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Viewing: Blog Posts Tagged with: Lessons, Most Recent at Top [Help]
Results 26 - 50 of 77
26. Lessons from Blondie's University of Experience

Lesson #62

When teaching a class of fourth graders how to speak Pig Latin, do not use the word "grass" as an example.

1 Comments on Lessons from Blondie's University of Experience, last added: 8/2/2011
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27. Lessons from Blondie's University of Experience


Don't plant shrubs that attract bees along the sidewalk leading to your door.









1 Comments on Lessons from Blondie's University of Experience, last added: 7/13/2011
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28. Lessons from Blondie's University of Experiece

Lesson #42:

Close the door of the hatchback before you back out of the garage.

3 Comments on Lessons from Blondie's University of Experiece, last added: 6/22/2011
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29. Lessons from Blondie's University of Experience

Lesson #62

When teaching a class of fourth graders how to speak Pig Latin, do not use the word "grass" as an example.

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30. Lessons from Blondie's University of Experience


Blondie's Lesson #29:

If you are a woman and find yourself with a cast on your arm, these are the things the doctor will not tell you that you need:

1. There are a gazillion kinds of cast covers. The BEST are made by Curad. No tape, velcro, etc. involved. Cheap. Work great. Available at Walgreen's or online. (The doctor told me to use a grocery bag and duct tape. *rolls eyes*)

2. Dental floss picks and an electric toothbrush.


3. Facial cleansing wipes.


4. A thick terry cloth bathrobe and slippers (I recommend Acorn spa thongs) because drying can be difficult.
5. Shampoo with a pump top.



If you are a man and find yourself with a cast on your arm, grocery bags and duct tape are fine.

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31. CWCC Virtual Book Tour - for RENEE HAND

 
Today I Have the Pleasure of Hosting Author

Renee Hand
Welcome to day three of Renee Hand’s 6-day NWFCC
April Author Showcase tour, as she discusses how
Mineral Mischief can be used in the classroom. 
 Case#2 Mineral Mischief

Tradebook Tips for Teachers from
Award-Winning Author Renee Hand

Teachers can use Mineral Mischief in so many ways. In the back of the book I’ve included lots of educational information that teachers can use in the classroom to further understanding of rocks and minerals. I also add a diagram of the rock cycle, which can be referred to at anytime.

I’ve created various experiments where students can make predictions by using various charts. Terminology is included in the back as well as a ‘Did You Know’ section. I also incorporate a discussion about bullying, which one of the characters is involved with. The character also finds a solution to this problem which all children can benefit from.  The information that I have in the book can be used to fill the National Standards requirement for this topic.


Follow Day 4 of Ms. Hand's tour tomorrow
at
www.mayrassecretbookcase.com.



=============================
Download 

My FREE e-BOOK
Secrets of Writing for Children.

This e-Book offers you one stop guidance for Writing and Self -editing
children's books. These helpful hints come from my many years of
writing for children and doing manuscript critiques.
===============================

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32. Lessons from Blondie's University of Experience

This is the first of some new posts featuring things I've learned through experience and am passing along to anyone who might find them useful. (Btw, "Blondie" is one of my nicknames.)

Lesson #1:

Do not cook a porkloin with the meat thermometer set on Celsius and wait for it to reach 160.

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33. Over Expressed Emotions

Because this blog is all about flexing our descriptive skills, I wanted to touch on something I see from time to time when I critique: too much emotional showing.

Emotions can be the most difficult to convey (this is why Becca and I built the Emotion Thesaurus!) Not only do we need to express without telling, we have to show the emotion in a fresh way, make sure it feels genuine and have it match the character's expressive range. Add that to highlighting action and minimizing internal sensations and thoughts? It's a lot to juggle.

Common ways to show emotion:

Physical action (beats): gestures, movement, ticks & tells that express emotion
Internal sensations: bodily reaction known only to the POV character
Thoughts: reactive & emotionally charged thoughts caused by stimulus
Dialogue: revealing emotion verbally (and sometimes showing by what is not said!) 
POV Narrative: internal musings/reflection delivered by a POV character toward a situation or setting

A balance of these elements creates a satisfying window into the character's emotional state, but too much causes an overload of sensory information. It slows the pace, creates melodrama and disrupts the reader's belief in both the character and the events unfolding.

Over-expressing occurs when we try too hard to reinforce an emotional state to the reader. Here's an example of how this can happen. First, we need an emotion. Let's go with GUILT.

Mrs Henderson lifted her day planner and rifled through the papers on her desk. "I don't understand--the stapler was here right before lunch. Did someone use it and forget to put it back?"

  Amanda slid down in her seat, heat burning through her. Stupid! Why did I take it?


A very simple situation--not a lot is needed to get into Amanda's emotional state, right? Internal and external cues work together.

So what if I did this:

Amanda fumbled her library book open and shoved her nose deep into the pages so she wouldn't have to look at the teacher.

Okay, again, this works.

One more:

Amanda shifted in her seat, grazing her knee on the bottom of her desk. What if the teacher knew? What if she asked everyone to pull out their desk trays?

Yep, still showing guilt, blending external cues and thoughts, which give her guilt a paranoid edge.

Now...what if we put it all together?


Amanda fumbled her library book open and shoved her nose deep into the pages so she wouldn't have to look at the teacher. Shifting about, she slid down in her seat and her knee grazed the bottom of her desk where she'd hid the stapler. Heat burned through her. What if the teacher knew? What if she asked everyone to pull out their desk trays? Stupid! Why did I take it?

WAAAY too much showing for this simple scenario and a medium level emotion, isn't it? Can you imagine if I'd chosen a situation rife with stronger emotions, like a character running for their life or witnessing a murder?

The trick

36 Comments on Over Expressed Emotions, last added: 3/3/2011
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34. The Fine Art of Conquering Impatience

Recently my blogging chum Shannon O'donnell posted about how important certain virtues are for people on the writing path. We must have the courage to write and put ourselves out there, we must find the fortitude needed to persevere. The one virtue she mentioned struggling with is having enough patience to stave off discouragement, depression, frustration and doubt.

Patience. Boy, that is a tough one some days, isn't it? I bet you can all relate to Shannon. I know I can.

Writing is a long journey. Most of you are probably involved in writing sites, forums, critique groups and the like, connecting with others on the writing path. You read blogs, encourage others, keep tabs on those striving just as you are. This is what it means to be a community. But there can be a dark side to belonging to this community, something that can cause us to have a crisis of faith: staying patient and upbeat when other succeed where we have not (yet).

Don't get me wrong, we cheer for every sale and piece of good news that comes to our writer friends! But, sometimes a sliver inside us feels something else: Frustration. Envy. Worry. Doubt. These emotions lead to a plague of questions: Why haven't I succeeded? Why isn't it my turn for good news? Why can't this be me? Am I kidding myself for even trying?

It's very easy to let these negative questions send us on a downward spiral, sucking away our energy, our creativity and our strength to continue. Like Shannon mentioned in her post, it is impatience that leads us down this dark road.

So how do we fight it? How do we build up our resistance and stay upbeat?

I find for me, the best way to conquer impatience is to take it out of the equation. Once my book is in an editor's hands, is there anything I can do writing-wise to make them say yes? No, there isn't. Can I make them read faster, get back to me faster? No. So, why stress and get all impatient about it? These are things I have no control over.

Instead, I put my energy into what I CAN do:

--I can make myself attractive to an editor who may look me up online. So, I put time and energy into my online presence and platform.  

--I can continue to write & polish in case they want to see something else from me. I let go of the book that's on submission and turn to the next project.

--I can continue to learn, which will help me make sure a cleaner product reaches their desk. None of us know everything--we can always improve. Learning is growing.

These are the things within my control, so I do them. :)

Here's one solid fact, no matter where you're at on the publishing trail: if you keep moving forward, you'll get there. I believe this. I live it. So, the next time impatience & negativity clouds your head space, TAKE CONTROL. Fight by putting your energy into things that will lead to your success!

42 Comments on The Fine Art of Conquering Impatience, last added: 2/17/2011
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35. Want High Stakes? Amp up the Stress!

In the real world, we avoid stress whenever possible but in writing, the opposite is true. Why? Because in the land of the Three Act Structure (TAS), STRESS = CONFLICT.

In the TAS, our main character has a need or desire which outside forces try to prevent, challenging him to overcome adversity to achieve his goal. Sounds like a nice, simple formula, doesn't it? However, without the critical element of STRESS, the storyline falls flat.

Little Johnny wants a cupcake. His mother says no. He waits until she turns her back and then takes one anyway.

Can you see it? No Stress = BORING. Johnny wants something, but he isn't stressed about it. The reader could care less whether he achieves his goal or not, because the stakes are nonexistent.

But let's look again, this time applying factors to cause stress:

Little Johnny has diabetes, and hypoglycemia is setting in. He doesn't want that cupcake, he needs that freaking cupcake. He's shaky, sweating, and his limbs aren't cooperating like they should, and he knows that if he doesn't get sugar STAT, it'll be lights out.

As readers, this situation has our blood boiling. Mom's obviously sadistic, not handing the sweet over. If it was up to us, we'd call Social Services and cheer as she's charged with neglect and failing to provide the necessities of life. Sadly, it isn't up to us, so all we can do is watch, helpless, and pray Johnny is strong enough to figure out what to do.

The application of stress has achieved something incredible: the reader now cares about Johnny. They are invested in his situation and riveted on the outcome. 

With the stress level maxed, the stage is set for action. The stakes are high. What will Johnny do to survive? How will he overcome his weakness and defeat this older, stronger mother-villain? How will he push aside the emotional connection of being her son to save his own life?

It doesn't matter what the situation is, STRESS is what pushes your main character to ACT. It can force them to go against their own nature or beliefs, to meet challenges, overcome obstacles and face danger. Stress creates tension, which leads to conflict, so don't be afraid to amp up the stress. The higher the stress, the more elevated the stakes are, laying the groundwork for a compelling story that will captivate your reader and make them feel invested in the outcome.

30 Comments on Want High Stakes? Amp up the Stress!, last added: 12/14/2010
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36. Inside the Simile

Last week I took an inside look at Metaphors, so today I thought Similes needed some love. Because of their ease in use, most writers already incorporate similes and understand what they are. However, for posterity, Friend Wiki states: A simile is a figure of speech that indirectly compares two different things by employing conjunctions (e.g. the words "like", "as", or "than").

Similes are often easier to come up with, because 'like or as' (the most commonly used conjunctions) can form a quick comparison without worrying about being deeply meaningful or symbolic. There's also some wiggle room as simile comparisons are adaptable, which allows the opportunity to inject voice, humor or the POV character's outlook into the wording.

For example:

Margo was a surgeon, cutting her dinner into precise bites. (metaphor)

Margo ate like a surgeon with OCD, cutting her dinner into precise bite-sized pieces before manically sorting them according to color, texture and shape. (simile)

Jim's stained undershirt was an artful collage of food he'd eaten this week. (metaphor)

Jim's undershirt read like a lunch menu from a greasy spoon diner--chili dogs, spray cheese and grape soda. (simile)

As you can see, the ability to tweak what's being compared allows us to better show some wit and personality, making this a popular figure of speech. Of course, this leads to a very common problem among writers...simile overload.



SIMILE ABUSE

Many of us love similes a little too much. Tools like AutoCrit and  Wordle can be helpful to gauge your usage--dump in a chunk of your story and see what pops out the other side. If you start seeing loads of 'likes' showing up, chances are you are abusing similes in your writing. This is something that we need to correct, because if the reader starts picking up on the 'like or as' constructions, it means they are noticing the writing, which pulls them out of the story.

This is a weakness of mine. I have to really go through my work and weed out this particular figure of speech. Once I had a crit partner tell me my book looked like I took a bag of similes and dumped them on top of my manuscript. The truth behind the statement was not lost on me (nor was the very visual and ironic use of simile in her comment!)

Curb your simile addiction and trundle down to my metaphor post. Take a look at how to craft metaphors and also think about creating evocative, sensory description that does not require a figure of speech. Strong writing comes from using a variety of stylistic methods to convey meaning, but never relying on any one technique too much.
37. Inside the Metaphor

Metaphors. Most of us know we should use them, that they're a good way to describe, but not everyone has a solid understanding of what they are. Seeing as metaphors are one of the most powerful communication tools between writer and reader, this is one English lesson worth reviewing! 

Er, what are they again?

Friend Wiki states: A metaphor is a figure of speech that constructs an analogy between two things or ideas; the analogy is conveyed by the use of a metaphorical word in place of some other word.

I think of it as matching two things in a meaningful way. While a simile gives a likened comparison (object A is like object B), a metaphor states that object A is Object B. The full moon was a glistening pearl in a midnight shell. Love is a teddy bear clutched in a sleeping child's arms. Mom's sex talk was an evangelist's rant about lust being the tool of Satan.

Each metaphor gives a clear image of what the writer wants to get across. It should allude to atmosphere, mood, emotion or characterize. In the case above, LOVE is not a passionate teenage embrace (volatile, emotional), it is not the familiar touch of age-spotted hands (enduring, comforting). It is the teddy bear clutched in a sleeping child's arms--innocent, unconditional, protective, beautiful. The reader experiences LOVE exactly as we want them to. This is is why metaphor usage is so powerful. The analogy you choose doesn't only send an instant picture to the reader, it can also show them what you want them to FEEL.

So how do we build strong metaphors? 

1) Write down the thing you want to create a metaphor for. It might be an object, person, emotion, a descriptive element, concept or physical action.  IE: Winter

2) Write down several descriptive details/attributes/free associations about it. IE: cold, death, frozen, snow, ice, white, blanketing, clean, fresh, frost, blizzard, biting wind, renewal, isolation

3) Think about the emotion/atmosphere angle you want to convey in the scene and the meaning you want to get across. Light and whimsical? Dark and depressing? Symbolic? Humorous?

4) Create a list of possible comparables that have #2 in common while keeping #3 in mind. If you need to, start with a cliche to get your brain going, and then branch out into fresher territory. IE: # 3 Dark & depressing angle

Winter was... 

...a linen shroud covering an earthy corpse (#2 the look of snow)
...the lonely howl of a wolf, separated from his mate (#2 isolation)
...the final icy exhale of a man on his deathbed (#2 death, endings)


Each of these brings an image to mind that reinforces a dark aspect of winter: death, being alone, finality. Metaphors ofte

29 Comments on Inside the Metaphor, last added: 10/7/2010
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38. The Positive Side of Rejection

I bet a few eyebrows jumped up at reading the title of this post. In fact, right now people are crossing their arms and expelling a bitter laugh or two as they recall the soul-eating, BP-oil-spill darkness that accompanied their last rejection. Something positive? What, it came in an email so no trees had to die to deliver it? Come on, Angela, get real.

Okay, first of all, saving trees is a good thing. :) But that's not what I mean. All rejections, paper or otherwise, have a positive side.

1) A rejection means you're in the game.

Lots of people talk about getting a novel published...someday. They cite the dream of holding a book in their hands (or on kindle) that will touch other people's lives. Well, talk is cheap. You, my friend, are not content with talking--you are a DOER. Getting an R means you worked your ass off to learn to write well and then took the leap to submit...something that should be celebrated!

2) A rejection means you believe in yourself and your work.

Unless you're a masochist, a rejection's cheese-grater-on-brain feeling isn't something one braves just for giggles. Everyone in this business knows publication is not for the faint of heart. When on submission, you lay yourself bare and say, "This is my work. I believe in it, and so should you." The fact that you are willing to take the rejection hit SHOWS how much passion you have. How many other people can say they feel passion for their jobs?

3) A rejection is an opportunity to learn.

Each rejection, even a form, is a chance to re-evaluate what you're presenting. Look at the materials sent to this agent or editor and put yourself in their shoes. Why did they pass on this? Is the query streamlined and voice-y? Does it contain a compelling hook? Is the writing solid in the sample you sent along--strong characterization, interesting premise, hooks to inspire the reader to keep reading through those first pages? Or are you relying on description or nice writing to pull them in and keep them going until you get to the good part on page 10?

Let's say you decide the query is solid and the writing sample's a shining monument to awesome. Ask yourself then if you targeted this person effectively. How much research did you do before hitting send? How well did you know their interests, their recent projects and authors' work? Did you see they take YA in a forum somewhere and so fired off a query, without checking current websites/blogs/interviews to really understand what projects they want most?

4) A rejection is a challenge to do better.

Writers are fighters. If we weren't, we'd choose some other profession with friendlier odds. Take the frustration over a rejection and challenge yourself to prove the Rejecter wrong. Turn a critical, honest eye to the material, evaluate, and PAY ATTENTION. Is there an above question that makes you feel a momentary flutter of doubt? If there is, chances are this is an area to focus on before sending your work out again. Let the fire of wanting to prove yourself be the motivation to strive for your very best. Don't settle for 'feeling pretty good about' any aspect of your work or query. Be satisfied only when you feel you have done everything in your power to ensure success.

Final thoughts

Rejections come with the territory, so try not to take them personally. Quality work and careful targeting are key, but it still comes down to a personal preference, something out of the writer's control.

35 Comments on The Positive Side of Rejection, last added: 7/29/2010
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39. Setting Description...Writing More Than Just What You See

A new Muser, Soy, asked a really excellent question in Give Me Your Feedback and I thought it would make a good post. Her question was:What is the best way to describe a place in a really special way, without sounding too visual?I like this question, because it's what the Setting Thesaurus is all about. As writers, our first reaction is to transcribe everything we see in our head onto the page

15 Comments on Setting Description...Writing More Than Just What You See, last added: 3/24/2010
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40. Rejection Lessons from "American Idol"

Top 10 things we can learn about Rejection from American Idol:

1. Not everyone likes the same thing. No agent or editor likes the same thing. We as writers or readers don't like the same thing. It's not personal.

2. Criticism can make you better, if you're open to it. Take any suggestion for improvement and see if it can work. It make help you take a step forward.

3. Everyone needs to improve on something. No one is perfect. Some of us are good at voice, others at plot. It's about growing.

4. Believe in your talent. If you don't believe in yourself, how can your agent or editor? Trust in your ability and do your best to make it work. Sometimes it is out of your control.

5. Talent isn't the only factor. The best singer doesn't always win. The best writers don't always get the book deals. There are so many other factors that go into moving through this journey successfully: the market, the agent, the editor, the need, persistance, patience, timing.

6. Sometimes, it boils down to an X factor. Some just seem to have it. Others have to fight for it. But there has to be some connection between your book and an 'editor/agent that you can't force. It just is or isn't.

7. Know your strengths. Don't be something you are not. Know what you're good at and stick to it until you establish a place for yourself. Your genre, voice, and story.

8. Don't make excuses for your weaknesses. Just do something about it and work to get better.

9. Expect a Simon in every crowd. There will always be a critic that doesn't like your work. Apply the parts that make sense and leave the rest behind.

10. Have faith that this is your time. Its the only thing you can really control in this process.



40 Comments on Rejection Lessons from "American Idol", last added: 3/6/2010
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41. Illo #1 and Lessons Learned

Working on the illos for my son's short story has been quite educational. While it's not a "real" illustration commission, it's given me a sense of what working on a job might be like. I've completed a few drawings in pen/ink. One of them is shown here (critiques welcome):




Suddenly the laughter at the table stopped for everyone was curious about what Jake had to say.


I'm not 100% thrilled about this picture. I started with this one and it's probably the most difficult of the 5. There are several people of different ages - requiring different proportions. They are all seated around a dinner table - requiring lots of "clutter" among the people and lots of legs beneath. I didn't have anything to look at, so I just had to work it out in my head (I did have my son model the hands for "Jake").


This has been very eye-opening, and I've learned many things about the whole process. Such as...


1) Make sure you have lots of time before the deadline to do - and redo - and redo - until you're totally satisfied.


2) This will be the final product for his assignment, but it's really just a 1st draft (after those sketchbook studies) of the entire composition. Now, I see all kinds of issues that I would change if I were to be doing this for a publisher.


3) I have a tendency to shorten legs - one of those proportion issues - but I've dealt with that a little better in drawings 2 and 3 (to be shown later).


4) Lighting is a bit of a mystery to me - I would have liked to enhance this image with effects of the lighting they would have had during that era (candles). But, I didn't have time to explore that and I would prefer to have something to directly observe.


5) Historical fiction is not my 1st choice of genre to illustrate - certainly not with a 1 week deadline! It's another layer added to the illustration - having to think of period correctness of costumes and props. More to think about and research.

2 Comments on Illo #1 and Lessons Learned, last added: 3/2/2010
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42. Fabulous Follower Fiesta/Lessons from the Bachelor

Here are today's winners! Thanks again to all my followers!

Winner #1:
Ash Elizabeth (Warning)
You won Hardback of Wicket Lovely by Melissa Marr and The Novel Writers Toolkit. Please email me your address.

Winner #2: Robyn Campbell (Putting Pen To Paper)
You won a Hardback of Devils Kiss by Sarwat Chadda and The Writers Course

Congrads and thank you for following me :)


Lessons from The Bachelor
when querying agents/editors

1. Stand out - Make sure your premise/query letter has a good hook

2. Don't use gimmicks to get attention - be professional

3. Don't be the "crazy one" - do not keep emailing them. Wait the allotted time they list in their submissions before hounding them

4. Remember that chemistry is not something you can force - sometimes its that untouchable factor. Don't take every rejection personally.

5. Don't be the aggressor - don't appear desperate

6. Expect to cry at least once - Its OK to be upset about rejections. Give yourself 24 hrs and then move on. Especially at rejection.

7. There are at least 25 other good writers in line with you - Keep in mind agents get thousands of queries and editors get hundreds of manuscripts. Don't take the long wait personally.

8 First impressions are critical - watch the mispellings in your letter.

9. Know when to talk - don't blog about your rejections

10. Don't give up on "love" because you haven't found it yet - it only takes one to love your work.

11. Don't settle - if an agent offers you representation, be sure you connect. A bad agent is worse than no agent at all.

12. Make sure they love you as much as you love them - be sure when you get representation that you choose someone who loves your work and voice. Not just the premise or idea.

13. No one likes drama - their is no room for drama in publishing. Keep it in your books.

41 Comments on Fabulous Follower Fiesta/Lessons from the Bachelor, last added: 2/4/2010
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43. Seven Deadly Sins for Novel Writing: Sin #VII

Sin #7: TMI (Too much information)We're all guilty of this sin at some point during the writing process. The trick is finding the correct balance by the time we reach the final draft. Nothing will turn off the reader faster than long passages of hand-fed information and back story. The reader chooses a book with the expectation that they will experience something new, something that only this

24 Comments on Seven Deadly Sins for Novel Writing: Sin #VII, last added: 2/5/2010
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44. Seven Deadly Sins of Novel Writing, Part II

Sin # 2: Counterfeit CharactersThe most brilliant plot is nothing without the right characters. The writer's job is to create unique, emotionally charged characters that are strong enough to drive the story. The characters we choose can make or break a novel, and a single misstep can turn a credible hero into a counterfeit that the reader has no patience for. Common missteps in characterization:

17 Comments on Seven Deadly Sins of Novel Writing, Part II, last added: 12/23/2009
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45. The Seven Deadly Sins of Novel Writing

In my mind, there are seven big things that can undermine a novel. I want to address them all, but to avoid having a post 8 miles long, I'll break them up so they each have their own real estate. Today let's look at the first sin on the list! Sin#1: Low StakesStakes are paramount in a novel--they force your character to act. High personal stakes create strong conflict because each choice or

30 Comments on The Seven Deadly Sins of Novel Writing, last added: 12/17/2009
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46. AW October Blog Chain: Creating Effective Atmosphere

For this month's blog chain, pretty much anything to do with Fall is up for grabs. I can't think of anything better to talk about than using the season to enrich a story's atmosphere. As writers, we think carefully on the setting we use for our stories. The where and when of each scene anchors the story and its characters and provides the reader with valuable information. Settings should be

15 Comments on AW October Blog Chain: Creating Effective Atmosphere, last added: 10/10/2009
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47. A Public Service Announcement

Imagine--there you are, just burning through those revisions. In fact by golly, you think maybe you're pretty darn close to letting your MS leave the nest. You're feeling pleased with yourself for sticking through the editing process, especially those days when plucking out nose hairs with tweezers or washing your hair with toxic waste seemed more appealing than taking A-N-O-T-H-E-R pass at your

13 Comments on A Public Service Announcement, last added: 9/14/2009
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48. Morals Schmorals

 

WIsdom

 

Above is a sample picture from my wife’s keepsake children’s book collection.  They are from a series called “Alice in Bibleland” which aims to educate young children about God and good behavior.  We’ll come back to them in a moment. 

 

Some children’s books, The Berenstien Bears being the biggest culprit in my mind, aim to teach a moral or lesson through their stories.   Little Timmy learns to tell the truth, Silly Sarah remembers to brush her teeth and so on. 

 

Too often, these stories are corny or, worse yet, “preachy” and kids can see right through them.  Given free choice, how many kids say, “Read me ‘Tommy Turtle Learns to Respect His Parents’!”   Not many.  What is it that so often makes these stories fall flat?  I believe that it is because these stories are not “true”. 

 

Even in fiction, we want our stories to have a ring of truth to them even as we acknowledge that they may have never happened at all.  We want stories that we believe could happen, or, given a universe where bears and rabbits talk and play poker, would likely happen in a similar fashion.  

 

This is called the suspension of disbelief, but it doesn’t mean believing anything and everything in a story.  It means allowing for the possibility and “playing along”.  Let’s pretend I’m reading a story (suspend your disbelief for a moment) whose setting is in a world exactly like ours except that bears and rabbits talk and play poker.  Now let’s say that the bears discover that the rabbits have been cheating and say, “Gee Whiz, Rabbits.  Your cheating has cost us our entire month’s salary of honey.  We would kindly like it back.”   “No way, Jose,” say the Rabbits, to which the Bears reply, “Oh well, forgive and forget.  Another hand?”

 

This story is unbelievable.  Not because the bears and rabbits are talking and wagering large sums of honey, but because we don’t believe that, GIVEN all those facts, the bears would react in that manner.  The same goes with a lame story about Little Johnny stealing from the cookie jar.  He does so because he wants a cookie, and feels good when he succeeds in getting it.  But when his mother tells him, “You shouldn’t steal from the cookie jar, it will spoil your dinner,” he wouldn’t believable say, “You are right, Mother.  What a naughty boy I’ve been.  I will listen to you from now on.”

 

We might believe if, however, Little Johnny continues to eat all the cookies, gets an upset stomach and misses out on his favorite meal, Pizza Night!  Nothing sets of alarm bells in our brains more than a character who is forced to act counter to her nature by an author with an agenda.

 

Now, back to Alice in Bibleland.  The book that particularly appealed to me was called “Psalms and Proverbs”.  As moral instructions, Proverbs are very good because they represent wisdom and truisms passed down for hundreds of generations.  The same goes for Aesops Fables (a good site full of these fables can be found here).  Everyone knows someone like the greedy fox, or the shortsighted grasshopper and the lessons they teach from their follies ring true because we’ve observed people or situations like them for ourselves.

 

Kind Words

 

Whether or not you are aiming to teach your child about God, the above pages are universal.  “A soft answer turneth away wrath,”  and “Pleasant words are as a honeycomb, sweet to the soul, and health to the bones.”  They are moralistic and illustrated in AGONIZING sweetness, but they don’t read as “false”, like some other books that strongarm their stories to fit the moral or lesson.

 

I hope I’ve helped you put your finger on why some of those books you’ve come across (you know the ones) are so dang CORNY.

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49. Seeing and Drawing the Figure in Space

Focal Press have given us permission to reprint a few lessons from their great new book, Drawn to Life: 20 Golden Years of Disney Master Classes, Volume 2: The Walt Stanchfield Lectures. Check out the first lesson on Perspective Drawing here. Here’s the second lesson on figure drawing in perspective… Enjoy!

Walt Stanchfield:
whacky-box

Isn’t this a beauty! Of course, you’d have to go out of your way to draw something so third dimensionally screwed up. Even a non-artist could come closer to reality than that, because a box is a relatively simple form.

A box takes place in space, and as we draw it, it’s easy to think of it as occupying space, especially with the help of some elementary perspective.

another-whacky-box

The human (or animal) shape exists also in space and, though much more complicated, the idea of it displacing space is the same. However, quite often when drawing from a model we switch into a different mode than when drawing a box. With a box, it’s easy to see the space inside and around the shape, but with the more complicated human figure that aspect is not so obvious.

Let’s try to establish a clear concept of seeing the figure in space by using what might be called the “shock treatment.” Here is a screen with a 2-dimensional shadow of a figure cast on it.

stanch-silhouette-dude

Now the screen is suddenly pulled away and there before us, without 3D glasses, is the same figure in glorious 3D. (Drawing by 3D advocate, Mike Swofford; modeled by third dimensional Allison Mosa.)

Look from drawing to drawing and you can see it happen. That gratifying and fascinating realization of 3D that overwhelms you — which should be your normal realization at all times while drawing.

Superimposing the box onto the figure illustrates how they both relate to space in a similar way.

stanch-not-silhouette-dude


Also of interest:

Download the rest of this tutorial (PDF)
20 Golden Years of Disney Master Classes, Volume 2: The Walt Stanchfield Lectures (Amazon)
Perspective Drawing Lesson by Walt Stanchfield

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50. Don’t create art in the computer.

I’m a professional digital illustrator. I also train people how to create digital illustration.

You know, like in a computer. Pixels, vectors, Adobe products, Apple gear, WACOM tablet, LCD, external drives. Electromagnetic Hell.

So some students will find it odd that the first thing out of my mouth when I talk about method is, “Don’t create your art in the computer.”

This coming from the guy who makes his living with a computer. I didn’t always make awesome digital illustration. In fact, it kind of sucked.

A little backstory.

The first time I sat down at a computer was at my dad’s office at O’Hare airport (riiiight. try that nowadays, kids). It was a green-screen airline reservations system hooked up to a dot-matrix printer.  I was seven years old. My first thought was “This is just like Star Wars.” My second thought was, “How can I make art with this thing?” My sister and I had all kinds of fun making rocket ship patterns with numbers and letters. Weee-hoo!

This image will self-destruct in 3...2...

This image will self-destruct in 3...2...

 

Years later, when Windows 3.1 became the hottest thing since 10-lb. mobile phones, I started creating art in the computer again. It was terrible. Pixelated nightmares of birthday greetings and mutilated self-portraits.

When a friend loaned me a copy of CorelDraw, I created some equally bad art in the computer. The fact that I had a more sophisticated vector application did nothing to improve my digital work. Why?

It’s because I strayed from the wildly fun and inspirational process of drawing and doodling and focused on just making it all up onscreen.

My digital work has improved considerably since I “went backwards” and started sketching again. When I work on a project now, my first step is to move away from the computer. Even though the final art is all digital, it always (always, always) starts out with a #2 pencil and plain ol’ paper.

Copylicious was delicious

Here’s an awesome real-world example of my method. It’s not brain surgery, this method of mine. I didn’t file a patent on the process. It just works.web-site-jet-pack

Kelly Parkinson is a copywriter extraordinaire. If you visit her copylicious web site, you’ll soon find yourself inventing excuses to work with her. She’s just awesome, and she’s also my ideal client. She’s independent, knows her business, and enjoys talking about it. That made it incredibly easier to get a handle on how I could help her with some illustrations.

Kelly has a pretty cool product called the Web Site Jet Pack. The design of her site is simple and fun. She just needed a simple bird illustration. A birdie wearing a jet pack. When I hear something like that you can’t pull me away. A bird wearing a jet pack. This is what gets me excited, what can I say?

Let’s make some birdies!

After Kelly and I talked about her site, I went to Step 1: I put my computer to sleep and started doodling little birdies. I just had fun with it, let loose. No high art here, no polished Leonardo DaVinci renderings, just some messin’ around.

Then I went away and had something to eat (that’s Step 2 if you’re keeping track). It’s good to go away for a bit because I find I overfocus and lose sight of the big picture.

When I came back I narrowed down my doodles and made some more finished drawings. Below you can see a few examples. I do this every time.

 

Digital Illustration Unplugged: pencil and paper.

Digital Illustration Unplugged: pencil and paper.

 

You’ll also see the final drawing on the tracing paper (upper right, by the pencil point). That’s the thing I scan in and use as a reference in the computer.

I’ll get into that in more depth another time, I promise.

For now, the thing I want to stick in your mind is the idea that creating digital illustration does not always start in the computer. For me, it starts where all my better illustration starts, which is in the noggin and on paper.

Another interesting point is that I never sent Kelly my doodles and scraps. How much fun would that have been for her?

Ummm… what the hell is this? I thought this guy was good, I don’t want this sketchy crap on my web site. What is this, like, half a bird? Oh my god… is it too late to get my money back?

It would be the equivalent of Kelly sending one of her clients a torn-up notebook page of shorthand and saying, “It will be kind of like this.”

Disaster, right? So instead they just get awesome copy that works. Kelly gets a polished-up birdie in a jet pack. Everyone’s happy.

So again, the lesson for today, Kids? Turn off the computer. Give that pencil a workout. You’ll be very pleased with the results and you might just have a blast in the process. Isn’t that why you do this anyway?

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