Author has written 27 stories for DarkWing Duck, Count Duckula, StarTrek: Other, Looney Tunes, Alvin and the chipmunks, StarTrek: The Original Series, Doctor Who, and Disney.
Welcome to 2015 everyone! You're tuned to the VAPX007 channel.
Come on down,
Word by word, she chiselled away...
BETA STUFF SECTION
Funny place to join two words...
"Once upon a time George stepped out of the grocery store and turned into the street. We've called it George Street ever since."
"He pulled the box mail and all off the post."
This is a huge topic so I've sorted it out between Grammar, Story Concept and Story Structure.
Is this you?
HOW TO WRITE A BASIC STORY
TRICKS TO UNCOMPLICATE A STORY
Trick #1: Help me, Einstein, my imagination has gotten me lost!
Trick #2: Stay in the right time zone and cut to the chase!
IN BETWEEN STUFF
YOU CANNOT KILL GRAMMAR.
Is this you?
Someone broke your heart, your ego and your aspiring dreams to be a published author. Every day you fight despair of being an eternal failure like you were to that person’s point of view.
Are you like the Tin Man who wished sadly: 'If I only had a heart'? Perhaps you’re like the Cowardly Lion who roared angrily at himself: 'If I only had the nerve!' Or maybe you’re like the Scarecrow who thought to himself: 'If I only had a brain'.
Let me put this plainly. You, my friend are not stupid. You have plenty of good ideas that are worth sharing. You aren't heartless and you do want to share your marvellous ideas with the world. You want to reach out, to learn, to grow and to improve.
It's time to get onto that yellow brick road and start your way to the Emerald city.
The world is made of many different sorts of cleverness and everyone has some sort of combination of them.
Now for a fun multiple choice question:
Question: What sort of intelligence do you need to write a good story?
a) Emotional intelligence
Answer: It is through your use of creative intuition, structural logic and comprehension of the written language that you can create a great story.
Question: The following are also things you need to writing well. True or false?
Getting in there and having a go T/F
Answer: If you don't make a start then you won't ever write well.
The more you practice the more you learn. The more you learn the better you get. The better you get the closer you move towards the success you want.
Practice Study = Success
Feel good about each successful step forward!
The Difference Between Good and Bad
Is this a good story? Is this a bad story? And why do I ask such stupid questions of a universe that only makes me cry?
Everybody's writing experience is different and no two people in the world are the same. Unless of course they're twins, and even then you can be sure that one of them usually got picked up out of the crib first and one of them usually gets their name called second when they get in trouble, even if the call is some mutant three-headed conglomerative name like 'Vicarver!'. Without delving into how diverse the psychological traumas suffered by the second and first place twins really are, I'm just going to discreetly move on.
The Blank Page of Doom
Firstly I'd just like to state that I write with addiction and I actually like the feeling of vertigo I get when I stare down into that vast open space beneath the balcony I'm on. That's great for me, but what about you? If you don't get over it then it's never going to be good or bad. Try these ideas:
Dot point the things you know you want in the scene.
Writing a story in a leisurely all-the-time-in-the-world fashion
Create a blank page after you have a bubbling cauldron of ideas in your head ready to go. (What came first, the blank page or the blank head? Quit staring at it!)
Writing a story in military I've-got-to-do-this-project-for-school fashion
Step one: Quit objecting and take ownership of the starting idea.
That teacher of yours has just opened up an entire universe whilst simultaneously giving it some sort of limiting rule like 'start with' or 'write about'. The real problem with this rule is that 'the teacher gave it to you' because if it was your rule and it was 'start with the Duck universe' or 'write about an imminent hyperdrive failure alert' you actually wouldn't be complaining, would you? In your head you need to cross the teacher part of this equation out and start adding your own rules and limitations in. Limiting rules like 'I want to write a story about the Daleks' and 'I want to have a big romantic scene in my story'. If you chucked all the ideas in this paragraph together into your bubbling cauldron and apply it to your blank project page it's going to be one action-packed, riotously funny adventure.
This story is about you, your mind and your imagination. Right now you are James T Kirk, Captain of the Enterprise and the universe is on the viewscreen before you. You are the omniscient Q and this party is getting started now that you've arrived. This is your universe and you're 'the guy' pulling the strings. You are Fate, you are Destiny and you are Death. And you know what? All the way back there in that other universe is a teacher that deserves a thank you for setting your imagination loose and giving you an excuse to experience the thrilling rush of creating that first draft. (And no, this probably wasn't the same teacher that told you to get lost and stop making their life so hard.)
The Ongoing Challenge of Never Quite Getting it Right
At some point of time in your life you will have to accept that nobody is perfect and that definition includes you or you risk being a wretched misery with a list of incompletes for the rest of your life. Allow me to tell you that, if your attention caught on this sub heading, then roughly about 75% of your time you will often be spending on getting the last 25% right. I've been to university, I've done the manic things regular university students do and while there is no exact percentage on this abstract concept I assure you it's pretty real:
Call me diligent but it'd take me about two weeks short of the deadline to stop goofing around and really looked at the assignment for the first time. It'd then take me a couple hours of hard core thinking edged with panic to come up with the right content. If I had to actually go to a library over it I knew I wasn't going to take much more away from it than a reference list and a couple 'it looks fancy' quotes to back up my content. After all, I did buy a particular textbook for a particular course subject for a particular reason, didn't I? Now safe with content I dumped it on the table and got on with my life for another week and a bit. Then it'd take me another leisurely couple of hours to make what I'd come up with look like it had some logical sequence to it and answered the question. That there is about 75% of the job completed in 25% of the time and brainpower I took on it. And I had days to spare. Think I'm diligent? Think I'm too smart and it's sickening how easy it all is for a person like me? Read the next bit and think again.
The Death of the Perfectionist
For the last two and a half days right up until half an hour before the assignment deadline at four P.M. I was feverishly glued to my computer rearranging paragraphs and getting the white space to regulation specifications. I could say that dragging my brain into gear was awkward and hauling my rear off to the library was a task I begrudgingly did and I could say that to this day facing a deadline is something akin to a personal lightning storm of guilt following me around.
But the job of pressing that print button, knowing full well that it wasn't perfect but that now I was out of time was horrendous. Every time I had to stop. I had to head to that assignment box with a covering page on it and a staple in the corner before the lecturer emptied the box.
All I can say is that I finished my degree, so clearly I survived my imperfections and didn't let my perfectionism fail me.
The Realistic Approach
Amongst other things the writing guidebook says 'revise-revise-revise'. But the truth is that there has to be a limit. You don't have an eternity to work on that last 25% and in the real world there's no back button, there's no 'replace and update' function and frankly you aren't practicing brain surgery here...
Although at times you might suppose you are performing an autopsy on your own brain, think about what is in between the pages of a published book. There is no less than four people, that's what is in a published book. There's you the author, the publisher who overall thinks it's generally good with a list of 'except for's' that they think are doable (or else they wouldn't be talking to you again), the proofreader who points out all your little mistakes that you've missed and the copy editor that points out all your little mistakes that your proofreader missed and then vice-versa.
Four people and a lot of toing and froing between them. Until you get a 'yes' publisher you are doing all four people's jobs. I'm not saying don't do them. I am saying it's realistic to try. Giving up without trying is nothing short of Failed Perfectionism. I am a stubborn person and a label like that is not going to stick to me. Will it stick to you?
The Revision Process
You're working on a stack of things here. You're working to get the tone of the words, the rhythm, the flow. You're working on getting those sentences to fall into place together with equal measure to all the interesting details and you're doing it for the purpose of an 'audience'.
Notice I said 'purpose' here. Revision is about feeling the 'hurrah' of victory for each logical dilemma that you succeed in conquering from the gigantic story arc to the fight scenes down to the miniature grammatical details.
In the end, a good story isn't about what the universe thinks. While it is important to strive for what is 'good', good and bad actually have very little to do with the real reason you wanted to write in the first place.
A good story is an experience with brilliant moments you treasure.
HOW TO WRITE A BASIC STORY – Organic Method
# Start with an idea!
Make a vague decision on who your characters are.
You need to know a little bit about where they come from. For example: 'The creepy tag along guy' is a great start and the more details you get into your head about him the better he'll be. You don't need to write everyone's biography though! Don't stress out if you don't have much more than a few stereotypes before you start. You'll discover more about them as you are writing and thinking about your story.
Decide what emotional problems you want to explore.
Decide what the situation/s are that you want to write about.
A group of people playing poker talking about their social lives is a scene. On the other hand a group of strangers who start out by playing at a poker table, move on to solving a mystery together, and then finally end up as friends is a story.
Decide which emotional problem you want to focus on.
Whoever has the emotional problem you want to explore the most will be your main character. Most of what you write in this story should be from their point of view. When you write in someone's point of view it means you are writing the world according to them. You take up their attitude, describe with words they'd use, comment how they think of the other characters and the world around them whether it's true or not.
Have a go. Make a start. Write something.
Try writing 'The'. Try writing the opening scene. Try writing about the trees, the freshly mown grass, where the people are standing. Write down anything that your point of view character is aware of. If you can't do that then write about the room that you personally are sitting in. Once you get your fingers starting to work with your brain your story will start emerging for real.
Discover what the happy place in your story is.
Uncover the low point to your story.
Decide where you want the story to end up.
Case 1: You can have a sweet scene between two people where they realise that even though they are in the middle of the Zombie Apocalypse they actually really do love each other.
Note that you’ve already started writing before you find these things out. When you realise these three things the goal for the rest of your story is to reach them.
And then it will be awesome.
HOW TO WRITE A BASIC STORY – Formulaic Method
# If((Sum(A:C)) = ABC, ‘Good Story’, ‘n/a’)
(If A plus B plus C = ABC, then you have a good story. If not, then you’re going to end up rewriting it.)
Every good story uses a formula and I’m not even kidding. It’s just that some people have it easy with naturally intuitive brains where ideas flow in such a logical way that everyone gets it. For the rest of us poor saps we need some more confidence that we have the structure right before we end up agonising over rewrite after rewrite essaying for a ‘good story’.
Step 0: Go back to the Organic Method! Use up the energy in your inspiration before you do Step 1 below. Write what you can for as long as the ideas are flowing. This formula stuff is only for brains that have hit the blank wall and stories that are stuck in corners. Don’t go wasting your wonderful Klingon passion by jumping straight into Vulcan logic mode.
Step 1: Write a sentence on what you want this story to be about. Give it a working title.
Step 2: Expand it into a paragraph or so. Until you have an action plot and at least one character arc this story is not going to remotely resemble ‘ABC’.
Step 3: Make an initial investigation into your characters. Write their names down, note their starting stereotype. Sure you don’t want to write about stereotyped people but this is only Step 3 so give yourself a break. Details are for later.
Step 4: Go back to Step 2 and start writing in a sequence of events to cover it. Split it into ‘acts’ or ‘prologue, chapters, epilogue’ or ‘beginning, complication one, complication two, climax, end’ or whatever is your preferred choice. Once you’re through with Step 4 you should have a fair ‘ABC’ to go on with.
Step 6: (Option 1) Copy out your chapter arcs into your new story file and start writing them in.
Step 7: (Option 2) Go back to Step 3 and nut out more character details like motives and personal story arcs.
Step 8: (Continuing Option 2) Go back to Step 4 and split it up yet again but this time you’re slotting the events into a scene listing and you’re doing it in light of the extra things you investigated in Step 7.
Step 9: (Optional) On a separate page note down any tricky stuff that you want to pay careful attention to. You might never come back to this page but at least you’ve given yourself a good talking to and gotten some confidence over those super little details that you need confidence about to get your story looking ‘ABC’. Things you might be looking at here are:
E.g. Point of View Treatment
Step 10: Copy out your scene listing notes into your new story document and start writing them in.
And then it will be awesome.
TRICKS TO UNCOMPLICATE A STORY
Let me recap for the moment on where my Beta session is up to before I open up this particular discussion:
1. Start with imagination. An idea. A string of ideas. A conglomeration of ideas. As a blacksmith this would be the part where you're collecting the metal. Right now you're after the good stuff. You're getting inspired.
2. Write every word that you can write while you're excited. If you were a blacksmith, this would be the melting part. From a thought into words you're performing conceptual metamorphosis.
3. Now you've got an impressive bubbling pot of text. It has the makings to be a great story. You read through it the next day and realise it's not 'there' yet. There's too much of this, too little of that and there appears to be at least one hole in the plot. In one way or another it doesn't quite make the top #5.
Identify the logical progression of your story. A leads to B leads to C leads to D. I'm talking major plot points, not the stuff that you just like. The story may or may not let you keep that stuff in but lying to yourself at this point will not save your story.
A leads to ? leads to C
If you are missing a major plot point like 'B' there are two possible reasons that I'm going to deal with here. There may be another one but these are the ones that happen to me off the top of my head:
Once your scene exists in a few scanty-yet-fitting sentences you'll be able to make it bigger and better on your next visit when you really are in the swing of writing again.
Your imagination got you into this mess, only your creative logic will get you out of it.
What to do with scenes that don't fit
Any scenes that don't fall into the major plot sequence you need to take a good long look at them. These scenes are interrupting the pace and flow of your story, but they had some use to you at the time you wrote them so you have to figure out what that is before you can continue.
Temporal sequence of events
Better stories are usually the ones that move forward in time. Going backwards mostly just messes up a reader's brain and is rarely a good plan. Information of what happened before your story "begins" should slot invisibly into the plot. Something like "Just because blah blah happened doesn't mean you can etc etc" will keep your events in the correct temporal sequence.
Action moves the story forward.
Action is the single most awesome way of showing who a character really is. It gets the reader involved and it's the first spark of fun. The more action you use to explain who a person is and why, the more engaged your readers will be. They can really get into the character because they're right there with them when it happens. Readers like to find out rather than get told.
The rule of thumb is "If it doesn't move your story forward then move it out". I'd also like to gently add "Do something constructive/clever with it". I add that because I know from experience that an explanation is a story that hasn't been written yet and it's time to get in and write it!
If the telling of little historical facts is so important how much of it can you wiggle into the action scenes without slowing them down? Instead of explaining you can hint weird symptoms and how they are pulling your characters into the world of action. We want to know just enough to sympathise and muse over the mystery of why before it's game on.
A night of heavy drinking risks a hangover. Backstories have consequences. Every so often events that have "gone before" are going to influence how someone does something. (Adverbs for a start.) Backstory events may even create extra problems in the current story and subtly change the outcomes of other scenes.
Draft the prequel story.
The best way to clean up over-explanations and opening scenes is to write the backstory out for yourself (and I mean just for you, the author only). If it gets epic enough you could make it a prequel but right now it's just for your benefit. The aim for writing out that backstory is to arm yourself with all the information you need so you can quit explaining. Knowing your stuff up front means you've got a rock solid foundation for your story. You'll already know where your main characters stand emotionally and that means you can spend your premium words on actions.
Action words speak louder than explaining words. Readers want to get into it. In the end, if you really have to explain something, then maybe you should be writing it happening instead.
Dotted temporal lines for waiting time
You can also do it the other way but this one seriously kills the awesome dramatic potential of a thing. 'Nothing much happened that is important to the rest of the story' scenes can be trimmed into one or two lines and slotted into the opening paragraph of the next chapter. This marks your lapsed time interval and doesn't divert from the action.
IN BETWEEN STUFF
# A story is
There are unique people and places. There are good, bad and neutral events. There are things that may get broken and things that may get fixed.
A story is a series of events usually based around a set of characters.
Most sentences have a subject that does something.
A story is an idea with a beginning, middle, climax and end. It is made up of more than one event.
# He said, did he?
The random voice from the jeering crowd. Another voice, another. They're nameless, your reader is confused and you are frustrated because your sentences are getting dull starting with 'He' all the time.
Time to paint more picture! Get into the scene and describe the floor boards, the sound each voice makes, the ambience, the feeling your main characters are getting about all of this.
You can't fight something you can't see. Or ... can you?
# Description versus fields of flowers.
I am always working to get better at this but advice to you is equally advice to me. Scenery is always important because white empty rooms are always bad. Even if your character is undergoing a live autopsy there is still equipment around.
Usually before anyone starts talking you want to paint a brief picture so the reader knows where your characters are. As you write more you'll need to do this every so often as your characters are moving around and things happen. All these things need to be written so your readers stay with you. The first and simplest step is to write what this place looks like. Then you can get really clever and start thinking and adding sounds and even smells.
Hippy commune, run down student accommodation, high rise executive sardine can, smell of decay, what noises are around?
# For those who came in late...
At the age of twelve a brand new reader can pick up almost any The Phantom comic issue from out of his dad's prized comic book collection, read the first page and know why there's a guy dressed in a purple leotard loose in the Bengal jungle. He'll also know what sort of story to expect coming up ahead.
The characters already exist. Someone else has started writing their history together with predesigned traumas and social relationships. The characters and places are already worked out for you.
Cartoons are a good place to start because they have a simple formula.
When is the lesson learnt?
What was learnt before your story
Each character takes all the lesson's about life that they HAVE already learned into your story. If you start your story before the pre-existing timeline then what lessons do they need to learn to get up to the point when the cannon begins?
Aim to use these sorts as your main characters. Imperfection is interesting.
# M Rated
First you fill in the story around the sex scene and make it a whole story. Events leading up to it, events after. People go on dates. Put it all in. If all that's too boring you're possibly playing the wrong game.
Find ways to 'insinuate' that the sex scene occurred. The stellar classic case of insinuation I think of every time is Star Trek: The Original Series 'Wink of an Eye'. Is it not an awesome bit of insinuation if you can easily let your five year old watch it unattended?
Well done for all your effort!
(Now you can ask yourself if you want to keep it in or not.)
Unless you genuinely want your story to be of such a calibre (like everyone elses in this day and age) you can now delete the sex scene. You've done all that work (above) and the scene is no longer required to keep your story together. It is no longer required to be on 'show' for things to make sense. Well done!
Here are some thoughts:
Sex scenes are common, plain and ordinary. With over seven billion people on the planet the question only becomes 'who can't write a sex scene?'
# Other topics that I'm not covering:
Final title and opening line for your very specific audience
Take notes on your life, thoughts and research your subjects
(Jules Verne had a wall of card index files!)
Use your notes to fill in details
End on a punchline
# Second Last Edit Stuff
Trick a name into the first sentence for your subject.
Reread the previous chapter together with this one to be sure the gist carries over from one chapter to the next.
Try to get the opening paragraph to reset the scene 'for those who came in late' and 'for those who put down the book for a while between chapters'.
YOU CANNOT KILL GRAMMAR.
(BUT YOU WOULD BE SURPRISED AT WHAT IT LIVES THROUGH.)
# Here are some minimal basics.
Always start your sentence with a capital. (Upper-case your first letter.) Press Shift Letter or 'Caps Lock', Letter, 'Caps Lock'. There are two shift buttons on either end of the alpha key section for two handed typists.
Full stop - spacebar - shiftLetter.
Practice will make it natural.
# Allow me to introduce you to your new best friend 'F7'.
(Otherwise known as the spelling & grammar checker shortcut key in MS Word.)
Everyone starts from somewhere. We take whatever we learnt from school and try to improve from there making use of any hints we get along the way.
Here is the first few hints to start you off as a brand new writer:
How do you spell 'splurk'?
Are you spelling the words right? Everyone who cares about the answer to this question uses a Spell Checker. Microsoft Word and Google Chrome have this function. You can also check individual words on www.dictionary.com. The dictionary com website also has a thesaurus page you can use.
Mr Squiggle is here to teach you!
If you don't have a grammar checker get one installed. If you're in MS Word or can copy into MS Word then get in there and press 'F7' for a spell and grammar check! Maybe you do feel like you're putting yourself through a massive turing test. But if you had Agatha Christie sitting there by your side instead of an 'F7' key would you not be getting the exact same lectures?
Having said all that ... always read your stuff AFTER you've run it through the Spell & Grammar checker! Make sure it still makes sense because sometimes F7 really is a turing test and the correct word really is 'form' and not 'from', a gender specific word really is the only word that character would be using, and 'my story, my onomatopoeia so get out'.
Stick with F7 and Mr Squiggle will eventually get old and start losing his teeth. He won't even show up to bother you as often as he used to.
# New line, new subject.
Once stuff starts happening new lines help avoid a reader going 'wait ... who said that?'.
(New line) X said this. X did that.
# Past Tense.
Narratives are usually written in the past tense (retelling a story), whereas people talk (like I am to you now) in the present tense.
"I am doing this now in the present tense."
Basically, the 'stem' word is the present tense form. To get regular stem words into different tenses you will be adding things like 'ed' or 'ing' or 't' or 'd' and slotting words in front like 'was' or 'had'.
Learn - present tense,
Some words have weird past tense versions of themselves like 'drove' and 'swam'.
I sing - present tense
The books talk about two types of past tense, but honestly I won't even say their names here because what is past is past and the books could call the tenses Chatem, Cheatem and Runn for all the good it does to get your head around it all.
As you get more confident with your sentences you'll find characters are doing stuff in the present as it relates to the other stuff they are doing in the past. This is okay but the moment you change anything around you'll need to redo the whole sentence and possibly take out the present tense in the new version.
# Sentences, sentences, sentences
Sentences are good because they make things easier to read.
Beginner sentences: Basic punctuation
The first thing about sentences is that they start with a capital and end in a punctuation mark like a full stop. When you're talking, a full stop is like when you take a whole breath. A comma is half a full stop or when you're talking it's a quick breath.
Beginner sentences: Short sentences are easier
Converting from script form
"Girl Name: Hi, do you want to go out?"
You don't quite have a sentence yet. You have a person. "Girl Name." You have something she says. "Hi, do you want to go out?"
Next you want to let your reader know who she is asking this question to. I haven't told you yet and that's not very good of me, is it? There are many ways to do this. To do this simply:
Notice that I only need to tell the reader her name once in this line? That's one thing we keep from the script version; one person per line. In this line Girl Name is doing all the things. That makes her what is called the 'subject'. Girl Name 'turns' she 'talks' she 'walks' she 'complains', she 'sighs' ... there are many different things she can be doing and the more practice and reading you do, the trickier and more clever you can be at this.
Intermediate Sentences: Complete thoughts
Intermediate Sentences: Passive demons
But written fiction is about making your sentences as bright and exciting as you can.
Here's the trick:
If you want the town to be first in your sentence the action part of your sentence needs to relate to the town rather than the hailstorm. Identify the actions. The hailstorm did the hitting. The town did the copping. The subject goes first and performs the action.
The town suffered a bad hailstorm last night.
The subject performs the action.
The town suffered.
The subject performs the action.
If there were paragraphs before you uploaded the file they may have 'fallen out'. Before you add chapters to a story you need to preview it and edit it until it visually looks okay. When I post I actually use the "Copy and Paste" function rather than the file upload because the paragraphs are mostly preserved that way.
It's very good for the first paragraph to 'set the scene'. We do need to know a little about where the characters are starting from.
New topic new paragraph.
Paragraphs are usually a few sentences long unless there is a lot of people talking to each other.
Paragraphs are usually around the 4-5 sentences mark depending on how long and complicated your sentences are.
Web-based paragraphs should be separated by an extra (blank) line or be double spaced. This makes it easier for the reader to follow the story and not get lost in all the lines of text.
If you've got the mental visualisation of what your story would look like in paperback (like I do for mine) remember the ancient school teacher's rule about 'Indent when you start a new paragraph', the not-so-ancient school teacher's rule of 'Formatting your word document with the first line indented' and the up-to-the-minute rule of 'Forget the indent - just double space between all your paragraphs'.
Your editors and readers alike will favour you for your clever use of white space on both the screen and the page.
# Quick Check on Common Errors
To and Too. Please note:
I am going to storm the castle.
They're, there and their. Please note:
There as opposed to here: I'm always here, I'm never there my here comes with me everywhere till there is here and here is where I am.
Theirs, ours, mine, yours. Together we own stuff.
They're is a contraction of they are.
They're on their way over there.
Through, threw. Please note:
Threw, throw, thrown, throwing. Either way something is getting chucked.
Past tense action word: Threw, thrown
He threw the baby out with the bathwater
They went through the door.
Darkwing, we are through!
Because, coz, and cause. Please note:
Coz is slang or colloquial (to be used in dialogue and only as appropriate for that particular character).
Because you didn't do your homework you failed the test.
Cause is the something that affects stuff. It is effectively the opposite of because.
Not doing your homework may cause you to fail your test.
All so and also. Please note:
'I love him and also her.'
'I love you all so very much.'
All most and almost. Please note:
All or most. Never both. These are conflicting measurements.
I almost got them all. Also known as 'I didn't quite get them all'.
Steal, steel. Please Note:
"Are you gonna stop him from stealing those diamonds?"
Aisle, isle and island. Please note:
An aisle in the toy store.
You're = you are. Please note:
Your = possession.
# Where do you go to learn more?
If you want to learn how to write the best way to do it is to read books.
1. Forget Twitter, Blogs, Facebook, Youtube comments and all that rubbish! They are nothing but scribbles and nonsense from anyone who can put two letters together. These places are full of nasty, illiterate habits that are never to be used in proper writing.
2. Comic books only teach you how to read; they don't teach you how to write.
3. Scripts and screenplays do get the ideas out and they're good for stage directors and TV producers but they aren't much better for learning than comics.
4. FanFiction does have some good writing on it but around 99% of us are here on this website exactly because we're not very good at writing.
There are many How to Write books out there. If you walk into any second hand book store it would be a surprise if you don't find at least one. These books have exercises that you can do to help you expand your skills and understanding.
Read published books but make them ones that you enjoy!
There's no point going through life doing too many things you don't like so if you're going to case study a proper published book make it one that you love and admire and want to mimic. Novels. Teen fiction. Hard cover, paperback. Books. Real books like Alice in Wonderland, Wind in the Willows, Sherlock Holmes, The Princess Bride, Fantastic Mr. Fox, Unbelievable, Superfudge. They don't have to be by authors like Henry James or Oscar Wilde.
BETA STUFF END
I am the master vampire that heads Hamil Corporation. I have 100% of the shares. I own the imaginary buildings. I wrote every policy, every procedure, I hired every single fictitious employee. I make not a cent in this endeavour, yet it spans right across the multiverse, in numerous continuums. Whereever there may be vampires lurking, look out!
Look out for that big skyscraper, with so many lights on inside although it's nearly eight o'clock at night. When you're walking down a busy street, stop and wonder about that blank green door jammed between the coffee shop and the hairdressers. If you live in the country, think about the restaurant that you've never visited. And if you happen to go in, what are all those other people really eating?
I have my own list of rules on the subject of vampires which I could exposition for the rest of eternity. Ask me for details at your own risk.
Horror Rated for Vampire Content:
The dark psychology from which vampires spring is very real, and it can be found in each and every individual on this planet since before humans began keeping time.
The real reason a vampire has no reflection, is because they are a reflection ... of ourselves. The real reason that a vampire craves and lusts and pines is because some natural things in our heads often go unheard and unaddressed.
STORY ARC FOR DARK DUCK SERIES:
I introduce my theory of vampires on the Duckverse, make Darkwing Duck dark, make Darkwing Duck a vampire, implode the Fearsome Five, and then I keep on running.
STORY CONCEPT FOR NEGADUCK SERIES:
I introduce my theory of vampires on the Negaverse, let Negaduck win for a change and play a few evil games of practical psychology while I'm there while developing unique friendships and relationships with variously traumatised people.
STORY CONCEPT FOR COSMODUCK SERIES:
I put the Darkwing Duck characters into the Star Trek universe and see how many Star Trek stories I can humorously reprise while developing unique friendships and relationships alike in a harmonious environment.
STORY ARC FOR 10thD SERIES:
I put The Doctor and Donna back together and then do normal Doctor Who Episodes with them.
STORY CONCEPT FOR LOONEY TUNE SERIES:
Daffy Duck gets to be the co-hero with Bugs Bunny.
|Community:||The Darkwing Multiverse|
|Focus:||Cartoons DarkWing Duck|