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moariin · 5 years

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how to make your [fictional] world believable

EDIT: this is an old post, most of my excerpts are based on my first and rough draft but the point still stand!

Quite an ironic title, but lately a lot of my asks on here and Wattpad were questions regarding worldbuilding and how I do them. I’m grateful for every single one of them! But I’m not 100 percent certified person to give out advice, I just thought it will be cool to expand on this ask.

I also want to point out that this guide/advice can be also used in any genres (historical, contemporary, etc), fictional or real-world. Please note that this is based on my thoughts and ideas and so forth! And also this isn’t a full guide on how to get started on worldbuilding, but rather how to incorporate literacy devices and style to flesh out your world.

Read more below the cut.

So you made a world or in the process of making one, and now what? Well this post will help you polish it up. I will be using ‘These Hungry Dogs’ as an example.

Here are the 4 main breakdowns:

→ 1. Sensory details

This is important to remember and should always be the first rule to keep in the back of your mind.

A lot of times, people tend to get overboard with writing the government structure, types of religion, food, clothing, etc, that they forgot to put an emphasis on the five senses: sight, touch, sound, smell, and taste. Although having detailed structure or notes on what kind of government or cultural aspect is important, this have to come later. Keep it in the back of your mind.

An example of how to utilize the senses would be this:

“ The Scheisygh was an unusual place. Upon reaching onto the spine of the thin, barred land stretched before him, [he] borrowed the same fragile morning air the terrain threw itself over the vast chasm. Even further, he saw the jagged teeth from the trenches embedded itself into the mountains. Dust and smoke spiraled into the air, a sign of life as the Myrgenvai camp rest just underneath the valley - hidden from prying eyes. ”

The bolded indicates the sensory details and both sight and scent are used.

By using these two sensory details, we have some idea on the geographical formation (mountainous region) from a character’s point of view and so on. We can also see how the character spots the camp, forming a distance in mind. I always try to put an effort in writing sensory details into the world.

Here’s another example from my wip, The Water it Gives, using sound sensory:

Kenneth brought his briefcase along with him as he walked past the wheat fields, listening to the cicadas as the chirped eagerly among the grass. Everything is still and silent like the wind, not a single soul dared to cracked open its eyes and disturbed the solitude.

→ 2. Design (or ways to be sneaky)

Expanding on the five senses, a fictional world should always be active, giving life to the story. Things like having a short dialogue between the main character and vendor or overhearing a rumor while strolling down a market always lead the readers to be immersed in the world.

There are two categories that goes with design are: 1. Timing 2. Environment

Keep in mind that these two are the staple in every story as it creates a more grounded and realistic outlook on your fictional world.

Timing is super important when crafting a story and worldbuild.

One of the examples would be language, fictional or not, will always a subtle way to tell a place or region your character is currently in. Without the jarring details.

“ They would always call him names. Names of which he had grown used to. Nuvahund, nuvahund, the children hollered after him as they prodded him with wide eyes and fits of laughter. ”

Now you may be thinking what does ‘nuvahund’ mean? Well for context, the excerpt above is where the fictional word makes it first appearance. Remember, not to force or reveal its meaning right away but instead let the readers keep it in the back of their mind. This is where repetition comes in.

In the same chapter:

“ They whispered quietly of nuvahund. It was a common name, thrown into the streets and running mouths of children. ”

Now in a different chapter and scene:

“ Drawing steps across the cavern, she slipped between cracks of the cavern, the one where [he] emerged from. She made a daring move as she glanced over her shoulders, hesitating a bit. But before [he] could react, Nadja was gone with an instant.

[He] threw his eyes to Isidor, throwing his voice out with anger, his throat grew tighter as he tried to choke his words out. "And you just let her go?"

Nuvahund. How much he wanted to screamed bastard back. ”

This was done deliberately but also utilizing repetition and design, it creates a full circle: establishing a certain phase or word and revealing its meaning/definition. Context clues. Context clues.

So this brings to my second point, the environment. Environment can formed by the basic 5 W’s and H (who, where, when, what, why, and how).

Bringing the previous example:

This explores much of the five W’s and H, the bolded showing the what and where (The Scheisygh), who (the character’s pov), when (morning), how (the trenches embedding into the mountains).

Although not all of it was used, this scene explains much the environment and its formation the character is in. By using sensory details to reveal the geography/environment instead being straightforward can be more immersive in your storytelling.

→ 3. Personification

Saving the interesting (creative) bits for last!

This is one of my favorite literary device, I used it often in my writing. Most of the time I always personified the environment and geographical regions, basically all things inanimate. This is rather a more experimental type, find what you’re comfortable with, etc. Like the previous points I made, always remember subtly and design. As well as the importance when you want to draw personification into the story.

This is a classic example on personification.

“ As soon as the heart left the girl's open chest, the trees suddenly screamed, their melody becoming dissonant and coarse. With the loss of the girl's heart, they had lost one of their own. ”

Personification can be used alternatively, within fictional religion(s) or mythology for example. I tend to “shake” things up when writing mythology without giving too much away. So let’s say I want to write a particular scene where I could show a little world build.

In this case, personification comes into play. Here we see that snow is personified as a shroud.

“ As Emil stood watch as they work, the snow surrounded them, falling endlessly as if the white shroud Frau Holda had worn slid from her shoulders before retreating chaotic pits.”

ADDENDUM: Personification or any other literary devices should be only done when to serve the purpose. Always remember the design when formulating this (from the last point). The environment, and also the timing. For instance, say you want to write what’s the weather like during a scene. Try adding mythology or religion into the scene.

As you can from the example of Frau Holda, a mythos figure, and her shroud as the snow falling. Things like that will help you avoid massive info-dumping and jarring exposition. Take things little by little, like digging a treasure. It’s hard work but in the end it will all pay off. Your readers are smart to find bits and pieces throughout the book.

REMEMBER! You’re telling a story not a documentary.

→ 4. Emotion/Tone

Like personification, part of the immersive storytelling is the emotion and tone. And I say, the most important. Remember what genre you’re writing or aiming for. Whether it’s fantasy or historical fiction or sci-fi, you should know which direction to take.

Don’t be afraid to write flowery or purple! Though keep in mind the level and consistency, making sure that it’s the right timing. Personally, I usually write flowery descriptions whenever I stumble across writing a new place and connecting them into my worldbuild. Be smart and clever about it.

ADDENDUM: Think how each of your mythological figures represent, how do they act in folklore or stories? Are they violent? Virtuous? How do the people feel and act towards them? And how does your character see things, what is their perspective on the world and themselves?

By now, you can tell and pinpoint the direction I’m going for in ‘These Hungry Dogs’. As it’s a dark/low fantasy wip, I feel it would shaped better with a darker tone and setting, with some violent depictions (what I would call a red prose).

Formulate the ideas and the plot, decide which tone works best for your wip and the genre. Although keep in mind, you can always explore out of the box, getting creative is part of the process.

And that’s how the worldbuilding mafia works! I hope it wasn’t a jumbled mess to read through. Just shoot me an ask if you have any questions and I’ll be glad to help.

#mines: writing advice #writeblr advice #writing advice #new writeblr #long post #ref: writing #writing #worldbuilding

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artsychica2012 · 7 years

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In this excerpt from Bring Your Fiction to Life, Karen S. Wiesner details five types of opening scenes that writers can use to get their fiction off to a strong start.

Opening scenes introduce characters, plots, and settings, and where the story is going. Writers can take more time unpacking opening scenes than they can anywhere else in the story. The first and last scenes are almost always the ones authors can write with ease in a fully fleshed out way. They already have an “introduction” in their heads (i.e., the spark that inspired the story for them in the first place). Nancy Kress calls this “the honeymoon”: when the author is still in love with whatever gave him the story idea in the first place. With the spark driving him forward, he can frequently write one scene after the other, maybe skipping directly over the bridge scenes after the opening is established, pushing out the resolution scenes that he may also see clearly, until the initial idea is expended.

Compared to the books that were written a hundred years ago, authors are given fewer and fewer words to “get to the point” these days. Whenever I think of a classic that would have been written almost beyond recognition for today’s readers, I think of The War of the Worlds by H.G. Wells, published in 1898. If this book were written today, we would have seen whipsawing action at this invasion—mountains crumbling, buildings crashing down around screaming citizens running for their lives in the growing chaos of the attack, fire lighting the sky. … But times, and fiction, were different then. And, as unbelievable as it is now, when this story was adapted for a radio broadcast in 1938, it utterly terrified its listeners, who thought the events were real. Can you even imagine?

There’s no denying that the first page—specifically the initial 250 words—is your story’s make-or-break stage. In these 250 make-or-break words, your reader (whether an editor at a publishing house, literary agent, bookstore browser, the library try-it-before-you-buy-it patron, or the optimistic soul who buys his books by the crate and has a massive home library because he wants to devour life-altering written words that he can go back to over and over again in his lifetime) makes the decision whether to turn the page or to close the book and never open it again. The wisest author advice I’ve ever heard about writing a killer opening is to assume that the reader is in a terrible mood when he opens your book and, for that reason, you can’t let yourself believe you have until page two to win him over. Engage immediately. Doing anything else is at your peril.

There are several distinctive methods for starting a story. Many books have started with each of these types, sometimes effectively, sometimes not so much. While I have opinions on which ones are most effective, I won’t comment. I’ll simply leave it for you to evaluate whether you think each case works and/or whether another type of opener would have been stronger.

1. Stolen Prologue

In this opener, the climax scene is pulled out of the middle/end of the book and put at the front as a prologue. A stolen prologue opening can also be an intriguing “future of the present” summary (not word for word, and maybe not told in the nail-biting way it will be shown later) that reveals something that happens much later in the book, in the present. This scenario is intended to give the reader a taste of the biggest, most exciting sequence in the story. Movie producers use this ploy a lot to get a film started with a bang.

Just to be clear, a prologue per se isn’t what’s in question here. It’s the “stolen” aspect we’re focused on. A strategy like this can work very well, hooking the reader into your story to find out what it all means and/or how it came about. It can also easily become old and contrived. Some authors and readers even consider it cheating, especially if it’s not done in a compelling way, or if, once the reader actually gets to that point in the book, the drama of the prologue becomes repetitive instead of compelling.

One reason writers may use this kind of opening scene is because the actual beginning of the story is boring and/or slow (and perhaps they want the editor or agent receiving this submission, the one who will probably read only the first chapter, to read the exciting middle/end of the book instead of the actual snail beginning). If you’ve set up this kind of opener in your book, ask yourself about your purpose in using it and whether you’ve done it for a legitimate reason that makes the book stronger. If the sole reason is because the “real” beginning is shaky, you might want to rethink using this as a starting point and pep up the true opener so it does the work it needs to. If the stolen prologue actually works and serves the purpose, go with it.

2. Information Galore

In this type of introduction, the reader is given a ton of information that sets the premise of the story that follows. This can be written in a variety of ways—in the style of a prologue or synopsis, as a report of some kind, as a military dossier, in the style of a newspaper article, etc. Any of these can have a “true story” conveyance or be tailored to the fictional story about to be told.

Michael Crichton is one author who often started his books with these types of introductions, and he made this method work in whatever way he happened to present the information. For example, in Jurassic Park, he opens with a highly scientific and logical introduction detailing the field of biotechnology and genetic engineering in the late twentieth century and how a fictional company, InGen, instigated some sort of “incident” that led the company to file for Chapter 11 bankruptcy in order to protect its interests. This incident is the basis of the book. Crichton’s introduction effectively lays the groundwork for instilling a sense of real life into readers before the story truly begins with the fictional incident unfolding from that point on.

There can be very good reasons for using this kind of opener. If the information is actually based on true-life events, but may not fit into the story per se, that doesn’t mean it’s not important to convey anyway. If it’s not based on actual events, then maybe the underlying structure of the information presents a scientific, historical, or some other basis that lends authenticity to the story to follow; hence, the necessity of using this “info galore” delivery system to lay down the premise. This is another situation where asking yourself, “If I take this out altogether, does it damage the credibility of my story?” may be the deciding factor about whether it should be presented this way or cut.

read more @ the link

#amWriting #writing tips #openings

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char27martin · 7 years

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5 Types of Opening Scenes to Make Your Story Stand Out

This guest post is by Karen Wiesner . Wiesner is an accomplished author with 118 titles published in the last 19 years, which have been nominated/won 134 awards, and has 39 more releases contracted, spanning many genres and formats. She is the author of the new Writer’s Digest Books title BRING YOUR FICTION TO LIFE.

1. Stolen Prologue

[Here’s a great article on how to structure a killer novel ending.]

2. Information Galore

3. Backstory-Dramatized Flashback, Dream, or Flash-Forward

This type of story opening injects a prologue or first chapter with a flashback that takes a pivotal event or memory from a character’s past and establishes where the story problem originated, slamming us into the heart of the drama. Another prospect is including a flash-forward—an event that happens in the future of the story about to be told. This event is inserted as a prologue. By using this method, you end up with a highly dramatized “real-time” (written as if it’s happening in the present, though the reader will find out following the prologue that the scene was actually something pulled from later in the book). A scenario like either of these options potentially supercharges the story, placing the reader into the midst of something emotionally powerful or that has the highest impact or action-packed situation of the book.

In his article “Where to Begin? When, Where and How to Write a Prologue,” Lital Talmor talks about the defining moment in the protagonist’s past, which must be told to the reader in order for him to understand the character. Talmor goes on to say, “Think how cold and alien Batman would be if we hadn’t first seen young Bruce standing bewildered over the bodies of his parents.” Giving the reader insight into a character’s motivating internal conflicts, stemming from an external conflict, with a flashback, dream, or flash-forward can harness instant intrigue.

[Learn important writing lessons from these first-time novelists.]

4. Change She Is A-Comin’

This type of opening establishes the main character’s world as it is. The beginning is a normal, ordinary, average-day viewpoint just before “the inciting incident” descends and tears everything apart. Depending on the genre of your story and whether the opening is done right, this method can be intriguing. If your character loves her life as is, this is probably the world she wants to get back to before she was so rudely interrupted by the external conflict. This can really resonate at the end of the book, because the reader will remember the world before so vividly.

This kind of opener can also be slow, indulgent, leisurely … and sometimes incredibly boring, if there’s not enough interest to grip the reader’s imagination. As you’re writing your “change is coming” opening, if you feel you’re struggling to get into the story, your readers probably will, too.

5. Here’s Johnny

I can’t remember where I heard this quote, but a writer said, “Don’t waste time—begin the story at the last possible moment.” While this always makes me laugh, because the two images presented are contradictory, that’s what this method is all about. Get to the point with your opening, yes, but start where something crazy and exciting is happening. Whatever conflict or inciting incident catapults your story should be present from the first sentence and, from there, bust up everything the main character knows and loves; nothing will ever be the same.

By jumping into the action of the current story at the precise moment and time of the inciting incident, the writer doesn’t have a lot of time to establish the facts of character, plot, and setting. This method requires a great deal of master-storytelling acrobatics to get everything that needs to be included in the opener precisely when and where the story (and the reader) needs them to be.

While not every story is so action packed that a T-Rex razes a swatch of destruction in the main character’s path as it sweeps through the area, the intensity of this kind of conflict-laden opener is ideal for every story, regardless of genre. In context of your story’s tone, you have to work hard to suck the reader in with a skillfully developed punch of action that gives the who-what-where-when-why succinctly, effectively, and instantly so the pages fly by and the real world goes all but unnoticed by the reader.

Want More? Try Bring Your Fiction to Life

Bring Your Fiction to Life teaches you how to build a solid narrative structure and layer in lush, textured scenes to create a story that rings true. In this great resource, you’ll learn how to:

— Master the three-dimensional aspects of characters, plots, and settings using detailed sketches that define the past, present, and future aspects of each element. — Develop complex opening, resolution, and bridge scenes that expertly lead readers through your fictional world. — Construct and analyze an outline for your manuscript. — Brainstorm, research, and draft efficiently and effectively, and juggle multiple projects with ease. — And more!

Order Bring Your Fiction to Life right now by clicking here!

If you’re an agent looking to update your information or an author interested in contributing to the GLA blog or the next edition of the book, contact Writer’s Digest Books Managing Editor Cris Freese at [email protected].

The post 5 Types of Opening Scenes to Make Your Story Stand Out appeared first on WritersDigest.com.

from Writing Editor Blogs – WritersDigest.com http://www.writersdigest.com/editor-blogs/there-are-no-rules/5-types-opening-scenes-make-story-stand

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bestnewsmag-blog · 7 years

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New Post has been published on Bestnewsmag

New Post has been published on https://bestnewsmag.com/michael-jones-will-get-a-life-term-for-killing-his-7-year-old-son/

Michael Jones will get a life term for killing his 7-year-old son

The Prodigal Son and Forgiveness

The parable of the Prodigal Son (Luke 15:eleven-32) is one of the maxima discussed stories told by Jesus. A selection of interpretations was supplied which reflect the theological outlooks of various historic durations. Amy-Jill Levine, in her 2014 e-book Short stories by using Jesus, reviewed traditional Christian interpretations as she offered what might have been the response of a Jewish target audience inside the Galilee and Judea at the time of Jesus. In a 2005 ebook, Kenneth E. Bailey also discussed the Prodigal Son considering his revel in in Middle Eastern cultures. Each author has challenged earlier theological interpretations.

In general, Christian interpretations have said that God’s love is the primary theme of The parable. The easy story is presented as illustrating very theological issues. Augustine is an extreme consultant of “theologizing” by providing an allegorical view that turns the older brother into a Judaism of righteousness this is rejected while the overwhelming love of God is tested inside the father’s welcome to the more youthful son. Much less theological is the view of Kenneth E. Bailey who correlates information of The myth with requirements of Center Jap cultures. The anti-Jewish factor of view is discarded, however, a God of affection is still visible as the crucial topic.

The freshness in Amy-Jill Levine’s technique is to turn many theological techniques life on their head killing his son.

Jewish audiences inside the time of Jesus might not be interested in theology which came with the dominance of Hellenism (which at that point was discovered in Palestinian cities and no longer in the rural nation-state). Parables have been testimonies with a sting. They often took a traditional subject, inclusive of a father who suggests favoritism to a younger son and gave it a stunning flip on the end that dissatisfied normal assumptions. Seeking to study heavy theological issues into small information of the story, then, would be foreign to the reason of the storyteller and the messages understood by Jewish listeners.

This comparison in perspectives got here out currently in a Sunday faculty dialogue after viewing a video lecture by Kenneth Bailey. The magnificence, that is reading my book Speaking Lower back to the Bible, turned into pausing to hear Bailey before reading the bankruptcy at the Prodigal Son.

Bailey did not make the mistake of presenting God’s love within the tale as disowning the faithfulness of the older brother. Bailey related info of the story to family dynamics he had seen in Middle Eastern cultures. He becomes not aware of Levine’s factor that a loving father was probably being manipulated through a spoiled son conversant in getting his manner with daddy – an interpretation that turns God’s love into something fickle and prone to favoritism rather than the overpowering generosity generally seen by using Christian interpretations.

The tremendous element about this parable and others told by Jesus, as Levine cited, is how they can lead to An expansion of interpretations. It is the character of the genre to supply this type of response – and the better the tale, the wider the variant infeasible interpretations.

The interpretation supplied in Talking Returned to the Bible attracts on my adolescence experience of being terrified via sermons on a judgment. I agree that the father in the tale represents the love of God, however, it is not the unbounded and overly generous love frequently supplied from Christian pulpits. I suppose the technique by Amy-Jill Levine allows help a view that It’s far God’s forgiveness this is provided greater than unbounded love, despite the fact that I think she could suppose my approach is just too theological.

I see The parable as a story of forgiveness and celebration whilst judgment and anger had been anticipated because of the norm. the more youthful son dedicated a critical offense, as Bailey and many others have mentioned when he could not look ahead to the father’s demise to get his inheritance. Then he lost all of it. Bailey points out there is no indication he wasted it in sinful methods. He went thru it fast and went bust – because of this he failed, regardless of how it passed off. In desperation, he had nowhere to turn and made a painful choice to go back domestic in whole shame. His go back is normally seen as repentance due to the fact he rehearses words that sound apologetic and seemed to recognize that he deserved not anything from his own family. Levine has pointed to what could have been the son’s manipulative cause, however, the tale clearly has the daddy looking to look repentance a lot that he did not wait to hear the son’s message.

Struggle arises over the birthday party thrown by using the daddy as opposed to over welcoming the lost son. The older son hears approximately the celebration past due because the daddy obviously forgot to invite him. The thought is that birthday party has long gone overboard and the older son gadgets.

The equal form of celebration takes place in the parable of the lost Sheep (Matthew 18:12-14; Luke 15:3-7). The proprietor leaves 90-9 sheep in the back of as he seeks an unmarried misplaced sheep. Then he celebrates and enjoys the recovery of this one more than the protection of 90-9.

The search for one misplaced sheep and the joyous welcome domestic for a wastrel certainly illustrate love, but It’s far the birthday celebration that is emphasized more than love. Despite the fact that the prodigal insulted his father, wasted his inheritance, and lower back a failure, the father offers loving forgiveness earlier than It is even requested. The birthday celebration celebrates that forgiveness has taken place in order that recovery to the family has come about. Likewise, the lost sheep’s healing is a motive for immoderate pleasure without asking how the loss came about.

The older son’s objection was no longer that the daddy ordinary the younger son Again into the own family but to the dearth of appreciation shown for his own steadiness in wearing out family duties. the father’s reaction became that he cherished this trustworthy son no Less than the wastrel. He said, in impact, “If you wanted a celebration you need to have stated so!” In other phrases, folks who do not move off track are taken for granted. They don’t want forgiveness as they experience the ever-gift reality of family love. One moral of the tale is: We do not rejoice the normal, regular things which are important to us. We shout for joy, now not on the normal, but when something out of the regular occurs.

As I see it, Each parable focus on how forgiveness leads to healing and birthday party; but, there’s a hassle with parables. information are sketchy and the story quits in the Center. What befell to the prodigal after the birthday celebration? I suspect that fact set in very soon, but we do not know for certain.

In chapter 13 of Speaking Back to the Bible, I argue that forgiveness and celebration do now not do away with herbal results. This is in which my concern about judgment enters the photo. the father, representing God, welcomes the son Back without implementing penalties suggesting divine wrath. however, there is no indication that the older son will have inheritance taken from him to reinstate the younger son. Dropping half the own family fortune has outcomes which might be unavoidable.

The form of forgiveness seen in the Prodigal Son isn’t always a fairytale event that completely undoes errors within the beyond. It’s miles a down-to-earth forgiveness that lets in a person to transport ahead in life whilst nonetheless facing herbal outcomes of preceding actions. recuperation brings a mountain pinnacle experience as everybody celebrates. but valleys observe inside the next days as we ought to stay with results of past errors. still, forgiveness liberates us to recognition at the destiny, without heavy burdens of guilt and regret, because we have faced as much as our problems. The beyond doesn’t disappear however we can be given it and circulate forward to a better destiny. This is a sensible forgiveness experience available to anyone.

Why Self-Improvement Techniques Are Killing You

Over the brand new yr’s, I had a chat with an excellent buddy of mine; he’s a splendid expert who takes satisfaction in what he does. he’s one of the most compassionate and passionate guys in both existence and paintings. He earned numerous cash for the work he does, he is building multiple resources of profits and of the path, a massive recommend of self-development. Shortly after the new 12 months countdown, we have been sitting on a balcony and chatting about the beyond the year. When I congratulated him for all the matters that he has achieved he replied,

“I do not think I am successful in any respect – in fact, I can not surely say if I’m happier than earlier than.”

But how can this be? There had been such a lot of things that I renowned about him. He studies at least 50 books ultimate 12 months. He traveled a lot. He religiously practiced he’s self-improvement strategies. He made loads of cash. Most people might assume – without a doubt – that he become aa hit man and each day of his lifestyles might be a bliss. However, this wasn’t real. It failed to make the experience to me, and possibly, it didn’t for him both.

The 12 months 2016 turned into a thrilling year for me. I end my well-hooked up process and decided to take a mile extra entrepreneurial role, where I should work with and for greater like-minded human beings. It becomes the fine decision I have ever made considering the fact that I moved to Singapore, and that means loads. The year 2016 became a turning point in my life. I proved myself that I ought to yet again challenge myself and pass out of my comfort quarter, ditch the instant gains of relaxed income and blessings for the possibility of a better existence. Now I wanted to make the yr 2017 even higher. With an experience of success, I began to scribble down my dreams for the brand new 12 months. wherein I wanted to go, what I wanted to do, who I desired to become, and what sort of I wanted to make. Then it hit me. My goals had been based totally on effects, not values. This became precisely why my friend could not be content and be satisfied for all he had achieved.

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