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Found 1203 results

  1. How is your handwriting? Do others think it's good, bad, unreadable? What do YOU think about your handwriting? ...My handwriting's pretty messy.
  2. Just like Twilight Sparkle writing letters to Celesita, you get to write a letter to your favorite pony in the MLP:FiM universe. Got multiple favorite ponies? Or maybe no ponies but a certain non-pony character? No problem! You get to write a letter to them too. Here in this thread, you can write any length of letter you want to your special pony/character and pour your heart out as to how awesome and influential they are to you. Just be sure to keep things appropriate and on topic to the forums. Alrighty, I'll start with my own letter to my favorite pony. Dear Fluttershy, Good evening! My name is Iris. I'm writing to you today to tell you some important things. Don't be alarmed! The things I'm going to tell you are not bad news. What I'm telling you in this single letter is... how much I love and admire you. You are a very special pony and you don't even know it. I know this is very forward to say these things but It's the absolute truth. There is no other pony like you in this world. You are so caring and kind to everything around you. So much so that you literally carry the element of kindness within you. You have banished evil, tamed beasts, and made unexpected friends with the kindness in your heart all over Equestria. I have seen you do it all and more. Yet... you still seem to miss some of that. It's ok, I know your struggles with anxiety and quietness. I am the same way with many things. I know what it's like to have a past with anxiety and bullying... but you wanna know something? WE SURVIVED. Did we ultimately give up on life because of what some fillies and colts said? No! Did we completely close ourselves from others and never improve? No! Did we let the world burn because we had a bad past??? NO WE DIDN'T!!! You and I worked extremely hard to improve ourselves and guess what? We did it. That's why I love you so much Fluttershy. Despite everything that has happened to you, you remained kind. You remained to be yourself. To end off this letter to you, I just want to thank you for everything. Especially for bringing me happiness during those hard years of high school. Thank you so much for being who you are. With lots of love, Iris Flower
  3. What languages do you know or learn except English and why are you learning them? I know French and I'm learning Russian and German. I'm learning Russian because a lot of people speak it and I also like the culture, food, language, music, etc. of Russia. As for German I just like the language and it's also a popular language. I also like learning new languages it's very interesting and fun to me.
  4. I'm working on a pilot episode script for my own personal MLP reboot, because ya know what? I really enjoy colourful horse creatures going on magic adventures where they kick butt and learn empathy and kindness. That is my JAM. Anyways, I'm stuck on some parts of the outline/story, and I'm struggling to finish it! Right now, I have a main character named Hopper who has to get rid of his Tantabus (a nightmare creature and spirit of self-harm that arose from Hopper's magic spells.) The pilot episode is about his journey through his fears, and the rewards that lay on the other side (friendship, acceptance, trust, support, etc.) There are some key things I want to establish about the world Hopper inhabits as well, and how it differs from the original series. Anyone have any suggestions? I have a Discord and Google doc, if you're interested in helping me create!
  5. I had a s****y morning. I haven't written anything in years. Its raw and terrible but something I needed to do. .357 Heavy eyes trying to stay open, After cheap sleep stolen off a guilty night. Not enough words to satisfy, And so I wanted to tell you something. I dreamt of something wonderful, But that memory is long gone. Fading images of something lovely, Like a perfect clearing where we could be ourselves. In and out at dawn I try to stay awake, As my post dream haze tells me sweet lies. Little could I have known that a failure in technology to notify Would leave me in the dark as you would struggle just to get by. Curious wolf found the lock and key, That might dare to set her future free. Misery loves company… I wasn’t there for you, But your friend in the case knew exactly what to do. So you stole yourself a toy that spoke to your depression Even if you tell me it wasn’t loaded at your discretion Terror caught across my face Dirty messages seen too late Panic bound on a five hour course Horrible displays of personal carnage scar my mind Vomit till there’s nothing left so calmer thoughts unwind Darling don’t bite that toy I need you in my life You’re my pride and joy I’m terrified to sleep again…
  6. (Or, words I will never ever use in a story) Spoopy Lit (as in “it was lit”) Fire (as in “this is fire”) Emojis (and the word emoji itself) Bae Boomer (“Ok boomer”) Low-key Yeet Dead-ass (to be continued too groggy to remember more banned words)
  7. (Unless you positively nail it) Skaters Misunderstood edgy characters Bleeding heart overly sad characters Retconning “It was only a dream.” Perfect fighters Everything must end in romance Dark and stormy nights Villainous parents The Chosen One Gods who cannot defeat non-God related villains Plot armor (parenthetical rants) Misunderstood fighters/heroes/musicians who instantly have a huge fan base Immediate love, platonic or otherwise Immediately good at everything characters Overly large rarely words used in a narrative (when there’s a common, smaller alternative) Blood fucking everywhere Deus ex machina Mary Sues in general Characters in horror stories lack common sense Gasoline explodes if you so much as think of fire The good guy can do no wrong The bad guy can do no good Censoring curse words Amnesia Too much TLC Characters who have suffered over the top abuse from friends, family, guardians, etc. *using asterisks to denote an action like we're role playing* Amnesia A character is dead and gone permanently as decided by the story, only to come back through some unforseen loop hole three episodes later (I'm looking at you, Dragonball) The bad guy is bad because he's bad. The good guy is good because we're supposed to root for him. Amnesia The Happy Ending Override (see 90% of sequels) Alarm clock wake-ups “Screw our orders! Those are our men out there!” Self sacrifice, doubly so when it is the thing that destroys plot armor Good guy and bad guy team up to stop a mutual threat cliché Rehashing Fourth wall breaking Opposites attract cliché Bad guy too powerful. Time for weakness ex machina. Anything shiny You make an original character for a fan fiction who is a rare breed of animal/warrior/marsupial because reasons ”So my friends and I were...” Kiss of Death cliché (characters kiss, at least one perishes shortly thereafter) Romance ex machina If I can figure out how to quickly find my blog then I will add more to this with time. Do you have anything I can add?
  8. I was just wondering who all uses their Oxford commas. It isn't required in the English language but many prefer to use it. If you don't know what it is, in a list it's the comma right before and. A sentence with an Oxford comma: I went to the store to get eggs, milk, butter, and bacon. A sentence without an Oxford comma: I went to the store to get eggs, milk, butter and bacon. I personally prefer use Oxford commas.
  9. What I mean by that is this. My Dad was talking about an interview call for a position, and one of the things the interviewer commented on was how he talked. He was told that the words he used were 'too big', that talking so intellectually made him seem intimidating, that he wad trying to create an air of superiority by sounding sophisticated. Like speaking somewhere between a professor and an attorney. This came to the point that most work places try to use language equal to an 8th grade education. I heard it's even lower, up to 6th grade. Apparently from what I was told, newspapers are made to be readable at a 6th grade level. My dad was basically told that he sounded too smart, using either too many words or too big of words. That talking in monosyllabic Twitter posts is more approved of. Is language and vocabulary, not just in the work place, but in school, in discussion, in public forums being too dumbed down? Are most people really at the level of needing to read and speak on an 6th grade level? Is being verbose and articulate in speech something to be looked down upon?
  10. We've talked a lot about the standard mechanics of story writing. I think it's time for us to start to explore the world of script writing. I know what you're thinking. "Mr. Tuna! I know how to script write. It's so easy! You just write the character name, then the dialogue!" I'm afraid not. If you write a script like that and try to send it to someone, they'll take one look at it and they will toss it in the garbage. However, since it's a lot easier to picture something by showing it, why don't I show you my meaning? First and foremost, however, I should recommend a script writing software. The one I've used most is called Celtx. I've used it for approximately 10 years. It's still free but as I understand requires an account now and you can't just download it to your computer any more unfortunately. That being said, I've moved over to another reasonable choice called Trelby. It's simplistic and if you're already a Celtx user you can transfer your files over to Trelby as needed. So let's get started with the TITLE PAGE! First and foremost, if you're using a script writing software, it's going to probably shave a good amount of time off this part. It must be formatted as you see here. Otherwise, down the trash chute it goes. "Written By" is fairly optional. As long as you write "By" followed by your FULL NAME. No nicknames. The bottom right side of the script can be used for copywriting if you wish, but it's optional, and you can alternate where your identifiable information goes as well, as long as its in one of the bottom corners. If your phone number, address, and email address are not in one of the bottom corners, your script will probably be thrown out. If not, and they decide they really like it, they'll just steal your work and pass it off as their own. Happens all the time, and you won't win that fight. As the writer, you're the second LOWEST tier on the totem pole. You have no say in who plays what. You have no influence over how your work is imagined. The only person lower on the chain of command then you is the craft services guy. Just be forewarned. If you become a screen writer and you aren't someone like Quentin Tarantino, you have no power. But you WILL make bank. Because you're selling your work. If you become a play writer, you'll probably make less money, but you will have ALL the power. Because in that case you are renting your work out. If you don't like how the set designer is doing things, you can threaten to take away their right to use the play. It won't make you any friends, but you'll have more leeway in that field, even if you're making less money. So if you're in this to stroke your ego, go theater. We will cover play writing in another update. It's fairly straightforward. Next, let's get started on the actual writing! So let's address our slugline, sort our actions, and form some dialogue! What the hell am I talking about? Well... Let's start with the SLUGLINE: A slugline, also known as your scene heading, is your main transition and how you define the current location and time of the scene you're about to cover. Every slugline should include these three things, in this order: WHETHER THE SCENE TAKES PLACE INSIDE OR OUT, THE LOCATION IT TAKES PLACE IN, AND THE GENERAL TIME FRAME. For example: Suppose we were writing a scene that takes places inside a convenience store in the day. We would signify that as follows: If the scene took place outside a house at night, it would be written as follows: YOU ARE EXPECTED TO ABBREVIATE INTERIOR OR EXTERIOR. In some cases, you can belay the use of the day/night selection. For instance: In space, the day/night cycle is probably not going to be quite as important, so it's understandable to excuse it here. If you need to include additional information in your slugline, you can add a small description after your location. But KEEP IT DOWN TO A FEW WORDS: Your slugline is how each scene is expected to open, and by using a new slugline you'll be suggesting to the reader that you are now in a different scene. After the slugline, you can either use dialogue or actions. It's generally better and more accepted to BEGIN WITH ACTIONS: Your actions are the meat and potatoes of your script. You will always write actions in the PRESENT TENSE. Additionally, you can not make any off comments about who you would like to see play which character, or the music you want in the scene. Nobody cares, and your script will be tossed if you do so. Say what needs to be said and move on: This sample defines what actions this character will be taking. It says nothing of where to put the camera because that much will be more up to the crew. You can suggest where the camera goes, but I usually leave that out. It's easier on you that way. If you have something happening in this action that is important, you can CAPITALIZE IT. When a character is first introduced in the narrative, his or her name should be CAPITALIZED. Afterwards, you can write the name normally if you'd like. I personally like to capitalize it all throughout the script though. It's just easier to pick out that way and there's no harm either way. Now we know the basics of narrative focus and action writing. But take this to heart: INCLUDE NOTHING IN YOUR SCRIPT THAT CAN NOT BE EITHER DIRECTLY SEEN OR HEARD. This means you can't include smells, taste, or touch. Why? Because the audience can not sense smells, tastes, or touch that the characters will sense. So: First of all, props for going for that top quality humor. But how is the viewer supposed to know that Jim stepped on a duck if we don't hear anything from him? We just see a guy widen his eyes. So what are your options? You can have Jim say what happened. "I farted." Or you can do it the smart way and play to the actions: Dialogue ought to be centered on its own personal line, and the character's name is the first thing you should see. The parenthesis are optional in the middle there. Use them only if you need to convey something specific... like how a line should be delivered. Or if two lines are said simultaneously: If you have a lot of dialogue for one character to cover, you may be required to write "CONT'D" next to the subject name. This is only needed when the dialogue is, well, continuous: If your character is narrating, you can signify this by including the abbreviation of V.O, which stands for "voice over." If a character is participating in dialogue but they are not on screen at the time, you can signify that by including "O.S", which stands for "off-screen." Deep stuff, I know. Here's an example page of some of what we covered: We see two sluglines here, meaning there are two scenes here. Note that we never use "CUT TO." It's not that we aren't allowed to. It's just that we don't need it here. You should also avoid writing "CUT TO" after each piece of dialogue for obvious reasons. There is so much more for us to cover... but I don't think putting it all in one blog post is such a wise idea. So instead, I'm going to include some sample writing. Only I'm going to write it in the exact way you SHOULDN'T write it. Your job will be to pick out the errors. There is, as I said, a LOT more to cover in this field. We will discuss that another time. In the meantime, I hope this helped if you're in the field for script writing!
  11. Criticism is a good writer’s best friend and a bad writer’s bane of existence. Some people use it as an excuse to just be an ass about your writing. Others legitimately want to help you. So let’s play a game. Is the following excerpt an example of constructive criticism or being an asshat: Woah, okay. Your pacing is way too fast here. What happened? Why does everything feel wonky here? You were doing okay before. Slow it down some. Critique Asshat Let’s try another one: You suck! This is hardly even a story! Critique Asshat Pretty easy to tell the difference. Good criticism tells you “This is what you’re doing wrong. This is how I think you should fix it.” It is a sign of respectful readers who appreciate what you’re making and want to see you better yourself in your craft. They’re offering you suggestions, not making an attack on your personal character. If you lash out to someone offering you critiques or advice, you will risk the respect of your readers and will not grow from the experience as you should. What about flaming? When someone starts talking to you like you’re a bad person or otherwise blatantly insults both you and your story, you can let them have it then, right? Not really. You should just ignore people like that. If anything, you should be laughing and giddy when you get responses in this manner on occasion. If you get them constantly then something might be wrong. But if you get hate sparsely, it usually means you’re doing something right. Critiques never tend to feel very good, but they help build your skill as a writer. If you make a huge mistake and the readers point it out, it’s something you can learn to avoid in the future. But if you only get “nice!” Or “Cool!” in response to your work you learn nothing but to feed your ego. Want to see a bad storm? Tell a writer with an overinflated ego their work is bad. You don’t have to listen to criticism. That’s your prerogative. All it is meant to be is a suggestion for you. Whether or not you take it is at your discretion. But treat your readers with the proper respect, and you should especially be grateful to those going out of their way to offer you advice on your story.
  12. So I recently started a blog and haven't really decided on a theme just yet, what I would like to know from those who blog is what do you write about and do you have a theme, what is your inspiration Don't worry I wont steel anything aaaaand.... GO!
  13. So now you’ve finished writing a chapter or a story. You’re tired, fried, you want to rest and let your mind wander. If you’re a hobbyist, you’re tempted to just upload what you made and be done with it. What about editing? Editing is a mostly lost art nowadays. Most people just assume their work is fine and they would have caught any errors while writing. I speak from experience when I say unedited material may seem okay from memory, but you can have a whole different animal in execution. I have re-read things I’ve written that I figured were close enough, only to gawk at the errors I’d made and wonder what in God’s name was wrong with me. I still wonder what is wrong with me, but I also edit now. So how do you edit? What are you looking for? How long does it take? What are your options? There are two main ways to edit a story: You can self-edit or you can get someone else to do it. If you get someone else to do it, you should still be self-editing as well. The other guy is there to give you a hand and help filter out mistakes you made. He/she is not there to rewrite your entire piece for you. So either way you have to read your own work. If you’re not willing to read your own work, then nobody else will be either. You should read your writing a minimum of 3 times: Once for its own sake so you can get the feel of what story points you covered. Twice to locate glaring mistakes. Three times to pick up the stragglers. I like to do my first read while I am writing what I am writing. This helps prevent plot holes and acquaints you with what you have left to talk about. If you’re really obsessive, you can take notes on your own work and what kinds of errors you found. Your goal is to eliminate as many errors before you send/publish as you can. Don’t just assume the editor (if you have one) will make everything better. You do NOT want to piss off an editor.
  14. I'm back again while last blog i wrote......stupid long ago i went to ciderfest recently and it started a writting pony spark in me. also buying fallout Equestria book helps to so i decided to get back to the forms and try to write again about ponies and make friends like my original goal on the forms was. Thinking about it I realized I have different fics I've put off for a while and pony rp ideas I ethier ended or never cooked off So do to my absence i now face a question Should i jump into more rps or wait on them to focus on the fics? Anypony reading this I've rped with in the past first i apologize for how bad my grammar was back then, and the crap rp moments i pulled on you and your OC. most likely I'll start with the fics I've put off writing. the option to rp with me i'll be open to if it's just a 1x1 and NOT PM RP. Let's make it easy on the mods they have enough on their hoofs with us. Look forward to chatting with ya and reconectin any old fellow bronys reading this -brony on
  15. If so, what is it you write? Do you write Fan Fiction, Poetry, Memoirs...? If not, what's your favorite story? It can be anything...it can be Cupcakes for all I care. I'm not a writer, but seeing that a lot of people seem to put so much effort into their writing on this site.
  16. Im thinking I might post some of my poems and other personal writings, maybe some songs that I've written. Do you think I should?
  17. One of the most refreshing things I’ve found as a writer is the ability to add in references to outside media, current events, etc. A well placed reference is fun to toss in, rewarding when found by the reader, and can give your ego a good pat when it’s recognized by the reader. Most of the time trivia and references are just added for extra “flavor,” though building a plot using a simple reference is not unheard of. However, as with everything else, it’s possible to overdo or ham up a reference. If you make it really in your face, then it fails because it becomes too obvious and self serving. Its an amateur mistake that I make far too often. It’s not the end of the world if something goes unnoticed. If they want to get the reference, they will. With the exception of inside jokes, there aren’t often reasons to repeat references throughout the story. If the reference is important to the plot, repetition can be important. Otherwise, repetition has roughly the same effect as making the reference too obvious. All in all, it’s a fairly simple balance to meet, but can pack a lot of extra flavor for the story, which is nice. Just remember that less is more in most cases. Side note: I hid one in here somewhere.
  18. A fanfic author reading, being satisfied with, self-editing and self-doubting their latest chapter repeatedly, to the ongoing impatience of their readers, 1867, colorized Fan fiction is the unsung champion of fan content, in this fandom and any other. It is perhaps the easiest art form to create - after all, all you need is a keyboard and an imagination. It's for this reason that fan fiction is the king of fan content, with visual art, its queen. Literature is literally everywhere, and our fandom was boisterous enough in its creativity to create its own website dedicated to the art of written works, FIMFiction.net. Accessible as it is for beginners, however, it is a difficult art form to master, because frankly, writing is hard. Instead of capturing a single scene or theme, you are stringing together many, while working to capture your reader's imagination through using your own, (typically) without the aide of attention-grabbing artwork, animations or music. You juggle pace/passage of time, character interaction and growth, description, proper language mechanics (grammar/usage), plot (depending on the genre you're writing), and so on. Even the most seasoned writers are always improving and defining their writing the more they write. There is good news, though. Fan fiction is even more accessible than traditional writing, because your characters are already fleshed out for you, and more importantly, your audience already knows them well. While the writer of an original novel must struggle with the creation of original characters, then labor to make their audience care about these characters by giving them developed personalities and motives, fan fiction writers' struggle comes from replicating the personalities already established, and building off of them in a meaningful way. This is typically easier, and less time-consuming than doing everything from scratch. I'd like to point out that fan fiction is not a 'poor man's alternative to writing', as many people outside fandoms still ignorantly believe. Fan fiction is simply a genre of writing, one way to write, just as poetry and classic story writing are. Derivative works based on past works are what make up a large portion of our creative culture, in and outside the professional business. There are writers who've been hired to essentially write fan fiction to expand the greater universe for franchises like Star Wars and Dungeons & Dragons, and if our century-old copyright laws ever get updated to properly include the internet, we could see the day fan fiction becomes a viable job opportunity. Alright, that was a lot of exposition. Let's have another exploitable book meme - you've earned yourself a treat for making it this far! Enough novella, yes? Let's get on with some structured tips. Tip 1: All writers have a 'voice', their own unique writing style, which they discover naturally the more they write. An author's writing style is like their cutie mark, their passport, their ID, their name tag or their belly button. It is entirely unique to them, and it tells you what genres that writer thrives in writing, as well as what patterns they may use throughout their stories. It is how they start stories off, it is how they describe things, it is in the vocabulary they use. Discovering your writing style is a major milestone in your growth as a writer. If you're just starting out, you probably don't know what your voice is yet, and that's perfectly fine. It doesn't happen right away, and probably won't until you have numerous stories in your library. One trick to finding your voice through fan fiction is writing short stories, and sticking to just canon characters. Pick a character, maybe two, from the show and create a oneshot around them. It could be anything. The simpler the story, the clearer it will become for you to discover what you gravitate towards in your writing, because you won't have to worry so much about character development or a greater plot. Heck, you may even find you enjoy oneshots and, like me, only have one story over 10k words to your username. Tip 2: Write your canon characters like you're writing a script for the show, and only deviate from this when necessary. You're writing fan fiction, and as we've already hit upon, that means you are writing characters that your audience already knows well. If your canon characters are off-key, out of character, it will be obvious. Nailing your canon characters is, I would say, one of the more important things to master in fan fiction writing, because at the end of the day that is what a lot of people read fan fiction for - they're not there just to read about your original character, they want to see more content with the characters they enjoy. Writing in-character isn't hard, you just need to be mindful of your character dialogue and character actions. Unless you're writing an Alternate Universe story, you are taking that character from the show and thrusting them into whatever premise you have in mind, not borrowing that character's basic concept and molding it outside realistic proportions. As we got into earlier, your first few stories should focus mostly, if not entirely on canon characters, so this is great opportunity for you to hit your stride in in-character writing. If you're not sure how a character would react in a certain situation, just look to the show for examples of when they may have reacted to a similar situation, even if it's only similar in the type of emotion they're feeling. Tip 2.5: Always have insertable memes in a lengthy rant topic, or your readers may get spooked and press that back page button. Tip 3: 'Show don't Tell' is as equally valid in fan fiction as it is in other story writing. Grammar/mechanics are a muscle memory skill that will improve the more you write and read. I decided at the start of this topic that I wasn't going to go into detail about grammar/mechanics, or the absolute basics of writing. All of that stuff can easily be looked up, and most of you have probably learned about it in school. That said, I did want to make a few points about these things on a more general scale, for those who may be foggy, or are unclear on what certain things mean. 'Show, don't Tell' is a cornerstone for immersive writing, and everyone should be doing it. To 'show' is to describe things in the moment, to describe a character's thoughts through body language, their movements through specific description. 'Telling' is when you sacrifice opportunity for description for using words . 'Telling' is the biggest pitfall for people in writing, asides grammar, and is extremely boring to read. 'Angry, Spike picked up the scroll and threw it across the room.' This is telling. You're sitting in a bar and telling your friend about something trivial that happened last week. Nobody wants to read writing like this, Karen. 'His teeth clenched and his chest filled with heat, and so Spike seized the scroll and hurled it clear across the room, his harsh grip having crumpled it behind repair.' This is showing. You describe emotions and actions instead of naming them, and you invite your reader to picture the scene, themselves. Grammar/mechanics, as well as a wider variety of vocabulary are all things that will improve the more you read and write. Self-editing is important, but it's also important to have someone else look over your work when possible, as we often miss things when reviewing our own work. An outside eye will often be able to find patterns of word usage, errors and areas of improvement a lot more effectively than you can. Tip 4: Decide on a POV, or Point of View, and stick with it. Stories can happen one of three ways. First Person, in where a given character is narrating the story from their point of view. Second Person, in where a character is addressing you, the reader. Third Person, in where you, the author, or a third party character narrates from their point of view. Most stories stick with one of these categories. You can juggle multiple points of view from different characters, even having more than one type of POV in a single chapter, but this is some advanced sh*t and I would not recommend it for beginners. Third person is usually the easiest way to write for beginners, as it allows you the most freedom in description. First person is a great alternative for recollection, if your story is heavily character-based, and second person is...kinda weird, actually, I haven't seen second person that often and can't speak from experience on how to write it. Tip 5: Read in order to write. Reading other writers' works can inspire new ideas, widen your vocabulary and help you discover your own writing style. I will be the first to admit that I still struggle with this one, as I tend to write stories more than I read them. The trick to remember is that you don't necessarily need to read fan fiction to become inspired for the one you're writing. As long as what you're reading is a story in some regard, it has the capacity to inspire. That said, something with a similar tone or genre will definitely have more obvious similarities to pull ideas from. There's an old saying that says to never be the smartest person in the room - surround yourself with people as smart, or smarter than you. I believe the same concept applies to reading works. Always try to read something of equal, or higher quality than what you're writing, because that is where you'll find true growth. Never feel discouraged by finding authors farther along than you - they, too, were once where you are. More things I struggle with. Tip 6: As you build your vocabulary, use description to paint atmospheres into your scenes, concerning both the environment and the characters in them. This is called 'tone', and is incredibly immersive for your readers. The more you read and write, the more adept you'll become at using description to paint scenes. By describing certain things you'll be able to give off feelings for your reader, immersing them in the world you're creating. Take an excerpt from a story of mine, which aims to depict the cold and gloom of a rainy night, and the feelings of comfort and warmth that come from being inside. ~ Rain Curfews, by yours truly Final Tip: Write every day, at least a little, to keep your skills sharp and always improve upon your writing. Even if you don't end up publishing everything, write a little every day. I started writing fan fiction at thirteen, largely self-taught, and I was horrible. Come years later, I can look back and actually see how far I've come. Determination will get you far in life, and writing is no different. If you have the motivation to start even one story, do it. You might find you really enjoy it, and will start to carve out your own section of literature in this feelsy, colorful fandom. I'll be adding to this once I think of anything else to add. Let's call this a first draft. Heh, writing terms!
  19. Sometimes less is more. A proper description in the right spot can help make a story. Too much description, however, can cost you. Oddly enough, it can really cost you in a horror story. The trap beginners fall into is the idea that gore = fear. That’s not necessarily true. The right amount of blood, the right amount of description, and the right amount of direct action can make a horror story. The wrong amount can leave you with something like Jeff the Killer. Why does less tend to be more in a horror story? Well, the reason boils down to the psyche of the person. Meaning derived is meaning described. For the average person, the things the mind comes up with tend to be scarier than whatever you actively describe. Consider, for instance, the famous shower scene of Psycho. Each shot is deliberately cut such that we rarely, if at all, see the victim being stabbed: Additionally, there’s far less blood here. This has the effect of keeping us in the dark as to the extent of the injuries. Less blood can bring us more alarm. Too much blood and too much gore, however, has the opposite effect. Take a story like Jeff the Killer. You get more a feel of something written by an edgy 12-year old. The story becomes satire and loses its horror element. It becomes something that you may fear or take seriously as a child but does not age. As a writer, you’re constantly striving for what you can’t quite achieve: ageless. In many cases, the less blood and gore you use, the better off you’re going to be. The exception tends to be satire. Generally speaking, using less blood is better enjoyed because blood has become almost a cliche these days. This by no means is to say you should never use a drop of the stuff. But toe the line. It will help you greatly. Lay the ground work, but let your reader’s mind do the rest.
  20. Grammar is mad important and u need 2 tak it srsly cuz no1 wants 2 reed a story when it looks like dis. We’ve talked about plot lines, we’ve talked about characterization, and we have talked about Writers Block. Now we should talk about the thing everyone loves to make fun of, and that’s grammar. You could have a great idea for a plot, but it means nothing if you can not convey it properly. If the plot is the life of everything you’re doing, the grammar is the frame work. It should not hurt my eyes to read what you’re writing. That means no walls of text (like above), proper spelling and punctuation, and the knowledge of how to write dialogue. That seems to be a main issue for a lot of new writers. It takes some getting used to but it is fairly straightforward. So let’s go over examples of how NOT to write dialogue: SCRIPTWRITING FORMAT A story is a story. A script is a script. There is no middle ground. Bob: I relli luv tis blog Bill: I h8 it it sux nd so duz the guy writing it Bob shoves Bill, Bill shoves Bob, and tempers rise. This is an excerpt from the story How To Lose A Reader In Three Lines. You will not get far with this format. It’s not the correct way to write dialogue and were you to use it in school or a major publication you would fail or be embarrassed. This is not even the correct scriptwriting format either, poor grammar aside. SENTENCE FRAGMENTS AND RUN-ONS “I really love apples” said ted “That nice but we should see other people” said teds friend apples We’re getting closer now. We see some quotation marks which is a good sign, but we are still missing a few fairly important punctuation marks. As is we have run on sentences galore. These become confusing and annoying. Sooner or later your reader may throw in the towel here, but you will probably get a few pointers from some critics which will be good. ”I did not hit her. It’s not true. It’s bulls%#@! I did not hit her! I did not! Oh, hi Mark.” said Johnny. ”Oh hey Johnny, what’s happening?” asked Mark. We almost have it. Here we see much better grammar for the most part but we still have a few mistakes. First of all, you don’t censor or bleep out a curse word in a story. It’s not reality tv. Just write out the fucking thing you’re trying to say. Second is one of the most common errors I see in dialogue: the period ending a character’s spoken words. “Oh hi Mark.” said Johnny. Here we have two incomplete thoughts thanks to the period in the middle: ‘Oh hi Mark’ and ‘said Johnny’. To fix this is simple: replace the period with a comma: ”Oh hi Mark,” said Johnny. The comma tells us to pause a moment but not for a full stop like a period. Therefore we have a complete thought. But what about Mark’s response? He got it right. There’s nothing wrong there. The question mark is excused because we need it to help understand that the statement is really a question. THE WRITE WAY “Oh my God!” exclaimed Malory. “What shade is that?” ”You have metal shards in your hand and you’re gushing arterial blood. I’m the only guy here who can save your hand, and probably your life,” said Michael. ”I like you just the way you are.” ”Did you know that the foam remembers me?” asked Tobias. “That’s why they call it ‘memory foam!’” If you’re not sure of how to proceed, look at a book you may have lying around. Otherwise, these will usually get you through what you’re trying to write. A well polished story always looks nicer than a story that forsakes grammar and spelling.
  21. Who could ever forget writers block? It’s the unseen phantom that plagues us as writers and drains us of our ability to progress our stories because we can’t think of how to proceed. It’s a real story killer that has ended more than a few really promising works of fiction. It’s just too bad writers block does not exist. What do I mean by that? Well, is there really a faceless phantom out there actively hunting down writers and keeping them from proceeding with a story? No, of course not! It’s a state of mind. It’s self defeat. It’s boredom and disinterest all rolled into one. Writers block is procrastination. That’s all it ever was and all it ever will be. The problem is, most people do not like to admit that they procrastinate. We are all guilty of it from time to time. Writers especially tend not to like admitting they are procrastinating because it adds pressure. They begin to jump down their own throats by telling themselves those who read their work are waiting and they wind up tapping themselves out. So they say they’re having trouble coming up with more to write. This turns into a hiatus more often than not. Usually this type of hiatus is followed with the writer promising he or she will not let the story go unfinished. “I will come back to it. I promise. I will not let this story go until I complete it!” When I see a promising writer go on hiatus and/or see a message like that, I don’t believe that the writer will come back. I am right almost every time, if you’ll pardon my cynical boasting. 8 times out of 10 they don’t return and the story remains unfinished. This is because procrastination gets harder to escape the longer you let it go on. 1 time out of 10 you WILL hear from the hiatus writer again in the form of an update. This update is usually just an apology message and a formal cancellation of said story. Every so often in lieu of a notification, the writer quietly deletes the story. Very rarely do people who go on these hiatuses return to complete the work. Those that do are the disciplined ones who recognize that there really was nothing stopping them from continuing their work. So is there a way to prevent procrastination? Well, yes and no. You can make things become part of a routine. If you make a goal for yourself, the story as a whole becomes less looming. Outline the plot of your story first so you know what to do in which chapter. Maybe make yourself a goal based on word count: 1000 words per day, 500 words per day... even 100 if you’re really struggling and then just build up over time. If you outline your story and set goals for yourself “Writers block” is no excuse. Does every hiatus mean procrastination? Of course not. Your life comes first and you never know what will happen. Be it an illness or death, vacation or celebration, some things pull you away from the keyboard or paper longer than you would like. In those cases make sure you outlined the story so you can get back in as soon as you’re able. Finally, the cure for writers block. I’ve found it, you guys. I had to go through a jungle, over the sea, through a swamp and I had to ride through a desert on a horse with no name but six warrants in three different countries. But damn it I found the cure! All you have to do is take a glass of cold water, and drink it. Then, go sit down and write. Force it if you have to. It doesn’t sound much fun does it? Well, when you’re writing through procrastination it isn’t fun. You’re going to keep looking back and you will want to redo what you have written. Nothing will be good enough. Fortunately that’s why you re read your draft three times before you do anything with it. Don’t get into your own head. Just let the words flow and when it’s time to reread you can make corrections along the way. The only way to beat “writers block” is to just write. Everyone procrastinates every now and again, but it does not have to define you. Work through it and don’t let your work fall into the graveyard of unfinished stories.
  22. If the plot is the thing you are writing for, your characters are some of your main driving forces to achieve your goal. It’s impossible to write a story without at least one character, as a first person or omnipotent narrator can be considered a character themselves. A plot-line often uses the characters in its universe to tell its story. We see the story unfold with them, for them, through them, and at their expense. Whatever must be done must be done to tell your story. There is very little middle ground. A common error in characterization is the failure to admit fault or weaknesses. Nobody likes to acknowledge their flaws, and nobody really likes writing a flawed character. However, flaws are generally what makes your character “alive” to the reader. Nobody is perfect, therefore we often relate more to an imperfect character than a perfect one. We refer to characters without weakness who are seemingly perfect in every regard as “Mary Sues” or “Gary Stus.” These types of characters are rarely ever taken seriously and if you’re writing a story that demands to be taken seriously, you will fail. A Mary Sue can, however, be used well in certain circumstances. For instance, in a satire or a comedy, these characters can earn many a laugh because the reader does not take them seriously. They are parodies of themselves, and that makes them work in comedic storytelling. A well rounded character is one with a back story, a personality, strengths and weaknesses. A character should generally not have a horrific depressing back story because it gets in the way of the narrative and defines it. Unless that is the intention, I would stay away from it. Characters designed to gain sympathy from other characters or the readers tend to be banal, and the opposite tends to happen. Instead of loving and feeling sympathy for these characters, we feel no connection whatsoever. We don’t feel connected to the character, and therefore do not have an investment in this storyline. I call overly negative characterization the “Bleeding Heart Effect”. It is okay to have a few bad things happen in the backstory. It is okay to have some really bad things happen. Be sure to balance them out with some positives too. Hell, make the character a go lucky person, even in the face of negativity. You can earn a strong connection to the character that way. It’s a gamble to treat them like your friends or family. I generally recommend you do not. They are tools meant to be used and discarded when they are no longer useful. There are a few reasons why: First of all, when you form an attachment to your character, you’re going to want them to be great. You won’t want them to have weaknesses and you will desire for your readers to see them in the same light. Ironically, getting the reader to see your character that way works better when you treat said characters as pawns. An undisciplined or new writer will tend to turn these characters into author’s pets. Nobody likes those. Another issue is this: Your character is only important until the plot dictates otherwise. If the plot demands your character die, you’re going to have to take it behind the barn. This is where the gamble comes into play: When you are attached to the character and love it and you’re going to have to kill it, one of a few things will happen: If you’re well disciplined and will do what you have to do even with the attachment, then the character dies and you channel the emotions you’re going to feel into the narrative. This allows a greater impact on the reader, because they can feel what you are feeling. However, you’re probably going to feel like crap for a while. If you are NOT willing to kill your character if the plot dictates it, you’re going to go to great lengths to find a loop hole. Sometimes you will succeed but at great cost to the plot; you may have to completely revamp the narrative so that this can happen, or you’ll find something that you think works, but it ruins the flow of the story. So you wind up with the character intact but the plot either changed or no longer possible to achieve. The best thing, therefore, is to consider a character nothing more than a tool meant to forward the story. It still might suck to kill someone off, but it’s not as bad and you avoid a lot of problems in the long run. As always, take this with a grain of salt. Maybe it helps you, maybe not. Respect your character as much as is needed, but do not confuse respect with love.
  23. Well alot of the time when I just want to sit down and relax and/or be left alone now these days I tend to simply browse the internet or listen to calm or melodic music. (Lulz yes) Edit: Oops... I can't forget playing Sonic 2... xD... So what about everybody else here?