I wrote this today, on The Community Storyboard. Check out this and more awesome works of fiction by many fantastic writers!
Category Archives: Reblogs
It Isn’t Pretty
I wrote this earlier today. 🙂 Check out ALL the great works of fiction and poetry at The Community Storyboard!
Shadow Art Sculptures by Diet Wiegman
This is brilliant! I had to re-blog 🙂
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Diet Wiegman is a Dutch artist that uses a combination of sculpture and light to create fascinating shadow art projected onto walls. Born in 1944, he began experimenting with light sculptures in the 1980s, inspiring a generation of artists after him to also explore the art style (e.g., Tim Noble & Sue Webster, Kumi Yamashita).
For more artwork by Wiegman, be sure to check out his official site at dietwiegman.tumblr.com/ where you will find all of his light sculptures as well as drawings, paintings, photographs, ceramics and more.
[Alafoto via TruthSeerum]
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Advice from Kristen Lamb
Excellent advice about your antagonist!
One of the biggest mistakes most new writers make is they don’t understand the antagonist and how antagonists are used to drive plot momentum and ratchet up the stakes. Without true antagonists, there is no way to generate dramatic tension. One of the “outs” many writers try to use is “Well, my protagonist is his own worst enemy.”
Yeah, um no. That’s therapy, not fiction.
All stories need two types of antagonists:
The Big Boss Troublemaker
Since the term “antagonist” confuses a lot of new writers, I came up with the term, BBT. If the BBT is something existential (like alcoholism) then it needs to be represented by someone corporeal. In WWII, the Allies weren’t fighting fascism, they fought HITLER. Concepts need a FACE.
Scene Antagonists
Often allies and love interests will provide the scene conflict. Protagonist wants A, but then Ally wants B.
Today, we’ll use a “My protagonist…
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Great advice for writers
Thanks to Wilson K for sharing this
Some useful tips when writing or rewriting your work:
So, how do I find a balance between dialogue and narrative? After reading Bransford, Fitch, and McCarver, I found three different techniques:
From McCarver’s article: Find a particularly long narrative section and see how it might be broken up into more of a scene with dialogue.
After reading Fitch’s post: Find a section in the story where the characters have a whole conversation, and then cross out the dialogue that is commonplace. Because, as Fitch says, “A line anybody could say is a line nobody should say.”
From Bransford’s post: If the dialogue does carry the story forward but still feels “thin,” look for places to add gestures, facial expressions, and/or any details from the scene that enhance that section. Bransford says, “gesture and action [are] not [used] to simply break up the dialogue for pacing purposes, but to actually make…
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