About Writers, inspiration, Uncategorized, Writers Co-op

Overheard

Facebook Writers Cafe, Mainstreet Earth:

Lydia Caatt: Whatever it’s is you are describing look up a similar description or something. I look up photos online and decipher how I’d describe it to a blind man.

Ernest Van Horn: Write in such a way that you feel that you’re in the skin of the character. You are not “angry”, your heart is pounding, face is burning, and thoughts are fast but focused on who wronged you.

Watson Davis: Put yourself in your POV character’s head and then write what they experience, what they see, what they smell, what they hear, what they feel inside and outside. Stay in their head as they move through their world. Don’t write “I began to feel the wind against my skin”, don’t write “I felt the wind against my skin”, instead write “The wind brushed against my skin.”

Christy Moceri: Everyone, no matter how well they write, has moments of doubt. It’s not a reflection of your skill or potential, it’s a reflection of the fact that you’re an artist. I’ve learned to think of my opinion of my own work as just background noise.

Niki Bond: Make sure you’re in-tune with the characters’ emotions.

Ian Bristow: There is a limit with setting descriptions though, IMO. I think those should be reserved for the more long term settings, as I personally don’t like to be reading and get a detailed description of something I will only see the once. It is not only misleading about how important that setting will be, but descriptions are not generally story movers, so I’d rather engage in conversation or get the thoughts of the MC as they move through that setting.

Edward Buatois: Just always remember, ALL writing is about emotion. In action, your character(s) want something. They worry that they won’t get it or will be injured or killed or will be left in a worse position than before or if they fail something terrible will happen. Salt your action scenes with that and they will never be boring.

JM Chandler: Take my voice out of it.
Tap into the emotion of the scene/character. Kurt Vonnegut was genius at this.
Lazy writing will tell you what the emotion is. Insightful writing will describe it.

Lance Cargopants: Realize your reader is intelligent and picks up clues. And what would be an unmistakable clue to you? Example: Like that scene in Sum Of All Fears, where the president does this humorous speech before the press corp, and a phone goes off. Then another. Then all of them

& finally, Hunting Down the Pleonasm
Take a look. 🙂 You will not regret knowing this.
https://www.adventurebooksofseattle.com/Hunting%20Down%20the%20Pleonasm2.pdf

Photo: Left Bank Writers Retreat in Paris. Hemingway, memorialized with a plaque at the bar, once lived just down the block and made the cafe his unofficial office, writing in a red leather booth and drinking with fellow writers F. Scott Fitzgerald and Ford Madox Ford. In Hemingway’s day, cafes were the social hub for the Left Bank Writers – providing an inspirational mix of food and wine, companionship and all-day office space.

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11 thoughts on “Overheard

  1. Douglas Adams was an adverbial artist. “She was heart-thumpingly beautiful” instantly enveloped me in Dirk Gently’s emotional truth. I have become wary of writers who give advice in absolute terms. It seems to me that an author’s insistence about what to avoid merely exposes that author’s pet peeves.

    Liked by 1 person

    • GD Deckard says:

      That’s the thing about writers. You won’t find a more independent-minded bunch outside of prison.
      “Artists and outlaws are on the outside looking in.”
      – Marshall McLuhan, Edmund Carpenter, or Grace Slick.

      Liked by 1 person

    • GD Deckard says:

      🙂 Or, the view from outside is more revealing. McLuhan meant that artists and outlaws see what’s in front of them while others watch life through a rear-view mirror.

      Liked by 1 person

  2. I agree writers are probably more objective about the world around them as they stand apart and observe in order to write about it, but I don’t see how that relates to the individual advice they give about how writers should — or shouldn’t — write. I suspect that advice is dispensed from a well that is quite the antithesis of objective observation, and more about personal preference. Although, even then, the writer’s actual writing doesn’t necessarily reflect the writer’s own advice. One example I can site would be Allan Guthrie, who allowed adverbs might be acceptable once every 50 pages, when his most recent publication, Savage Night, contains 3 adverbs in the first 3 lines of print.

    I remain wary of writers’ advice on writing.

    Liked by 2 people

  3. Perry Palin says:

    I agree with the comments that all (good fiction) writing is about emotion.

    Some people tell me they like my short stories. How many years am I allowed to be an emerging writer?

    Some writers who haven’t had even the modest success I’ve had will give advice on writing. I would never presume to tell someone else how to write.

    Liked by 2 people

  4. GD Deckard says:

    I love other peoples’ opinions about writing. Some sink in. Most bounce off, of course, but sometimes the advice, critique or opinion helps me to do better what I want to do in the first place. That’s my definition of good advice 🙂

    Liked by 2 people

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