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tdh2lo | writing_train | 0.82 | I want to write, but I'm so self conscious and lack confidence in my abilities. I would appreciate any advice, please. I would really like to write seriously. I have started writing things, but then I stop and start, stop and start, and my writing is inconsistent. I also suffer from dyslexia, so education wasn't easy for me. English was my stronger subject, along with art, design, and music. Although, I definitely wouldn't say I am great at English, sometimes my grammar and punctuation is lacking. I have tried hard to improve myself and my abilities. I never went to university or higher education, but my interest in story telling has always been there since a kid. I loved imagining scenarios and worlds. Fantasy has always been my favourite genre, along with Sci-Fi. I have been writing a story, but I do get frustrated that It doesn't come to me easier than I would like. Does anyone else feel frustrated by their abilities? Have you struggled with not believing in yourself when it comes to writing? I'd be intrigued to know how you got over it. | i0lellx | i0pju8g | 1,647,245,918 | 1,647,317,140 | 0 | 1 | Dyslexic writer here! The first person you need to make happy with your writing is *you.* Write for yourself. Try and look into writing short stories or even flash fiction, so you can see a project through and get the endorphin rush of 'finished draft.' They're also easier to take on editing/revising and improve (though short story writing is as much a craft as novel writing! Each word needs to be much more powerful than in a novel, but they're shorter and can seem less intimidating). Free grammarly can also help, as can some of the different dyslexic-friendly fonts. I like Lexend, personally, but it's only one of a few. The other point is to be kind to yourself. Work, but realize your first story (short or novel) is *not* going to look like a published work. It takes practice just as much as learning the piano or basketball. I've been working, in a dedicated way, on fiction for the last 4.5 years (I'd stopped for 15 or so for Bad Reasons). I also do a LOT of technical writing in my Adult Job, which helped me for the spelling/punctuation side of things. | The writing advice I've heard is from Stephen King: “Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as right as you can, anyway — it belongs to anyone who wants to read it. Or criticize it.” Don't bother with what other people will think about it, just write it for you. You can choose to share or not later down the line. I write incredibly inconsistently, frequently without an outline. I'm working on that, but I can go weeks without any progress then be up until four because inspiration struck (not the way to go). I don't think anyone can just sit down and write perfectly, unless maybe they've been honing their craft continuously for a couple decades and even then. I look back on my writing projects and think they're bad, but that just means I've gottne a lot better at writing and craft since then. I have a writing partner who's a perfectionist and he wrote a wonderful unfinished NaNoWriMo portion that he referred to as "hot garbage" that I would have paid to get a copy of the full book of. As for the dyslexia, I know it can be a struggle but one of my favorite English profs is dyslexic - I believe in you! Also, like any other art form the artist tends to be disappointed in the artwork because it might not live up to their vision. Nobody else is comparing it to that preconceived idea, they only see the wonder in it as it is now. Whenever I'm being overly self-critical I remind myself to be as nice to myself as I would be to others, and that helps. | 0 | 71,222 | 1,000 | ||
tdh2lo | writing_train | 0.82 | I want to write, but I'm so self conscious and lack confidence in my abilities. I would appreciate any advice, please. I would really like to write seriously. I have started writing things, but then I stop and start, stop and start, and my writing is inconsistent. I also suffer from dyslexia, so education wasn't easy for me. English was my stronger subject, along with art, design, and music. Although, I definitely wouldn't say I am great at English, sometimes my grammar and punctuation is lacking. I have tried hard to improve myself and my abilities. I never went to university or higher education, but my interest in story telling has always been there since a kid. I loved imagining scenarios and worlds. Fantasy has always been my favourite genre, along with Sci-Fi. I have been writing a story, but I do get frustrated that It doesn't come to me easier than I would like. Does anyone else feel frustrated by their abilities? Have you struggled with not believing in yourself when it comes to writing? I'd be intrigued to know how you got over it. | i0pju8g | i0lw8wy | 1,647,317,140 | 1,647,259,764 | 1 | 0 | The writing advice I've heard is from Stephen King: “Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as right as you can, anyway — it belongs to anyone who wants to read it. Or criticize it.” Don't bother with what other people will think about it, just write it for you. You can choose to share or not later down the line. I write incredibly inconsistently, frequently without an outline. I'm working on that, but I can go weeks without any progress then be up until four because inspiration struck (not the way to go). I don't think anyone can just sit down and write perfectly, unless maybe they've been honing their craft continuously for a couple decades and even then. I look back on my writing projects and think they're bad, but that just means I've gottne a lot better at writing and craft since then. I have a writing partner who's a perfectionist and he wrote a wonderful unfinished NaNoWriMo portion that he referred to as "hot garbage" that I would have paid to get a copy of the full book of. As for the dyslexia, I know it can be a struggle but one of my favorite English profs is dyslexic - I believe in you! Also, like any other art form the artist tends to be disappointed in the artwork because it might not live up to their vision. Nobody else is comparing it to that preconceived idea, they only see the wonder in it as it is now. Whenever I'm being overly self-critical I remind myself to be as nice to myself as I would be to others, and that helps. | Stop writing for others and only write for yourself. You have that choice to never reveal what you write to anyone. Once you start writing for yourself then your quality should not matter but rather the fact that you have written something at all. If you suck, then believe in your suckyness and just keep sucking. Sooner or later you'll be less sucky. | 1 | 57,376 | 1,000 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5m41s | ii5j586 | 1,659,117,021 | 1,659,115,868 | 207 | 117 | Just know the rules before you break them. | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | 1 | 1,153 | 1.769231 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5go4b | ii5m41s | 1,659,114,911 | 1,659,117,021 | 47 | 207 | There was this guy, named Mark Twain. Wrote some pretty good stuff about 140 years ago. I think you should check him out. | Just know the rules before you break them. | 0 | 2,110 | 4.404255 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5m41s | ii5itt2 | 1,659,117,021 | 1,659,115,745 | 207 | 41 | Just know the rules before you break them. | If it's first person, it's their voice. Just keep in mind that really odd grammar can keep your reader away from the text. Plus, grammar has to be uniformly imperfect: the same mistakes, the same expressions throughout the book. | 1 | 1,276 | 5.04878 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5g513 | ii5m41s | 1,659,114,704 | 1,659,117,021 | 19 | 207 | It's all about how you can create the illusion of the character's voice. If you need to let grammar slide for it, then you must do so. You can try different levels of casuality while writing and then even it out in when you are editing or rewriting. | Just know the rules before you break them. | 0 | 2,317 | 10.894737 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5ju6p | ii5m41s | 1,659,116,136 | 1,659,117,021 | 18 | 207 | Ever read Tom Sawyer or Huckleberry Finn? I’d say yes , forgo perfect grammar. Thats what editors are for anyway hahaha | Just know the rules before you break them. | 0 | 885 | 11.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5hz2v | ii5m41s | 1,659,115,416 | 1,659,117,021 | 10 | 207 | See Trainspotting (the novel) and multiple others examples. | Just know the rules before you break them. | 0 | 1,605 | 20.7 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii5m41s | 1,659,115,078 | 1,659,117,021 | 4 | 207 | Try it, see how it works and then decide. You can do anything you want so long as it works. | Just know the rules before you break them. | 0 | 1,943 | 51.75 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5lpog | ii5m41s | 1,659,116,864 | 1,659,117,021 | 3 | 207 | Sections of Fight Club also had really strange grammar. Almost made it hard to read, yet also compelling at the same time. | Just know the rules before you break them. | 0 | 157 | 69 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5go4b | ii5j586 | 1,659,114,911 | 1,659,115,868 | 47 | 117 | There was this guy, named Mark Twain. Wrote some pretty good stuff about 140 years ago. I think you should check him out. | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | 0 | 957 | 2.489362 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5j586 | ii5itt2 | 1,659,115,868 | 1,659,115,745 | 117 | 41 | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | If it's first person, it's their voice. Just keep in mind that really odd grammar can keep your reader away from the text. Plus, grammar has to be uniformly imperfect: the same mistakes, the same expressions throughout the book. | 1 | 123 | 2.853659 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5g513 | ii5j586 | 1,659,114,704 | 1,659,115,868 | 19 | 117 | It's all about how you can create the illusion of the character's voice. If you need to let grammar slide for it, then you must do so. You can try different levels of casuality while writing and then even it out in when you are editing or rewriting. | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | 0 | 1,164 | 6.157895 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5hz2v | ii5j586 | 1,659,115,416 | 1,659,115,868 | 10 | 117 | See Trainspotting (the novel) and multiple others examples. | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | 0 | 452 | 11.7 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii5j586 | 1,659,115,078 | 1,659,115,868 | 4 | 117 | Try it, see how it works and then decide. You can do anything you want so long as it works. | Absolutely fine! The only exception would be if it makes it difficult to read, or if slang **unintentionally** (I do personally believe there is a place for doing this intentionally in certain genres) makes it difficult for some readers to understand. But if it’s just keeping the language casual, it’s absolutely fine. | 0 | 790 | 29.25 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5go4b | ii5g513 | 1,659,114,911 | 1,659,114,704 | 47 | 19 | There was this guy, named Mark Twain. Wrote some pretty good stuff about 140 years ago. I think you should check him out. | It's all about how you can create the illusion of the character's voice. If you need to let grammar slide for it, then you must do so. You can try different levels of casuality while writing and then even it out in when you are editing or rewriting. | 1 | 207 | 2.473684 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5itt2 | ii5g513 | 1,659,115,745 | 1,659,114,704 | 41 | 19 | If it's first person, it's their voice. Just keep in mind that really odd grammar can keep your reader away from the text. Plus, grammar has to be uniformly imperfect: the same mistakes, the same expressions throughout the book. | It's all about how you can create the illusion of the character's voice. If you need to let grammar slide for it, then you must do so. You can try different levels of casuality while writing and then even it out in when you are editing or rewriting. | 1 | 1,041 | 2.157895 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5itt2 | ii5hz2v | 1,659,115,745 | 1,659,115,416 | 41 | 10 | If it's first person, it's their voice. Just keep in mind that really odd grammar can keep your reader away from the text. Plus, grammar has to be uniformly imperfect: the same mistakes, the same expressions throughout the book. | See Trainspotting (the novel) and multiple others examples. | 1 | 329 | 4.1 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii5itt2 | 1,659,115,078 | 1,659,115,745 | 4 | 41 | Try it, see how it works and then decide. You can do anything you want so long as it works. | If it's first person, it's their voice. Just keep in mind that really odd grammar can keep your reader away from the text. Plus, grammar has to be uniformly imperfect: the same mistakes, the same expressions throughout the book. | 0 | 667 | 10.25 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5ju6p | ii5hz2v | 1,659,116,136 | 1,659,115,416 | 18 | 10 | Ever read Tom Sawyer or Huckleberry Finn? I’d say yes , forgo perfect grammar. Thats what editors are for anyway hahaha | See Trainspotting (the novel) and multiple others examples. | 1 | 720 | 1.8 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii5ju6p | 1,659,115,078 | 1,659,116,136 | 4 | 18 | Try it, see how it works and then decide. You can do anything you want so long as it works. | Ever read Tom Sawyer or Huckleberry Finn? I’d say yes , forgo perfect grammar. Thats what editors are for anyway hahaha | 0 | 1,058 | 4.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5hz2v | ii5t6ki | 1,659,115,416 | 1,659,119,828 | 10 | 12 | See Trainspotting (the novel) and multiple others examples. | As long as meanings are clear to the reader (I can't stress this enough), go for it. Make sure it's not hard to read and pepper your parlance with grammatically correct sentence structures. Yes: I cruised to the store and, damn, it was hot. Afternoon sun had the pavement sizzling. In bare feet, it was like walking on a griddle. No: Chizled on down ta da five n' dime fer sum snack-a-roos. Exaggeration to make a point, but you get the gist. Good luck with your work. | 0 | 4,412 | 1.2 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii5t6ki | 1,659,115,078 | 1,659,119,828 | 4 | 12 | Try it, see how it works and then decide. You can do anything you want so long as it works. | As long as meanings are clear to the reader (I can't stress this enough), go for it. Make sure it's not hard to read and pepper your parlance with grammatically correct sentence structures. Yes: I cruised to the store and, damn, it was hot. Afternoon sun had the pavement sizzling. In bare feet, it was like walking on a griddle. No: Chizled on down ta da five n' dime fer sum snack-a-roos. Exaggeration to make a point, but you get the gist. Good luck with your work. | 0 | 4,750 | 3 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5t6ki | ii5pxou | 1,659,119,828 | 1,659,118,541 | 12 | 3 | As long as meanings are clear to the reader (I can't stress this enough), go for it. Make sure it's not hard to read and pepper your parlance with grammatically correct sentence structures. Yes: I cruised to the store and, damn, it was hot. Afternoon sun had the pavement sizzling. In bare feet, it was like walking on a griddle. No: Chizled on down ta da five n' dime fer sum snack-a-roos. Exaggeration to make a point, but you get the gist. Good luck with your work. | Oh man my protagonist is a hillbilly and he does not talk ‘proper’. I think it makes him feel like a more realistic person, like he’s actually talking to you and telling you his story. | 1 | 1,287 | 4 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5t6ki | ii5r6g4 | 1,659,119,828 | 1,659,119,032 | 12 | 4 | As long as meanings are clear to the reader (I can't stress this enough), go for it. Make sure it's not hard to read and pepper your parlance with grammatically correct sentence structures. Yes: I cruised to the store and, damn, it was hot. Afternoon sun had the pavement sizzling. In bare feet, it was like walking on a griddle. No: Chizled on down ta da five n' dime fer sum snack-a-roos. Exaggeration to make a point, but you get the gist. Good luck with your work. | Clockwork Orange, Huckleberry Finn, Uncle Tom's Cabin, To Kill a Mockingbird, One Flew Over the Cuckoo's Nest, etc. etc. Does anyone here actually read? | 1 | 796 | 3 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5t6ki | ii5lpog | 1,659,119,828 | 1,659,116,864 | 12 | 3 | As long as meanings are clear to the reader (I can't stress this enough), go for it. Make sure it's not hard to read and pepper your parlance with grammatically correct sentence structures. Yes: I cruised to the store and, damn, it was hot. Afternoon sun had the pavement sizzling. In bare feet, it was like walking on a griddle. No: Chizled on down ta da five n' dime fer sum snack-a-roos. Exaggeration to make a point, but you get the gist. Good luck with your work. | Sections of Fight Club also had really strange grammar. Almost made it hard to read, yet also compelling at the same time. | 1 | 2,964 | 4 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5hz2v | ii5h3kw | 1,659,115,416 | 1,659,115,078 | 10 | 4 | See Trainspotting (the novel) and multiple others examples. | Try it, see how it works and then decide. You can do anything you want so long as it works. | 1 | 338 | 2.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii75p3u | 1,659,123,828 | 1,659,140,540 | 5 | 7 | Have you ever read a book? | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 16,712 | 1.4 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5h3kw | ii75p3u | 1,659,115,078 | 1,659,140,540 | 4 | 7 | Try it, see how it works and then decide. You can do anything you want so long as it works. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 25,462 | 1.75 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii5pxou | 1,659,140,540 | 1,659,118,541 | 7 | 3 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | Oh man my protagonist is a hillbilly and he does not talk ‘proper’. I think it makes him feel like a more realistic person, like he’s actually talking to you and telling you his story. | 1 | 21,999 | 2.333333 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii5r6g4 | 1,659,140,540 | 1,659,119,032 | 7 | 4 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | Clockwork Orange, Huckleberry Finn, Uncle Tom's Cabin, To Kill a Mockingbird, One Flew Over the Cuckoo's Nest, etc. etc. Does anyone here actually read? | 1 | 21,508 | 1.75 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5lpog | ii75p3u | 1,659,116,864 | 1,659,140,540 | 3 | 7 | Sections of Fight Club also had really strange grammar. Almost made it hard to read, yet also compelling at the same time. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 23,676 | 2.333333 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5xcb2 | ii75p3u | 1,659,121,481 | 1,659,140,540 | 3 | 7 | I'd say yes but talk to a professional editor or creative writing person with a degree who knows but I do it | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 19,059 | 2.333333 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii5y90y | 1,659,140,540 | 1,659,121,844 | 7 | 3 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | I believe so. My editor, not so much. I keep telling her that I don’t personally know anyone who says, for example, the word “however”. | 1 | 18,696 | 2.333333 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii694ib | ii75p3u | 1,659,126,231 | 1,659,140,540 | 2 | 7 | I'm reading " The Moon is a Harsh Mistress" right now and the grammar is killing me, but it makes sense in the context of the book. You should absolutely allow your characters to speak in a fashion that's true to themselves. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 14,309 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii69h9h | ii75p3u | 1,659,126,376 | 1,659,140,540 | 2 | 7 | Write dialogue in your characters vernacular, but use improved grammar as you discuss events and places that your first person protagonist encounters. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 14,164 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii6cuk6 | ii75p3u | 1,659,127,757 | 1,659,140,540 | 2 | 7 | I have a child in my current story who talks about her parents taking her to the “peed-etrician” 🤷🏼♀️ Pediatrician. Lol. It’s fine as long as the reader can make heads or tails of it, lots of real people don’t use proper grammar and have their own unique way of talking. Adds character to the story, and depth to a character. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 12,783 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii6jmuh | 1,659,140,540 | 1,659,130,591 | 7 | 2 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | There are zero rules try everything 💕 | 1 | 9,949 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii6n195 | ii75p3u | 1,659,132,029 | 1,659,140,540 | 2 | 7 | I tend to go along the lines of if it’s describing things and telling you what’s going on then use good grammar. If it’s inner thoughts then you can be casual. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 8,511 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii6nhgl | 1,659,140,540 | 1,659,132,223 | 7 | 2 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | I think it's fine, since a perfect example of this is "Flowers for Algernon", which basically was written in first person and threw grammar and spelling out the window to fit the main character. So yeah, I think it's perfectly fine to ignore grammar if it's to fit the character. | 1 | 8,317 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii6nm6d | ii75p3u | 1,659,132,278 | 1,659,140,540 | 2 | 7 | Yes of course, as long as it's still readable. Bear in mind that this will require additional care to guide readers through non-standard writing. | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 8,262 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii6p6x8 | ii75p3u | 1,659,132,966 | 1,659,140,540 | 2 | 7 | If message clear, no need grammar | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | 0 | 7,574 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii75p3u | ii6vg1s | 1,659,140,540 | 1,659,135,744 | 7 | 2 | Absolutely! Suspension of disbelief is more important than sticking to grammatical rules. Just make sure it is INTENTIONAL breaking, not being lazy and ignoring the rules to make it easier for you to write. Many writers do this and it makes their stories basically unbearable to read :) | Maybe use his incorrect grammar only in his dialogue. | 1 | 4,796 | 3.5 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii5h3kw | 1,659,123,828 | 1,659,115,078 | 5 | 4 | Have you ever read a book? | Try it, see how it works and then decide. You can do anything you want so long as it works. | 1 | 8,750 | 1.25 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii5pxou | 1,659,123,828 | 1,659,118,541 | 5 | 3 | Have you ever read a book? | Oh man my protagonist is a hillbilly and he does not talk ‘proper’. I think it makes him feel like a more realistic person, like he’s actually talking to you and telling you his story. | 1 | 5,287 | 1.666667 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii5r6g4 | 1,659,123,828 | 1,659,119,032 | 5 | 4 | Have you ever read a book? | Clockwork Orange, Huckleberry Finn, Uncle Tom's Cabin, To Kill a Mockingbird, One Flew Over the Cuckoo's Nest, etc. etc. Does anyone here actually read? | 1 | 4,796 | 1.25 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5lpog | ii63775 | 1,659,116,864 | 1,659,123,828 | 3 | 5 | Sections of Fight Club also had really strange grammar. Almost made it hard to read, yet also compelling at the same time. | Have you ever read a book? | 0 | 6,964 | 1.666667 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii5xcb2 | 1,659,123,828 | 1,659,121,481 | 5 | 3 | Have you ever read a book? | I'd say yes but talk to a professional editor or creative writing person with a degree who knows but I do it | 1 | 2,347 | 1.666667 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii63775 | ii5y90y | 1,659,123,828 | 1,659,121,844 | 5 | 3 | Have you ever read a book? | I believe so. My editor, not so much. I keep telling her that I don’t personally know anyone who says, for example, the word “however”. | 1 | 1,984 | 1.666667 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5pxou | ii5r6g4 | 1,659,118,541 | 1,659,119,032 | 3 | 4 | Oh man my protagonist is a hillbilly and he does not talk ‘proper’. I think it makes him feel like a more realistic person, like he’s actually talking to you and telling you his story. | Clockwork Orange, Huckleberry Finn, Uncle Tom's Cabin, To Kill a Mockingbird, One Flew Over the Cuckoo's Nest, etc. etc. Does anyone here actually read? | 0 | 491 | 1.333333 | ||
wba5nw | writing_train | 0.92 | Can I forgo perfect grammar for the sake of keeping my character's voice consistant? (Btw I'm semi new to serious want-to-pursue-a-career-in-this writing) My story is in first person and is very character driven, so the main character will have a strong, consistent and somewhat casual "voice" throughout the story. I feel this is important to do for him, but grammar is also important, and the way he says things will most likely not include perfect grammar. So, is it okay to not use perfect grammar for the sake of my character's voice? | ii5lpog | ii5r6g4 | 1,659,116,864 | 1,659,119,032 | 3 | 4 | Sections of Fight Club also had really strange grammar. Almost made it hard to read, yet also compelling at the same time. | Clockwork Orange, Huckleberry Finn, Uncle Tom's Cabin, To Kill a Mockingbird, One Flew Over the Cuckoo's Nest, etc. etc. Does anyone here actually read? | 0 | 2,168 | 1.333333 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw4q2 | dnt04f6 | 1,506,956,215 | 1,506,960,574 | 5 | 9 | The best first step is to write. Then write some more. Then maybe pitch an idea or enter some competitions. A lot of studios accept scripts all the time, it just has to be good. Simple! | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 4,359 | 1.8 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsxt8f | dnt04f6 | 1,506,958,074 | 1,506,960,574 | 3 | 9 | As someone who owned a film studio (and had two films on Netflix), I have experience with this. Step one is the end-in-mind. In other words, in what manner will the audience consume your media? There are countless ways to distribute material, so I would study up on that. Step two is to figure out production. You have a script. Now you need to convert that to a form of consumable media. Who produces it? Step three is to figure out funding. You'll have to hire a crew, and that's not cheap. Obviously, I've oversimplified this, and you can swizzle those three steps in any order you like. I would recommend reading 'From Reel to Deal' by Dov S-S Simens, and participate in r/screenwriting (as suggested above). If you simply want to write a script and pitch it to a 'studio' then you need to understand how many people are in line ahead of you. Though I HATE discouraging people from pursuing lofty creative goals, I will say that it's probably one of the most difficult things to do. You're better off raising money, hiring a crew, producing a short film, and (gradually) gain an audience. But I've seen crazy things happen. Good luck! | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 2,500 | 3 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnstvjk | dnt04f6 | 1,506,953,570 | 1,506,960,574 | 2 | 9 | Will let you know as soon as I figure it out. | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 7,004 | 4.5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsy5yt | dnt04f6 | 1,506,958,464 | 1,506,960,574 | 2 | 9 | Go buy the book save the cat, read it and then start writing. Write anything. Write a one-minute sketch. Write a shitty 200-page screenplay. Just write. The only way to improve is to write and get critiqued so go forth and write any story you'd like, get it critiqued, and write some more. Have fun with it. | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 2,110 | 4.5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnszsb8 | dnt04f6 | 1,506,960,214 | 1,506,960,574 | 2 | 9 | Break down your big goal into a series of small goals. | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 360 | 4.5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw3t2 | dnt04f6 | 1,506,956,187 | 1,506,960,574 | 1 | 9 | Have you written anything? Gotten anything published (short fiction, essays, etc.)? That would help visibility. Hone your craft, move on from there. Write a screenplay, get it workshopped & edited, then pitch it to a university theater group. Get rejected 40 times until you strike gold. | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 4,387 | 9 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw8hs | dnt04f6 | 1,506,956,329 | 1,506,960,574 | 1 | 9 | Check out the sidebar of /r/screenwriting. | First, TV writing doesn't work *at all* like book publishing, which is mostly what's discussed on this subreddit, so you should definitely check out r/screenwriting. Second, you need to learn the format. Nothing will peg you as an amateur faster than not understanding the format and structure of a screenplay and/or TV script. There are hard and fast rules about formatting a script and how to write one (e.g. an hour long network show has to be broken into four acts, so commercials can be fit in). At a minimum, you need to buy some books on screenwriting. Better yet, find and take a TV writing course. Even better, go to a university and get a degree in screenwriting. A lot of the schools with screenwriting programs are in -- surprise -- southern California (USC, UCLA, Loyola, etc.). Third, you're not going to just walk into a studio and say "I have an idea I'd like to pitch!" The business doesn't work that way. There are basically two routes to getting into TV writing: via production and via spec. *Via production:* move to Hollywood and try to get a job as a production assistant (PA). These are pretty much the lowest rung in the tv/movie industry. You get coffee, you run errands, you shuffle papers. But it gets your foot in the door and you *make contacts*, which is probably the most important part of getting into the writer's room. This route is mainly about making contacts and getting inside the industry. You're still going to need to write spec scripts (see below), but if you've got production experience you'll actually know people you can show them to, which is critical. *Via spec:* Write a spec script for a popular TV show. Spec script = an example episode that shows you know how to write well. What show do you choose? Choose something in the genre, so if you want to write animated series spec an animated show. Don't choose a show that is obscure; you need to choose a show that showrunners/producers are going to be aware of and seen so they can evaluate it. When you finish that first spec, write *more* spec scripts, because if one interests showrunners/producers, they're going to ask for more examples. You don't *have* to move to LA for this, but you're going to have an easier time if you're in LA making contacts in the biz vs. just sending your spec scripts to agents & producers from your basement apartment in Dubuque, Iowa! Fourth, whichever route you choose, your next step is to get your spec scripts in front of agents, showrunners, and producers any way you can. (This is why moving to LA and making contacts is useful.) Your goal with this is to impress the agent, showrunner, or producer so much with your spec scripts that you get hired by a showrunner or producer either to write an individual episode of an existing show or (better) to be part of the regular writing staff of a show. If you succeed at that, you are now an employed TV writer. Congratulations! Keep doing that for a few years, hone your skills, learn everything you can, make contacts, and build a reputation. *Now*, by this point, you've got an agent, the contacts, and the experience to get a meeting with a producer to pitch *your own idea* for an animated series. | 0 | 4,245 | 9 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnstvjk | dnsw4q2 | 1,506,953,570 | 1,506,956,215 | 2 | 5 | Will let you know as soon as I figure it out. | The best first step is to write. Then write some more. Then maybe pitch an idea or enter some competitions. A lot of studios accept scripts all the time, it just has to be good. Simple! | 0 | 2,645 | 2.5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw3t2 | dnsw4q2 | 1,506,956,187 | 1,506,956,215 | 1 | 5 | Have you written anything? Gotten anything published (short fiction, essays, etc.)? That would help visibility. Hone your craft, move on from there. Write a screenplay, get it workshopped & edited, then pitch it to a university theater group. Get rejected 40 times until you strike gold. | The best first step is to write. Then write some more. Then maybe pitch an idea or enter some competitions. A lot of studios accept scripts all the time, it just has to be good. Simple! | 0 | 28 | 5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnstvjk | dnsxt8f | 1,506,953,570 | 1,506,958,074 | 2 | 3 | Will let you know as soon as I figure it out. | As someone who owned a film studio (and had two films on Netflix), I have experience with this. Step one is the end-in-mind. In other words, in what manner will the audience consume your media? There are countless ways to distribute material, so I would study up on that. Step two is to figure out production. You have a script. Now you need to convert that to a form of consumable media. Who produces it? Step three is to figure out funding. You'll have to hire a crew, and that's not cheap. Obviously, I've oversimplified this, and you can swizzle those three steps in any order you like. I would recommend reading 'From Reel to Deal' by Dov S-S Simens, and participate in r/screenwriting (as suggested above). If you simply want to write a script and pitch it to a 'studio' then you need to understand how many people are in line ahead of you. Though I HATE discouraging people from pursuing lofty creative goals, I will say that it's probably one of the most difficult things to do. You're better off raising money, hiring a crew, producing a short film, and (gradually) gain an audience. But I've seen crazy things happen. Good luck! | 0 | 4,504 | 1.5 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsxt8f | dnsw3t2 | 1,506,958,074 | 1,506,956,187 | 3 | 1 | As someone who owned a film studio (and had two films on Netflix), I have experience with this. Step one is the end-in-mind. In other words, in what manner will the audience consume your media? There are countless ways to distribute material, so I would study up on that. Step two is to figure out production. You have a script. Now you need to convert that to a form of consumable media. Who produces it? Step three is to figure out funding. You'll have to hire a crew, and that's not cheap. Obviously, I've oversimplified this, and you can swizzle those three steps in any order you like. I would recommend reading 'From Reel to Deal' by Dov S-S Simens, and participate in r/screenwriting (as suggested above). If you simply want to write a script and pitch it to a 'studio' then you need to understand how many people are in line ahead of you. Though I HATE discouraging people from pursuing lofty creative goals, I will say that it's probably one of the most difficult things to do. You're better off raising money, hiring a crew, producing a short film, and (gradually) gain an audience. But I've seen crazy things happen. Good luck! | Have you written anything? Gotten anything published (short fiction, essays, etc.)? That would help visibility. Hone your craft, move on from there. Write a screenplay, get it workshopped & edited, then pitch it to a university theater group. Get rejected 40 times until you strike gold. | 1 | 1,887 | 3 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw8hs | dnsxt8f | 1,506,956,329 | 1,506,958,074 | 1 | 3 | Check out the sidebar of /r/screenwriting. | As someone who owned a film studio (and had two films on Netflix), I have experience with this. Step one is the end-in-mind. In other words, in what manner will the audience consume your media? There are countless ways to distribute material, so I would study up on that. Step two is to figure out production. You have a script. Now you need to convert that to a form of consumable media. Who produces it? Step three is to figure out funding. You'll have to hire a crew, and that's not cheap. Obviously, I've oversimplified this, and you can swizzle those three steps in any order you like. I would recommend reading 'From Reel to Deal' by Dov S-S Simens, and participate in r/screenwriting (as suggested above). If you simply want to write a script and pitch it to a 'studio' then you need to understand how many people are in line ahead of you. Though I HATE discouraging people from pursuing lofty creative goals, I will say that it's probably one of the most difficult things to do. You're better off raising money, hiring a crew, producing a short film, and (gradually) gain an audience. But I've seen crazy things happen. Good luck! | 0 | 1,745 | 3 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw3t2 | dnsy5yt | 1,506,956,187 | 1,506,958,464 | 1 | 2 | Have you written anything? Gotten anything published (short fiction, essays, etc.)? That would help visibility. Hone your craft, move on from there. Write a screenplay, get it workshopped & edited, then pitch it to a university theater group. Get rejected 40 times until you strike gold. | Go buy the book save the cat, read it and then start writing. Write anything. Write a one-minute sketch. Write a shitty 200-page screenplay. Just write. The only way to improve is to write and get critiqued so go forth and write any story you'd like, get it critiqued, and write some more. Have fun with it. | 0 | 2,277 | 2 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsy5yt | dnsw8hs | 1,506,958,464 | 1,506,956,329 | 2 | 1 | Go buy the book save the cat, read it and then start writing. Write anything. Write a one-minute sketch. Write a shitty 200-page screenplay. Just write. The only way to improve is to write and get critiqued so go forth and write any story you'd like, get it critiqued, and write some more. Have fun with it. | Check out the sidebar of /r/screenwriting. | 1 | 2,135 | 2 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnsw3t2 | dnszsb8 | 1,506,956,187 | 1,506,960,214 | 1 | 2 | Have you written anything? Gotten anything published (short fiction, essays, etc.)? That would help visibility. Hone your craft, move on from there. Write a screenplay, get it workshopped & edited, then pitch it to a university theater group. Get rejected 40 times until you strike gold. | Break down your big goal into a series of small goals. | 0 | 4,027 | 2 | ||
73swsc | writing_train | 0.68 | I want to become a writer, like a screenplay writer and eventually pitch an animated series, but I have no idea how to do it. Does anybody have any advice for me? | dnszsb8 | dnsw8hs | 1,506,960,214 | 1,506,956,329 | 2 | 1 | Break down your big goal into a series of small goals. | Check out the sidebar of /r/screenwriting. | 1 | 3,885 | 2 | ||
xr4zw6 | writing_train | 0.75 | How to build an audience by writing short stories? Would it be better to build an audience by entering short stories in writing competitions, submitting them to literary magazines, or by posting them on reading sites like Medium? Are there any other similar sites that are better or just as good? I have a novel series planned out, but would like to build a decent following first. How many followers should a debut novelist aim for on Instagram before publishing? 1K, 2K, 5K? I intend to be consistently active on Instagram (the only social platform I use), which I mostly use to post art. I used to post my writings there but don't see much benefit in it anymore, and the content strategy I follow is not yet finalised. I'm more concerned about building an audience than I am about writing the book and publishing it atm. I also tried to get into blogging, but failed to post consistently after I created my website. I've also thought about posting book reviews and similar stuff on Medium, but I don't think I could keep up with it. But I love the process of creating something, which is why I think writing short stories could be an ideal way to hone my writing and storytelling skills while also building an audience. I'd appreciate any suggestions related to this. Thank you! | iqd2qdq | iqd2tvu | 1,664,457,134 | 1,664,457,180 | 6 | 9 | Literary magazines are hard to access but they are the way to go. They pay you money, plus you get read by thousands of readers that are fans of your genre. Plus it give you a lot of credibility. Putting in your marketing copy (your author bio for instance) "Infinite-Ad9561's stories were also published in Analog and The New Yorker" is way better than "Infinite-Ad9561's stories were also published on Medium and Wattpad". | >I’m more concerned about building an audience than I am about writing the book and publishing it atm. This is the wrong approach. If you are writing fiction, you do not need a platform or existing audience to be published. You just need a good book. By all means, write short stories if that is what you enjoy, but I would recommend submitting to pro litmags over anything else. Agents and editors often trawl litmags for new voices they might be interested in working with. | 0 | 46 | 1.5 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmza46j | gmzgm75 | 1,613,075,264 | 1,613,078,051 | 18 | 41 | You’ve got to have something worth reading in order to have an audience. Focus on being the best writer ever first. Don’t focus on the audience. If what you’re producing is good, the audience will come. | >biggest obstacle new writers face is ~~building an audience~~ setting goals and completing projects. Not to ignore your post but to lead things, new writers should focus on their ability to produce books. Once and often alongside of that process new writers should focus on honing their craft. That looks different for different people, but focus being happy with the work you produce before trying to sell it to others. Now to answer the actual question, write more books. The best advertising for your book is another book. I believe this holds true for traditional publishing, but it's vital in self publishing. Amazon's algorithms promote newly published works the hardest in their first month, and that declines over the following two months. After that, advertising(amazon and FB), after that brand building (social media, video content, give aways) | 0 | 2,787 | 2.277778 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzgm75 | gmzfhun | 1,613,078,051 | 1,613,077,564 | 41 | 14 | >biggest obstacle new writers face is ~~building an audience~~ setting goals and completing projects. Not to ignore your post but to lead things, new writers should focus on their ability to produce books. Once and often alongside of that process new writers should focus on honing their craft. That looks different for different people, but focus being happy with the work you produce before trying to sell it to others. Now to answer the actual question, write more books. The best advertising for your book is another book. I believe this holds true for traditional publishing, but it's vital in self publishing. Amazon's algorithms promote newly published works the hardest in their first month, and that declines over the following two months. After that, advertising(amazon and FB), after that brand building (social media, video content, give aways) | I mostly used loss leaders, free reader magnets, mailing list and newsletter swaps :) | 1 | 487 | 2.928571 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzet8m | gmzgm75 | 1,613,077,271 | 1,613,078,051 | 3 | 41 | A consistent social media presence and regular content. Unfortunately, these can both be incredibly difficult and time consuming. Make sure you're advertising on your SM every time you write something new or post updates on your WIPs. If you haven't already, I highly suggest you build a website to host your writing, like WordPress. If you don't want your own website yet, then there are other options like WattPad, but be sure to read the ToS. Additionally, if you're on twitter, check out #writerslift. That's an easy and quick way to network with readers and other writers and grow your follower numbers. | >biggest obstacle new writers face is ~~building an audience~~ setting goals and completing projects. Not to ignore your post but to lead things, new writers should focus on their ability to produce books. Once and often alongside of that process new writers should focus on honing their craft. That looks different for different people, but focus being happy with the work you produce before trying to sell it to others. Now to answer the actual question, write more books. The best advertising for your book is another book. I believe this holds true for traditional publishing, but it's vital in self publishing. Amazon's algorithms promote newly published works the hardest in their first month, and that declines over the following two months. After that, advertising(amazon and FB), after that brand building (social media, video content, give aways) | 0 | 780 | 13.666667 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzet8m | gmzfhun | 1,613,077,271 | 1,613,077,564 | 3 | 14 | A consistent social media presence and regular content. Unfortunately, these can both be incredibly difficult and time consuming. Make sure you're advertising on your SM every time you write something new or post updates on your WIPs. If you haven't already, I highly suggest you build a website to host your writing, like WordPress. If you don't want your own website yet, then there are other options like WattPad, but be sure to read the ToS. Additionally, if you're on twitter, check out #writerslift. That's an easy and quick way to network with readers and other writers and grow your follower numbers. | I mostly used loss leaders, free reader magnets, mailing list and newsletter swaps :) | 0 | 293 | 4.666667 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzet8m | gmzo846 | 1,613,077,271 | 1,613,081,394 | 3 | 5 | A consistent social media presence and regular content. Unfortunately, these can both be incredibly difficult and time consuming. Make sure you're advertising on your SM every time you write something new or post updates on your WIPs. If you haven't already, I highly suggest you build a website to host your writing, like WordPress. If you don't want your own website yet, then there are other options like WattPad, but be sure to read the ToS. Additionally, if you're on twitter, check out #writerslift. That's an easy and quick way to network with readers and other writers and grow your follower numbers. | I've put up a recent draft on Inkshares (think Kickstarter for books). I was recommended the platform by someone; not sure how it'll go. Planning on posting Inkshares link on this and other reddit groups as well as other mailing lists to see how it pans out. And btw I can totally relate. I see some comments saying, "Write a great book, people will come" etc, to which I reply - how would "they" come if they don't know this great book is out there? The discovery problem is genuinely a huge obstacle for new writers, because how do you convince people to invest time in you? Good luck! | 0 | 4,123 | 1.666667 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzjbcl | gmzet8m | 1,613,079,202 | 1,613,077,271 | 5 | 3 | I have started my own YouTube channel and am learning everything that comes with it (Photoshop for thumbnails, Adobe premiere for editing etc). Not easy, but one of the better options out there to build an audience I feel... as YouTube promotes you for free... and the format of longer videos builds connection with the viewers more than is the case with other social media. Facebook plain sucks. They beg you for money to "boost" posts like there's no tomorrow. I'm distrustful of Instagram too. I have yet too see much results with blogs. Perhaps in time, but I'm doubtful. I sure wish I had started before publishing my book, though. | A consistent social media presence and regular content. Unfortunately, these can both be incredibly difficult and time consuming. Make sure you're advertising on your SM every time you write something new or post updates on your WIPs. If you haven't already, I highly suggest you build a website to host your writing, like WordPress. If you don't want your own website yet, then there are other options like WattPad, but be sure to read the ToS. Additionally, if you're on twitter, check out #writerslift. That's an easy and quick way to network with readers and other writers and grow your follower numbers. | 1 | 1,931 | 1.666667 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmztd3j | gmzotab | 1,613,083,787 | 1,613,081,666 | 3 | 1 | I would say that from my observations, lots of 'marketing' and attempting to build and audience I see on social media is just noise. Someone mentioned #writerslift, and while that may get you some new followers on Twitter, it doesn't seem to generate an audience as it's mainly writers following other writers. We're (usually) on Twitter to market our own books and so we rarely interact meaningfully with other writers, let alone buy their books! I see too many writers who are on permanent 'broadcast ' and just want to publicise themselves constantly. They might as well be taking to themselves. The truth is that you can tweet about your WIP every day and share pictures of your word count, but putting out content will mean nothing if your followers are simply other writers looking to network. I'm not an expert by any means, but I do have complete strangers following my social media accounts (as a writer- my personal accounts are private) and reviewing my books. My modest success is because I'm trying to have meaningful conversations with people - answering other writers questions, sharing opportunities, talking about books I've enjoyed reading, thanking people who've supported me or reviewed me, and I even do the occasional update on my WIP. I'm a consumer as well as a producer of fiction, and people who know me through online book groups go on to read my books and support me because I promote other writers and their books. Get involved with discussions, be genuine and stay humble would be my advice. | Build a social media presence. Be interesting, useful, and valuable. Make sure your product is absolutely the best you can make it. You only get one chance at a first impression; there are authors on my auto-nope list who could well deserve a second shot - but who has time to trudge through on the off chance they've improved? Listen to your editors. Don't skimp on revisions. Art. Good cover art is an absolute must, character art/illustrations are great too if you're writing fiction and can afford it. People love looking at pretty things. Hire a professional. People are a lot more likely to click through if the presentation is good. Don't pick sides. The writers I respect most are those who stay out of the political nonsense. It may get you a brief uptick from the side you agree with but it's not worth it in the long run when you alienate half your potential audience. (Unless you're writing something specifically political, in which case this obviously doesn't apply.) Related to the above, avoid getting involved in drama. Don't argue with reviewers. Stay professional. | 1 | 2,121 | 3 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gn0sqjg | gn0v6sa | 1,613,102,079 | 1,613,103,465 | 2 | 3 | I think this probably all depends on your goals but it looks like I started from a different angle than everyone else so I'll share it. My whole learning to write process has ended up on reddit in the form of short stories posted around various places since December which has somehow ended up with an 800+ person subreddit in two months. It might be an indirect route but perhaps finding popular places to post your stories on here and then funneling people to another link would be useful. I have 0 experience trying to then sell anything from this position so take that with a grain of salt but it has turned into an audience at least. | Have you figured out who your audience is? I'm only just starting out in fiction writing myself, and one pro I consulted said I should ask where would I find my book at Barnes and Noble? Who is on the shelf with you? Which of those authors would you appreciate having an endorsement from on your back cover? If I were to sit down for a day and clock who goes to that shelf, who are those people? That's your audience. Once you figure that out you need to find out where else do they shop? What social media groups do they belong to? What blogs and podcasts do they follow? Where do they get tips and news about what's new and interesting to read. Amazon almost solves the problem of audience ID because once you figure out whose books yours are most like, they will start telling you what other books your competitor's readers buy. One author I know said he was surprised to find out his readers were mostly middle-aged, college-educated, married straight Jewish women. Your readers may not be who you think they are. I have still not figured out who would read projects I am most passionate about writing, but it doesn't stop me from writing them because my soul just needs to get them out of the system. Sadly, I don't think they have a marketable readership. But luckily I have other story projects that I also work on that are more like other things out there, so I also work on those, but I'm not as excited about them. In your other responses you ask about hedging your investment of time, so for me putting time in on things that have a more likely readership are my "hedge" right now. And I am trying to think about how to reach potential readerships, but I have a ways to go before I have something good to sell. Anyway, I think just figuring out who is likely to pay for your book is a valuable exercise and the path will become a lot more clear on what to do next once you know that. Best of luck. | 0 | 1,386 | 1.5 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gmzotab | gn0v6sa | 1,613,081,666 | 1,613,103,465 | 1 | 3 | Build a social media presence. Be interesting, useful, and valuable. Make sure your product is absolutely the best you can make it. You only get one chance at a first impression; there are authors on my auto-nope list who could well deserve a second shot - but who has time to trudge through on the off chance they've improved? Listen to your editors. Don't skimp on revisions. Art. Good cover art is an absolute must, character art/illustrations are great too if you're writing fiction and can afford it. People love looking at pretty things. Hire a professional. People are a lot more likely to click through if the presentation is good. Don't pick sides. The writers I respect most are those who stay out of the political nonsense. It may get you a brief uptick from the side you agree with but it's not worth it in the long run when you alienate half your potential audience. (Unless you're writing something specifically political, in which case this obviously doesn't apply.) Related to the above, avoid getting involved in drama. Don't argue with reviewers. Stay professional. | Have you figured out who your audience is? I'm only just starting out in fiction writing myself, and one pro I consulted said I should ask where would I find my book at Barnes and Noble? Who is on the shelf with you? Which of those authors would you appreciate having an endorsement from on your back cover? If I were to sit down for a day and clock who goes to that shelf, who are those people? That's your audience. Once you figure that out you need to find out where else do they shop? What social media groups do they belong to? What blogs and podcasts do they follow? Where do they get tips and news about what's new and interesting to read. Amazon almost solves the problem of audience ID because once you figure out whose books yours are most like, they will start telling you what other books your competitor's readers buy. One author I know said he was surprised to find out his readers were mostly middle-aged, college-educated, married straight Jewish women. Your readers may not be who you think they are. I have still not figured out who would read projects I am most passionate about writing, but it doesn't stop me from writing them because my soul just needs to get them out of the system. Sadly, I don't think they have a marketable readership. But luckily I have other story projects that I also work on that are more like other things out there, so I also work on those, but I'm not as excited about them. In your other responses you ask about hedging your investment of time, so for me putting time in on things that have a more likely readership are my "hedge" right now. And I am trying to think about how to reach potential readerships, but I have a ways to go before I have something good to sell. Anyway, I think just figuring out who is likely to pay for your book is a valuable exercise and the path will become a lot more clear on what to do next once you know that. Best of luck. | 0 | 21,799 | 3 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gn0sqjg | gmzotab | 1,613,102,079 | 1,613,081,666 | 2 | 1 | I think this probably all depends on your goals but it looks like I started from a different angle than everyone else so I'll share it. My whole learning to write process has ended up on reddit in the form of short stories posted around various places since December which has somehow ended up with an 800+ person subreddit in two months. It might be an indirect route but perhaps finding popular places to post your stories on here and then funneling people to another link would be useful. I have 0 experience trying to then sell anything from this position so take that with a grain of salt but it has turned into an audience at least. | Build a social media presence. Be interesting, useful, and valuable. Make sure your product is absolutely the best you can make it. You only get one chance at a first impression; there are authors on my auto-nope list who could well deserve a second shot - but who has time to trudge through on the off chance they've improved? Listen to your editors. Don't skimp on revisions. Art. Good cover art is an absolute must, character art/illustrations are great too if you're writing fiction and can afford it. People love looking at pretty things. Hire a professional. People are a lot more likely to click through if the presentation is good. Don't pick sides. The writers I respect most are those who stay out of the political nonsense. It may get you a brief uptick from the side you agree with but it's not worth it in the long run when you alienate half your potential audience. (Unless you're writing something specifically political, in which case this obviously doesn't apply.) Related to the above, avoid getting involved in drama. Don't argue with reviewers. Stay professional. | 1 | 20,413 | 2 | ||
lhtm56 | writing_train | 0.92 | What do you do to build an audience? Starting out writing, and it seems like the biggest obstacle new writers face is building an audience. Honestly it's really daunting. What do you do to build an audience, and do you have any advice for someone just starting out? | gn0zipi | gmzotab | 1,613,106,062 | 1,613,081,666 | 2 | 1 | You be yourself unapologetically and don’t give a fuck | Build a social media presence. Be interesting, useful, and valuable. Make sure your product is absolutely the best you can make it. You only get one chance at a first impression; there are authors on my auto-nope list who could well deserve a second shot - but who has time to trudge through on the off chance they've improved? Listen to your editors. Don't skimp on revisions. Art. Good cover art is an absolute must, character art/illustrations are great too if you're writing fiction and can afford it. People love looking at pretty things. Hire a professional. People are a lot more likely to click through if the presentation is good. Don't pick sides. The writers I respect most are those who stay out of the political nonsense. It may get you a brief uptick from the side you agree with but it's not worth it in the long run when you alienate half your potential audience. (Unless you're writing something specifically political, in which case this obviously doesn't apply.) Related to the above, avoid getting involved in drama. Don't argue with reviewers. Stay professional. | 1 | 24,396 | 2 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | ie7p8mv | ie7ku82 | 1,656,525,325 | 1,656,523,602 | 14 | 5 | Just as a victory should feel 'earned', so should a defeat. If you can demonstrate to the audience that the odds are sufficiently stacked against the character, that they're barreling headlong into significant danger, and that death is at least a real risk, then it won't feel cheap. What makes a character death cheap is when it's senselessly random. Yes, in real life random deaths happen all the time. But people don't read fiction for that. They read it with an expectation of shown, often poetic, cause and effect. Even if it's a shock, if you can show how it was unavoidable *afterwards*, then it won't feel random. Remember the assassin that Lord Frederick was talking to way back in chapter 4? Yeah... Now you're all caught up. In general, if you can show where the tipping point is, clearly demonstrate where the situation goes from dangerous to grim to deadly, then it won't feel random. It will feel inevitable. Will some readers write off a character once it's clear their head is on the chopping block? Some might. That's not strictly something you can avoid. But even if they've realised the character is going to die, the question of *how* can often be enough to pull the reader forward. | This is just a matter of writing a full character as opposed to a shallow one. The more scenes involving a character, the less shallow that character will seem To generate more sympathy for a character is the same -- spending quality time with that character, seeing their good and bad sides One thing you can try to do is give them a complete sub-plot, although "sub-plot" might be too restrictive a term. What I mean is carve out a niche that plants a flag for that character, really calls attention to your character in all its glory and warts. It doesn't have to be a sub-plot; it could be anything. Whatever it is, it's stamped by the character 100%, and when the character feels like its got a life of its own you walk less of a tightrope | 1 | 1,723 | 2.8 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | ie7p8mv | ie7jj6w | 1,656,525,325 | 1,656,523,102 | 14 | 1 | Just as a victory should feel 'earned', so should a defeat. If you can demonstrate to the audience that the odds are sufficiently stacked against the character, that they're barreling headlong into significant danger, and that death is at least a real risk, then it won't feel cheap. What makes a character death cheap is when it's senselessly random. Yes, in real life random deaths happen all the time. But people don't read fiction for that. They read it with an expectation of shown, often poetic, cause and effect. Even if it's a shock, if you can show how it was unavoidable *afterwards*, then it won't feel random. Remember the assassin that Lord Frederick was talking to way back in chapter 4? Yeah... Now you're all caught up. In general, if you can show where the tipping point is, clearly demonstrate where the situation goes from dangerous to grim to deadly, then it won't feel random. It will feel inevitable. Will some readers write off a character once it's clear their head is on the chopping block? Some might. That's not strictly something you can avoid. But even if they've realised the character is going to die, the question of *how* can often be enough to pull the reader forward. | Well, tour character usually have an arc. Stop his arc and let someone end it. Like paulie and Rocky, or dumbledore and Harry Potter. How tour character dies...well It depend on the genre usually. | 1 | 2,223 | 14 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | ie7ku82 | ie7jj6w | 1,656,523,602 | 1,656,523,102 | 5 | 1 | This is just a matter of writing a full character as opposed to a shallow one. The more scenes involving a character, the less shallow that character will seem To generate more sympathy for a character is the same -- spending quality time with that character, seeing their good and bad sides One thing you can try to do is give them a complete sub-plot, although "sub-plot" might be too restrictive a term. What I mean is carve out a niche that plants a flag for that character, really calls attention to your character in all its glory and warts. It doesn't have to be a sub-plot; it could be anything. Whatever it is, it's stamped by the character 100%, and when the character feels like its got a life of its own you walk less of a tightrope | Well, tour character usually have an arc. Stop his arc and let someone end it. Like paulie and Rocky, or dumbledore and Harry Potter. How tour character dies...well It depend on the genre usually. | 1 | 500 | 5 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | ie7jj6w | iea2zrv | 1,656,523,102 | 1,656,563,390 | 1 | 3 | Well, tour character usually have an arc. Stop his arc and let someone end it. Like paulie and Rocky, or dumbledore and Harry Potter. How tour character dies...well It depend on the genre usually. | You can create a character arc that makes the most sense if it ends with their death, and perceptive audience members will catch on. If they think they're likely to die, have some mention that they know what they're doing is dangerous, or even them thinking about how they've accepted the worst-case scenario. It'll put that in the audience's mind. Or, at the opposite end, they could be going into denial, while everyone else worries about them. Really, just make it clear that they're in danger, and that will help foreshadow what happens. | 0 | 40,288 | 3 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | ie97jxm | iea2zrv | 1,656,547,712 | 1,656,563,390 | -2 | 3 | Simplest way I see it done is through flashbacks. Sometimes abrupt. sometimes it feels cheap but it does the job making us care a little. Just a warning though, keep it short. I am not going to read half a novel's worth of flashbacks just to see someone die. | You can create a character arc that makes the most sense if it ends with their death, and perceptive audience members will catch on. If they think they're likely to die, have some mention that they know what they're doing is dangerous, or even them thinking about how they've accepted the worst-case scenario. It'll put that in the audience's mind. Or, at the opposite end, they could be going into denial, while everyone else worries about them. Really, just make it clear that they're in danger, and that will help foreshadow what happens. | 0 | 15,678 | -1.5 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | iebi9ds | iefqhtb | 1,656,597,715 | 1,656,672,696 | 0 | 1 | Knowing that a character I'm attached to might die usually doesn't make me care about them less, in fact, it puts me in complete tension and makes me pay even more attention to the story. Which is a good state to put a reader in. If knowing that a character will die gives you an eyeroll reaction, that character might have had some issues in the first place. Death flags are considered bad because they are trite and cheesy, but you can foreshadow a death in many other ways. Or not foreshadow the death at all. As long as their arc feels satisfying when they finally die, it doesn't matter if it was ancitipated or not. If you want your cake and eat it too, foreshadow their death, but also foreshadow their survival. Give hope to the readers that the story might go in that direction, build that story so that it could realistically go both ways, then kill the character. | Not everybody can die like Mr. Spock in Star Trek II...but if your character's death means that others will live, then the only foreshadowing you need is to show that this is the kind of character who WOULD do such a thing. Yes, Spock's death was "teased" in the opener when he "died" in a simulation...but his actual death was, while still a shock, entirely within his character. If you do this, though, try to avoid making the character happy about it! No jaunty wave right before the explosion--"It's the only waayyyyy" KABOOM. Referring back to Star Trek...right before Spock goes to the engine room, the camera zooms in on him as he ponders the situation and realizes that he's the only one who can do this. His face is grim but determined. That's how a character should decide to sacrifice himself for the good of others: grim, determined, not heroic or smug. | 0 | 74,981 | 1,000 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | iebi9ds | ie97jxm | 1,656,597,715 | 1,656,547,712 | 0 | -2 | Knowing that a character I'm attached to might die usually doesn't make me care about them less, in fact, it puts me in complete tension and makes me pay even more attention to the story. Which is a good state to put a reader in. If knowing that a character will die gives you an eyeroll reaction, that character might have had some issues in the first place. Death flags are considered bad because they are trite and cheesy, but you can foreshadow a death in many other ways. Or not foreshadow the death at all. As long as their arc feels satisfying when they finally die, it doesn't matter if it was ancitipated or not. If you want your cake and eat it too, foreshadow their death, but also foreshadow their survival. Give hope to the readers that the story might go in that direction, build that story so that it could realistically go both ways, then kill the character. | Simplest way I see it done is through flashbacks. Sometimes abrupt. sometimes it feels cheap but it does the job making us care a little. Just a warning though, keep it short. I am not going to read half a novel's worth of flashbacks just to see someone die. | 1 | 50,003 | 0 | ||
vnkxyc | writing_train | 0.94 | How do I foreshadow character death without audience stopping caring? Everybody talks that major character death should not come out of nowhere - it is usually considered "emotional manipulation" and "just here for a shock value", and it's usually advised, like with most plot twists, to foreshadow it before But on the other hand, usual ways to foreshadow character death are always extremely obvious, like "what would we do without you" and "last gig before retirement" and "remember all those happy events we had together" and all that. IIRC, they are called "death flags"? Problem is, with what I see online, when people see it, most of the time they just roll their eyes and stop caring about the character altogether - they are going to die anyway, who cares about their character development now How do I walk that tightrope between character death being too sudden and character death being too obvious? | iefqhtb | ie97jxm | 1,656,672,696 | 1,656,547,712 | 1 | -2 | Not everybody can die like Mr. Spock in Star Trek II...but if your character's death means that others will live, then the only foreshadowing you need is to show that this is the kind of character who WOULD do such a thing. Yes, Spock's death was "teased" in the opener when he "died" in a simulation...but his actual death was, while still a shock, entirely within his character. If you do this, though, try to avoid making the character happy about it! No jaunty wave right before the explosion--"It's the only waayyyyy" KABOOM. Referring back to Star Trek...right before Spock goes to the engine room, the camera zooms in on him as he ponders the situation and realizes that he's the only one who can do this. His face is grim but determined. That's how a character should decide to sacrifice himself for the good of others: grim, determined, not heroic or smug. | Simplest way I see it done is through flashbacks. Sometimes abrupt. sometimes it feels cheap but it does the job making us care a little. Just a warning though, keep it short. I am not going to read half a novel's worth of flashbacks just to see someone die. | 1 | 124,984 | -0.5 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtchfm | hxtcb8r | 1,645,436,283 | 1,645,436,134 | 59 | 22 | Have you read Save the Cat? I'm pretty much same as you when it comes to pantsing so after reading the book I did like very simplistic planning about what I want to happen through the novel. And when I say simple, I mean real simple. Here is an example: -Characters do X to show what is their normal lives like -Y happens -Characters talk what to do -Characters make decision to travel point B and do Z -During the trip they lost this important item they need to do Z -They search for item and find it at bandit camp -They defeat bandits and continue journey -They arrive at B and do Z, but this thing goes wrong -They decide to do this other thing to fix their mistake And so on and so on. You can just list these events until you reach the end of the story and then just start writing. You don't necessarily need to plot out every little detail, create 5 new fantasy languages and draw millions of maps about the area your story takes place in. Just start pantsing and let those finer details come to you during the writing. Don't even worry about not knowing your characters well enough. Just write the first version and get to know them. If you later on decide they would do something differently, you can fix it in editing. I'm sure that for plotters out there my approach looks like terrible idea but it works for me and I'm happy with that | Whatever gets you to a finished first draft is the right way to write the first draft. There is nothing wrong with panting/gardening a whole novel. From my understanding, Stephen King and GRRM both feel like you do to a greater and lesser degree respectively. | 1 | 149 | 2.681818 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtawx0 | hxtchfm | 1,645,434,971 | 1,645,436,283 | 9 | 59 | I work basically the same way, though tbh I've not finished many novels. For me, there are generally two things that can help with problem B: go back to before I was stuck and try it again, usually writing something different; or write a little stream of consciousness thing about what to do next until I get it. Usually some combination of the two works best. What I find, when stuck, is that usually I've gotten the characters into a situation that they shouldn't be in, based on how the story/characterisation works. | Have you read Save the Cat? I'm pretty much same as you when it comes to pantsing so after reading the book I did like very simplistic planning about what I want to happen through the novel. And when I say simple, I mean real simple. Here is an example: -Characters do X to show what is their normal lives like -Y happens -Characters talk what to do -Characters make decision to travel point B and do Z -During the trip they lost this important item they need to do Z -They search for item and find it at bandit camp -They defeat bandits and continue journey -They arrive at B and do Z, but this thing goes wrong -They decide to do this other thing to fix their mistake And so on and so on. You can just list these events until you reach the end of the story and then just start writing. You don't necessarily need to plot out every little detail, create 5 new fantasy languages and draw millions of maps about the area your story takes place in. Just start pantsing and let those finer details come to you during the writing. Don't even worry about not knowing your characters well enough. Just write the first version and get to know them. If you later on decide they would do something differently, you can fix it in editing. I'm sure that for plotters out there my approach looks like terrible idea but it works for me and I'm happy with that | 0 | 1,312 | 6.555556 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtcb8r | hxtuczl | 1,645,436,134 | 1,645,449,618 | 22 | 58 | Whatever gets you to a finished first draft is the right way to write the first draft. There is nothing wrong with panting/gardening a whole novel. From my understanding, Stephen King and GRRM both feel like you do to a greater and lesser degree respectively. | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 0 | 13,484 | 2.636364 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtawx0 | 1,645,449,618 | 1,645,434,971 | 58 | 9 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | I work basically the same way, though tbh I've not finished many novels. For me, there are generally two things that can help with problem B: go back to before I was stuck and try it again, usually writing something different; or write a little stream of consciousness thing about what to do next until I get it. Usually some combination of the two works best. What I find, when stuck, is that usually I've gotten the characters into a situation that they shouldn't be in, based on how the story/characterisation works. | 1 | 14,647 | 6.444444 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtg6y7 | 1,645,449,618 | 1,645,439,387 | 58 | 8 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | Disclaimer: I've only recently noticed this issue with myself and while I have a solution, it hasn't been tested long term yet. Not to mention, this is going to get LONG. So buckle up and make some popcorn cuz we're here for a ride First of all, I'm so sorry you're going through this. It happened to me too and it sucks. Having to reinterpret your writing method walfway through kind of feels like starting over, but now you have pretty high expectations of how it should be; you know how well you can write. So here's what I do know: 1. I often burned out or focused too much on subplots when I pantsed through my story. 2. Plotting is hard when you're used to words just magically appearing on the page 3. This method has turned me into an underwriter, so my editing techniques also changed a lot. Alrighty. With that out of the way, I've summed it down to three kinds of writing days: a) Plotting days: when I don't have the energy to write, but need to do it to not lose the habit. In this case I'll loosely outline the chapters ahead of me - never going too far out. When I'm lucky, outlining just turns into straight up pantsing and I have a new chapter manuscript. b) Worldbuilding days: when I try to plot or write but I'm stuck on research for most of the time I take advantage of it. Just research for hours, answer any and all questions that can pop up and keep a log of them (sum the answer up and then leave the research links underneath just in case). It really speeds up the writing process later and keeps you in the zone further c) Actual Writing days: when the stars align and you know what you have to do and you just write it. Basically, by separating the goal for the day you optimize your work and have some footwork done to make writing easier, while still getting to pants (is this a verb? English is weird) it a bit. Never outlining over four chapters forward leaves room for details you come up with on the spot to be inserted into the story without going through the hassle of replotting the whole novel, and as long as you have the emotional beats to the chapters panned out you can just fix everything in editing. Also, and that's important, I didn't include d)Editing days because I like to edit a couple of months later to have fresh eyes on the story. I write chapters on different documents to see the last date it's been edited just to be sure I'm not that familiar with it and it makes me slightly more open to killing my darlings. Really hope this works out for you the way it did for me. | 1 | 10,231 | 7.25 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtefe5 | hxtuczl | 1,645,437,904 | 1,645,449,618 | 6 | 58 | Last year I back to back pantsed two novels. One was a rewrite, so you could argue that I'd already planned it in the previous versions, but the second book (its sequel) I had never written before. I had a rough idea of what was going on and I knew what needed to happen. Six weeks later it was done. 135k all just smashed out. I tried to start book 3 but to be honest I'm tapped. It was thrilling but exhausting to have so little backbone to work off. I'm still resting it, so we'll see how much revision is needed in another two weeks when I print her for an edit :) | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 0 | 11,714 | 9.666667 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtstrw | 1,645,449,618 | 1,645,448,699 | 58 | 4 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | > And make it good? One thing you should unburden yourself with is the concept of good and making it so first time. Things probably won’t be good first time, especially with pantsing, but you don’t have to publish as soon as you finish with the first draft, in fact you shouldn’t. You can go back and improve…that’s what editing is for. > plot too much and get bored, my brain telling me, “We’ve already written this, this ain’t new or fun”. That’s only an error if you think a book is only plot points. But they aren’t. You haven’t written it already, because part of writing is unpacking it, giving atmosphere to something, making it feel real to the character. A plot point is a bullet point…the actual writing is paragraphs and chapters. > don’t plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, “What would Z do this situation? I don’t know them well enough.” Maybe at that point you should do some planning of the character. But that is very different from planning the outline of the novel tbh. | 1 | 919 | 14.5 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtetvb | 1,645,449,618 | 1,645,438,246 | 58 | 4 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | The most important thing when you set out to write a novel is to finish that first draft. EVERYTHING else to do with writing is at best a secondary goal to finishing the first draft, including quality. Ever heard the phrase "embrace the shitty first draft"? That's what you need to do, disregard both errors A and B and just write. If you realize while writing that you need to fix something or don't know exactly what to do next, just insert a note with a general idea of what needs to be done and then keep on going. Pants away and fix the problems after you have a completed first draft. | 1 | 11,372 | 14.5 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtei85 | 1,645,449,618 | 1,645,437,972 | 58 | 3 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 'Error A' will happen to you no matter what if you're writing a novel. And it's ultimately Error A that seems to be stalling you out, so that's what you need to correct. You need to push yourself to keep going once you hit Error A. Writing is really fun! But sometimes it drags a bit, or you hit a snag and need to pause to work something out, and if you're serious about wanting to be able to write longer works, you need to keep going even once it stops feeling new and fun. Whether you plot or pants your first draft, editing and revision still has to happen afterwards for it to be a functional, 'well-written' novel. Editing and revision is not new, and it's not exciting. It's reading the same words over and over again and making notes and fussing with stuff. It's also something that has to be done, because it makes your work a lot better. And along the way it can get kind of fun, because you get the satisfaction of polishing your work so it's closer to how it feels inside your head. You don't avoid Error A. You work through it. And after a bit, it gets fun again. | 1 | 11,646 | 19.333333 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtg3ga | hxtuczl | 1,645,439,305 | 1,645,449,618 | 3 | 58 | pants while worldbuilding, dont write your novels, instead, focus on your world building and burn yourself out from there. That's how it works for me tbh, I usually do it in this order- write, get bored, have a stump, edit, put all my attention to world building, then go back to writing. | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 0 | 10,313 | 19.333333 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxthpca | hxtuczl | 1,645,440,640 | 1,645,449,618 | 2 | 58 | I usually figure out what the major story beats are, and then gently guide the characters to them while letting the actual process of getting there flow naturally. For example, I knew the king was going to secretly be the villain the whole time, but I had never expected him to practically be a paragon hero at the same time, nor that the biggest obstacle in his plans would be his own daughter who adores him and has aspired to follow in his footsteps her entire life. If you don't know what a character would do in a certain situation, just make something up that sounds fun. If you decide later that it doesn't make sense with the character that's slowly been built over time, then go back and change it, or determine a special circumstance that makes that action suddenly make sense. | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 0 | 8,978 | 29 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtuczl | hxtk6uc | 1,645,449,618 | 1,645,442,648 | 58 | 2 | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | I've only written 3 novels (or rather, 3 manuscripts), but I have the same approach be it an essay, a short story, or a novel. 1. First I think, imagine, research, read. From this, some sort of story or message manifests in my mind. 2. Then I pants the whole thing. Get stuck? Introduce a new character, mcguffin, whatever. Just get to the end whatever that is, probably not where you first thought it'd end. 3. Then I read through the horrible mess I just created. If it's a short story or essay, I'll usually be tempted to edit it into something okish. But, what works best is to delete the whole thing I just wrote (or dumping it in a drawer). 4. Now, write the whole thing again. It'll end up differently, for sure. But, now you know the characters, the world, the story, to a whole new level. At some point you'll veer off into new territory. Perfectly fine. If stuck, just pretend that you're at step 2. Go back to step 3, but make a decision: edit or rewrite either all of it or from some point in the story). If you feel that the whole thing is unsalvagable, i.e. there was nothing there to begin with, go back to step 1. Hopefully, you will find like I often do that some plots or some characters or some aspect of the message is more interesting or important than others. It'll probably take longer than plotting it all, but, plotting kills the joy for me. So pantsing it is. Good luck :) | 1 | 6,970 | 29 | ||
sxp3pg | writing_train | 0.92 | I write more and, arguably, write BETTER when I know as LITTLE about the plot / characters / story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...? Does anyone have *any* advice. I've built my writing abilities around pantsing, unfortunately, and since I've been doing that since *ten*, I'm not sure how to break it. And, admittedly, I don't think I want to break it, as it works well for me, it feels good, and I'm comfortable with it. Yet, at the same time, I know I probably *should* break it. Because they always say, "write in whatever way works best for you" and I am, yeah, but how am I supposed to pants an entire novel? And make it *good?* I automatically plan and plot things when I'm excited about it, and I've planned and outlined characters and plots *dozens* of times with them garnering nothing in return, all because I either... A) plot too much and get bored, my brain telling me, "We've already written this, this ain't new or fun". B) don't plot / plan enough, stumping myself (usually) on accurate characterization or not knowing how to move forward because, "What would Z do this situation? I don't know them well enough." However, if I fix error B, I ultimately fucking end up circling back to error A. I'm screwed regardless of what I do, in my mind. So, does anyone have any ideas? Maybe it's obvious and I'm an idiot, but still, humor me. What should I do about this? Rather, what *can* I do to fix error B, *without* stumbling into error A, all whilst keeping my writing style of mainly pantsing so that writing is at least a semblance of fun for me and not all-grind, no-reward? | hxtmb1d | hxtuczl | 1,645,444,291 | 1,645,449,618 | 2 | 58 | I think I used to be in the same boat as you, OP. I believed I had to plot first in order to write a novel, which then killed the fun of discovering things as I went along and had me abandoning stuff before I was hating the process. If plotting doesn't work for you... just stop plotting. When you hit error B, write our a list of a few scenarios and roll a damn dice. Go with whatever option comes up. You can always change it in a later draft. Pantsers do all of our heavy lifting in edits, and that's fine. Whatever gets you to the finish line is fine. I can't stay motivated if I plot everything out first. I usually have a couple of plot points I know I need to hit before the ending, and that's enough of a roadmap for me, thanks. | **A** = Your infernal (i.e. internal) editor is too strong. You need to fight it. **B** = Your infernal (i.e. internal) editor has figured out a sneaky way to stop you. You need to fight it. My best advice (and I'm a unremorseful pantser with a bunch of novels finished,) is to read Dean Wesley Smith's "Writing into the Dark," which was the book that let me unleash my pantsing-powers! His tip for B is to keep writing, then, when a really cool idea strikes, you jump back and foreshadow it. So say that your librarian character suddenly whips out a .45 and blows the baddies away. Totally out of character. But you like the scene. It feels right. So you go back in the novel, to some scene where the librarian is just discussing stuff with someone else, and you drop hints. "You know, I was mugged. Thrice. You wouldn't believe how dangerous it is to be a librarian. But no more." Then, after the gun scene, when all the other characters are staring (like the readers should), you just circle back to the stuff you've just planted: "What, I told you being a librarian is dangerous. But they won't take me unawares again." Another thing, that I had a very hard time with at first, is to go back to where the story worked (i.e. it felt great two write and the words flowed) and cut everything after that. I put it in a side file, and keep writing. Quite often, I then realize that a part I've already written fits perfectly and glue it back in. So in the end, I don't write many words I end up cutting (less than 5%) and I can keep writing. Luck and Persistence, from one pantser to another! | 0 | 5,327 | 29 |
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