You may or may not have seen me talking about Shaelin Bishop before; she's one of my favourite writers on youtube and I watched a video by her that is really important and incredibly helpful for editing your manuscript that I wanted to share with you all. It's only 5 minutes of your time, and I … Continue reading On Filter Words – by Shaelin Bishop
Let's talk about the first chapter of a book and the reasons why I scrap chapter one. Chapter One: The Beginning. The first words of a story, the first scenes and events - for me - are equivalent to dipping your toes in the water, a temperature test, an experiment in preparation. Obviously, this will … Continue reading Why You Should Consider Completely Scrapping Chapter One
Sorry I haven’t been writing original content of late; I’ll talk through it during my next WIP Wednesday blog.
by Emily Nemchick
Whilst there is no substitute for hiring a professional editor, self-editing is an important skill for any writer to hone. For one thing, the more passes a manuscript gets, the fewer errors will remain in the final product. If you are using an editor, be sure to self-edit thoroughly first so they can focus on the things you have missed. If you are not using an editor, then self-editing is doubly essential. Here are a few tips to make sure you catch as many errors as possible.
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If you’ve read any guide about improving your writing, you’ve heard the “No Adverbs” rule. Cross them out, delete them, take a tiny lighter and burn a hole through every –ly word that dares rear its ugly head until your manuscript looks like Swiss cheese, but don’t you ever, under any circumstances, ever use an adverb!
Come on, folks. Adverbs are perfectly functional members of language society. It’s not their fault they’re so easily misused.
Adverbs are descriptors for verbs and adjectives, just like adjectives are descriptors for nouns. They tend to end in –ly, though there are adverbs that don’t (fast, regardless, seldom) and other non-adverb words that do (lovely, imply, gravelly).
(To quote a certain pirate movie: “Hang the code, and hang the rules. They’re more like guidelines anyway.”)
The problem arises when you use an adverb to support a word that’s not pulling…
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There’s something you need to know.
Whether you’re a seasoned writer or you’re just starting out, sometimes one of the most difficult parts of the job is something completely unexpected.
It’s not the actual writing. It’s not accepting critiques, making changes, doing what’s asked of you.
Actually, it’s something internal.
It’s having the self-respect to assert your needs as a writer.
I’ve written probably one too many times here about how writers are treated by other people (most of the time, it’s not well). I don’t write often enough about how we treat ourselves.
Sometimes I think we forget that, even though all we do is sit in a chair and type stuff all day, things happen. We need to ask for things from others. And we’re often either made to feel like we shouldn’t, or don’t believe we deserve to.
There are many things we cannot change about ourselves…
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Filter words act like a veil between the reader and the character
by Kathy Steinemann on Anne R. Allen site:
This article provides a list of writing filters, with practical examples of how to replace them. You’ll also find exercises that can double as story prompts.
All words exist for a reason. Use them wisely to create engaging narrative.
Why the fuss?
Filter words form a barrier that distances readers from a story.
Bertie felt the warm sand between her toes as she walked.
Bertie’s experience is relayed secondhand. When word economy is critical, this approach works. However, wouldn’t you rather become so involved that you almost feel it yourself?
With a few tweaks, we can strengthen the sentence.
The sand trickled between Bertie’s toes, radiating warmth with every step she took.
Strong verbs, trickled and radiating, amplify the sensory impact.
Five senses? Six? Twelve?
Most people can name…
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No, I'm not talking about a woman in labor. I'm talking about grammar, and how it effects the play of your sentences. I'm talking about how to use it to give your writing more umph. Contractions, I'm sure most of you know, is when two or more words are combined into one, shortened form, using … Continue reading Contractions
Here are 10 points that you need in every main character, something to turn them from two-dimensional to three-dimensional. Bringing your characters to life and making your readers feel for them.
Characters need to be flawed. Your story is no the just the plot, it is also character growth. Your character can become a better person from your story as well. This is normally shown by a moral flaw or a psychological flaw. A moral flaw is when the characters hurts other, weather it is pushing people away or physically hurting them. A psychological flaw is when the character hurts themselves, weather it is by self-sabotage or another way. Your character will always have a weakness for someone to exploit, if they don’t, your character becomes to ‘perfect’, they become unbelievable.
The whole reason characters exist is for something they want. It doesn’t always have to be the…
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Discussing the steaminess of YA Fiction.
We’re loving the monthly themes here at AO&R and we really hope you are too. If you have a suggestion for a topic you’d like us to cover, please suggest away in the comments or on our facebook page. We’re always open to ideas. Anyways, the month of June is all about romance. So hold on tight so as not to get swept away in the swoon-fest!
It’s a widely known fact that many readers of YA are more ‘young at heart’ than actual young adults. Not speaking for myself of course … 😛 Okay, okay, so I’m totally a mum to one, almost two, real young adults. My little bookworms’ emergence into teenhood has brought with it an unexpected element and a new way of looking at YA books. Where I once devoured anything with so much as a sniff of romance, turning pages until I reached that happily…
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