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This style has been used in fantasy novels and series before to a extent. Mostly written by either a third party or as a really older version of the main or side characters. Some of the best examples of this are - The Chronicles of Master Li and Number Ten Ox by Barry Hughart (They are written from Number Ten Ox's POV at he records the adventures at some ...


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If you think about 'Star Wars' you could find a similar structure. In the first movie (1977) the hero is not the Jedi, but Jan Solo. With him, besides Obi-Wan Kenobi, who is old (but in any case he dies), you have two friends, a boy and a girl (later you will know that they are brother and sister). One time, many years ago, George Lucas talked about it ...


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I see your problem, humans can show striking ingenuity in constructing narratives to support the notion that everything is a divine sign. I can only come up with two solutions: The chaotic one. Rather than trying to destroy her narrative, have her realize that different narratives can be constructed around the same events and take agency as the writer of ...


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Let everything fall apart in your idea of what should happen - I am referring to your 'turning point' since I don't know what it means, and the only person it matters to is you. Then see what happens. After the structure, the rules. After the after.


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It can work, and quite well. The Ciaphas Cain series (Warhammer 40k) does this to a degree. From the wiki stub: The novels are presented as Cain's personal and often rambling notes. After his death, a third party edited them into a more coherent form, interspersed them with footnotes or snippets of other accounts where Cain's first-person (and ...


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I recently watch 7 editors choose stories for anthologies. They had read all of the stories a month or two earlier, and were now considering them in front of a live audience. Every now and then, an editor would pick up a manuscript from the pile, read the title out loud to the audience, and say, "I have no memory of this. Give me a minute..." Then they'd ...


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When I am Writing my titles I make a list of what I think is most important about the story. Then what I do is I reread parts of it. then I brainstorm and write words that come to me, about and from the book. I will read them then try and make a something that sums up the book. For instance, I wrote a story about a well that holds all the memories of the ...


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Antagonists and villains (which are not identical) do things for the same reasons that protagonists and heroes (which are not identical) do. They have the same motivations. Antagonists and villains feel like they are the protagonists and heroes of their own stories. In the case of real historical persons and real historical conflicts used in fiction, ...


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1) What I like to do is go to a book store and look at the titles in the genre I am writing in. If you do that, you will notice that books from the same genre often have titles that are similarly structured. For example, thrillers have short one or two word titles that relate to things hard, cold and dangerous. YA SF also has one word titles, but these ...


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You could make the story lighter by setting some scenes in a peaceful landscape, perhaps in the homes of the characters, showing who they are fighting for. You could have the protagonists suffer defeats and setbacks and hardships in the first chapters, and start to break down, and seem on the verge of defeat. Then have chapters set in the enemy camp,and ...


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There are two ways to approach this: marketing artistic Though they aren't necessarily mutually exclusive, an excessively obscure title might be risky in terms of the former (although, it might also help; you never know). My advice is to ignore any marketing concerns and focus on art. A title must be: indicative of the book in question (can you ...


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Writing a memoir style fantasy story could work well, if you follow a few guidelines. Write it as though the main character intends to explain the magic to someone who doesn't understand it. For instance, someone born in the new peaceful age who wasn't around for the introduction of the magic and therefore might require an explanation. Create suspense. You ...


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The passage is making too many assumptions, and does not really open much of a dialogue with the reader. The De-Shi character is just kind of thrown at us without really explaining who they are, and why we should care about what they are saying. There is also very little supporting evidence of forests that are planted by squirrels. Sure, a handful of acorns ...


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What makes a passage strong is almost always its context. We walk by the wonders of nature unseeing everyday. Only at certain times and in certain moods or circumstances do we pause to notice them or be moved by them. Squirrels accidentally plant forests by hiding nuts and forgetting where they put them. By itself, that is a mildly interesting fact. In the ...


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It is easy to imagine that moments of religious experience are great strum and drang affairs, but they are more often moments of quietness. Not the storm but the calm after the storm. Consider 1 Kings 19:11-13: 11So He said, "Go forth and stand on the mountain before the LORD." And behold, the LORD was passing by! And a great and strong wind was rending ...


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Wheel of time does this very well, as does the edge chronicles.


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Hmm, the question is too broad to give a definitive answer. How would you describe any experience? It depends on the nature of the experience, the nature of the character, and the role of the experience in the story. If the experience was fundamentally emotional, like a character is sinking into despair at the mess he has made of his life and suddenly ...


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I'd write about a religious experience the same way I write about any experience. Something tangible happens, which the character witnesses, and his own behaviors change in some way. Check out A Prayer for Owen Meany, which begins like this: "I am doomed to remember a boy with a wrecked voice—not because of his voice, or because he was the smallest person I ...


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Simply and directly is usually the best way to write about religious experience. And focusing on the emotions. There are some classics on religious experience in real life (not fictional accounts) such as "Autobiography of a Yogi" by Paramahansa Yogananda and "The Varieties of Religious Experience" by William James. More contemporary accounts: "The ...


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What I would do, is give the characters something to look forward to. Give them something to fight for. They need a motivation to keep going, something to comfort them in their time of need. I think by giving the characters this, you'd be able to make them have more courage and generally be happier for what is to come. Always give characters a motivation.


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I think the trope is less of a conscious choice than the result of a series of decisions by the author. First, the author wants the protagonist to have broad appeal. Because he is intended to be a reader-substitute, he cannot be unusual in any way that is not unambiguously positive. He can be smarter, stronger, richer, or better-looking, on the theory ...


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I am not sure there is a certain origin for this specific combination. All three characters draw from typical archetypes/stereotypes, and I guess that this specific composition feels the most balanced. You can learn more about these typical archetypes in this very interesting undergraduate thesis about Harry Potter: Sörensen, J. (2013). Archetypes and ...


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You should use the passive voice in complex pieces of writing and/or it is in a grammar lesson about passive voice. Pretty obvious if you ask me.


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You can talk to real-life veterans and see how they coped with war. One tactic is "gallows humor" or "black humor," which is seeing the humor even in grim moments (common to veterans, law enforcement officers, doctors, and first responders). The TV show MASH was essentially built on this. There are many examples on the TV Tropes page (consider yourself duly ...


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Some of the stories that I have read are incredibly dark, based simply on the events that occur, but did not feel that way when read. Bringing out a lighter side can be done in a number of ways: Characters/ Relationships Having characters that are hopeful or optimistic will go a long way to brightening a story (unless they are annoyingly optimistic to the ...


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It depends. If it's being described from the POV of a human, then it should be ok, the person is merely describing the look in terms they are familiar with, which in turn, the reader redefines to terms they are familiar with. If it's not a necessary detail in the story, though, do you need to include it? Is there a plot reason for a pony tail, or could you ...



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