Writing a Novel Outline

Deciding the if and how of writing a novel outline is highly debated among novelists. Some novel writers say that writing a novel outline is necessary at the outset. And others would say they can't get started with an outline. So, which way is the right way? In my opinion, the right way is the one that gets the work done.

Personally, writing a novel outline works for me. I have to know which way my story is going before I start. Some people need the certainty of points on paper to keep themselves on track. Writing a novel outline ensures your story will not drift off track and include scenes that stop the flow of events and action. Whatever it takes to help you sit down and write that novel, that's the right way.

Many people wonder about writing a novel in the best way, and sometimes I give the simple answer. You sit down and write it, which is true. But I know we all like to feel like we're on the right track, so here's how I write a novel outline. Over the years I have read hundreds of novels, and for many of these novels I have written a 1 to 3 sentence summary of each chapter. This helps me to understand the structure of the novel. When writing a novel outline, the initial outline might be very sparse. As you develop the story, and even after you have already written a few chapters, you will get a better sense of where you are going. At this point, writing a novel outline will entail writing the chapter outlines. They may change later, but they ought to make sense for now.

On average, a finished novel is about 80,000 to 100,000 words. I scheduled myself 1000 words a day. I owe my book a thousand words a day, no matter what. I don't go to bed until my work is done, and I don't take days off. I know myself, and if I take a day off, I'll be completely off schedule. Even if I write more than a thousand words today, I don't carry a balance. I still owe my book a thousand new words the next day.

I start my day by reading and editing yesterday's work, this puts me right back in the action so I can turn off my soundtrack and get to writing. Therefore, in 3 months, after writing 90,000 words, I'll have my first draft of a new novel. But that's just how I work. It's the right way for me, but it's not the right way for everyone. The only right way to write a novel is to sit down and start writing.

Writing an outline for a novel helps many novelists stay organized and write with purpose. Many times, writers who do not use a novel end up writing page after page and scene after scene that does not fit into the overall novel. A novel ghostwriter can help you to outline the overall story or to write and edit specific scenes.

Have creative ghostwriters help you perfect and publish your writing; visit http://ghostwritersforhire.com/, CALL (716) 579-5984, or EMAIL ezine[at]GhostWritersForHire.Com

3 Ways to Create More Suspense in Your Writing

Suspense is defined as an excitement that one feels while waiting to find out what has happened and what will happen next. The element of suspense arouses the curiosity of readers and keeps them engrossed in the story. Human beings by nature are eager to discover the hidden secrets of the unknown phenomenon existing around them. Suspense, thrill, mystery and adventure tempt the readers and maintain their interest in the novel or drama they read till end.

Suspense actually includes those factors that are the components of a melodrama. Thus it has its links with horror, mystery, terror and fear as well. All these elements go side by side in any piece of writing that can be termed as a melodrama.

Different writers use different tools to create suspense in their writings. It mostly depends on their imagination and how they express their thoughts as means of communication to their readers. In other words each writer has his own style of creating suspense depending upon the plot in his novel.

The first element of suspense in a story is created by introducing a mysterious plot that makes events complicated for the main characters. The story starts with excited events like murder, kidnapping, robbery, accident etc. They are trapped in a series of unexpected events that arouse a lot of question in the minds of the readers and to find answers to these questions they prefer reading the story in one sitting. The author gives a lot of twists and turns to the events developing the plot. Each time the readers are startled by the sudden and unexpected change of events and this prompts them to follow the author's trail of creating suspense. They are eager to know that how the problems would resolve and the different characters will reach their destination. In the story "Heat Lightning," by Robert.F. Carro, suspense is created in the same manner as the girl running away from the killer identified him only in the end. The readers anxiously read the story to find out who is the killer.

The second element is that of specifying the time factor. Most of the suspense stories are set in a specific time span expending to a night, fortnight, a period of vacation etc. It sets a limited time for the characters to attain their goals before it's too late. This is a vital tool used by the writers to create suspense. It is the same technique used to take the readers to the heights of thrill and adventure. It creates climax of the story.

The third element is the setting of the story. Create a dangerous environment that brings tension and worries for the main characters. They must be entangled by danger and fear of the enemy mostly a villain. Let them be isolated from others. There must be some dreadful encounter with the enemy. This arouses questions like, "what should the hero do to come out of a terrible situation?"

This is how we can develop even a simple plot into a unique one that indulges the readers in the story and maintains their interest.

Here is another article from me. Hope it 'll entertain and engross my readers.
Naheed Haq.

On Writing a Novel for Publication - The Problem With Writing Material That Is Derogatory to Someone

Novelists sometimes have a great story on their hip that they're bursting to tell, but a character in the tale is fashioned around a real person with negative traits. So the question is, what's the best way to write about an unflattering characterization that happens to be true?

William Goldman Stated It Best

For anyone who might not be familiar with Mr. Goldman, he wrote BUTCH CASSIDY AND THE SUNDANCE KID, WHEN HARRY MET SALLY, and THE PRINCESS BRIDE, among many other works. He mentioned in one of his memoirs that he'd written something which wasn't necessarily unflattering about a man he'd known years earlier, but for whatever reason the person took umbrage.

Mr. Goldman suggested that no one write anything negative about someone--if the text might be identifiable with the person being written about--until that individual is dead! As strong as that might sound, I think it's great advice. And to take this one step further, the family of the person can also be offended, and if it could be proved that the material was a deliberate smear, there could be legal ramifications, especially if the party wasn't a public figure.

Even the Most Innocuous Implication Can Be Misconstrued

Who wants to gamble with the way someone's waffle might go down on a given day? I know a writer who had to print a retraction because he misstated a man's occupation from 30 years ago. And this wasn't as if the fellow was the president of a company and he classified him as a clerk. This offended party was a medical technician and the author wrote that he was a lab technician. Both professions at the time carried the identical pay grade, and each continues to be viewed as a prestigious position. Go figure, but the man was dismayed because he felt that the lab technician title was debasing.

More Serious Scenarios Can Occur

If all it amounted to was a retraction, most writers wouldn't be too concerned about what they wrote about anyone. But if a character can be readily identified as the one depicted in the story, and the person feels libeled, let the fireworks begin! If a writer is considering someone as a template for a character in a story, and this person for example was a notorious shoplifter as a young boy in Chicago, my suggestion is to make the character a middle-aged woman in Tuscaloosa who reads fortunes. Seriously, it's not worth the risk. Remember, if the person being written about knows the writer, this individual will be acutely aware of whom the author is modeling the character.

Wait Until the Person Is Deceased and Then Look Further

I touched on this earlier. Even after the person is dead, I'd take a hard look at the individual's family and assess how the negative material might affect them. Only after every hoop is jumped through, and all the questions fully satisfied, would I then venture onto this turf. And I'd constantly ask myself if it's worth besmirching this person's name or family to try to sell my novel--when an imaginary character, adequately removed from the real individual and lineage, would serve my purpose just as well. Please think about this, as leaning to the cautious side of this equation might save a lot of grief and money down the road.

Robert L. Bacon, Founder
The Perfect Write®

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The Art of Writing Articles

Writing is really a gift. A natural talent is a real boon for the writer. But writing can be learnt and cultivated. Practicing makes one a better writer over a period of time. A decent command over the language in which one is writing, a flair for words and phrases, a good grasp of the subject on which the article is composed and a direct, simple approach, are a few basic requirements to become a tolerably good writer of articles.

Subject/Topic

The most difficult and crucial component of article writing is choosing the subject wisely. The subject must be interesting, of current interest and yet simple. Subjects relating to complex political and legal issues are better avoided.

Style

Choose your style of writing carefully. Simple, elegant and straight-forward writing is the best. Never use complex sentences and pompous language. Short sentences and precise paragraphs would color to your writing. One should be precise and succinct in writing. The trick is to put oneself in the shoes of the reader and think like a reader.

Introduction

The introduction should cover all the aspects of the subject/topic and make the reader want to continue reading the entire article. The introduction should be brief and yet capture the spirit of the article. Even the busiest reader must be aroused to read on. Crisp and imaginative introduction would stir even the most disinterested visitor to read the article in full.

Elaboration

This is the main body of the article. This should be divided into a suitably short paragraphs based on the points the writer is making. The writer can devote time to the history, the present status and the future course of the subject and divide each part of the subject in to different sub-headings. The point is that the article must be packaged to look and feel attractive and interesting even to the most casual reader.

Conclusion

Once the writer has made sure that he has covered all the relevant points in the body of the article, he can go about concluding the article. Conclusion must subtly draw the attention of the reader to the point of view of the writer without being obvious about it. With consummate skills the writer must draw the reader to the writer's viewpoint. Conclusion must not be too lengthy.

Credits

This is where the writer must acknowledge the sources on the subject that the writer relied on for composing the article.

What's Creative Writing? Tips for New Writers

Creative writing starts with passion. Therefore, if you want to be a creative writer, the first thing to do is identify your passion. Then write out of your passion. But how? - is what you have to say best suited to poetry, short story, non-fiction article or novel? Your next step is to ask yourself what you love to read. Whatever it is - that's what you could start to write.

Let's say you want to start writing a novel. Think of a phrase that's the perfect title for a book. That could be your starting point. And so now you are on a new threshold.

We can learn a lot from our ancestors. For instance, if you visit the Museum of London's prehistoric galleries, you'll find that Bronze Age people would build their roundhouses with the entrance facing the midwinter solstice. They would then consult their ancestors before making an offering to the new threshold. Now, perhaps modern builders have a comparable ritual - I don't know. But if they don't - perhaps they should. And so should those embarking on a long-term building project like a novel. I love the idea of "making an offering to a new threshold." And what I have to say here is like an offering to the new threshold.

First, where do your ideas come from? From life itself, all around you, wherever you are. Ideas fly past, and you catch them. Listen to conversations in every situation. Observe people. Eavesdrop whilst sitting on the top deck of a bus. Have notebooks with you at all times - and keep notes. And if you have a notebook system, you have to build in time to review your notebooks and retrieve your ideas.

Then you have to apply the first secret of writing:

1. Avoid Not Writing - take your craft seriously; believe that what you're doing is of sufficient value that you are going to carve out time for it. Book time for it if necessary - put it in your diary. Get in there and do it. Don't be afraid of the blank screen or blank page.

2. Pay attention to structure - break down the book in your head into an Outline. You could do it on a piece of software like Scrivener, or you could do it through a wall of Post It Notes, or you could plot it on a storyboard; or you could write your novel as a short story first. But realise that you are unique and may have your own special way of working that is right for you. With a novel, sometimes writers find they can't plot too far ahead (though be aware you may have to go back and impose structure later). If that is the case for you -

3. Go on the journey and see what happens. If a character develops a life of his or her own it's a good sign. Some say the characters create the plot. Keep asking why, what, where, how, when.

4. Set yourself a goal of a thousand words per working day, if you respond well to deadlines and schedules. If not write anyway.

5. Don't talk your novel out of existence. Write that first draft. I believe it's not a good idea to discuss the details of your novel with anyone until you've written it. Then you can seek feedback, and redraft, and revise and revise and revise.

Finally, when your book is finished to the very best of your ability and beyond, send it off to literary agents. And be prepared for rejection. Remember - you write because you are compelled to, because you cannot "not write". Take note of these wise words from popular author Adrian Plass: "If things fall apart, pick up the pieces and carry on. Don't despair. There are strange things going on behind the scenes."

S.C. Skillman is the author of exciting new psychological thriller novel "Mystical Circles". The word "mystical" in the title is used ironically to mean "mysterious behaviour, events that keep you guessing, and people playing at cross purposes". Reviewers have enjoyed Skillman's "exploration of a community of complex characters who inhabit an eerie and atmospheric retreat" and have found it "a very entertaining read with plenty of action and sparky dialogue." If you are interested in people and their foibles you will enjoy this book. You can buy the novel on Amazon and through the Kindle Bookstore or visit the author's website to find out more. Click the secure payment gateway to buy a signed copy at http://www.scskillman.co.uk/.

On Writing Well - The Reason POV Matters to a Narrative

I normally don't get too concerned when people discuss the vagaries of what it requires to write well, regardless of how off-base I think some of the comments might be as they pertain to a particular subject. But I'm motivated to get involved when an element of writing is discussed with fervor and a decided bias, yet with a blatant lack of understanding for the topic. A recent harsh treatment of Point-of-View is what motivated me to write this article.

Why Can't POV Be Written in Any Way One Sees Fit to Write It?

Last year I was taken to task by a writer who'd written a piece he'd submitted for "approval" via a writer's blog. I don't generally respond to this sort of thing, but as I read his material, I noticed distinct POV shifts via four characters in what was a short opening chapter of 500 or so words. I wrote this fellow that his writing was fine, except for the POV issues. I was sent a brisk note that since "he" was the creator of the material, he could write the Point-of-View any way he wanted. After all, he told me, "he" wrote it, and in who else's Point-of-View could it be written?

It Would Be Funny if It Wasn't So Serious

I laughed off his callow remark, tried to explain what Point-of-View entailed, even providing some resource material to support its importance, then quickly moved on after I found I was stoking rather than extinguishing a fire. I thought little more about POV's misconception until I noticed one of my articles on the subject posted on a web site for writers. Several people were kind enough to state that my explanation of POV was indeed better than the original one that fostered the blog's thread, but then each contributor tried to diminish the validity of POV.

This rankled me, especially when the moderator of the blog went on to support my contentions, yet was just as quick to offer that POV shifts really don't matter much one way or the other. She admitted, however, that she also had difficulty at times with POV. This should've told readers the value of her opinions on this subject, but the coup de grace was when she closed her post by stating that POV was important only to agents, editors, and publishers--but not to readers.

It Isn't True That POV Matters Only to Agents, Editors, and Publishers

If I'd ever read a position that justifies why amateur writers accepting advice from other amateur writers is a road map to disaster, that was it. Agents, editors, and publishers are not an exclusive club infatuated with POV shifts and the issues they create. If POV shifts are done incorrectly, they will stop the reader! This is what matters, not the contention of any professional who works in the industry.

If the reader doesn't know who is speaking, often the scene will need to be read again. If this occurs repeatedly in a story, it can cause a book to be set down for good. Even an occasional POV shift can destroy the flow of a narrative. I've cited this before, but Saul Bellow let a couple of unnerving POV slips occur in THE VICTIM. And while this proves that even the best writers can err in applying this element uniformly, a mistake by an iconic writer hardly justifies POV-shift acceptance.

Anything That Jars the Reader Is Not Good

Not a brilliant statement by any means, but this is what the POV issue is all about. Some writers can shift POV effortlessly, and to paraphrase what the famous writer E. M. Forster said, if it's effected seamlessly it doesn't matter at all. But when the reader notices the shift, then there is a problem.

When Is It Easiest to Shift POV?

Complete scene breaks and of course new chapters will lend themselves to POV shifts. I've also found that high-tension scenes are at times forgiving if handled deftly (this might seem an odd example to cite, but for whatever reason I've found it valid). Some people write in an omniscient voice via third person and assume this always works. Unfortunately, it doesn't if the speaker is not clearly identified. So while omniscient third person enables wide latitude, it doesn't mean there aren't requirements.

No Final Word on POV Exists

Debate will always rage over POV. The best response I can provide follows closely with what I stated earlier, and this is to write whatever the reader finds acceptable. If a POV shift doesn't stop the flow of the narrative for the reader, it can be assumed the task was handled in a masterful fashion. The time to find out if a POV shift was successful, however, is not after the reader has put down the book because of becoming frustrated with it. This is the crux of the entire subject.

Robert L. Bacon, Founder
The Perfect Write®

New Free Manuscript Service for Serious Writers! The Perfect Write® is now providing a Free Opening-Chapter Critique and Line Edit. Paste the first chapter of your manuscript (up to 5000 words) to theperfectwrite@aol.com (no attachments). In addition to the critique, The Perfect Write® will line edit, if applicable, up to the first three-pages of your double-spaced material also at no charge.

Also Free! Receive The Perfect Write® Newsletters that feature articles on writing at a publishable level. Click here http://www.theperfectwrite.com/ and scroll to the bottom of The Perfect Write® Home Page for the simple two-step sign-up box.

What Psychological Trigger Are You Using In Your Writing?

There are times that I am completely taken aback when reading what others are capable of. It is as if I have spent the past twelve years writing up stuff that means so little, made so little impact. I am humbled by how some people are capable of using psychological triggers in their writing to provoke either thought, emotion or action. Here are some of the things that I have noticed about how people write and convey, through words, what is in their heads.

Emotional psychological triggers - Writers who use words to trigger something emotionally are exceptionally rare. Most of these writers are suitable for screenwriting or scriptwriting because that is what most films are about. Suffice to say, these creative personalities are also suitable for the advertising and commercial business because of branding. Branding is rarely about just words. It is about captivating the hearts of people, make people remember the emotion and whenever they think of something, they link that emotion to the advertisement that they have previously seen. Words are incredibly powerful and so are these people.

Thought psychological triggers - I watched a movie once and in the movie, the WHOLE movie, the actors said nary a single word. Not a whimper, not a sound. They were both silent; and till this very day, I continue to be intrigued by the fact that they said nothing and conveyed so much with their eyes and action. Being a writer, I am, but of course, obsessed with using words for everything. I have the word for every single thing on the planet and the concept of NOT using words totally sent my world catapulting out the window.

The conclusion was - action and the eyes are powerful forms of expression. It leaves so much room for 'thinking' and the absence of words is incredibly moving. But words, when strung together nicely, neatly and in an adept manner, can trigger many thoughts. Writers who use thought psychological triggers usually leave much room for the imagination and are often clear and concise.

Action psychological triggers - Plain and simple; it propels people into action. If it is an advertisement, the words will make people WANT to get it NOW. Writers who use action as their triggers are fantastic advertisement writers and copywriters and the good ones are often priceless and are paid a hefty monthly salary. Rightly so.

There are no right or wrong psychological triggers for a writer. I think the most important thing to remember, as a writer, is to put the customers first. And also try not to mix the psychological triggers up. Don't run the risk of confusing the reader...they are easily perplexed. It is hard to get ANY reaction out of a baffled reader.

Marsha Maung is a Malaysian-based freelance blog writer with two kids. She spends her time ferrying her kids around, watering her plants, writing web content, SEO stuff, ghostwriting books and also indulges in the occasional Facebook-ing. Visit her blog for more dirty details on the life and times of a mother, writer, designer, housekeeper, coffee-maker, poop-wiper, chef...and just about everything else under the sun

5 Tips for Writing Authentic Crime and Legal Fiction

Writing about a highly technical topic, like crime or law, can be intimidating. In the world of criminal law, there are innumerable rules, practices and procedures. Criminal lawyers speak their own language. To write a good crime or legal story, a writer needs to have credibility.

Credibility comes from working within the rules of criminal law and speaking the criminal law language. But you don't have to be a cop or lawyer to write about crime or criminal law with authenticity. Here are some tips to get started:

1. Brainstorm: As in any genre, a good story with interesting characters and plot twists must be the starting point. Physically write out brainstorming ideas without regard to order, quality or completeness. Just start writing, and let the ideas flow.

2. Get Inspired: Inspiration often comes from outside sources, often unexpectedly. Read great books, and watch great movies, especially crime and legal drama. Read about crime in the news. Follow interesting trials. Watch true crime stories on television and read true crime books. You never know when some small tidbit will spark a story in you.

3. Outline: Everyone has their own methods of and opinions about outlining. Whether organized by chapter, act, scene, character or plot point, outlining is a critical tool to organize a story. The more complex the story, the more important an outline can be. Outlining can be especially important in a crime novel or legal drama because your story needs to fit within the rules of the criminal law world.

For example, if you want to have a piece of exculpatory evidence discovered at the end of act two, you will have to know what stage of the legal proceedings the case is in to help determine how the evidence could realistically come to light.

4. Educate Yourself: Read up about real criminal law on the internet and in books. Look for information specifically targeted to the non-lawyer. Watch real trials when they are televised. Watch true crime shows. Although they often cut out a lot of detail, especially the procedural stuff, they usually get things right. Read news stories and true crime books. The same warning goes for these sources: they are usually accurate but often leave out details you might want to know.

Do not rely on talking head lawyer commentators on television. They usually speak off the tops of their heads and often get things wrong. They also often have an agenda that they are pushing and speak of things from that point-of-view. Finally, do not rely on other criminal law fiction. Crime fiction in television, movies and books are often completely, eye-rollingly off the mark.

5. Consult an Expert: When in doubt, ask a question. As you brainstorm, outline and draft, keep notes of questions that come up. Consulting an expert, usually a criminal lawyer, can be costly, so try to know what you want guidance on before you contact someone. Also, be sure to speak to someone who is able to explain things simply and clearly, and who is willing to admit when they do not know something.

Following these tips will give a writer confidence to create within the world of criminal law and to begin writing crime and legal stories with authenticity.

By: Blythe J. Leszkay CriminalLawConsulting@gmail.com
Blythe is an experienced and successful criminal attorney and expert consultant with Criminal Law Consulting. She consults with and educates writers and filmmakers about criminal law issues in their projects. She provides simple criminal law information at http://www.criminallawconsulting.com/.

Writing a Detective Novel

Writing a detective novel requires careful story planning, clues, criminals, and motive(s) among other things. The writer must be clear in the logical sequence of the story. It has to be well worded, articulate, free flowing, and make the reader a visual participant of the event taking place.

Unlike a movie where the director can convey through visuals, speech and sound, while writing a detective novel the writer must depend on his writing capability to express the scene, feelings, pain, happiness, suspense or anger. The writer cannot show these expressions but has to describe them in a manner that the reader feels he can see them and not miss the visual impact of a cinema.

Detective story building blocks while writing a detective novel could be:

• Who is the Detective: Defining a detective could be 'someone who is searching for the truth'.

• Brief outline of the plot. The blocks can be rearranged later as the story develops.

• Background about the detective. Who is he as a person? Some information about his personal life and interests.

• Can some of the detective's personal attributes be linked to the story? What motivates the person - as an individual and as a professional?

• Is there anyone else who assists him or her? It could be a colleague if the person is a professional Law Enforcement authority or an amateur could be a friend / family member.

• A brief overview of the crime or plot and what is the reason or motive of the crime.

• Who is / are the perpetrators or suspects. Create a brief description of each along with possible motive of each.

• What are the levels of opponents, for example a lone killer, gang with henchmen, etc. The most powerful of these could be the hidden opponent, possibly a close friend or business associate - 'the pal who turns out to be working for the opposition.

• Description of the sequel of the crime & the criminals steps to hide the crime.

• What are the possible reasons of the crime! Sub-plots could be woven into 2 - 3 stories mutually-exclusive where the investigation is carried out on each of the leads. Eventually one lead ends by exposing the criminal, the method of the crime and the reason or motive.

• When writing a detective novel, determine the apparent explanations for the crime, which the detectives will discover and follow before they find out the actual explanation?

• Clues and red herrings should be planted to make the story exciting.

• Some detailing on how the clues were handled leading to discarding the red herrings and why the balance few clues are pursued.

Some suspense can be built while writing a detective novel where the detective has to make a difficult choice in pursuing one trail even though the other trail is equally probable. The novel should be written in such a manner that the reader is eager to turn the next page. This forms the backbone of detective novels.

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The Hero Journey Motif As a Tool for Reading and Writing

Quite often teachers in middle school and high school find themselves teaching the grade level language arts curriculum from a conservative and sometimes minimalist point of view. What that means is that many follow generic lesson plans devised by a team, a textbook company, or themselves that cover only the very basic or minimal reading comprehension and writing skills. The reasons for this vary:

• They are required to follow a preordained set of standards.
• They aren't sure their students can achieve such a higher level of thinking and so do not take the risk of advancing beyond the suggested plan.
• They use methods with which they are comfortable.
• They may be unfamiliar with the available tools they can use to guide students successfully to higher levels of analysis.

If the reader identifies with any of these circumstances, please read on. Throughout my many years of research and classroom experience, one archetype in particular stands out as a foundation for guiding my students to in-depth analysis of literature. That tool is the monomyth, or hero's journey story pattern. Once students understand the basic components of this archetypal motif, they can analyze a story more easily using a specific set of criteria, but they can also use this tool for writing their own short fiction, a task which I ask them to do as a required entry for writing competition each fall semester. Whether students use this pattern in reading or writing, the hero journey archetype adds clarity and interest and depth to the task.

Although the hero journey motif is ancient, the oldest story structure in literary history that begins with Gilgamesh, it was Joseph Campbell's seminal work with world mythology that produced the most enlightening interpretation of the archetypes in the hero's journey. As with all of Campbell's work, he leads us to see that the stories of mythology are really our own stories, the symbolic pieces of our own lives. Imagine how beneficial such relevant studies can be for students in both reading and writing. So let's get started.

According to Campbell, the hero is called to an adventure, but sometimes he or she either refuses the call for personal reasons or doesn't recognize the call. What follows is an event that helps to change the hero's mind, and he decides to take up the gauntlet. Rarely does the hero go it alone. Help soon shows up in the form of friends, loved ones, even total strangers to accompany the hero to the first threshold crossing into the kingdom of darkness. The hero and his companions leave the world of common day to face the dangers looming in symbolic and even actual darkness. The hero tricks, seduces, destroys, or escapes from the threshold guardian in order to pass into the new world.

As the hero begins this new leg of the journey, she must face tests and trials as she is initiated into the danger. Ogres and demons must be conquered until the hero finds the elixir, the boon-either concrete or abstract--that will change the lives of everyone, including the hero. The supreme ordeal thrusts the hero into the most difficult battle. Named for the Biblical character Jonah who is swallowed by a whale, the supreme ordeal is often referred to as being in the belly of the whale and going on the night sea journey, and also as the archetypal image, facing a life threatening situation in the inmost cave, literal or figurative. The meaning is clear: the hero experiences rebirth in the symbolic womb. This event is the single most defining event that turns the typical adventure story into a quest for good. The hero is not the same person he was when he began the journey.

The hero must now return home with the elixir. Her flight takes various forms. The hero often flees from danger but sometimes he is dismissed, driven out, or escorted home along with his followers. On his return, the sharing of the elixir-the boon, the treasure-improves life for at least the hero and remaining companions if not everyone in their world.

A number of experts believe the monomyth is the underlying structure for the most popular and also most financially successful novels and films today. While this is an interesting and provocative idea, I have found the stories listed here illustrate the elements of the hero's journey quite well for my students' reading and writing benefit. This is only a small sampling of what is available. Once you begin to look for the motif in other works, you'll see what I mean.

• The Last Book in the Universe by Philip Pullman
• The House of the Scorpion by Nancy Farmer
• Any of the Harry Potter series
• True Grit (I use the John Wayne film.)
• Jason and the Argonauts (I use Edith Hamilton's Mythology.)
• The Odyssey (Again from Edith Hamilton)
• Theseus and the Minotaur (Edith Hamilton)
• Children on their Birthdays by Truman Capote (film version)
• To Kill a Mockingbird by Harper Lee
• Jane Eyre by Charlotte Bronte
• The Alchemist by Paolo Coelho
• Man's Search for Meaning by Viktor Frankl
• Night by Elie Wiesel
• The Secret Life of Bees by Sue Monk Kidd
• Blessings by Anna Quindlen

Good readers make good writers; thus, the monomyth motif can serve as an excellent structure for the short stories I ask students to write for the Scholastic Art & Writing competition. Although this writing contest for grades 7 - 12 is worth devoting precious teaching time to, this article will not delve into the details of the contest. I urge the reader to look at scholasticart&writing.com for more information. What I will explain here is how I use the monomyth structure to prepare students to write their short fiction entries.

The initial action:
• Call to adventure
• Refusal of the call
• Setting out with helpers

Building the action and moving the plot forward:
• Crossing the threshold
• Encountering dangers and conflicts
• The supreme ordeal: facing the main character's greatest fear or challenge, perhaps even death (usually symbolic death, but sometimes actual death)

Building the close with flight/elixir/return
• The main character flees old ways, dangers, fears, and he/she is a changed person. Life is going to be different and usually better for the main character and perhaps even other people in his life. The main character or hero has returned home, literally or figuratively, with the symbolic elixir that solves the initial problem.

For a complete writing workshop which includes plot practice, character depth, paradigm shifts, hamartia, and dialogue and much more, see See Dance of Language

How to Become the Character You Are Writing About

Firstly, I do not profess to be a an expert within the area of creative writing and writing books; it is merely my wish to share with you a few successful experiences. With my history of using counseling and psychotherapy skills, I have drawn together ways to get into character to bring out a convincing story to your readers. In my experience of receiving comments about my book A Year In June; readers have often said they can relate to the characters I have used. This is how I invented the characters for my book:

To start you may have a type of character in mind for your story and it maybe even based upon someone you know or have met before. Take a sheet of paper and brainstorm every single characteristic trait you can think of, as many words or symbols as possible - use colours if it helps. Here is where focus is really important, stay with it and give yourself permission to become obsessed with this character, delve into their world. Look at the words you have written on the paper and without thinking, draw your character. It doesn't matter what it looks like or whether you are an artist or can draw at all. What matters is that you let your imagination flow through you pen/pencil and make a shape on the paper. Logically, it may not make sense and that is okay. This is merely a representation of the character with all the words you've written; this is for you to refer back to once you start your story. It might be something the character does which makes all the difference; something they say often; a particular way they look or maybe even how they are feeling now - just go with flow of your imagination - bask and indulge in your creativity, no ones looking or listening, just go with it. What we are attempting to do here is to turn off your logic and thinking brain and activate your creativity to bring about spontaneous responses.

Okay, now you have your sheet of paper with scribbles, writings and whatever sketches and drawings. Turn your paper over and ask your character the following questions and write their reply as follows:

1. What is your name?

2. How old are you?

3. Are you male or female?

4. What are your likes?

5. What are your dislikes?

6. What is your favourite food?

7. If you enjoyed reading, which book would it be?

8. How do you act under pressure?

9. What secrets do you have?

10. What is your lifelong ambition?

11. What makes you happy?

12. What makes you sad?

13. Who are your friends?

14. Who are your family?

15. How would you describe yourself?

16. What do you eat for lunch?

17. How do others experience you?

Again, do not think about the replies; just write the first thing you pen wants to express and go with the flow. You could invent your own questions and change them to suit. From my experience, I have learned that if you know your characters, so will the reader. I hope this is useful to you. Enjoy!

Poetry Writing - Penning Down Your Thoughts on Paper

Before we take a remarkable journey throwing light on the useful facets of poetry writing, let's take a brief look at poetry writing.

What is poetry writing?

Many individuals hold a different perception about poetry. For some, it is a joy and for others, it is something that is done for the absolute pleasure of putting striking words to paper. The art of poetry writing can be in a form which is as simple as or as complex as you wish. If you strongly believe that you have a flair for this art form of writing poetry then most likely the finest way to start off is by practicing the rhyming skills.

What is the purpose of writing poetry?

Countless individuals might pose a question at themselves about poetry writing as to what really is the motive behind writing poetry. Poetry is way of self-expression. It has been generally perceived that most of the time, when the hearts of poets are engaged with love, annoyance, tediousness, like and dislikes, etc. they end up writing a poem. Poetry writing serves as the river of feelings and emotions wherein an individual is able to freely express himself what he has in mind in an imaginative way. It purely gives a comfort level and creates a soothing atmosphere when poets commence on their remarkable journey in terms of writing a poem for the first time. It would certainly not be wrong to state that the first line of verse of each poem that has stunningly crafted heals our sentiments and vigorously help us to cope with our mundane demands.

It's factual that writing a single poem is sometimes very arduous or uncomplicated depending on how a poet makes use of his wide and shining mind's eye. Our minds are filled with unique metaphors very often but at the same time, we find quite tough to transform them to a breathtaking poem.

A poem that is directly penned down straight from the heart is an excellent piece of work and it immensely proves beneficial to the author. It's due to the fact that our works bear an amalgamation of love, honesty and compassion. Our hearts never lie and it can reveal whatever emotions linger inside us. Poetry writing is one of those fictitious genres that inculcate a fear in students, specifically in the middle school arena. Sonnet, metaphor, rhyme, prose, haiku, or free verse are examples of thousands of poetry forms. Writing poetry should be fun for students, allowing them to convey their feelings, notions and experiences.

UFiction is an online writing website that provides a common platform to the user so that he can share his ideas and views with the people through poetry writing whether he is an amateur or experienced writer.

Striking a Balance Between Your Writing Life and Personal Life

I subscribe to two marketing websites. A recent posting on one website asked people how they manage to find a balance between their work and personal life. It's a good question. After 35+ years as a freelance writer I've found that balance and you can too.

Regular breaks help you clarify your thinking, prevent muscle strain, eye strain and burnout. These tips may help you find the balance you are seeking.

1. Put breaks on your "To Do" list. I'm a list-maker and always will be. As soon as I complete a task I cross it off my list. Breaks are part of every list I make. The Mayo Clinic website, in an article titled "Eyestrain," recommends a 20/20/20 approach to work. You stop looking at the computer screen every 20 minutes and look at something that is 20 feet away for 20 seconds.

2. Plan your work day. Early morning is my best writing time and I take advantage of it. I get up early and write for an hour before breakfast. My work day is divided into two parts, new writing in the morning and keeping up with the book business in the afternoon. Afternoons are also devoted to proofreading.

3. Allow enough lead time. Well before the deadline I start work on an article or book. This prevents stress and makes writing a joyful experience. Of course I've had times when I scrambled to meet a deadline, but this doesn't happen often.

4. Divide big tasks into small steps. Before I start writing I have a specific goal in mind, such as working out kinks in a troublesome paragraph, finishing a page, or concluding a chapter. Small steps help me stay on track and on task. When I reach the mid-point of a book I always cheer because I know I'm making progress.

5. Do something different. The last three months I've been working on two books and became obsessed with them. I didn't plan to write the second book, a short resource for children, yet when the idea came to me I felt I should act on it. Thank goodness I recognized my writing obsession and called time out. What am I doing? I'm going on a cook's tour of St Paul, Minnesota and participating in more social events.

6. Connect with family. More than any other, this tip helps me find balance in my life. Family connections vary. Recently I attended a baby's birthday party (she just turned one), went to lunch with my daughter, and enjoyed a restaurant dinner with my husband.

7. Take care of yourself. I try to get eight hours of sleep a night and eat balanced meals. Regular breaks are also self-care. Doreen Martel writes about breaks in her Helium website article, "The Importance of Taking Regular Breaks as a Writer." She thinks breaks are essential for freelancers like me and recommends a 15 minute break between breakfast and lunch, an hour break mid-day, and another break after dinner.

Why should you take regular breaks? Breaks make you more productive and that's something every writer wants.

Copyright 2011 by Harriet Hodgson

http://www.harriethodgson.com/

Harriet Hodgson is the author of 30 published books and shopping two manuscripts now. "Smiling Through Your Tears: Anticipating Grief," written with Lois Krahn, MD, is available from Amazon. Centering Corporation has published several of her books, including "Writing to Recover: The Journey from Loss and Grief to a New Life" and a companion journal, "The Spiritual Woman: Quotes to Refresh and Sustain Your Soul," and "Happy Again! Your New and Meaningful Life After Loss."

Hodgson has two other new books out, "101 Affirmations to Ease Your Grief Journey" and "Real Meals on 18 Wheels: A Guide for Healthy Living on the Highway," Kathryn Clements, RD, co-author. Both books are available from Amazon. Please visit Harriet's website and learn more about this busy author and grandmother.

Tips on Writing - The Myth of Objectivity

Many people think that all journalism must be completely objective, that all journalists must keep their own personality, their own opinions out of anything they publish. I say this is not only ludicrous, it is all but impossible.

At the urging of my father, I just read a piece by the late Gonzo Journalist Hunter S. Thompson written in 1994 on the funeral of Richard Nixon. I think I had seen and read the piece before, but had a fairly strong reaction to it this time.

I have read some Thompson, most notably Fear and Loathing in Las Vegas, which was a drug filled, paranoiac odyssey. He was a brilliant writer and a warped human being. As for Nixon, I remember clearly being horrified at the grand state funeral. In the article, Thompson described Nixon as a truly evil man and says history will remember him "... mainly as a rat who kept scrambling to get back on the ship."

I doubt that history will much remember him as Thompson describes him. He will probably be considered a flawed, perhaps even tragic - in the classical sense - hero, and has already been compared to some of the tragic heroes of the Greeks and Shakespeare. He died being thought of as the elder statesman who "Brought China to the table", after all. He will no more be thought of by history as an evil man as Johnson will be and I think there are parallels.

As my father suggested, it was a very well written piece. It was also filled with the personality of the writer, which many think of as simply bad journalism. Even though this is more of an editorial or opinion piece, most of his writing had the same thought process in evidence. It is part of why Thompson was called "Gonzo". I used to distrust journalism with a personal bias. I naively thought that the solemn duty of the journalist was to stay out of the written work, to just present the facts. Now I distrust any that doesn't have and admit to it. The bit I missed from "just present the facts" is "as he sees them."

We can't write without ourselves being in the piece, it is a physical impossibility, and it is imperative to acknowledge that. It is why any journalism that calls itself "fair and balanced" can't be. There is always a slant. The slant isn't necessarily a political one (even in today's hyper-political climate), but the thoughts, opinions and experience of the writer will always influence the statement of fact in a piece.

We are filtering beings, we humans, we learn of necessity to filter out so we can cope with the amount of input we get in our lives. We learn to do this early and on a very deep, absolutely subconscious level. Sometimes we are aware of the filtering, usually not. But as we grow, make decisions, form opinions, learn about our environment, both close in and widely ranging, these thing contribute to the filtering we do until there is nothing that we can think or even see that hasn't passed through that filter in some way. It can not be objective because, on a very deep level, we can not.

There is nothing wrong or scary about this. We just need to realize it so that, when we read what others have written or even what we ourselves write, we know that the facts laid out have been sifted through. Filtering, by definition, leaves things behind and when we know this, we can also know that no piece of writing, no statement of fact, no fiction or journalistic effort can be truly objective.

Once we know that, we can form our own opinions based on our own filters.

(You can find the original article by Mr. Thompson HERE.)

Geoff Hoff is a best selling author. Among his books is the one written with co-author Steve Mancini, a satirical novel called Weeping Willow: Welcome to River Bend. Mr. Hoff also teaches creative writing. Download your copy of his free book, Unleash Your Creative Writer.

Mr. Hoff and Mr. Mancini blog about the process of creativity at http://www.TipsOnWriting.net/blog/

Writing a Story That Wants to Be Written

Do we create the stories, or just tell them? I'm of the mind that we are just telling the stories. We make the ultimate decisions, but in truly great writing, the author can feel the flow of the story and where it's going to go. You can feel when something is forced, or just doesn't fit quite right. You can also feel when things are progressing smoothly. You get that feeling of balance and elation that automatically tells you you've made the right decision.

It is a key element of writing to be able to accept everything you write straight off is not necessarily gold. Sometimes you have to change the story even if you don't like that change. In many ways, writing a book is like putting together a puzzle, only you have to contend with pieces that don't belong at all as well. The words have to work together to create the story as a whole. If pieces that don't fit are used, it detracts from the final product.

Looking at the big picture is a great way to think about telling the story. If you're questioning anything, be it a single sentence or an entire section, think about how it affects the story as a whole. Does it fit with what is going on? Is that where you want to take the story? How will it change future parts of the story? Trusting your gut is essential. No matter how much work it may require, if you feel it doesn't fit with the story, follow that instinct and rectify the situation.

So what is this feeling exactly? It's hard to describe really. For me personally, I would compare it to the feeling you get when on a roller-coaster. That weightless feeling just before you drop down at high-speed. When I can really feel the story, that this part is definitely how it needs to be told, that's the feeling I get inside. It may be different for different people, but it is an important thing to recognize. It's just as important, if not more so, than being able to recognize what doesn't fit. Few things grab a reader's attention like a story that invokes this type of feeling throughout the story.

Ultimately, you have to be aware of not only your thoughts and desires, but those of the manuscript. Jamming whatever you want in there will only serve to bring the story down. Listen to the story that wants to be told, and follow the guide posts you'll see along the way. Whatever you may be writing will be the better for it.

I'm Benjamin C. Andrews, an author sharing my writing knowledge with others. Visit http://magicjarpublishing.blogspot.com/ for more writing tips and tricks, and other quality information.

How to Develop Villainous Characteristic Traits in Your Writing

An effective fictional villain has, to my mind, one essential characteristic. The villain should build up in the reader a passionate desire for his or her comeuppance. If the novel ends without one, or the villain is allowed to triumph, that makes for a profound sense of dissatisfaction in the reader.

So how do you as the fiction writer build up this strong emotional reaction in your reader? Fundamentally, you need to show the main protagonist, your hero, striving to attain the storygoal, and constantly being undermined or threatened or endangered by the subtle, invidious workings of the villain. Within classic story structure, this kind of subtle hostility then builds up to violent attack, death traps, and the blackest of black moments for the hero.

A villain is one who exploits, manipulates, betrays. A villain is utterly self-seeking, wreaks havoc in the lives of others, and destroys without pity. But a villain may take the form of a hostile environment; adverse political or economic circumstances; a psychological state; or an inner demon. Your villain may appear as a pious, moaning, self-appointed martyr; or a religious hypocrite (the Bronte sisters excelled in portraying those); the true villain can be not the one who actually does the evil, but the one who lurks in the background creating the conditions for the evil to germinate and thrive and flourish. The joy of fiction is that this kind of villain may be brought out into the light, and be exposed. The tragedy of life is that this kind of villain often goes undiscovered and unpunished.

But we fiction writers often do ensure that our villains get their comeuppance. Charles Dickens sets up poetic justice for Fagin and Quilp; J.K. Rowling brings Lord Voldemort to his final downfall; Wilkie Collins arranges an ignominious end for his Napoleonic master-criminal Count Fosco. Of course there are the fiction writers who supply the exceptions that prove the rule. For Thomas Hardy, perhaps, the pitiless gods are the villains; they are the ones who bring Tess of the d'Urbervilles to a tragic end. And do they get their comeuppance? No. Nevertheless, Hardy brings all his novels to a satisfying conclusion; and there is much to be learned from a careful study of his outcomes. Why does a tragic end satisfy us? We look at all the elements of this; and it turns out that there is a deep level of meaning present. What we abhor is a vacuum. We always seek meaning. Sometimes a story with a beginning, a middle and an end supplies that meaning in itself. And just seeing that pattern, recognising that meaning, can supply the same emotional response as the comeuppance of the villain.

S.C.Skillman is the author of exciting new psychological thriller novel "Mystical Circles". Reviewers have enjoyed the "intense psychological drama in a beautiful setting". You can buy the book on Amazon and through the Kindle Bookstore, or visit the author's website to find out more, and click the secure payment gateway to buy a signed copy at http://www.scskillman.co.uk/.

Vampire Roleplay As the Perfect Basis for Your Creative Writing

Most of the best creative writers "write what they know," but how, then, does creative writing about fantastic subject matter and imaginary character types come about? The most up-to-date answer may be roleplaying, and specifically, vampire roleplay. Often, writers are very in tune with the contents of what Carl Jung termed the collective unconscious. Dreaming, reading, and watching movies can be good means of receiving inspiration for fantastic topics. But perhaps even more exciting is the possibility of taking advantage of virtual opportunities for inspiration. The world wide web is like a very tangible manifestation of the contents of our collective unconscious. The proliferation of vampire roleplay games is proof of people's growing willingness to entertain and participate in this genre.

Some creative writers have the benefit of a workshop setting, but if you do not, consider an rpg as a source of inspiration and feedback. Just going through the process of creating a new character can provide you with loads of material for establishing the traits of vampires in your writing. Playing the vampire roleplay game will then help you see how certain strengths, limitations, and obstacles to be overcome work together to create a cohesive narrative. And the manner in which fellow rpg'ers respond to your character(s) can help you think about dialogue and plot.

Depending on where you are in your creative writing process, you will get different things out of vampire roleplay. Perhaps you are just beginning to figure out what your characters are like. Or, perhaps you know the characters so well that they are like family members or close friends, because they've been rolling around inside your head for years. Either way, experimenting with what they do and/or say through vampire roleplay can be extremely fruitful. What if you are somewhat new to the genre, but your intuition is telling you that you should write a vampire story? A vampire roleplay game can give you a lot of material. It will help you see what the common elements are in a vampire-inhabited world. Not only that, but you'll be enjoying yourself and interacting with potential readers of your creative writing while learning.

Exposing yourself to things like character traits, common elements of the genre, and story lines that are both interesting and effective through vampire roleplay can help you overcome writer's block. It can help you take your mind out of an overly self-critical mode, which is definitely necessary for any successful creative writer. If you "send your mind on an errand" and then trust that it will come back, having fetched the information, idea, word, or story element that you need, you will find that it can really work wonders. Let it come to you, by letting yourself get (somewhat) lost in the roleplay. Recognize that inspiration is often found when you stop looking for it, but that you may need to open yourself to the possibility of receiving it by at least being in the same neighborhood, i.e., immersed in vampire roleplay.

But, then, don't forget to take the time to write! It may help to keep a notebook, or your word document, open and ready as you play.

Sammael "Sam" Asael is a writer and an aspiring author of the paranormal genre. Sam is also an avid fan of various mythologies, particularly vampires and werewolves, and actively participates in the discussion and creative writing of such mythologies. Learn more about Sam's work and join The Darkest Region today.

Why Should An Aspiring Author Join A Writing Group?

Hello fellow writers, as many of you already know, writing a book can be a very demanding task for an author, but getting the book published can be even more difficult! Instead of blindly mailing your future best seller to loads of companies who may not realize the opportunity, why not allow fellow enthusiasts, to offer helpful services and advice on your latest creation? Writing groups can greatly increase your odds of being published, by advocating your novel and even guiding you through to the release of your story. Many online writers groups even include local meetings in your area to discuss your latest novel with others interested in your specific genre, this alone is incredible! Think about this, if you were given a book on say, bone marrow transplants, out of no where, would you be tempted to read it? Now, what if you had a passion for mysteries, and you were given the latest detectives novel. Would you be more interested then? Writing groups, both online and locally, work by having your targeted audience discuss your book, and by giving serious and motivational advice to push you the extra mile! One good website that any writer, seriously wanting to write romance, should examine is Romance Writers of America. There is any number of good writing groups for the different genres. Just Google your genre for writers groups.

Just imagine trying to apply for publishing to a company without any help. If you are new to writing and have yet to make an identity for yourself, this can be very challenging. When you are backed up by a supportive writing group whose memberships range from published to unpublished you will have years of experience in literature to draw from for support in, reaching the perfect publishers, critique groups to help you polish your work and just the general support and encouragement every author needs and craves.

If you are truly passionate about writing, and wish to make it a serious hobby or career, the least you can do for your skills would be to seek guidance with similarly minded people. By doing just that, you will have already given yourself a head start against your competition. Join now, don't wait, show how motivated a writer you are by checking out online writing groups, and inquiring towards local book discussion meetings for your specific genre! The worst thing that could come out of this would be constructive criticism, something every great writer must accept and grow upon.

I am a published author. I most enjoy writing books centered round Native American Culture. I chose to self publish because I enjoy having control over every aspect of my work. It has been an extremely exciting and rewarding journey. I encourage any writer to give it a try. There is truly nothing like seeing your writing in print. You can check out my website and blog for helpful hints.
Visit me at http://www.getpublishedonline.com/ and http://www.maryadair.com/. Come have a look!
My Motto- Only Passion can bring a Vision to life.

Be More Creative in Your Creative Writing

Whether you write short stories, full length novels, or anything in between, every writer can benefit from greater creativity. Stories that jump off the page and pull readers into a new world make both the reader, and the author, much happier. Great creativity is the backbone of every kind of creative writing, and a skill that all writers spend a lifetime developing and perfecting.

There are many ways you can increase your creative aptitude. One of the greatest ways is over time. The more you flex your creative muscle, the stronger it will become. That's obvious though, and not of much help to someone looking for something they can do in the here and now. Do not fear though, there are many other ways available.

One of those ways is to write lots of different stories. These stories may be incredibly short, and have no real purpose other than practice. Remember, not everything you write has to be published or shown off. There is great value in writing simply for the sake of writing. These short, personal writings could be used for anything from practicing character creation and development, to scenery description, or anything else that you may need to generate creativity for. They may not even form a cohesive story. It could be just a long series of random sentences that would make no sense to someone reading them, but make perfect sense to you as a form of practice. Every word that you put down, even if it doesn't form a cohesive story, is still another word you've written, and another grain of experience in the desert of your writing life.

Another way to strengthen your creativity is to immerse yourself in the works of others. Obviously outright plagiarism of their ideas is frowned upon, but seeing works by others is a great way to stimulate your own creativity. Many people who write, or create other forms of art, do so because they were inspired by something someone else created. Immersing yourself in the creativity of others is a fantastic way to build your own creativity, and also learn more about the creativity of others, which in and of itself also helps build your own creativity.

From a personal stand point, one thing I like to do is create stories in my head whenever I have moments to spare. Allowing my mind to wander leads me to ideas, and I can create inside my head from anywhere. Without the bounds of pen, paper or computer, you are free to create anywhere. If I come across something I like, I jot it down in my notes on my phone. Even if it's only for a few minutes, those thoughts add up eventually. The skills doing this has helped me attain are far greater than if I only tried to create when I'm actually writing.

No matter how you do it, if you're already thinking about strengthening your creativity, you've already made the first step. Being conscious of the need to strengthen your creativity, no matter how great a writer you already are, will help lead you to the creativity you seek. Create, create again, and keep creating, and you'll find your creativity knows no bounds.

I'm Benjamin C. Andrews, an author sharing my writing knowledge with others. Visit http://magicjarpublishing.blogspot.com/ for more writing tips and tricks, and other quality information.

Writing Science Fiction

When writing science fiction, the writer has to go further than fiction to the plausibility of science. Science fiction (SF) is theoretically plausible and can be set in a world of the author's creation. The protagonist should struggle but have a fair chance to succeed and overpower the antagonist or antagonists, whether they are visitors from another planet or beings or humans in an alternate or future reality.

To win high accolades for the creative writing, the author should refrain from depicting man as a weakling who can be subjugated or taken as a pet by the aliens. When writing science fiction, the antagonist may be strong, but the story will falter without a worthy protagonist. The futuristic elements of sci-fi are an attractive choice for writing. It makes for great screenplays and novels.

Today writing science fiction is both lucrative and personally satisfying. The readers of sci-fi span age groups young and old and come from diverse parts of the society. Whatever is dealt with in sci-fi should have sound backing in science and technology. Vampires, ghosts, demons and the like may be left out of sci-fi novels because no amount of rationalization is going to give these unearthly creatures an explainable form. They are more aptly suited to fantasy writing. The one thing that makes writing a SF screenplay compelling is the fact that it gives the audience the illusion that what they are viewing is real. Whether the setting is on another planet or the characters are non-human, science and technology can provide a plausible explanation for their existence.

The use of aliens resembling human beings is a commonplace penchant when writing science fiction. The genre is neither religious nor mythical or magical and must not seem absurd, however outlandish the idea may actually initially seem. The integral dependency of sci-fi on believable science sets it apart from other genres. Writing science fiction involves merging fiction and science in the right proportion with clear congruity between the two.

The open-ended universe and the what-if facets of SF draw imaginative crowds.

Anything that is accomplished by human beings is science and what they dream is fiction. In totality, human history was at one time deemed SF. Much of sci-fi writing penned long ago has come to fruition in today's technological world. When writing science fiction, writers have the option to work with or hire a ghostwriter to help create the story and provide feedback.

Contact professional SCIENCE FICTION WRITERS to help write or edit your horror screenplay, novel, or short story.

Just visit our website: http://screenwritersforhire.com/science-fiction-writers/, call / text message John at (716) 579-5984, or EMAIL: Ezine[AT]GhostwritersForHire.Com.