caseypettywrites - Tumblr blog

[caseypettywrites]

Mack Mahoney - 8. Welcome to New Titania, Son (on Wattpad) https://my.w.tt/9wJ3TU0MN8 Mack boards the space ship, New Titania, a ship you might be familiar with, and meets his father for the first time in a decade.

[caseypettywrites]

I just spemt two months researching and plotting and i wrote a few chapters only to delete them and write them again and then delete them. I hate the story cant bare to look at it. I'm tired, exhausted and so sad about it. For three years I've been trying to write this story (in multiple variations with different characters and settings). I don't know what to do. What do you suggest?

Stop deleting it to start with, you might’ve written something worth salvaging and just not known it. It’s always better to start with something than nothing.

I’d say try writing the story from a different angle, different section, or different main character, but it sounds like you’ve already tried that.

So, set the story aside and just take a break. Write pieces here and there, keep them organized, but DO NOT RE-READ them. Collect inspiration whether it be quotes, images, or music to help you develop the theme and mood of the book without actually writing it.

And, most importantly at this point, write down on one page a summary of what the story is about. Write another page telling a little about each character. Write a quick timeline of events from beginning to end (it can be short), and basically leave some framework behind for when you do pick this story back up.

Just don’t delete it if it’s something you’ve been thinking about for three years.

[caseypettywrites]

“When I’m feeling blocked, what I find to be helpful is the freedom that moving around offers. Disabuse yourself of the idea that a novel must be written chronologically. I write my books in pieces, as the scenes emerge for me naturally. If I’m feeling stuck on the denouement, I can hop to a background-building scene in the first act to get my wheels tuning again. If I can’t seem to pinpoint the moment that the protagonist should choose to accept the challenge that the second act brings, I can try writing the ending. When you follow your inspiration instead of your outline, it can open up all sorts of possibilities.”

—

Leah Johnson is a writer, editor and eternal Midwesterner, currently moonlighting as a New Yorker. She is a 2021 Lambda Literary Emerging Writers Fellow whose work has been published in BuzzFeed, Autostraddle, Catapult, and Electric Literature, among others. Her bestselling debut YA novel, You Should See Me in a Crown, was named one of Cosmo‘s 15 Best Young Adult Books of 2020, and was an Indies Introduce and Junior Library Guild selection. Her sophomore novel, Rise to the Sun, is forthcoming from Scholastic in 2021.

Do you write straight through from start to finish, or do you skip around? Let Leah know, and/or thank her for her #CampCarePackage!

Your Camp Care Package is brought to you by Camp NaNoWriMo. Sign up to receive more Camp Care Packages at nanowrimo.org!

[caseypettywrites]

I have a story that, while in my head, has a compelling plot and complex characters having interesting conversations. But when I transfer it to paper, the plot becomes clunky, the characters fall flat, and the interactions feel dull and contrived. I don’t know where the disconnect is. I don’t often have this trouble with fanfics, only my original stories. I know you can’t magically diagnose my issue, but I’m worried I’m trying too hard to make a story happen that shouldn't be. Do I keep going?

Yes.

The gulf between the perfect thing in your head and the klunky thing on the page is the battle that every writer worth their salt is facing every day.

[caseypettywrites]

“Writing is always a process of discovery - I never know the end,or even the events on the next page, until they happen.”

— Kim Edwards

[caseypettywrites]

Mack Mahoney - 7. Hey, Scrap Metal! I'm Over Here. Come and Get Me. (on Wattpad) https://my.w.tt/iuskVGgb47 The action continues as Mack survives another attack from the dreaded Spots! Please be sure to follow and vote. Much more to come with Mack and Nikki!

[caseypettywrites]

[caseypettywrites]

Your character is driven by 3 emotional motives. See? I even made a graphic.

(I’m proud of the graphic, too.)

Mood: The immediate (and temporary) emotions of your character. A feeling of joy after kissing the girl they like; frustration after a busy day working a summer job at the fair; despair after somebody eats the last Oreo.

Situation: The plot and relationship contexts of your character. The apprehension they feel with a friend in the weeks following a nasty fight; the nerves felt in the week leading up to their big championship game; the frustration and boredom of being grounded after crashing the family car into the county creek.

Struggle: The core, deepfelt pain of your character, which often emerges from their background. The fear of failure from overly demanding parents; a deep longing for a family they never knew; a desperate need to be accepted after spending years as an outcast.

How these 3 motives influence your character

The above emotional motives all play an important role in driving your character’s actions, muddying or even overriding their more logical intentions — just as it happens to the rest of us. (We’re all human, after all.)

That being said, while your character’s mood and situation will shift throughout the story, their struggle will remain constant: their true north, emotionally speaking. This struggle will always be at the root of their actions, even as you swap in new situations and moods.

Take Bethany as an example

Let’s say your character’s name is Bethany, and her struggle is this: a deep fear of failure, stemming from her parents’ impossible academic expectations, which conflicts with her own desire to finally experience the life she sees passing her by.

Her actions, while primarily driven by that struggle, are going to vary quite a bit depending on her situation and mood. For example, if it’s the night before a big test, she might blow off a friend’s invitation to a party so she can study.

But if the party is a week before the big test, and she finds a handwritten invitation in her notebook from Emma (the girl on the lacrosse team she has a crush on), Bethany might act differently. Maybe she feels a lightness and warmth in her cheeks as she reads Emma’s note. Maybe she puts those textbooks away, and maybe, just maybe, she sneaks out the window and goes to the party.

But if Bethany finds the note after her parents just chewed her out for being ungrateful and not studying hard enough? Maybe Bethany doesn’t go to the party. Instead, maybe she reads Emma’s note, trembles, then rips it in two, knowing she can’t disappoint her parents like that. Then she spends the rest of the evening studying. Alone.

Mood. Situation. Struggle.

All three kinds of emotional motives are important. Your character’s struggle is the anchor, but their mood and situation are the ever-shifting masks you use to express their struggle in fresh ways. 

And by the end of the story, hopefully your character will overcome their struggle — putting away the textbooks, sneaking out the window, and meeting their crush at a party. Maybe even having their first kiss.

Whatever the character, and whatever their struggle, I’m sure you’ll do great. 

So good luck! And good writing.

— — —

Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

[caseypettywrites]

“You can not describe anything without betraying your point of view, your aspirations, your fears, your hopes. Everything.”

— James Baldwin

[caseypettywrites]

“…fiction gives us empathy: it puts us inside the minds of other people, gives us the gift of seeing the world through their eyes. Fiction is a lie that tells us true things, over and over.”

— Neil Gaiman

[caseypettywrites]

Just in case anyone else ever thinks about these sorts of things.

The Editing Agenda: Those Darn Dashes

When it comes to formatting and punctuation issues, hyphens and dashes take the cake. Their use in books is incredibly inconsistent, which leads to a lot of confusion for anyone trying to learn them. This article will give a thorough breakdown of each kind and their uses as they pertain to fiction. Keep in mind that the rules I’m covering are the ones that are the most beneficial for fiction writing—there are some that won’t be addressed in this post. And all rules mentioned are based on The Chicago Manual of Style, 16th Edition.

Hyphens

Phrasal Adjectives

Phrasal adjectives are a short group of words (usually two but sometimes three or more) that link together to modify another noun. They typically precede the noun and are very common in fiction writing.

Example 1: rose-colored glasses

Example 2: four-chambered heart

A fantastic resource for this can be found on The Chicago Manual of Style website: http://www.chicagomanualofstyle.org/16/images/ch07_tab01.pdf

This chart shows you the breakdown of various combinations of adjectives and how they should be punctuated, including permanently hyphenated words and exceptions. The CMOS advises following Merriam-Webster’s dictionary for determining which words and phrases should always be hyphenated. Some of examples of this are the words life-form, run-down (not to be confused with rundown, which holds a different meaning), and short-lived.

Compound Name

Hyphens are also used for compound names, including surnames, first names, and other names.

Example 1: Merriam-Webster

Example 2: Mary-Kay

Example 3: Theta-Gamma

Word Division

The most common word division breaks where you’d find hyphens would be line breaks, syllable breaks (often used for pronunciation purposes), and prefixes and suffixes. Which isn’t all that common in fiction writing. However, you will often see it in dialogue, particularly with stuttering.

Example: “W-w-where’d you l-l-leave it?” Tom asked.

Separators

Hyphens can also be used to separate letters and numbers. That’s that type of thing you see with phone numbers, ID numbers, and the like. However, a great use for separation hyphens in fiction writing if when have a word that you need to spell out completely or partially.

Example: The sign read: “C-A-U-T.” The rest had long worn off.

En Dashes

Dates, Times, and Page Numbers

The en dash’s main purpose is to replace the word to. The most typical occurrence of this would be with dates, times, and page numbers.

Example 1: He held office from 1929–1932.

Example 2: The event is Saturday, 2:30p.m.–4:30p.m.

Example 3: Tonight’s assignment is to read pages 32–45.

You also might see this with scoring/votes and with an unfinished number range.

Example 4: We won our last game 13–2.

Example 5: The magazine (2003–) has produced six volumes so far.

However, you should always use the word “to” instead of an en dash if “from” precedes the range.

Example 6: He joined us from 11a.m. to 12p.m. but had to leave for lunch after that.

Directions and Compound Adjectives

En dashes are also sometimes used with words, as can be the case with directions.

Example 1: I took the London–Paris train last week.

And sometimes—very rarely—an en dash is used with compound adjectives. This is where it gets tricky because the intended meaning can often get muddled by using this method, so it’s usually best to reword and find a more elegant solution when possible.

Example 2a: I’d like to find more Taylor Swift–style music.

Example 2b: I’d like to find more artists like Taylor Swift.

Version 2b of the above example flows much better and is less confusing than the first, so it’s definitely the better choice.

And with two sets of compound adjectives where the sets are acting as coordinate adjectives to each other, a comma is the best option.

Example 3: This run-down, high-maintenance property will end up costing a lot of money.

Universities

The last use of en dashes is one that you probably won’t find in most fiction writing, but it’s useful to know nonetheless. You will sometimes find universities with multiple campus locations using an en dash to include the location name.

Example: I put my application in for Fordham University–Westchester.

Em Dashes

Em dashes are used to set off phrases and clauses in a manuscript that require an abrupt break, either to draw attention to it or because there is a large shift in the train of thought. This is one of the most useful tools an author has in fiction writing when it’s used correctly and sparingly. Note that em dashes should NOT be substituted with ellipses; the two serve different purposes.

Em Dashes vs. Ellipses

Em dashes are used for interruption or to set off an explanatory element. An ellipsis is used to indicate hesitation or trailing off.

Example 1: “Lucy, where did you put—”

“It’s none of your business!” Lucy shouted from the other room.

Example 2: I stumbled down the stairs—the power had gone out earlier that evening—before I found my way to the bathroom.

Example 3: “I don’t know…” I admitted. “I hadn’t really thought much about it.”

Interrupted Thoughts

Sometimes the interruptions can come in the form of narrative thoughts.

Example: Justin’s feet pounded against the ground as he blazed down the trail. Awesome. If he kept up the pace, he’d beat—a tree root caught his foot, and he was sent sprawling into the dirt.

And if you have a character that is having trouble forming a sentence due to the circumstances at hand and/or heighted emotions, em dashes can be used to indicate stammering between words (not syllables).

Example: “What I meant was—why can’t we—oh, just forget it,” Julie spat out.

Words and Phrases

An em dash can also be used to set off noun or pronoun at the beginning of the sentence.

Example: Cowards—they were the ones who sought power.

Another common use for the em dash is before the phrases “namely,” “that is,” “for example,” and others similar to those.

Example: We spent most of the afternoon in the garden—that is, until the heat got to be unbearable.

Note: You should never use em dashes within or immediately following an element that already has a set of em dashes. Not only would this look terrible aesthetically, but it could also cause potential misinterpretation.

Interrupted Dialogue

The last use of em dashes for fiction is probably one of the trickiest, but it can also be the most useful. If you have a line of dialogue that is split up by an action in the middle, you can use em dashes to set off that action.

Example 1: “Well, the thing is”—Tommy quickly turned his attention to his feet—“it’s just not working out between us.”

Note that the em dashes go outside of the quotation marks in such a case, and the quotation is a continuous line of dialogue that is being split. The first word of the dialogue after the split should be lowercase. You can’t use this method if you have two separate sentences that have an action in between. In that situation, you’d use periods.

Example 2: “You really mean it.” I could hear my voice catch in my throat. “I just don’t understand what happened.

Two-Em Dash

One type of em dashes that is not commonly used in fiction writing that is probably my favorite is the 2-em dash. The 2-em dash is used to omit words or parts of words that are missing or illegible, or to conceal a name. Two em dashes are most useful for the genres of fantasy, thriller, and mystery, where characters might come across documents that have damage to them. The example below is from a snippet of a work in progress of mine: book one of the Ansakerr series.

My dearest I——,                     ��                                                  

If you are reading this, I have long since p—— away. I can only pray that my —— box and this letter have fallen into your hands and your hands alone. There is much you have yet learn to about me. There is still a D——k O—— out there, one more dangerous than you can imagine. For now, you are protected, but be on your toes, my girl. One day soon, I fear the p—— will fade, and you’ll need to be ready. He is coming.

The key will lead you to A——. It will hold the answers you’re looking for.

Deepest love and affection,

Grandma Bea

Notice that most of the missing parts are for key elements, including names, places, and very specific items that are clearly key for the plot. If you craft these parts well, you can purposely mislead a reader in the narrative, giving a bit of a twist to your story.                                                                                  

Formatting and Stylistic Use

No spaces should be used around hyphens or dashes except in the case of the 2-em dash when it is being used to completely omit a word. This is probably the most common error regarding formatting of hyphens and dashes that I come across. Though there is some debate about spacing among various sources, the CMOS is pretty clear about it. But again, as with anything else in writing, consistency is the most important.

As for formatting the different dashes, mainstream word processors include symbols for each that you can insert into your document. In fact, some of them even automatically convert two hyphens used together into an em dash. While most publishers will accept em dashes in the form of two hyphens (in fact, some even request that you submit manuscripts that way), when it comes to actual printing and online publishing of the material, you’ll want to make sure they’re replaced. Your document will look more professional when you use the correct symbol, and your readers will likely notice as well.

Tip: To quickly find and replace any stray instances of two hyphens with an em dash symbol, use your word processors Replace function.

Lastly, when it comes to use with other punctuation, a question mark or an exclamation mark can precede an em dash, but never a comma, colon, or semicolon. In other words, if you use an em dash where one of the latter punctuation marks would typically be used, the dash takes the place of the punctuation.

Example: He bent down to tie his shoe—but he stopped when he saw Alyssa approaching.

[caseypettywrites]

Sometimes writing feels like you’re trying to pedal a bicycle that’s missing a wheel. Other times your coasting down a hill, feet off the pedals and enjoying the rush of the air.

But no matter the pace, no matter the difficulty, a work is completed one word at a time.

[caseypettywrites]

day 7 - more words for said

acknowledged

added

admitted

advised

agreed

announced

answered

approved

argued

assumed

assured

asked

babbled

bargained

began

boasted

bragged

called

claimed

commanded

commented

complained

cried

decided

demanded

denied

described

estimated

exclaimed

explained

expressed

feared

giggled

grinned

grunted

indicated

insisted

instructed

laughed

lectured

lied

mentioned

moaned

mumbled

murmured

nagged

noted

notified

objected

observed

ordered

pleaded

pointed out

prayed

reassured

related

repeated

replied

responded

requested

restated

revealed

roared

ruled

scolded

screamed

shouted

shrieked

snapped

sneered

sobbed

stammered

stated

stormed

suggested

taunted

thought

told

urged

uttered

wailed

[caseypettywrites]

Mack Mahoney - 6. So What Do We Do? (on Wattpad) https://my.w.tt/JLJkBm7UH7 Mack and Nikki regroup and determine how to fight back against the Spots (spider-robots!).

[caseypettywrites]

Character Creation (2)

For people who are creating characters, here are some internal growth ideas your character may go through:

Reject the temptation to exact revenge, instead seeking justice through proper channels. 

Learn compassion for others, seeing people as individuals and caring about what happens to them. 

Challenge old beliefs and ideas and be willing to see the world from a new perspective. 

Let go of a dream or desire that is stifling their growth or causing them pain. 

Make a personal sacrifice so someone else can achieve an important goal. 

Learn to measure their self-worth according to their own standards rather than by the recognition or validation of others. 

Overcome their fear of success by ceasing his pattern of self-sabotage. 

Follow their own path rather than the one dictated by others, no matter how loudly or threateningly they speak. 

Find the strength to forgive another person and free themselves of damaging emotions. 

Gain the confidence needed to take a risk; in doing so, they will understand that true living is not about success or failure, but about trying. 

Reject toxic relationships and the crippling doubts surrounding their own worth. 

Learn that sharing their pain with others is a step toward letting it go. 

Become more decisive, rejecting the fears that have encouraged them to let others be the decision-makers in their life. 

Realise that refusing to admit they were wrong is worse than being wrong in the first place (since it inhibits growth and prevents change).

Reject fear and show courage by standing up to someone in a position of power or influence. 

Acknowledge defeat gracefully so they can move past it and try again. 

Reject the need for constant positive reinforcement by allowing someone else to enjoy the spotlight. 

Learn that there is a time to act and a time to listen, despite it being their nature to do one over the other. 

Let go of a deep loss and begin to move on. 

Set aside pride and seek wise counsel to improve their chances of success. 

Realise that fear itself doesn’t make them weak; avoiding or denying fear is what weakens a person.

Learn that true strength comes from the willingness to be vulnerable and own their insecurities rather than hiding them from others.

Step outside of their comfort zone, despite their fears, to try something new. 

Decide that their own happiness is important and take steps to obtain it despite the judgemental attitudes of others. 

If there is anything specific that people struggle with when it comes to character creation, then you can leave a comment, and I’ll try to make a post about.

[caseypettywrites]

“Books are a uniquely portable magic.”

— Stephen King

[caseypettywrites]

If you do not tell the truth about yourself you cannot tell it about other people.

— Virginia Woolf