venuscomb:

doctoruth:

I’ve been asked on two separate occasions — by confusedanon a while back and lebanesetoaster more recently — to clarify what I mean when I talk about fanfiction’s literary form. To some extent, I talk about this in Sexy Analysis, but I thought it might be helpful to produce a grid exploring some of the aspects of writing that are held by a phrase like “literary form”.

I’ve deliberately selected three ostensibly different pieces of literature — Charles Dickens’s Great Expectations, J.K. Rowling’s Harry Potter, and JJ’s The Knife Thrower’s Daughter — to show how even these very different texts have specific overlaps in often striking ways: 

   

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incidentalcomics:

Story Structures

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dynamicafrica:

“If you don’t like someone’s story, write your own.”

“Nobody can teach me who I am. You can describe parts of me, but who I am - and what I need - is something I have to find out myself.”

“We cannot trample upon the humanity of others without devaluing our own.The Igbo, always practical, put it concretely in their proverb Onye ji onye n’ani ji onwe ya: “He who will hold another down in the mud must stay in the mud to keep him down.”

“When a tradition gathers enough strength to go on for centuries, you don’t just turn it off one day.”

“When the British came to Igbo land, for instance, at the beginning of the 20th century, and defeated the men in pitched battles in different places, and set up their administrations, the men surrendered. And it was the women who led the first revolt.”

“When suffering knocks at your door and you say there is no seat for him, he tells you not to worry because he has brought his own stool.”

“While we do our good works let us not forget that the real solution lies in a world in which charity will have become unnecessary.”

“It is the storyteller who makes us what we are, who creates history. The storyteller creates the memory that the survivors must have - otherwise their surviving would have no meaning.”

“I would be quite satisfied if my novels (especially the ones I set in the past) did no more than teach my readers that their past - with all its imperfections - was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them”

“That we are surrounded by deep mysteries is known to all but the incurably ignorant.”

RIP Chinua Achebe.

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klowee:

wordpainting:

Punctuation as personality. 

Most awesome.

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amandaonwriting:

Happy Birthday, Janet Fitch, born 9 November 1955

Janet Fitch’s Top 10 Writing Tips

1. Write the sentence, not just the story 

Long ago I got a rejection from the editor of the Santa Monica Review, Jim Krusoe. It said: “Good enough story, but what’s unique about your sentences?” That was the best advice I ever got. Learn to look at your sentences, play with them, make sure there’s music, lots of edges and corners to the sounds. Read your work aloud. Read poetry aloud and try to heighten in every way your sensitivity to the sound and rhythm and shape of sentences. The music of words. I like Dylan Thomas best for this–the Ballad of the Long-Legged Bait. I also like Sexton, Eliot, and Brodsky for the poets and Durrell and Les Plesko for prose. A terrific exercise is to take a paragraph of someone’s writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.

2. Pick a better verb 

Most people use twenty verbs to describe everything from a run in their stocking to the explosion of an atomic bomb. You know the ones: Was, did, had, made, went, looked… One-size-fits-all looks like crap on anyone. Sew yourself a custom made suit. Pick a better verb. Challenge all those verbs to really lift some weight for you.

3. Kill the cliché. 

When you’re writing, anything you’ve ever heard or read before is a cliché. They can be combinations of words: Cold sweat. Fire-engine red, or phrases: on the same page, level playing field, or metaphors: big as a house. So quiet you could hear a pin drop. Sometimes things themselves are cliches: fuzzy dice, pink flamingo lawn ornaments, long blonde hair. Just keep asking yourself, “Honestly, have I ever seen this before?” Even if Shakespeare wrote it, or Virginia Woolf, it’s a cliché. You’re a writer and you have to invent it from scratch, all by yourself. That’s why writing is a lot of work, and demands unflinching honesty.

4. Variety is the key. 

Most people write the same sentence over and over again. The same number of words–say, 8-10, or 10-12. The same sentence structure. Try to become stretchy–if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you’re generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going crosseyed.

5. Explore sentences using dependent clauses.

A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you’ve already written. Often the story you’re looking for is inside the sentence. The dependent clause helps you uncover it.

6. Use the landscape. 

Always tell us where we are. And don’t just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they’re great at this.

7. Smarten up your protagonist. 

Your protagonist is your reader’s portal into the story. The more observant he or she can be, the more vivid will be the world you’re creating. They don’t have to be super-educated, they just have to be mentally active. Keep them looking, thinking, wondering, remembering.

8. Learn to write dialogue. 

This involves more than I can discuss here, but do it. Read the writers of great prose dialogue–people like Robert Stone and Joan Didion. Compression, saying as little as possible, making everything carry much more than is actually said. Conflict. Dialogue as part of an ongoing world, not just voices in a dark room. Never say the obvious. Skip the meet and greet.

9. Write in scenes. 

What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place–this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.

10. Torture your protagonist.

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid. 

Janet Fitch is best known for her novel, White Oleander. She is a faculty member in the Master of Professional Writing Program at the University of Southern California, where she teaches fiction.

From Writers Write

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