundamental effect upon keeping the reader’s interest. It is something many authors frequently disregard because it may seem miniscule, but having the right font can reduce monotony, increase legibility, and validate size.
Choosing a commonly used font can actually draw monotony to text. Numerous readers are deterred by the selection of certain fonts if they are used very frequently. Nothing is wrong with having a standard for readers to follow, but having it used frequently can elicit subconscious associations with other subjects, which are not as entertaining. Plus, the universal application of a certain font will signify attracting a general audience. Having a general audience is fine if one is discussing a common experience for most people; however, this can be counterproductive if the topic is directed toward a certain group or demographic. Times New Roman is a very ordinary font being used by countless publishers, writers, authors, and bloggers. It can also be very redundant, so one should attempt to use other styles. Contrarily, one should not use a very rare or unorthodox font. For instance, having an extremely fancy or ornate font can distract the reader from the text; therefore, it can deter them from the subject and material of the text.
A font’s legibility is another matter to consider when selecting the proper font for one’s work. Having an excessively ornate font can distract the reader before he or she has a chance to benefit from what the written work is conveying. A person will stop reading if they have to strain their eyes constantly to understand the information being communicated through the writing. Ensuring a font is easy on the reader’s eyes will undoubtedly reduce the probability he or she will ignore the book. A good way to ensure the most legible font is selected involves having different people of different ages and sight read the written material for feedback.
Selecting the best size for any written work is just as important as making sure the font is legible and reduces redundancy. Selecting the right size for any given font is important for the same reason as having the appropriate style: The reader can be deterred if they have to strain their eyes to view and interpret the text if it is too small. Knowing the amount of spacing for the each page in the book is also going to influence the application of the font’s size. The cost of printing and material can increase because more pages necessitate its production with larger sizes. Having an adequate size for all readers to peruse the text will enhance the enjoyment of the work.
Having the appropriate font for the text of one’s book will inevitably help the readers benefit from reading any given work. Making sure the text is not too redundant or extremely unorthodox will retain the reader’s attention. Having good legibility will also keep an author’s audience involved with the work. A good publisher will have the best typesetting available for their authors, but those services are also available for paying authors who are self publishing. Every font will increase or decrease followers.
Having the fundamentals of writing mastered is one of the most crucial parts of attaining money through writing. This is one of the most basic cornerstones of the craft, yet many aspiring writers and authors still underestimate the value of practicing the most rudimentary principles of writing. Grammar is very essential to maintaining an audience or a following for writing. Having one mistake in a manuscript will not have an author’s career sentenced to death row; however, possessing too many improper tenses, misspellings, improper cases, or misapplied punctuative marks will not increase anyone’s eligibility for a Pulitzer Prize. Some readers will scrutinize a writer’s work with intensity of a scientist examining particles through an electron microscope. All readers will not obsess over minor details, but most will stop reading if there are too many errors interrupting their flow of the text. Authors will leap at the opportunity to publicize their written work before proper editing has been applied to it. Nevertheless, this course of action reflects flying twenty thousand feet without making sure the plane has enough fuel for the flight. Always proofread for basic writing principles before exhibiting one’s work.
Adhering to submission guidelines is another matter to take, seriously. It is imperative to adhere to these standards for every publication before submitting one’s work. Otherwise, it will be discarded and rejected before it is viewed by an editor to fully evaluate its acceptance. This is especially important for those utilizing traditional publishers because these guidelines allow a publishing editor to reduce rooms full of submissions he or she has to read before determining if it will become printed with their company or not. Each publisher’s submission guidelines are different, so no one should make the mistake of assuming all publishers are the same. Careful attention to details regarding submissions should have the utmost attention; otherwise, an author’s manuscript will contribute to a landfill. Self publishing tends to be much more lenient in this regard. However, their standards can result in rejection as well if they are ignored. Therefore, paying attention to the established guidelines will save a great deal of time and misery. Observing the rules for submission guidelines with each publisher will not necessarily guarantee acceptance, but it will substantially increase one’s chances of being published.
A person is typing with a latte beside their laptop when the cacophony of chatter and the cadence of passing shoppers’ footfalls completely destroy all chances of concentration. Then, the person slams their laptop shut and stomps out of the mall. Writing is one thing, but finding the appropriate place to write is almost the beginning. Finding a suitable place to write is almost as important as making the decision to write. Everyone is different for what the most conducive or ideal, writing place is for them. However, three qualities are necessary for any advantageous place to write: isolated, quiet, and resourceful.
Having an isolated place for one to write is necessary for the process. A crowded place will inevitably attract distractions. Most people are noisy regardless of the alleged silence for certain environments they occupy with the expressed purpose of silence. Having an environment with little or no noise will help with this process. If a place is isolated, it is less likely to have distractions. The isolation is favorable for thinking with little or no interruption.
A place should also be quiet in addition to being isolated. An isolated place can still be distracting if it is noisy. A place with loud music playing, noisy plumbing, or active construction can still disrupt one’s thoughts despite not having any people in it. Having a quiet environment will allow one to form and organize one’s thoughts without interruption. This will create an environment for one to think, peacefully.
An environment with resources is conducive to writing as well. If a dictionary is available to process one’s thoughts with clarity through words, it will allow one’s articulation to improve with different ideas on expressing similar things if necessary to reiterate. Furthermore, Internet access can also provide information to assist one in his or her endeavors, but caution is admonished with its usage because it can be nearly as distracting as it is helpful with many of the different, available videos. Having resources such as books for writing will inevitably provide assistance in utilizing different principles for it.
Finding the appropriate place to write will
undoubtedly procure better results. Making
sure the place is isolated will reduce distractions, which will interfere with writing. A quiet place will allow thoughts to
occur. Having resources for references
will increase the quality of one’s writing.
Knowing a good place is available will surely increase the quantity and
craftsmanship of one’s writing. Getting
started is next step, so one should not hesitate.
Sometimes, writers lack the stories or subjects for their writing or how to express it. A few strokes of the keyboard will end with their minds being as void of ideas as the soul-sucking darkness of a black hole in outer space other than the first few sentences on his or her page. Other authors will have the whole novel swimming around in their imaginations in ultra high definition without knowing how to articulate it. These occurrences can be very problematic, but there is a very easy solution to both of these inconveniences: brainstorming. Brainstorming is “the unrestrained offering of ideas or suggestions by a committee, conference, etc, in effort to find solutions to a problem, generating fresh ideas, etc” (Webster’s New World Collegiate Dictionary: Fourth Edition). An individual brainstorming technique entails taking a random sheet of paper and arbitrarily writing thoughts down without interruptions. Brainstorming can do three things to eliminate inactivity for writing: (1) generating ideas, (2) fostering articulation, and (3) revealing patterns.
The most obvious benefit obtained from brainstorming is the production of ideas. The act of writing random thoughts will cause ideas to generate from one to the next. A plethora of notions will multiply themselves as a result of initiating one another. One idea creates others until the page literally cannot contain them all. The imagination is engaged as the list is extended from multiple thoughts. This will eliminate cessation of thinking and creativity.
The second advantage acquired from brainstorming is articulation. The act of writing things also provides many words to aid in expressing the ideas or the different elements one wants to include in their written work. Utilizing one group of words inevitably leads to another, which is done in the random listing of various ideas. Having a dictionary available can also aid in this form of brainstorming by utilizing definitions and synonyms to explain many examples of a given matter without having to use the same words to express similar things, repeatedly. Words will produce more words as brainstorming is used to create ideas.
Patterns are another form of gains procured from brainstorming. All of the ideas and words within the list will inevitably reveal potential structures for chapters and various concepts to express in the book. Then, groups of words will begin to manifest patterns, which can be utilized as chapters and subchapters. Brainstorming will make organizing everything much easier than trying to bring order to the whole work at once as one writes. Furthermore, this can easily form the basis of a working outline to summarize everything to reinforce coherence and uniformity within the written work.
Brainstorming is the technique to use for eliminating “writer’s block” regardless of being at a beginning or ending stage in the process. A simple list can manifest ideas for the work. The enumeration can also convey concepts and thoughts to arrange into groups. The series of randomly named items can also organize the patterns formed by its arrangement. One should not underestimate the power of brainstorming. It is a simple, yet powerful, technique unleashing unlimited potential for writing
A good plot reinforces a story like the vertebrae protects the spine and reinforces the structures supporting the back. Knowing a plot is “an arrangement of incidents in a play, novel, narrative poem, etc." (Webster’s New World Collegiate Dictionary: Fourth Edition p. 1107) should prompt the author to craft a methodical series of events to support the narration. Numerous techniques exist to assist an author in achieving this. The three major factors of a plot’s development can easily contribute to composing a sound, amusing plot for a story: (1) ensure the plot complements the protagonist(s); (2) compare it to other plots; and (3) organize its constituents for the most effective narration.
Reaffirming a narration’s ability to compliment the protagonist will assist you in its composure. The character’s introduction to the story is a common way (but not limited to this) to signal the reader about the purpose of his or her inclusion in the plot. Sometimes, this is done with a backstory explaining what the protagonist’s ultimate goal in the plot is regardless of if it is determined by the protagonist or he/she is involuntarily included. The incidents will usually have a direct or indirect effect on the protagonist(s) in some manner. Giving the protagonist characteristics complimenting the series of events throughout the work will allow its continuity to transition, smoothly.
Comparing other stories and plots will allow you to gain some idea of how to tell a story and develop numerous ways to craft and develop your own storyline. Going to a library or a local book store will allow you to see what sells well and why. Reading a variety of books, especially in your chosen genre for writing, will allow you to observe what aspects of these books will intrigue the reader and what qualities entice the reader’s attention. If you are an avid reader yourself, you can use this to enhance the quality of your own stories and develop them into plots that will attract your audience. Do not underestimate the power of reading: It can yield insight into how you should write and what you should write. Remember to compare and analyze, not plagiarize: no one respects a writer who does not have enough originality to create their own stories.
Organizing your plot is effective for its development. Allowing different events and incidents to transition easily from one to the next will make it easier for the reader to observe the details and follow the occurrences. Plus, arranging a story’s elements will allow you to determine what aspects of it complements the protagonist’s goals or qualities. Two different methods for doing this are brainstorming and outlining. Brainstorming involves randomly enumerating multiple elements until a usable pattern or arrangement of constituents is noticeable. Outlining includes placing the story’s parts into an organized pattern by summarizing them in groups through letters and roman numerals.
Giving a plot the best possible chance to entice the reader into obtaining your story will increase the chances of selling more books and enticing more readers into being involved in the story. Knowing your character and developing them well allows assimilating them into the plot to occur, more easily. Making observational comparisons for story’s development to other plots yields insight into composing intriguing plots to engage the reader. Having an organized outline permits easier transitions between occurrences throughout the story.
Spider-Man is running down the golden streets of Oz and shooting webs at the Wicked Witch of The West before she plummets into the Eiffel Tower. The sky parts and Goku’s body ignites into a golden glow with his transformation into a super saiyan burning the city into rubble. If the previous setting seems extremely inappropriate for the characters, then, you understand my point: characters need appropriate settings for them. A setting is usually “the time, place, or surrounding circumstances of an event, story, play, etc (Webster’s New World College Dictionary Fourth Edition p. 1312) Selecting the appropriate setting for a character or group of characters is significant. Three things necessitate having the most fitting setting for characters: research, realism, and suitability.
Conducting research on a certain area to determine a suitable setting for a story is an imperative part of the most fitting selection. If the setting for a story is a place that exists in reality, making the sure the setting reflects what other people may know about it can either enhance or disintegrate a reader’s desire to read. For example, it is very unlikely for a basement to exist in a house in Texas because the limestone is enough to support a first floor. There are very few houses in Texas possessing basements, so it is extremely improbable for a character to reside in someone’s basement in the Lone Star State. Most residents of Texas will be very acquainted with this fact, so it is good to bear this in mind if one of the readers of your work has visited or lived in Texas.
Having realistic settings for characters of a given work is paramount to keeping readers interested. This is true whether the genre is fantasy, autobiographical, legal fiction, etc. If the work is a fantasy with an imaginary setting, then acknowledging the characteristics of the make-believe world in comparison to a realistic place for the reader to accept it is very serious. In other words, if a character is traveling to Neverland, then the means explaining its existence or how a character is able to get there from the real world is a necessary transition for the reader to have maximum tolerance of it. Having premises for the existence of the imaginary region for the reader to notice cues them to expect some compromises in logic.
Ensuring a setting is suitable for the character is also important to the reader’s satisfaction of the way a protagonist, antagonist, or any character interacts with it. If a character tacitly has scotophobia, they will not likely be calm or spend much time in dark houses, caves, or going to areas without street lights during the night. This is not to suggest a character will never visit any of these places, but making their reactions to being in these areas with their given idiosyncrasies makes their placement within the environment inherently pivotal to the work’s continuity. If a fish is a protagonist that is swimming through the suburbs, an explanation should be provided regarding how it managed to get there in addition to how it is sustaining itself in an environment that is not usually conducive to its functioning.
You can feel your blood pressure rising upon reading a scene where a man inappropriately touches a young girl. You may even develop respect for a character who rescues a child from the jaws of a lion at the personal risk of being killed him or herself. A great deal of admiration may saturate your being upon seeing someone facing an execution with rifles drawn upon them for representing his or her moral stance or position. All of these elements within a story or character are what allows people to develop a connection to them or become emotionally invested in them. Having people who are capable of evoking strong emotions of love or hate by the reader is one way to keep the reader engaged in the work. Characters can be relatable and poignant by giving them common experiences shared by most people, making them likable or despicable (depending on their role), and giving them a purpose or goal for them to follow, unconditionally.
Giving a character experiences everyone finds familiar makes them relatable. If a man is sitting in his mansion in a plush, Corinthian leather seat among marble columns with his caviar being served by his butler throughout the day, the person riding the bus to two or three jobs may not really care to read about him unless the opulent man is sharing his strategy for obtaining wealth. However, most people can relate to having a supervisor they may not necessarily like or having employees they only work with because of obligation. Many women can easily empathize with a mother working twelve hours, enduring sexual harassment, and having heavy eyelids during a shift to feed her children. Having experiences numerous people know can allow readers to connect with characters, emotionally.
If you have a likable or hated character, people will want to read more about them. A person will read to see a despicable character being thrown into the Amazon River with piranhas jumping out of the water to eat the flesh off of his or her bones. A woman has bruises on her face as her husband punches and slaps her, constantly. One night, another man catches the husband’s fist in midair before it touches his wife and relentlessly punches the man until he is unconscious. The woman buries her head in her savior’s chest before thanking him for his intervention. This demonstrates having a very likable antagonist can draw a reader into the story in the main character’s favor. Contrarily, a reader will smile as a mass murderer is thrown into pit full of hungry tigers.
Another way to hold a reader’s attention is giving the character an objective they are willing to fulfill under all circumstances. Walter Mosley has Fearless Jones running through the streets of Los Angeles during the 1950’s to deal with corrupt policemen, mobsters, and various people to solve mysteries with his companion: Paris Hinton. Frodo Baggins faces dark wizards, orcs, a giant spider, treacherous mountains, and a tainted, corrupt ring. If Frodo just decided to stay in The Shire and sleep throughout the book, many people would not be interested in the story.
Allowing people to connect with these characters through empathy, relatable experiences, and objections will keep readers addicted to the story. They will continue reading either because they like or hate the protagonist or the antagonist. Some people even liked Tony Soprano of The Sopranos despite being a mobster who frequently killed his associates or others for acts of betrayal to his illegal organization. Knowing how to make your readers care about what happens to your protagonists will make them inclined to continue from the start to the finish of the written work. Think about making sure people like or despise them as you write your story.
Images of flames, swords, and dragons saturate the imagination of the reader before a period appears at the end of a question. She scratches her head before resuming. Suddenly, the story with knights, princesses, and dragons become inundated with police cars and homicide detectives exchanging volleys of hallow points with suspects. The reader shakes her head as the book takes its final flight to the bottom of a trash can. Editing is extremely important, but knowing what type of editing and the proper extent of its use is paramount. It is an author’s responsibility to do their own review of the document before and after an editor has revised it. Three types of editing exist in making revisions for any given work: copyediting, content, and structural.
Copyediting (also known as proofreading and basic editing) is perhaps one of the most important forms of editing for any written work. This form of editing involves making corrections to grammar, spelling, punctuation, and mechanics to ensure the most appropriate aspect of the basic text is being acknowledged. This prevents imperative sentences from being used as interrogative sentences, or it ceases a verb which should be past tense from being used in the present tense. This also indirectly reinforces having a suitable format (arrangement of words and sentences for structure) for the author’s purpose. This form of editing prevents the most common mistakes from being observed by the reader’s eyes.
(also known as stylistic and heavy editing) is the type of editing
ensuring the coherence is sound and logical. It guarantees bullets are not flying before the trigger is pulled or stops
someone from bursting into flames while they are immersed in the Atlantic Ocean
on its floor. Content editing also
evaluates the story’s continuity to assure transitions from one event to the
next are gradual and appropriate. There
are exceptions to established rules. Logic is acceptably compromised if the writing is a fantasy, but some
explanations still need to clarify why extraordinary or miraculous events occur
in these instances or acknowledge it. Content editing will keep your fish from swimming backwards in outer
Substantive editing (also known as structural, publish-ready, or developmental editing) is a thorough combination of the two with great scrutiny given to detail for the best possible presentation of writing. This type of editing is very common when manuscripts are evaluated for publication by certain editors. It is necessary to do some of this editing if one is submitting their manuscript for publication to drastically reduce its dismissal by a publishing company. Frequently, authors hire editors who evaluate these manuscripts on this basis as well. This type of editing also involves the most appropriate format for the written work. For instance, using the same type of format for an essay as one uses for poetry will not necessarily please the readers. Similarly, having the structure of a collegiate, research paper for a children’s book with numerous, parenthetical references will not necessarily influence one’s audience, favorably. Discretion of the most appropriate editing is advised.
Fitting revisions are crucial to public works. There is only one chance to make an excellent first impression. Keep all of these elements in their respective places for the most beneficial response from a specific audience. If anyone’s writing is a zoo, editing keeps all of the rabbits out of the big cat’s section and the tigers out of the petting zoo. Editing makes sure all of the elements are in the appropriate places, and the logic or tolerable compromises for it are applied. Editing can make the difference between being published or being disregarded.
The bestselling novel does not always begin on fine sheets
of paper or an elaborate word-processing program. Pens are not always used to place the
artistic, detailed strokes of a calligrapher on a sheet of paper. Sometimes, a few strokes of graphite upon a
paper towel have the potential to ignite the New York Times Bestseller List like the inferno on The Poseidon Adventure. A writer as influential as William
Shakespeare does not have to necessarily be duplicated to enjoy the same
recognition and success. Sometimes, the
most unlikely candidates or unknown writers can craft a bestseller with their
very first work. This is not a frequent occurrence,
but it is not a virtual impossibility, either. Every person has the potential to craft a work worth reading; however,
there are three steps every writer should take: (1) get started, (2) make it a
habit, and (3) get the right types of tools for assistance.
The very first step to writing is getting started, period. Firstly, you cannot expect to have anything if you do not get started. There are many reasons for people not to start. Some have doubts about their ability to write. They mistakenly believe it is necessary to begin creating compositions with the skill and sophistication of an engineer designing a shuttle. A bestselling writer is not born with a typewriter and a Doctoral Degree for English Literature. If they were, you can only imagine the extreme pain for their mothers to squeeze those things out of themselves along with their babies. Other moments, people are immobilized by writer’s block. A few view this with the apprehension a chicken might have on an island full of starving tigers. The only thing you truly need to fear is never allowing yourself to see how far you could get by making the attempt to write. You are not obligated to display your work to the public; therefore, you can easily spend your time working on your craft until reaching a level of comfort to present it. How many people have produced a book the first time around? You should not realistically expect to structure a really good book on the first attempt, either.
Making a regular habit of writing is the second step. Daily writing establishes a number of things. For instance, constant writing helps reduce or eliminate writer’s block. Making a habit of constantly writing fosters the creativity often associated with producing ideas, content, and material to write. This often hinders the onset of writer’s block because a mind that is constantly flowing with ideas is far less likely to be impeded by a stagnation or immobilization of continuity. Furthermore, expanding one’s vocabulary and experimenting with various sentences helps eliminates redundancies. Having a regular routine for writing will save you the trouble of deciding when to write because it will become a habit. Keeping a journal for writing on a daily basis will help keep ink in your pen. Having a designated time and space for unconditional compromise of this habit will not only solidify your routine, but it will also reduce the amount of time you need to prepare yourself, mentally.
Having the right tools will allow you to constantly improve your craft. Having a good manual for writing, such as Scribing Genesis: Quickstart Writing for Beginners, is a good reference guide to start your craft and enhance it. Another tool is keeping some English books on your desk to make quick references to improve your work without having to interrupt and leave your thinking. Having a good dictionary with some reference guides for certain professions or occupations upon the area you are writing in will allow you to develop a strong appropriation for the usage of certain forms of jargon associated with a particular occupation. Have a few references available for quick information in order to enhance the ability to write everything down.
There is no time like the present to write. If you have time to read this blog, you can get started, now. You could be dead, tomorrow. Time is not guaranteed for anyone, so make the most of your time and get started in the present before your life becomes the past. If you are waiting for the perfect time in your life to start, you might be finished before you lift your pen. Do yourself a favor: get started as soon as possible, so it will not become impossibility, later.