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Monday, September 26, 2022

A Writer's Manual and Workbook by Paul P. Kies

A Writer's Manual and Workbook by Paul P. Kies

A Writer's Manual and Workbook by Paul P. Kies

 

 CONTENTS

PUNCTUATION

Comma — Ch. 21, § D

Compound sent, with conjunction, 5.1, 21.10;
unnecessary with short clauses, 5.2, 21.10.

Comma splice, 5.8, 13.8, 21.11 (transitional ex-
pression not a conjunction, 5.5, 5.9); error of
merely removing comma, 5.13.

Initial adverbial elements: clause, 113, 21.12
(short clause, 11.4); long phrase, 3.2, 21.12;
prep, gerund phrase, 17.7, 21.12; inf., 21.12.

Inserted elements, 21.13.

Restrictive and non-restr. modifiers (definition
of restrictive, 10.1 — of non-restrictive, 10.2):
adj. cl., 10.3, 21.14; other adj. mod., 10.4;
restr. app., 10.5 (meaning changed bye., 10.7);
non-restr. appositive, 10.6 (meaning changed
by c., 10.7); smh as, 10.11; non-restrictive
part, 16.6; final adv. cl., 11.5; cl. with/iro-
vided that, 11.6; cl. of degree or comparison,
11.7; cl. of concession, pure result, contrast,
11,8; clause of purpose, reason, 11.9-11.10.

Series — a, b, and c, 1.4, 21.15; complicated
2-part pred., 1.3; and without comma, 1.5.

Consecutive coordinate adjectives, 21.16.

Short direct quotation, 12.6, 21.17; quotation
interrupted by he said, 12.8, 21.17.

Elements falsely read together, 21.18.

Slightly parenthetical elements, 21.19; nom. of
address, 8.2, 21.19a; nom. absolute, 16.8,
21.19b; clauses, 5.10-5.11, 21,19f; transitional
expressions (c. unnecessary after hence, etc.),
5.6, 10.12, 21.19d (“buried” transitional exp.,
5.7); parenthetical infinitive, 18,2; etc.

Complicated noun clause as subject, 12.2.

Pred. repeating last word of noun cl., 12.3.

Comma incorrect, 21.20; indirect quot., 12.9;
dropping of c. before dash, 21. ,32; dropping of
c. with question mark plus quots., 21.48; how-
ever as a rel. adv., 13.9; yon know, etc., 10.14;
most n. cl., 12.1; ger. in most uses, 17.6; short
initial phr., 3.3; initial phr. followed immedi-
ately by verb, 3,4; restrictive adj. cl., 10.3;
restrictive appositive, 10.5; restrictive part.,
16.5; series— a and b and c (or, a and b), 1.2.

Brackets — Ch. 21, § B

Editorial insertion, 21.40.

Parenthesis within parenthesis, 21.41.

Colon — Ch. 21, § F

Final appositive, list, series, etc., 21.24, 10.9.

Appositive with namely, etc., 10.12.

Final noun cl. in non-restrictive apposition, 12.5.


PUNCTUATION (continued)

Colon (completed)

Final gerund in non-restr. apposition, 17.6.
Long or formal quotation, 12.7, 21.25.
Salutation of formal letter, 21.26.

Time indication, Bible reference, 21.27.

Daslt~-Ch. 21, § G
Broken sentence, 21.28.

Complicated non-restrictive expression, 10.8
21.29; noun clause, 12.4; gerund, 17.6.
Appositive with namely, etc., 10.12.

Final appositive, 10.9.

Parenthetical material, 21.30.

Summary of preceding series, 21.31.

Dropping of comma or period before dash, 21.32
Overuse of dash, 21.33.

Exclamation Point

Exclamatory sent., 1.9; any exclamation, 21.9
Retention of exclamation p. before dash, 21.32

Parentheses— Ch. 21, § B
Parenthetical material, 21.34.

Other punctuation with parentheses, 21.35.
Separate sentence in parentheses, 21.36.
Confirmatory figure, 21.37.

Numerals for numbering points, 21.38.

Deletion, 21.39.

Period— Ch. 21, § B; etc.

Declarative or imperative sentence, 1.7, 21.1,
Abbreviation, 21.2, 22.11.

Fragmentary sentence, 21.3.

Quot. interrupted by he said, etc., 12.8, 21.17
Dropping of period before dash, 21.32.
Dropping of period before closing mark of paren
thesis, 21.35.

Dropping of period with question mark plu;
quotation marks, 21.48.

Question Mark — Ch. 21, § C
Interrogative sentence, 1.8, 21.4.

Indirect question, 21.5.

Polite request in question form (period), 21.6
Uncertainty, 21.7.

Irony (objectionable), 21.8.

Retention of question mark before dash, 21.32

Quotation Marks (and quotations) — Ch. 21, § i
Direct quotation, 21.42.

Indirect quotation (not), 21.43,

Quotation interrupted by he said, etc., 21.45
Quotation of more than one paragraph, 21.44. “
Change of speaker, 21.46.

Other punctuation with quotation marks, 21.47



PUNCTUATION (completed)

Quotation Marks (completed)

’ Comma or period with endamation point or
question mark plus quotation marks, 21.48.
iQuoted titles, 21.49.

,'fUnfamiliar technical terms, 21.50.

3Slang, 28.8; overuse as indication of irony or
i;; apology for slang, 21.51.

'.Quotation within quotation, 21 52.
jiBlocked quotation, 22.45.

I Citation of source of quotation, 22.46.

1 Semicolon — Ch. Zl, § E

Compound sent, without conj., S.4, 21.21.
Compound sent, with only trans. exp., 5.5, 5.9.
"Run-together” sentence, 5.12.
jAppositive with that is, 10.12.

^Quot. interrupted by he said, etc., 12.&, 21.17.
Complicated compound sentence, S.3, 21.22.
Complicated elements not indep. clauses, 21.23.

General

Sentences, Ch. 1, §H.

Clauses, Ch. 13, § E: Independent Clauses,
Ch. 5, § D, § E, § F; .Adjective Clauses, Ch. 10,
§ C; Adverbial Clauses, Ch. 11 § C; Noun
Clauses, Ch. 12, § B.

Participles, Ch. 16, § D.

Gerunds, Ch. 17, § D.

MECHANICS

Abbreviations— Ch. 2Z, § B

Abbreviations generally undesirable (excep-
tions listed), 22.7.

Abbreviations in business letters, 22.8.

Matter requiring brevity, 22.9.

Capitalization of abbreviations, 22.10.

Period after abbreviations, 21.2, 22.11,

Apostrophe — Ch. 22, § C

Possessive forms — subhead under “Grammar.”
Omission of letters, 22.36.

. Plural of figure, letter, etc., 7.12, 22.39.

Capitals — Ch. 22, § 4

Sentence, 1.6, 22.1.

Direct quotation, 22.1.

Each line of poetry, 22.2.

Proper nouns and adjectiv'es, 22.3; unnecessary
if association with original has been lost, 22.4.
Subjects of study, 22.5.

I, 0, 'Salutation of letter, etc., 22.6.

Compounds— Ch. 22, J E

^ Numerals, 22.25; fractions, 22,26,

‘■'Compound adj. modifier preceding noun, 22,27.
Compound noun ending in prep, or adv., 22,28.
Other compounds, 22.29.


MECHANICS (completed)

Investigative Paper — Ch. 22, § J

Card bibliography, 22.51 (supplementary notes.
Ap. 2) ; bibliography card for reference work,
Ap. 3; bibliography cards alphabetical, Ap, 4.

Card catalog, 22.52; Reader’s Guide, 22.53; bib-
liographies in encyclopedias, etc., 22.54; bib-
liographies for special fields, 22.55.

Notes, 22.56; exact reference, 22.57.

Outline, 22. .58.

Footnotes, 22 59: amount of text covered, i.n-
sertion in text, Ap. 5; books, 22.60 (no comma
before parenlJrcses with place and year, foot-
note for bulletin, book in series, writing un-
connected with rest of book, .Ap. 6); magazine
articles, 22 61 (no comma before parentheses
with year, .Ap. 7); “guide” for footnotes, -Ap. 8;
ibid., op. cit., loc. at., etc., 22 62; avoidance of
repeating data, 22.63; parenthetical matter,
22.64.

Bibliographical lists, 22.65; lines solid, entries
for bulletin, book in series, unconnected writ-
ing, Ap. 9; “ guide ” for bibl. entries, Ap. 10.

Note on other systems of documentation, Ap. 11.

Italics — Ch. 22, § D

Indication in typing or script, 22,19.

Words, etc., out of context, 22.20.

Quoted titles, 22,21,

Unnaturalized foreign words, 22,22.

Emphasis, 22.23, 27.16.

Ships, resolutions, law cases, 22.24.

Manuscript— Ch. 22, § U

Materials, 22.40; margins and spacing, 22.41.

Legibility, 22.42.

Titles; choice of, 22.43; mechanics of, 22.44.

Quotations, 22,45; citation of source, 22.46.

Acknowledgment of indebtedness, 22.47.

Paging, 22.48; folding, 22.49.

Endorsing, 22.50.

Numbers — Ch. 22, J C

Figures preferable, 22.12.

Words preferable, 22,13.

Dates, time of day, street numbers, references
tables, 22.14,

Avoidance of figures initially, 22.15.

Uniformity, 22,16,

Sums of money, 22.17.

Confirmatory figures, 22.18.

Syllabication — Ch. 22, § F

Avoidance of setting off short elements, 22.30.

Splitting of a syllable wTong, 22.31.

Division betw'een component parts, 22.32.

Single consonant between two vowels, 22.33,

Mote than one cons, behveen two vowels, 22.34.

Hyphen at end of first line, 22.35.



GRAMMAR


GRAMMAR (continued)


AJjecthc Old Adverb

Modifier of verb, 2.7.

Due to (adjectival), 3.1.

Adjective with verb pertaining to senses, 2.10.

Agreement— Ch. 7, § C, § E; etc.

Pron. with ant., 7.13; singularity of eacA, etc.,
7.14 (mas. pron. for common gender, 7.15).

Verb with subject, 7.16 (not with subjective
complement, 8.1): noun intervening, 7.17; as
well as, etc., 7.18; he don’t, 7.19; compound
subject with and, 7.20 (near identity, actual
identity, 7.21); compound subject with or,
nor, 7.22 (with different forms of verb, 7.23);
subj. following verb, 7.24; plu. rel. pron., 7.25;
sing. rel. pron., 7.26; collective sing., 7.27; col-
lective noun as plu. ,7.28 ; a number of, etc., 7.29;
mass plu , 7.30; data, scissors, etc., 7.31; news,
politics, athletics, 7.32; plu. title, etc., 7.33.

Case Functions— Ch. 9, § C; etc.

Subject, 9.11.

Subjective complement, 9.11.

Nominative of address, 9.11.

Direct object, 9.12.

Indirect object, 9.12.

Object of preposition, 9.12.

Objective complement, 9.12.

Adverbial noun, 9.13.

Appositive, 9.16.

Substantive of nominative absolute, 16.3.

“Subject” of obj.-inf. construction, 18.1.

Complement after to be in obj.-inf. constr., 18.1.

Poss. with gerund, 17.1 (evceptions, 17.2).

Case of relative pronoun, 10.13; not affected by
parenthetical he knows, etc., 10.14.

Case of pronoun in noun clause, 12.10.

Possessive of inanimate objects iilogical, 9.14
(exceptions, 9.15).

Comparison — Ch. 2, § C; Ch. 11, § E

Positive, 2.1.

Comparative, 2.2, 2.8.

J Superlative, 2.3, 2.8.

Forms in adjective, 2.4.

Forms in adverb, 2.5.

i Adjective, adverb lacking comparison, 2.6.

Different than, 2.9.

1 Logical comparison; comp, degree, 11.25; super-

j lative degree, 11.26; exact specification, 11.27.

' Conjunctions — Ch. 11, § D; etc.

I 31s ... or vs. 50 ... <M, 11.1.

j As ... os, than not prep., 11.20 {than whom,
11.21);pron. asobj. after as . . .as, than, 11.22-,
ambiguous noun after as as, than. 11,23.


Conjunctions (completed)

Mixture of than and as . . . as, 11.24.
Omission of subordinating conjunction, 11.2.

Like not a conj., 11.11; a preposition, 11.12.
Willmil not a conjunction, 11.13.

While for and, 11.14.

While for whereas, 11.15.

IFh/fe for concession, 11.16.

As and since for cause, 11.17.

Providing for provided, 11.18.

So and such as intensives, 11.19.

Because in noun clause, 12.11.

When or where cl. as subj. complement, 12.12.
Where clause as direct object, lll3.

Dangling Elements

Participle, 16.9.

Gerund phrase: active, 17.3; passive, 17.4
general agent, 17.5.

Infinitive, 18.3.

Elliptical clause, 23.4.

Plural of Nouns — Ch. 7, § A

Nounsnot ending in sibilant, 7,1.

Nouns ending in sibilant, 7.2.

Common nouns in y, 7.3.

Proper nouns in y, 7.4.

Nouns in / or fe, 7.5.

Nouns in o, 7.6.

Nouns adding en, 7.7.

Nouns changing vowels, 7.8.

Unchanged plurals, 7.9.

Foreign plurals, 7.10.

Compound nouns, 7.11.

Letter, symbol, etc., 7.12.

Position of Modifiers — Ch. 13, § A; etc.

Elements falsely read together, 13.1; adverbial
modifier moved to beginning, 13.2; change of
construction desirable, 13.3.

Confused compound predicate, 13.4.

Position of only, etc., 13.5.

Adjective cl. separated from word modified, 13.6, ,
Squinting modifier, 13,7. V

Awkward split infinitive, 18.5; permissible split '
infinitive, 18.4.

Possessive Forms— Ch. P, § A, § B
Personal, relative, and inter, pron., 9.Z, 22.38.
Indefinite pronoun, 9.2, 22.37.

Nouns, 22.37: poss. sing, of most nouns, 9.3;
poss. sing, of nouns in s, 9.4 (apostrophe never
precedes original s, 9.5) ; poss. plu. of s plurals,
9.6; poss. plu. of plurals not in s, 9.7; avoid-
ance of awkward forms by phr. with of, 9.8;^
compound expression, 9.9; joint ownership, *
9.10; poss. of inanimate objects illogical, 9.14
(exceptions, 9.15).



GRAMMAR (completed)

Sentences and Fragments — Ch. 4; etc.
Necessity of subject and predicate, 1.1, 4.1.

Necessity of finite form, 4.2.

Elliptical sentences: commands, 4.,3; answers,
4.4; ciclamations, 4.,S; other situations (not
recommended for student), 4.6.

Fragments, 20.1, 21.3: appositive, 10.10; de-
pendent clause, 13.10; participle, 16.7; nom-
inative absolute, 16.8.

Subjunctive — (Jh. 15 , § C

Conditions contrary to fact, 15.1.

Wishes, 15.2.

Commands, motions, etc., 15.3.

Clauses of purpose, 15.4.

As ij and as though clauses, 15.5.

Concessions (if supposition), 15.6.

Simple conditions (optional), 15.7.

Tense — Ch. 6

Past for past perfect, 6.1.

Inconsistent change of tense, 6.2.

Sequence of tense after past t., 6.3; general
truth, 6.4; in purpose cl, 6.6; in verbal, 18 6.

Sequence of tense after present tense, 6.5; in
purpose clause, 6,6.

Shall — loill; simple future, 6.7; determination
of speaker, 6.8; determination of subject, 6,9;
willingness, promise in 1st person, 6.10; ques-
tions, 6,11; indirect quotation, 6.12.

Should — would: obligation, improbable condition,
reasonable expectation, 6.13; customary ac-
tion, wish, 6.14; other meanings, 6.15.

Troublesome Verbs— Ch. 19

Principal parts of troublesome verbs, 19.1.

Rise — raise, 19,2.

Lie — lay, 19.3.

Sit— set, 19.4.

Shall — will, should— would, see “Tense.”

RHETORIC
Diction — Ch. 2S

Exact word, 28.1; loose phrasing, 28.2; specific
word, 28. ,3,

Diction appropriate to subject, occasion, and
tone, 28.4: colloquialism, 28.5 (contraction,
28.6); vulgarism, 28.7; slang, 28.8; archaic,
obsolete, or poetic word, 28,9; “fine writing,”
28.10; triteness, 28.11 (in letters, 30.17); unidi-
omatic expression, 28.12; diction appropriate
to readers, 28,13.

Concrete word, 28.14; suggestive word, 28.15
(misleading suggestion, 28.16); figure of
speech, 28.17 (mixed figure, 28.18).

Emphatic diction, 28.19.

Glossary of faulty usage, 28.20.

, Economy — Ch. 23

Wordiness, 23.1.

Tautology, 23,2.

Elliptical clause, 23.3.


RHETORIC (completed)

Emphasis — Ch. 24, Cli. 27

Subordination, 24.1, 27.1: weakness of so re-
sult clause, 24.2; correction of comma splice
by subordination, 24.3; choppy sentences, 24.4;
stringiness, 24.5 (repetition of but or for to
join clauses, 24.6); upside-down subordination,
24.7; subordination by verbals, 24.8 (use of
verbals to remove stringiness and choppiness,
24.9).

Weak passive, 14.2, 27.2.

Effective passive, 14.1, 27.3,

Balance, 27.4.

Separation, 27.5.

Position, 27.6,

Last sentence of paragraph, 27.7.

Periodic sentence, 27,8.

Parenthetical element at end, 27.9.

Frequent weakness of nominative absolute, 16.4;
at end, 27.9.

“Buried” parenthetical element, 5.7, 27.10.
Order of climax, 27.11.

Transposed word order, 27.12.

Omission of useless words, 23.1-3, 27,13,
Repetition, 25,9, 27.14.

Variety, 25.1-10, 27.15.

Italics, 22.23, 27.16.

Rhetorical question, 27.17.

Emphatic diction, 28.19.

Parallelism — Ch. 26; etc.

Parallel structure, 26,1; outline, 26.2.
Disagreeable change of voice, 14.3.

Necessary change of voice, 14.4.

Misleading parallelism, 26.3; and who, etc.,

26.4.

Correlatives, 26,5.

Reference of Pronouns — Ch. 25, § E

Ambiguous antecedent, 25.11.

Inconspicuous or implied antecedent, 25.12.
Possible antecedent of impersonal pronoun, 25. 13.
Tow, they, it as indefinite pronouns, 25,14.

Clause as antecedent of pronoun, 25.15.

Singular pronoun with each, etc., 7.14, 25.16.

Variety — Ch. 25

Variety of sentence types, 25.1.

Variety of sentence beginning, 25.2 ; avoidance of
strained word order and faulty emphasis, 25.3;
verbals for variety of sentence beginning,

25.4.

Repetition of words, 25.5; avoidance of awk-
wardness, etc., 25.6.

Repetition for clearness, 25.7 (repetition of
article for clearness, 25.8).

Repetition of sound, 25.10.

Reference of pronouns — see previous subhead.



MISCELLANEOUS TOPICS

Correspondence — Ch. 30

Stationery: business letter, 30.1; social letter,
30.2.

Headings, 30.3; cautions (;?; 12/24/36; st, etc.,
with the day after the month; omission of
Slreel, Avenue), preferable not to abbreviate
except D. C. and U. S. A., 30.4.

Inside address, 30.5: for clergymen and public
officials, 30.6; for married women, 30.7; names
of positions not abbreviated, 30.8.

Salutation, 30.0; for clergymen and public offi-
cials, 30.10; “attention of ,” 30.11; salu-

tation in a personal letter, 30.12.

Body, 30.13; paragraph length, 30.14, .Ap. 15e;
conciseness and directness, 30.15; standard
grammar, spelling, punctuation, 30.16; trite
diction, 30.17; courtesy, 30.18; the reply letter,
30.19; paragraphing and adaptation of per-
sonal letter, 30.20.

Complimentary close: business letter, 30.21;
personal letter, 30.22.

Signature: business letter, 30.23; initials of
typist, 30.24; woman’s signature in personal
letter, 30.25.

Outside address, 30.26; of married woman or
widow, 30.27; legibility and return address,
30.28.

Formal notes, 30.29; semi-formal notes, 30.30.

Paragraph — Ap. IV

Unity, Ap. 12.

Coherence, Ap. 13.

Choppy paragraphs, Ap. 14 (situations per-
mitting short paragraphs, Ap. 15).


MISCELLANEOUS TOPICS (completed)

Spelling — Ch. 29 ;

Plurals of nouns — subhead under “ Grammar.”

Possessive forms — subhead under “Grammar.”

Compounds — subhead under “Mechanics.”

Contractions, 22.36.

Suffijces; doubling of final consonant, 16.1 ; drop-
ping of final e, 16.2 (retention of e after c or g
if before a back vowel, 29.1; change of c to
ck before a front vowel, 29.2); y before vowel
suffix, 29.3; y before s, 29.4; any letter but y
before consonantal suffix, 29.5; addition of -ly,
29.6; -ful, 29.7.

Prefixes: prefix ending in unassimilated con-
sonant, 29.8; prefix ending in assimilated con-
sonant, 29.9; prefix ending in vowel, 29.10;
words with per- (not pre-), 29.11; words with
de- (not dis-), 29.12. ;

Order of ic and ei, 29.13.

Verbs in -ceed, -cede, related nouns, 29.14.

Misspelling because ©f mispronunciation, 29.15'
(insertion of a sound, 29.16).

Omission of silent letters, 29.17.

Tricky vowels: o, 29.18; », 29.19; e, 29.20; o,
29.21.

Superficial resemblances, 29.22; related words
with minor differences, 29.23.

All right, altar, alter, conscience, Mississippi,
murmur, necessary, necessity, written, embar-
rass, occasion, night, occupy, pantomime, priv-
ilege, sergea7it, similar, villain, captain, certain,
Britain, where, which, 29.24.

Test list, 29.25; supplementary test list, 29.26.

Words with two spellings: preferred form, 29.27;
form preferred in America, 29.28.


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Sunday, September 25, 2022

Writing Prompt: Love/Hate at First Sight

 

Writing Prompt: Opening Up

 Writing Prompt: Love/Hate at First Sight

 

These exercises were written by IWW members and administrators to provide structured practice opportunities for its members. You are welcome to use them for practice as well. Please mention that you found them at the Internet Writers Workshop

  -------------------------

In 400 words or less describe someone falling in love or hate at first sight with a person, place or thing.

-------------------------

An ideal situation to explore this idea would be a blind date, but don’t confine yourself to thinking of infatuation only in terms of romance, it’s a very broad experience. People fall in love at first sight with cars, houses, puppies, cities, all sorts of things. On the other hand, they can also take an instant and often irrational dislike to something.

Show us love at first sight with someone glimpsing what seems to be the long-awaited ideal mate or car or house; or someone finding exactly the right shoes or power drill in a shop window; or anyone falling hard for a cottage in the woods or a big, shiny motorcycle. The object of infatuation can be almost anything someone has never had and always wanted, especially anything that the character thinks would change his/her life if possessed.

Or, conversely, develop a character who instantly hates someone or something: takes an instant dislike to a seatmate on a long flight; bites into some unfamiliar food and has to resist spitting it out (or not); or comes out from under the bandages after cosmetic surgery and hates what he/she sees.

Show the emotional mechanism of first-sight infatuation. Show us how the character feels just before it happens, and then show us how he or she looks and acts upon discovering this object/person. Or let us see this character’s reaction through a third person’s eyes. Show us whether the character is satisfied or disappointed when he gets or gets near the object of his infatuation?

-------------------------

When critiquing an author’s efforts, consider the effectiveness of the opening. Do we see the character reacting--stunned, delighted, frightened, overwhelmed by either desire or disgust when he or she espies the object? Would you read on to find out what happens? Don’t forget to tell the writer about any grammatical or structural issues you may notice.

-------------------------

Saturday, September 24, 2022

Writing the Breakout Novel: Insider Advice for Taking Your Fiction to the Next Level by Donald Maass | Writing Book of The Day

  Writing the Breakout Novel: Insider Advice for Taking Your Fiction to the Next Level by Donald Maass | Writing Book of The Day

 
Take your fiction to the next level!

Maybe you're a first-time novelist looking for practical guidance. Maybe you've already been published, but your latest effort is stuck in mid-list limbo. Whatever the case may be, author and literary agent Donald Maass can show you how to take your prose to the next level and write a breakout novel - one that rises out of obscurity and hits the best-seller lists.

Maass details the elements that all breakout novels share - regardless of genre - then shows you writing techniques that can make your own books stand out and succeed in a crowded marketplace.

You'll learn to:

- establish a powerful and sweeping sense of time and place
- weave subplots into the main action for a complex, engrossing story
- create larger-than-life characters that step right off the page
- explore universal themes that will interest a broad audience of readers
- sustain a high degree of narrative tension from start to finish
- develop an inspired premise that sets your novel apart from the competition

Then, using examples from the recent works of several best-selling authors - including novelist Anne Perry - Maass illustrates methods for upping the ante in every aspect of your novel writing. You'll capture the eye of an agent, generate publisher interest and lay the foundation for a promising career.
 

Writing the Breakout Novel: Insider Advice for Taking Your Fiction to the Next Level by Donald Maass
 "Writing the Breakout Novel": A breakout novel is one that rises out of its category--such as literary fiction, mystery, romance, or thriller--and hits the bestseller lists.

 

 

 

 

Writing the Breakout Novel Workbook
"Writing the Breakout Novel Workbook": This powerful book builds on the success of it predecessor and takes readers to the next level: improving their work with practical, hands-on lessons and exercises.

Friday, September 23, 2022

Writing Prompt: Stereotypes (Version 3)

 

Writing Prompt: Opening Up

 Writing Prompt: Stereotypes (Version 3)

 

These exercises were written by IWW members and administrators to provide structured practice opportunities for its members. You are welcome to use them for practice as well. Please mention that you found them at the Internet Writers Workshop.


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Exercise: In 400 words or less, write a scene in which a character sees another as a
stereotype. Make that character realize the error when the true nature of the person
judged unfolds.

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People naturally categorize people, places, things and events in their minds. This
helps us organize, remember, and make use of our experience. We all develop rules
to help us react rapidly when we need to. A flashing red light means danger; we
know that, so we can react instantly, almost without thought.

But applying labels to people and expecting certain behaviors without considering
their individual characteristics can produce tragedy or injustice. Stereotyping can
affect our level of trust in a person. Many stereotypes are negative; they can lead to
assumptions and misconceptions that are unfair or simply inaccurate. This kind of
mistake often happens when people are judged on the basis of race, sex, religion, or
some other characteristic shared by a large group, rather than on their own
behavior.

A good example of a stereotype is Boo Radley in the novel *To Kill a Mockingbird*.
Scout and her brother have built up a particular idea of him from his appearance
and gossip they have heard. His true nature is revealed when he rescues Scout and
becomes a family friend and quiet hero. Incidents in which timid women turn out to
be brave, or braggarts fail to make good on their promises, are common in literature.

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In your critiques, note the effectiveness of the stereotype developed, and comment on
the writer's success in showing the required reversal. Consider, as always, the setting
and the quality of the writing.

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Thursday, September 22, 2022

Write Your “Shitty First Draft”


Anne Lamott Bird by Bird: Some Instructions on Writing and Life 1st Edition1st Edition

Write Your “Shitty First Draft”



When you’re writing a book, whether a memoir, a novel, or a non-fiction book, it’s easy to get stuck in perfectionism. You want your book to measure up to the books you’ve read and loved before.

However, no book starts out good. Writing is an iterative process. Your second draft is better than your first, and your third draft is better than your second. But to get there, you first have to write what Anne Lamott calls a “shitty first draft.”

So write. Don’t worry if it’s terrible. Set a deadline. Create a consequence that will happen if you don’t meet that deadline. And finish your first draft.

I don't know what I would do without ProWritingAid to check my writing. It gives me so much more confidence in everything I write. Want to see what I mean? Try it for yourself!!!

 

Anne Lamott Bird by Bird: Some Instructions on Writing and Life 1st Edition1st Edition

  Free Writing Books Index

Wednesday, September 21, 2022

Writing Exposition by Rachel Simon | Writing Quote

Writing Exposition by Rachel Simon | Writing Quote 

 

 Exposition is the background material a reader needs to know for the story to move forward. In "Little Red Riding Hood," we need to know that our main character is a girl on her way to visit her ill grandmother, who lives in the woods. We also need to know that this girl is young and innocent, and so might be given to speaking to strangers, such as cunning wolves, who are hanging out in the woods. In the story of Adam and Eve, we need to know that our main characters are a man and a woman who live in a garden, that they are the first man and woman who ever lived, and that they have been told not to touch the fruit of a certain tree. In the Dickens story "A Christmas Carol," we need to know that our main character Scrooge is a callous, penny-pinching boss, a man old enough to be set in his ways, and that it is Christmas time. Once this background information is established for each of these three stories, they can proceed."

Rachel Simon

 

 About the Author 

Rachel Simon
Rachel Simon (born 1959 in Newark, New Jersey) is an American author of both fiction and non-fiction. Her six books include the 2011 novel The Story of Beautiful Girl, and the 2002 memoir Riding The Bus With My Sister. Her work has been adapted for film, television, radio, and stage.

In 2005, Rachel Simon's book Riding the Bus with My Sister was adapted for a Hallmark Hall of Fame movie by the same name. The film starred Rosie O'Donnell as Rachel's sister Beth, and Andie MacDowell as Rachel. It was directed by Anjelica Huston.

 

Tuesday, September 20, 2022

The Enneagram: A Power Tool for Screenwriters by Judith Searle

 

The Literary Enneagram: Characters from the Inside Out

The Enneagram: A Power Tool for Screenwriters

by Judith Searle

Judith Searle Books at Amazon

Experienced writers know that plot and character are like Siamese twins: if one is terminally diseased, the other is doomed. While a solid structure is essential to a good screenplay, it fails to guarantee characters whose behavior continually seems both inevitable and surprising.

The system of personality typing known as the Enneagram offers a powerful technical tool for developing original and dimensional characters. Familiarity with the nine basic types can help us sharpen conflicts between characters to make dramatic situations more compelling. Being aware of the connections between story genres and Enneagram types provides insights into why we are drawn to create thrillers, romantic comedies, science fiction or other kinds of stories.

THE NINE TYPES

The nine types are portraits of contrasting psychological attitudes, based on our habitual focus of attention and the fears that shape the ways we see the world:

* One (The Critic): principled, orderly, self-doubting, irritable. Ones fear being seen as evil or corrupt. (Example: Gregory Peck in ‘To Kill a Mockingbird’)

* Two (The Lover): nurturing, seductive, emotional, proud. Twos fear being unloved and unappreciated. (Example: Susan Sarandon in ‘Dead Man Walking’)

* Three (The Achiever): energetic, practical, driven, vain. Threes fear being seen as losers or failures. (Example: Tom Cruise in ‘Jerry Maguire’)

* Four (The Aesthete): authentic, passionate, depressed, envious. Fours fear being seen as ordinary. (Example: Meryl Streep in ‘Out of Africa’)

* Five (The Analyst): observant, independent, cool, stingy. Fives fear being overwhelmed by others. (Example: Ralph Fiennes in ‘The English Patient’)

* Six (The Pessimist): loyal, authority conscious, suspicious, fearful. Sixes fear being unsupported by others. (Example: Sally Field in ‘Norma Rae’)

* Seven (The Optimist): enthusiastic, egalitarian, self-indulgent, dilettantish. Sevens fear being deprived and in pain. (Example: Andre Gregory in ‘My Dinner with Andre’)

* Eight (The Trail-Blazer): forceful, confrontative, excessive, vengeful. Eights fear being in a subordinate position. (Example: George C. Scott in ‘Patton’)

* Nine (The Connector): accepting, generous, distractible, indolent. Nines fear conflict and disharmony. (Example: Frances McDormand in ‘Fargo’)

Films and literature offer a vast panoply of examples that can be examined with the tools of the Enneagram to reveal the dynamics of character. Once we understand how this system works, we hold the key to a more sophisticated understanding of ourselves and others. In my workshops, where I teach the nine types, primarily through film and literary examples, I emphasize that each type may be heroic or villainous.

Great characters are recognizable Enneagram types. Blanche DuBois (a Four), Willy Lohman (a Three) and Mary Tyrone (a Nine) all show distinctive character arcs that are predictable under the Enneagram system. Star actors often give their greatest performances as characters whose Enneagram type is the same as their own: George C. Scott in ‘Patton’ (Eight), Susan Sarandon in ‘Dead Man Walking’ (Two) and Sally Field in ‘Norma Rae’ (Six), to name but a few obvious examples. Thus, writers creating a character with a particular star in mind would be well advised to pay attention to that actor's personal Enneagram type.



Judith Searle
Judith Searle began studying the Enneagram after two friends in succession suggested that its breakdown of nine personality types could be a valuable tool for her acting, writing and teaching. Now, after years of study and use, she has compiled an amazing book, ‘The Literary Enneagram.’ which provides actors, writers, teachers and the world at large with groundbreaking tools for human understanding, using character examples from great literature, stage and the movies. She also teaches the workshop, Judith Searle's 'Great Movies, Great Books and The Enneagram.'