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Don't use boring things like She was so sad, she had felt like she was going to die and fall asleep forever. instead use, She was too depressed for her body to handle. She felt like there was a weight on her shoulders and it got heavier, and heavier every single day until she snapped like a twig. make it interesting, make it so the reader/writer ...


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Everyone works differently, but here's me: I put in details only when they're necessary. That is, if they contribute to the story or reveal something about a character. I rarely describe people or settings. It's usually not important that she's blonde or that he's fat or that the trees are maples. But then in action scenes details can slow things down so we ...


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Part of the editing process is determining where to cut the fat. Often, first drafts are just there to get ideas out on paper. There is a happy medium with deciding what should be edited out. If you leave too much in, your reader may think you are rambling. However, you don't want to make your writing too terse, and start omitting important details. One ...


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A lot of it has to do with context. What type of story is it? What is the genre? hildred has a point in regard to number of words affecting urgency. If you've got a fast-paced action sequence, for example, you don't want to be detailing every single movement of a character as this can easily slow the reader's imagination of the scene. Instead, dropping some ...


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Words lead the reader to emotion. Have enough words so the reader feels, but not so many that they stop feeling.


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Some writers don't know which word to use and so they use a dozen. some writers are convinced that typewriter ribbons are too expensive and agonize over each word. Both of these methods can produce enjoyable reading, but my favorite is when the pace of the words just seem to fit. Not too much, not too few. And the appropriate number of words is not a ...


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The start and the end are mere bookends to the body of the story. The body of the story is where characters develop and plot and events unfold. That said a good start can hook a read and a good end can leave them satisfied and wanting more. So assuming that you find the opening and the close where your creativity is strongest go with that. Plan the journey ...


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With the middle of a book, the best considered method is small rises of tension followed by a slight drop (to allow your reader to recover). To use a driving analogy, the beginning of your book is getting in the car and starting the engine, the end is arriving at your destination but it's the middle part that's actually the journey. It could be a simple ...


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I like names with meanings, so I always choose the names of major characters for their meanings. In the case of aliens this gives me an excuse to have a language they speak. One fellow who was rebelling against censorship wrote a story where all the alien names wire mispronunciations of english swear words. You can do almost anything you want if you have a ...


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It is time for the dreaded lists. Lists are a valuable tool in building a complicated project. Specifically I would make lists of unresolved plot points already in the narrative, plot points to be put in the narrative, order of events, and minor characters. The minor characters does not directly help your situation, but I find it very helpful (assuming you ...


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The Elements of Fiction Writing series, published by Writers Digest Books, has some great books to help with this. Those that would apply here are: Plot Beginnings, Middles, & Ends Scene & Structure



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