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Writer's Block

@inkblotsorshadows / inkblotsorshadows.tumblr.com

This blog is mostly writing tips and advice with a splash of humor and original writing. Feel free to nag me about writing anything and everything.
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i’ve been doing my homework on how to break into a writing career and honestly. there’s a Lot that i didn’t know about thats critical to a writing career in this day and age, and on the one hand, its understandable because we’re experiencing a massive cultural shift, but on the other hand, writers who do not have formal training in school or don’t have the connections to learn more via social osmosis end up extremely out of loop and working at a disadvantage. 

like, i didnt know about twitter pitch parties!! i didnt know about literary agents and publishers tweeting their manuscript wishlist, in hopes that some poor soul out there has written the book they really want to read and publish!! this isnt some shit you learn about in school! you really need to know the ins and outs of the writing community to be successful! 

for anyone interested, here’s what i’ve learned so far in my quest for more writing knowledge:

1. Writer’s Market 2019 is a great place to start– it gives you a list of magazines and journals that you can send your work to depending on the genre as well as lists a shit ton of literary agents that specify what genres they represent, how you can get in contact with them and how they accept query letters. this is a book that updates every year and tbh i only bought it this year so i dont know how critical it is to have an updated version  

2. do your research. mostly on literary agents because if you listed on your site that you like to represent fluffy YA novels and some asshole sends you a 80k manuscript about like…gritty viking culture, you will be severely pissed off. always go in finding someone who you know will actually like your work because they’re the ones who will try to advocate for you in getting published.

3. learn how to write a query letter. there are slightly varying formulas to how you can write an effective query letter. you’re also going to want to get feedback on your query letter because its the first thing the literary agent will read and based on how well you do it, it could be the difference between them rejecting you outright and giving your manuscript a quick read

4. unfortunately, you’re gonna want to get a twitter. Twitter is where a lot of literary agents are nowadays, and they host things like twitter pitch parties, where you pitch your manuscript in a few sentences and hashtag it with #Pitmad #Pitdark, some version of pit. a lot of literary agents and publishers will ALSO post their manuscript wishlists, which is just the kind of books they’d like to represent/publish, and they hashtag this with #MSWL (it is NOT for writers to use, only for agents/publishers)

5. connect with other writers, literary agents, publishers at book events. you will absolutely need the connections if you want to get ahead as a writer. thats just kind of the state of the world.

Important info is important -.-

UPDATE: so i just got signed by an agent bc of twitter pitch parties. for any aspiring writers, you dont HAVE to go the twitter pitch party route, its just another way to get noticed a bit faster 

Rebloging for my own benefit, but anyone else who wants to be a writer needs to know this too.

this is good info to get you started!! some more things:

  • check out agents on publishers marketplace because some agent might sound like the perfect fit for your project and then you find out they’ve sold like … four books in ten years which is a pretty big flag
  • DO YOUR RESEARCH ON AGENCIES!!! it’s fine if a junior agent hasn’t sold much as long as they’re working with people who have a lot of experience in publishing/agenting specifically (NOT writing!!!) but if no one at the agency has a strong history of agenting experience it’s probably a smagency and is not going to help you actually get published. if someone decides to open their own agency because they like books but don’t have relevant experience run far away
  • newer agents are more actively building lists but don’t have as much experience so it might be worth it for writers just trying to break in but make sure their agency has a lot of connections and not just to big five (big four now …. yikes)
  • DO NOT PITCH AGENTS ON TWITTER
  • get other friends in traditional publishing. like not to diss tumblr or fanfic writers or anything but it’s a whole different ballpark and you really need people who know what you’re going through and can give applicable feedback
  • do not pitch your first draft. yes even if it’s line edited. i’m fucking begging. on average books need AT LEAST four significant drafts before theyre pitch ready and most debut authors write 3-5 books before they get one published so if you write one and it doesn’t get traction that’s FINE and NORMAL you’re still practicing. fanfiction, short stories, and long form original fiction are COMPLETELY DIFFERENT BEASTS and you have to practice those skills separately. the only way to get good at writing novels is to write multiple novels (AND EDIT THEM!! LEARN HOW TO EDIT ITS SO IMPORTANT)
  • dont be discouraged if you don’t get any attention during a twitter pitch event. they’re growing so rapidly in popularity that most agents can’t keep up. plus agents are getting burned out on them. the last one i participated in had THOUSANDS of entries. it’s incredibly difficult to get noticed
  • you absolutely do not need connections from conventions or in person events to make it. the most important thing is your submission package and manuscript. that said, they are really great places to make writing buddies
  • IF AN AGENT CHARGES A READING FEE RUN AWAY ITS A SCAM
  • IF A PUBLISHING HOUSE SAYS YOU DONT NEED AN AGENT AND THEY CHARGE TO PUBLISH RUN AWAY ITS 95% LIKELY ITS A SCAM
  • you will probably need comparison titles in your query letter. these are books that have been published in your age group and genre in the last 2-3 years that have done well but not so well that they’re exceptions and the author cannot have ever had a tv or movie adaption. they need to have something in common with your book whether it’s theme or plot point or location or whatever. something to show you know your audience is already there. yes i hate these too. if you say hp or percy jackson you will be laughed out of the room don’t even try it
  • if you’re doing a twitter pitch event, it’s the opposite. heading your tweet with two recognizable things will get it more attention. “ATLA x SPIRITED AWAY” “INDIGENOUS PJO” stuff like that. those always get way more likes
  • your query letter has to be good. your query letter has to be good. if it’s not good the agent will not read your sample pages, if your first paragraphs/first pages are not good they will not finish your sample, if they don’t like your sample they will not request the manuscript, if they don’t request the manuscript they can’t sign you. a query, at its core, should be character + conflict + stakes. it should be very little besides the hook for your story. no big spoilers. ideally it doesn’t describe anything past act 1. if you have to go deeper into the story to find the hook you probably have a pacing problem and need to revise. your sample pages will ALWAYS be the first pages of your novel (often minus prologue agents often hate prologues). you probably need a 1-2 page summary too
  • sci fi is really hard to pitch. it doesn’t sell well so less people want to buy it. i think this is tragic but just know that you will have a hard time with sci fi
  • agents on average get THOUSANDS of queries per year. they are completely overwhelmed. they most likely have one or two other jobs because it’s incredibly difficult to support yourself in publishing. please be kind and patient
  • the average number of queries that get signed is 0.2%. about 10 out of 5,000 (ive seen multiple agents give these numbers for an average year). you not getting an agent is not a sign you’re a bad writer. it’s a tough business and it IS a business. if you get signed it’s because the agent thinks they can sell it and that’s it
  • that said, be prepared to make very little money as an author. number one piece of advice is DONT QUIT YOUR DAY JOB. the median for writing related profits is $6000usd a year. it’s almost impossible to support yourself off writing unless you get EXTREMELY lucky
  • if you get an agent, most of them will expect you to publish a book at least every two years. i follow multiple authors who are putting out 2 or 3 books in 2021. an agent wants to sign a CAREER not a book. if you’re a slow writer then buckle up and probably have multiple manuscripts ahead of time
  • PUBLISHING TAKES. A. LONG. TIME. don’t expect this to move quickly. youll wait weeks for responses to queries AT BEST. i got a rejection letter a full two years after the query once. if someone has your full manuscript the polite thing is to give 4-6 months before checking in
  • this is so basic but make sure your manuscript is formatted correctly and is largely typo free. you should probably have at least three people reading and giving feedback before you pitch. preferably people who are writers involved in/also pitching trad pub
  • unpublished writers+published mentors programs like pitch wars can be really helpful in getting an agent so definitely check those out. also sadly mostly on twitter

uuuuh yeah that’s all i can think of at the moment?? feel free to ask questions though my inbox is open!!

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amywrites256

For those of you out there who want to learn more I would recommend Alexa Donne’s YouTube channel. She posts a lot of videos about trad pub and querying.

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comfydarkme

I sit with my grief. I mother it. I hold its small, hot hand. I don’t say, shhh. I don’t say, it's okay. I wait until it is done having feelings. Then we stand and we go wash the dishes.

-- Callista Buchen, from Taking Care

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spiderrrling

I am a(n):

⚪ Male

⚪ Female

🔘 Writer

Looking for

⚪ Boyfriend

⚪ Girlfriend

🔘 An incredibly specific word that I can't remember

*wakes up in the middle of the night in a cold sweat*

WAIT IT’S CALLED A THROW PILLOW

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holorifle

the first result isn’t always the one you’re looking for but when you press enter it’ll give you a ton of words related to your query that’ll probably have what you’re wanting, or something better

here’s some examples:

Image

thanks op

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tinsnip
“One of the most solid pieces of writing advice I know is in fact intended for dancers – you can find it in the choreographer Martha Graham’s biography. But it relaxes me in front of my laptop the same way I imagine it might induce a young dancer to breathe deeply and wiggle their fingers and toes. Graham writes: ‘There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.’”

— Zadie Smith (via campaignagainstcliche)

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Write What You Know (Not Necessarily What You’ve Experienced)

I’ve recently written a post about the true meaning behind the quote “good writers borrow; great writers steal.” 

Well, another piece of writing advice has come under scrutiny lately, so I’m here to explain the meaning behind “write what you know.” 

“Write what you know” really means “write what you understand.”

Many people interpret “write what you know” to mean “write about what you have experienced for yourself,” but that’s obviously silly advice. If everyone followed it, libraries would be much, much smaller. Writing is about using your imagination to explore worlds of possibilities. Bits and pieces of your personal history will of course come into play, but they should always be presented in new and interesting ways. Otherwise, writers would be too bored to actually finish their stories.

When people you think you should probably trust tell you to “write what you know,” they aren’t telling you to fictionalise your own memoir. They’re telling you to write about the things that you understand

A novel may be a great series of lies, but there must be truth at the centre of it all and that truth is a direct result of, and in correlation to, the author’s understanding of their subject matter. 

For an author, this means a couple of things:

You should always be able to empathise with your characters. You should be able to tap into your emotions, your passions, your relationships to inform their emotions, their passions, their relationships. 

If you’re writing a scene about two people walking along the Seine at midnight unable to admit their true feelings for each other, you don’t need to have traveled to Paris or walked along the Seine or talked about the moon on the water when really all you wanted to say was that the same moonlight was making the other person look very pretty that night. 

What you need is to know what it is to take a walk in a place that is romantic no matter if romance is taking place there, to have wanted to say something but been too afraid to say it, to be filled with hope and fear and misery and joy all at the same time. 

You should always be able to feel the heart of the scene, instead of simply imagining it. 

If you can’t put yourself directly into your character’s shoes, they’ll wind up saying or doing something that won’t quite ring true.  

You should always be both interested in and knowledgable about the topics and settings that find their way into your stories. 

You don’t have to be an archaeologist to write an Indiana Jones novel, but a healthy fascination with people like T.E. Lawrence, Roy Chapman Andrews, and Gertrude Bell should probably come into play.

You should always not only be knowledgable about the topic you’re writing about, but care for it. You should be able to understand why Indy says it belongs in a museum!!” You should understand why your characters feel passionate about whatever they’re engaging in, because you share some of that passion. (Even if you wouldn’t dream of digging around in a desert yourself.)

It’s okay if you don’t know very much about a topic when you first get an idea for a book, but after doing some research about it, you should connect to the material in some way. 

As long as you’re interested in a topic or place, you’re not breaking the “write what you know” rule by taking the time to understand something you hadn’t when you first imagined your story. 

What’s more: write the kind of story you enjoy reading.

That sounds a little obvious, but people try to write stories they wouldn’t actually enjoy reading themselves all of the time. 

If you love reading YA fantasy novels, but feel compelled to write the next Great Literary American Novel, you’re not writing the sort of story you’re familiar with–that you’re passionate about–and that will show on every single page. Those are two very different sort of books. If you love reading YA, exclusively read YA, but try to write the GLAN, you’re not writing what you know. You’re probably not even writing something you truly care about.

And if you find the story you’re writing dull and uninteresting, any reader will probably feel the same way. 

If someone has read your work and says something along the lines of “you should stick to writing what you know…” 

What they’re really saying is that something isn’t resonating as true. That somehow, it doesn’t feel quite real. That they don’t think the characters’ emotional reactions are what they’d be in real life. Or that Indiana Jones is supposed to be a renowned archaeologist, but he doesn’t seem to know much about archaeology??? 

When they say this, they’re not telling you to go get a degree in archaeology or that in order to write that romantic scene, you must fall in love with someone, walk along the Seine with them, and then write what about what you felt in that moment. 

They’re letting you know that there is a disconnect somewhere between you and the writing. That they can tell you haven’t put enough of yourself in this story. That the circles don’t overlap as much as they should in the venn diagram between the knowledge, emotions, and interests the story requires and the knowledge you possess, the emotions you’ve felt, and the interests you invest in. 

When somebody says “write what you know,” ask yourself:

  • if you’ve really done enough research on this topic–if you actually want to write about this topic enough to do the required research 
  • if there’s another emotional well you can draw from to understand how a character might be feeling, how they might react to a circumstance
  • if this book is one that you yourself would pick up from a library shelf. 

And make sure there’s a core of truth within those all those lies. 

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10 outline techniques for writers

With this post I listed 10 outline techniques to help writes move their story from a basic idea to a complete set of arcs, plots, sequences and/or scenes. Or to simply expand whatever you have in hands right now.

If you have a vague story idea or a detailed one, this post is for you to both discover and organize. A few technique will work perfectly. A few won’t. Your mission is to find the one that works best for you. That said, I advice you to try out as many techniques as possible.

So, are you ready? Open your notebook, or your digital document, and let’s start.

1. Snowflake method: Start with a one-sentence description of the novel. Then, develop this simple phrase into a paragraph. Your next step is to write a one-page summary based on the paragraph, you can write about characters, motivations, goals, plots, options, whatever you feel like. From this point on, you can either start your book or expand the one-page summary into four pages. And, at last, four pages into a brief description of known sequences of scenes. Your goal is to make the story more and more complex as you add information, much like a forming snowflake.  

2. Chapter by chapter: List ten to twenty chapters, give each chapter a tittle and a brief description of what should happen. Then, break each chapter into three to five basic sequences of scenes. Give each sequence a title, a brief description and a short list of possibilities (possibilities of dialogues, scenarios, outcomes, moods, feelings… just play around with possibilities). From this point on, you can either create the scenes of sequences with a one-sentence description for each or jump straight to writing. Your goal is to shift from the big picture to a detail-oriented point of view.

3. Script: This might sound crazy, but, with this technique, you will write the screenplay of your story as if it’s a movie. No strings attached to creative writing, just plain actions and dialogues with basic information. Writing a script will take time, maybe months, but it will also enlighten your project like no other technique. Your goal is to create a cinematic view of your story. How to write a script here

4. Free writing: No rules, no format, no step, just grab a pen or prepare your fingers to write down whatever idea that comes up. Think of possibilities, characters, places, quests, journeys, evolutions, symbolisms, fears, good moments, bad moments, clothing, appearances. Complete five to ten pages. Or even more. The more you write, the more you will unravel. You can even doodle, or paste images. Your mission is to explore freely.

5. Tag: This technique is ideal if you have just a vague idea of the story. Start by listing ten to fifteen tags related to the story. Under each tag, create possible plots. And, under each plot, create possible scenes. Grab a red felt pen and circle plots and scenes that sparkle your interest.

6.  Eight-point arc: With this technique you will divide your story into eight stages. They are Stasis, Trigger, Quest, Surprise, Critical Choice, Climax, Reversal and Resolution. The Stasis is the every-day-life of your main character. Trigger is an event that will change the every-day-life of your character (for better or for worse). Quest is a period of your main characters trying to find a new balance, a new every-day-life (because we all love a good routine). Surprise will take your character away from their new found every-day-life. Critical Choice is a point of no return, a dilemma, your character will have to make the hardest decision out of two outcomes, both equally important. Climax is the critical choice put to practice. Reversal is the consequence of the climax, or how the characters evolved. Resolution is the return to a new (or old) every-day-life, a (maybe everlasting) balance.

7. Reverse: Write down a description of how your story ends, what happens to your characters and to those around them. Make it as detailed as possible. Then, move up to the climax, write a short scenario for the highest point of your story. From there, build all the way back to the beginning. 

8. Zigzag: Draw a zigzag with as many up and downs as you want. Every up represents your main character moving closer to their goal. Every down represents your main character moving further from their goal. Fill in your zigzag with sequences that will take your character closer and farther from the goal.

9. Listing: The focus of this technique is exploring new ideas when your story feels empty, short or stagnated. You’ll, basically make lists. Make a long list of plot ideas. Make another list of places and settings. Make a list of elements. And a list of possible characters. Maybe a list of book titles. Or a list of interesting scenes. A list of bad things that could happen inside this universe. A list of good things. A list of symbolism. A list of visual inspiration. A list of absurd ideas you’ll probably never use. Then, gather all this material and circle the good items. Try to organize them into a timeline.

10. Character-driven: Create a character. Don’t worry about anything else. Just think of a character, their appearance and style. Give them a name. Give them a basic personality. Give them a backstory. Develop their personality based on the backstory. Now, give this character a story that mirrors their backstory (maybe a way to overcome the past, or to grow, or to revenge, or to restore). Based on your character’s personality, come up with a few scenes to drive their story from beginning to end. Now, do the same thing for the antagonist and secondary characters.

So, when is it time to stop outlining and start writing?

This is your call. Some writers need as many details as they can get, some need just an basic plot to use as a North. Just remember, an outline is not a strict format, you can and you will improvise along the way. The most important is being comfortable with your story, exploring new ideas, expanding old concepts and, maybe, changing your mind many times. There’s no right or wrong, just follow your intuition.  

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How to Plot A Complex Novel in One Day (It WILL take all day)

Now first, I have to say, that the plot you’re able to come up with in one day is not going to be without its flaws, but coming up with it all at once, the entire story unfolds right in front of you and makes you want to keep going with it. So, where to begin? 

  • What is your premise and basic plot? Pick your plot. I recommend just pulling one from this list. No plots are “original” so making yours interesting and complicated will easily distract from that fact, that and interesting characters. Characters will be something for you to work on another day, because this is plotting day. You’ll want the main plot to be fairly straight forward, because a confusing main plot will doom you if you want subplots. 
  • Decide who the characters will be. They don’t have to have names at this point. You don’t even need to know who they are other than why they have to be in the story. The more characters there are the more complicated the plot will be. If you intend to have more than one subplot, then you’ll want more characters. Multiple interconnected subplots will give the illusion that the story is very complicated and will give the reader a lot of different things to look at at all times. It also gives you the chance to develop many side characters. The plot I worked out yesterday had 13 characters, all were necessary. Decide their “roles” don’t bother with much else. This seems shallow, but this is plot. Plot is shallow. 
  • Now, decide what drives each character. Why specifically are they in this story? You can make this up. You don’t even know these characters yet. Just so long as everyone has their own motivations, you’re in the clear. 
  • What aren’t these characters giving away right off the bat? Give them a secret! It doesn’t have to be something that they are actively lying about or trying to hide, just find something that perhaps ties them into the plot or subplot. This is a moment to dig into subplot. This does not need to be at all connected to their drive to be present in the story.  Decide who is in love with who, what did this person do in the 70’s that’s coming back to bite them today, and what continues to haunt what-his-face to this very day. This is where you start to see the characters take shape. Don’t worry much about who they are or what they look like, just focus on what they’re doing to the story. 
  • What is going to change these characters? Now this will take some thinking. Everyone wants at least a few of the characters to come out changed by the end of the story, so think, how will they be different as a result of the plot/subplot? It might not be plot that changes them, but if you have a lot of characters, a few changes that are worked into the bones of the plot might help you.
  • Now list out the major events of the novel with subplot in chronological order. This will be your timeline. Especially list the historical things that you want to exist in backstory. List everything you can think of. Think about where the story is going. At this point, you likely haven’t focused too much on the main plot, yeah, it’s there, but now really focus on the rising actions, how this main plot builds its conflict, then the climactic moment. Make sure you get all of that in there. This might take a few hours. 
  • Decide where to start writing. This part will take a LOT of thinking. It’s hard! But now that you’ve got the timeline, pick an interesting point to begin at. Something with action. Something relevant. Preferably not at the beginning of your timeline - you want to have huge reveals later on where these important things that happened prior are exposed. This is the point where you think about what information should come out when. This will be a revision of your last list, except instead of being chronological, it exists to build tension. 
  • Once you’ve gotten the second list done, you’ve got a plot. Does it need work? Probably. But with that said, at this point you probably have no idea who half your characters are. Save that for tomorrow, that too will be a lot of work. 

After you’ve plotted the loose structure of your novel from this, see my next post to work on character

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smallnico

is there any good news right now?

i’d like to add that this isn’t meant to be howling into the void. i think we all need good news right now so if anyone has any send it in

A woman paid all adoption fees for over 800 animals so they could be adopted a few days before Christmas Eve.

Another animal shelter celebrated their entire kennels being empty, as every single dog was adopted just before Christmas.

A pastor held a drive for coats to donate to the homeless and got enough to clothe several hundred people.

A woman discovered a (possible) cure for cancer, that has worked very well in tests.

All (remaining) citizens were evacuated from Aleppo as of 12/22.

Las Vegas is now entirely powered by renewable energy (which hopefully will make other cities follow suit!)

Anyone else know of some good news that I probably missed??

Journalists Jason RezaianKhadija Ismayilova and Can Dundar were released from their wrongful imprisonments.

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micdotcom
  • Merriam-Webster has chosen “surreal” as its 2016 word of the year and this feels extremely, unfortunately right.
  • The choice fits neatly alongside Oxford Dictionaries’ selection of “post-truth” and Dictionary.com’s"xenophobia.“ 
  • Taken all together, they really paint a vivid picture of the past 12 months, don’t they? Read more
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maybeifitalk

Dictionary.com chose xenophobia. Both Savage af

Source: mic.com
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For all the Carrie Fisher stuff I’ve seen on my dash, this one has yet to make an appearance. Sometimes you just have to do things yourself :)

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*banging my fists on a table* LET CASHIERS HAVE CHAIRS

… cashiers dont have chairs where you live? wtf

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void-bee

in america: if youre not standing, youre not working

in europe if youre working youre working. chairs help you. what the fuck is up wih america

HOLD UP

PEOPLE IN OTHER COUNTRIES GET TO SIT WHILE WORKING???

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s1uts

aldi is the only place I have ever seen where the cashiers sit down

they also start their employees at $13 an hour and offer fulltime employment and everything in their is dirt cheap

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if you’re white, no matter how you’re marginalized, you do not understand or experience racism, and comparing your experiences with discrimination to it erases multiply marginalized people of color

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