If you are writer who’s even mildly active on social media then you might have heard about the NaNoWriMo – National Novel Writing Month. But what about Camp NaNoWriMo?
Camp NaNoWriMo is a spinoff of NaNoWriMo which you can customise as per your own needs. In their own words:
Camp NaNoWriMo is your next, great writing adventure! Every April and July, take the chance to do something new with your writing… with all the flexibility that Camp offers. You can set your own writing goal (you’re not locked into 50,000 words!), and work on any writing project, novel or not.
Camp NaNo Website
It has no restrictions of word count so you can look at it as a flexible NaNoWriMo. It is good for all writers, especially for those who are new to this format of writing because of the flexibility it offers. You can writer either 10K words of 100K – there is absolutely no word count limit (minimum or maximum.)
You can sign up for Camp Nano here and join the most awesome writing community on the planet. This would be my 8th year, and I will be working on the proof of Sinister Town for this April’s Camp Nano.
So what are you waiting for? Going Camp NaNoWriMo today and get started on your writing project. You can even join writing groups there or create one of your own.
Are you participating in Camp NaNoWriMo April 2021?
In this video, I have tried to capture my process of writing a short story. If you are a new writer or are curious about how writing is done, then I am sure you’ll enjoy this video. I you are a veteran writer then I am sure you will be able to relate to it a lot. In any case, I hope you enjoy watching it.
I was contacted by one of my writing buddies for contributing in an anthology, so this story is for that. I have already submitted this story (on 28th December’20) and will update here once it will get published.
For this particular anthology, I had to write on a particular theme, therefore in order to brainstorm the concept for my story I have used Prompt Writing. If you don’t know what it is then read this: Prompt-Writing.
In this video, you’ll get a glimpse into how prompt writing is helpful in coming up with story ideas. Following are the days on which I shot this video and the corresponding time in the video for each writing session:
I hope you enjoy watching this video! Do share your thoughts on how you conceptualise a story that you have been given a theme for. I’d love to hear all about it!
Characterisation is one of the most important elements of any story, long or short. If you don’t get the characterisation right, chances are that your story will fall flat on its face and no writer wants that to happen! So the best way to make sure that your story stays with the reader long before they’ve turned the last page is to nail the characterisation.
And for that I am here to share the 7 types of characters that can be created in fiction writing. There are the 7 types of character that you can, after reading this post, easily identify in the books you’ll read – even in the fantasy books with complex characterisation.
This post is a followup to the 2 hour Webinar I conducted on my YouTube channel. You can watch it here:
So let’s have a look at these 7 types of characters.
7 Types Of Characters In Fiction
1. Dynamic Characters
Dynamic Characters are the characters who go through a significant transformation in the story. As a result, they end up being different at the end of the story than how they began at the start of the story. The change or transformation they undergo can be for the better or worse.
Examples of Dynamic Characters: Harry Potter, Ron Weasley and Nevile Longbottom in Harry Potter series by J. K. Rowling. Theon Greyjoy, Sansa Stark, Jamie Lannister and Samwell Tarly in A Song Of Ice And Fire series by George R. R. Martin. Bilbo and Frodo in Lord Of The Rings series by J. R.R. Tolkein
2. Static Characters
Static Characters are the characters who do not go through any significant transformation in the story. They remain more or less the same way at the end of the story as they were at the beginning. These are generally strong-headed characters.
Examples of Static Characters: Hermione Granger, Luna Lovegood, Professor Dumbeldor and Hagrid in Harry Potter series by J. K. Rowling. Arya Stark, Jon Snow, Danerys Targaryan and Cercie Lannister-Baratheon in A Song Of Ice And Fire series by George R. R. Martin. Gandalf in Lord Of The Rings series by J. R.R. Tolkein.
3. Round Characters
Round Characters are characters that are multi-layered, well-developed, possess multiple intricate personality traits and are insanely interesting. They have complex personalities and are mostly reader’s favourites. They help in driving a major chunk of the story forward and often are a part of sub-plots (if they are not the protagonist fo the story.)
Examples of Round Characters: Harry Potter, Neville Longbottom, Ron Weasley, Hermione Granger, Luna Lovegood, Professor Dumbeldor and Hagrid in Harry Potter series by J. K. Rowling. Arya Stark, Jon Snow, Theon Greyjoy, Sansa Stark, Jamie Lannister, Samwell Tarly, Danerys Targaryan and Cercie Lannister-Baratheon in A Song Of Ice And Fire series by George R. R. Martin. Bilbo, Frodo and Gandalf in Lord Of The Rings series by J. R.R. Tolkein.
4. Flat Characters
Flat Characters are characters that are single-layered possessing 2-5 basic personality traits and are not at all interesting. They appear only in limited scenes in the story and play only a very specific role beyond which their character is not explored further. Most of the times they are unimportant and uninteresting to read, but they do play a key role in a few scenes in the entire story.
Examples of Flat Characters: Crab and Goyle in Harry Potter series by J. K. Rowling. Most characters from Meereen, Yunkai and Astapor and even the Sand Snakes in A Song Of Ice And Fire series by George R. R. Martin. Merry and Pippin in Lord Of The Rings series by J. R.R. Tolkein.
5. Stock Characters
Stock Characters represent a ‘type of people or personality’ rather than an individual. They portray a specific stereotype based on social prejudices and/or cliches. They are opposite of Symbolic Characters and are usually used to depict the negative traits.
Examples of Stock Characters: Mean stepmother, abusive husband, estranged father, con artist, billionaire bachelor, gentle giant, tough guy, nerd girl, hopeless romantic and so on. Professor McGonagall and Lucius Malfoy in Harry Potter series by J.K. Rowling. Jorah Mormont, Davos Seaworth, Melisandre the Red Priestess, Olenna Tyrell in A Song Of Ice And Fire series by George R. R. Martin. Gollum, Saruman and Sauron in Lord Of The Rings series by J. R.R. Tolkein.
6. Symbolic Characters
Symbolic Characters represent a theme or concept larger than them. They always have dynamic personality and qualities and stand for a class of certain type of symbolic traits rather than an individual. They are the exact opposite of Stock Characters and depict positive traits and greatness in a broader sense of the word.
Examples of Symbolic Characters: Professor Dumbeldor in Harry Potter series by J.K. Rowling. Eddard Stark, Tommen and Robert Baratheon in A Song Of Ice And Fire series by George R. R. Martin and in Lord Of The Rings series by J. R.R. Tolkein.
7. Foil Characters
Foil Characters are the characters that are used as a foil to highlight the qualities of the main characters. They are generally polar opposites of the main characters and authors use them to bring out the qualities of their main characters indirectly.
Examples of Foil Characters: Draco Malfoy is a foil to Harry Potter’s character in Harry Potter series by J.K. Rowling. Sansa Stark is a foil to Arya Stark and Jamie Lannister is a foil to Brienne Of Tarth in A Song Of Ice And Fire series by George R. R. Martin. Gollum is a foil to Bilbo and Frodo’s character in Lord Of The Rings series by J. R.R. Tolkein.
So these are the 7 types of characters in fiction. Did you know about them already or was it the first time you heard about some of these? I’d love to hear about what kind of characters you personally prefer while reading fiction books or writing your own stories.
Here are some other great resources on types of characters and characterisation in general:
Creating Realistic Characters is an hour-long webinar on characterisation basics. I will be doing a follow-up Webinar with the advance techniques used for characterisation, so make sure you attend this one.
Subscribe and press the Bell Icon 🔔 or ‘Set Reminder’ to be notified when I go Live.
Topics:
Types of characters
Levels of characters – Inverted Pyramid
Types of characterisation
Character Profiling
Backstory
Character Arcs
Character conflicts or internal conflicts
Character motivation and stakes
But wait… there’s something special this time!
I will be giving away some really exciting gifts for this Webinar!
1 Signed Copy of my novel Deceived.
1 Signed Coffee Mug.
A kick-ass Character Profile Sheet Template with 50 character traits.
For these prizes, you will have to earn points and here is how you can do it:
1 Point for retweeting/sharing my tweets and posts related to this Webinar – 1 point per tweet/share.
2 Points for sharing about this Webinar on your social media platform.
3 Points for sharing about this Webinar on your blog or website.
5 Points for creating a reel about this Webinar or my Youtube Channel.
1 Bonus Point for any kind of social media shout out for this Webinar.
Please make sure to Tag Me in your shoutouts, videos and posts otherwise you won’t be able to earn any points.
The participant with most points will received a signed copy of my book Deceived and the Character Profile Sheet Template The runner up will receive the coffee mug and the Character Profile Sheet Template. The next 8 people with highest points will receive the Character Profile Sheet Template.
So what are you waiting for?! Start sharing and earning points!
Plot, one of the 5 main elements of fiction writing, is a term that confuses many new as well as veteran writers. When it comes to Fiction Writing, there is a big difference in the Story and the Plot. If you want to learn the difference between Story and Plot then read this article: Story Vs Plot.
Plot is basically the logical sequence in which events happen in a story. These events and their sequence should make sense and take the story forward. They always follow the pattern of cause and effect or action and reaction and thus have a great impact on the characterisation too. Therefore, while working on a fiction story, it is very important to outline your basic plot before plunging into the depths of structuring.
Let’s have a look at what exactly makes up the plot:
The 5 Elements Of Plot In Fiction
1. Inciting Incident
The event that kick starts the story or the point where the story begins is known as the inciting incident. This is where your story will begin.
2. Crises
The problems faced by the protagonist(s) which forces them into action. Please note crises is different conflict. Conflict forces the protagonist to make a choice or a decision keeping in mind the consequences and then facing those consequences.
3. Rising and Falling Action
Rising Action is the sequence of events which lead to rising tension in the story because of the varying intensity of emotional turmoil the characters go through in the story leading the plot to the Climax. RA includes many patterns of action-reaction in varying intensity which keeps the readers engaged and interested in the story.
Falling Action is the opposite of Rising Action and is the sequence of events that leas to the falling tension in the story because of the resolutions of the sub-plots and side-stories leading to the final resolution of the main conflict. It follows the Climax of the story.
4. Climax
The highest point of tension in the story. The point at which the main conflict of the story is faced by the protagonist of the story.
5. Resolution
Resolution is the end of your story. It is the point at which the main conflict is resolved and all the loose ends of the story are tied up. This is where your story ends.
And with this you can take your first steps into the deep ocean that is plot structuring. These are also the events that have to be decided on while outlining a story, so next time you want to outline a new story or an existing one then begin with these 5 elements.
If you have any queries or want to share your experience with plot lines or plotting then don’t hesitate to comment in the comment section below. I’d love to hear from you!
Storyboarding is a wonderful organising technique, that I feel, is highly underrated when it comes to fiction writing. It is a great tool to plot your novels and to put it all together in a coherent plot-line.
I am an intuitive writer but working on multiple long-form fiction projects can be downright scary at times because you tend to forget where you are in a particular story and what needs to be worked and re-worked on. Things get disorganised and that totally sucks the fun out of writing, even for a Panster like me.
And this is where storyboarding comes in. I used it to plot my first book Deceived and I am using it to plot my other 3 books too. So I thought it was time that I shared a little about how I storyboard. Organising tools can be dealt in any way one finds it comfortable, but many writers feel at a loss when they are to put their story into a coherent form and give it a structure. Therefore, I highly suggest using this amazing tool to streamline your novel and make sure nothing is left out or out of order. It is also a great way to let you know what to work on next and how much work has to go into a novel before calling it finished (which a lot of writers generally struggle with.)
So, here is how to storyboard a novel:
Storyboarding A Novel In 5 Easy Steps
Step-1: Base
The first thing that you’ll need is a surface, that we’ll call as our base. It can be a cardboard sheet, drawing sheet, whiteboard or even a clean wall. Basically, you’ll need a big surface are where you can plan your novel.
Now select a fitting plot structure for your novel. We all begin our stories with at least one plot structure in mind so if you don’t want to get too technical or like doing things intuitively then stick to the basic ones. If you are a plotter and good at organising stuff, then you might already have 2-3 plot structures in mind for your story, so put them in use now. If you are not into plot structuring or don’t know about it much, then go for the basic 3-Act Plot Structure.
I generally use the 3-Act Structure, developing it into 4 and then 5-Act Structure and then adding different curves of tension and plot-points. I also tend to use the Fichtean Curve a lot in my graphs, especially for tension and pacing.
Once you’ve decided on the plot structure to begin with, draw horizontal lines leaving a gap of 5-6 inches in between them. Draw at least 5 lines so that you have enough space for all your islands.
Prepare a list of scenes that you have already written, presently working on or plan to write. For this you will have to name your scenes for quick and easy reference. For example, if in a scene, the heroine meets with an accident, then simply name it Accident. If suppose there are two or more scenes of accidents then name them Accident I, Accident II and Accident III and so on. These won’t be your final scene names, they are just for your own reference, so don’t fret over them much and waste time doing it.
Step-3: Plot Points
Make a list of all the major plot points in your story – anything of significance that defines your plot. These plot points will help you see your story in an objective way, helping you determine the key moments, the points of no return and the climax and resolution. If you feel something is missing, then better start working on your plot points now, before you go ahead.
Step-4: Islands
Now is the time to take the post-its or the index cards and start putting down each and every scene on them. These would be known as islands. Simply put the heading of the scene and write 2 lines describing it on each post-it or index card. You need to do it for all your scenes and plot points.
I usually colour-code as per how finished the scenes are, for example, the pink stickies I have used here are for the finished scenes, the blue ones are for the plot points, the peach ones are for scenes that need re-writing and the yellow ones for the scenes that are yet to be written.
Step-5: Put It All Together
Now put up all the post-its or tape the index cards as per your plot-line. Go as per the sequence of the scenes and plot points and start putting all the islands on your base.
Note: Do not paste your islands on the storyboard using glue otherwise you won’t be able to move them around without messign up your board.
And that is how you storyboard your novel.
After you’re done, have a good hard look at the overall story and if you feel some scenes are missing then simply create islands for them and add them to the Base.
How do you storyboard your novel? Don’t forget to share your experience with storyboarding in the comments section below!
Hello, writers, and welcome to my Class of July 2020.
If you want to skip the details and register right away, please scroll down to the end of this post.
After having conducted Introduction To The Basics Of Creative WritingandIntroduction To Novel Writing Webinars of 2+ hours each, I realised that writers needed more knowledge of techniques in order to be able to start their novels on the right foot and end them within a specific time (plus-minus a couple of months.) Therefore, I cut down right to the centre of the heart of it and came up with a specifically designed class for writing a fiction story from start to end.
About Fiction Writing Masterclass:
Fiction Writing Masterclass is a 4-hour long online workshop on writing a book. The workshop is on the 25th of July 2020 (Saturday) from 11:00 am to 3:30 pm and also on 26th July (Sunday) from 4:00 pm to 8:30 pm (there would be a half an hour break in between.) It will be conducted by me, author Heena Rathore Pardeshi – an award-winning author and a literary critic and editor. You can read more about me here.
The workshop would be followed by an hour of doubt-clearing and writing discussions for all the participating students who want to talk to me and discuss their writings or book(s) with me. I’d be happy to answer any questions about the market, my own books and my writing journey.
The session would be followed up by another session of an hour for clearing more doubts – the day for it would be decided mutually by the participating students in the workshop according to everyone’s convenience.
Please Note: Because of heavy demand, and upon request of some students, this workshop will also be conducted on 26th July (Sunday) evening from 5:00 to 8:30 pm. So if Saturday doesn’t work for you, you can attend the Sunday workshop instead. They are both the same workshop.
Syllabus for Fiction Writing Masterclass:
Brainstorming a book idea and solidifying it with mind-mapping
The 10 Literary themes and how to choose the right one for your story
How to write the first full draft of your book
Basic elements of story writing
Plotting – The 10 most-important plot-structures and selecting one for your book
Characterisation – Character arcs, inner conflicts, profiling, importance of backstory & using objects (literally and figuratively)
Exploring narration, point-of-views and different styles of writing
How to write scenes – the correct execution of scenes
How to write chapters effectively and dividing your book into chapters How to begin and end the scenes in your novel
How to write dialogues – The 10 golden dialogue writing rules to perfect techniques, style and formatting
How to deal with the problematic middle 75% of your story – Pacing & Tension
What is Show & Tell concept, how to save your book from it and how not to get carried away in doing so
Understanding Climax, Resolution & Ending – the difference and their elements
How to self-revise and self-edit your drafts – a quick guide and a checklist.
How to finish your novel
So here I present the Masterclass that will cover everything a writer needs to know in order to start and finish a full-length fiction novel.
What is so special about this Masterclass?
It covers topics that other “writing classes or specialists” never talk about. Mostly, in my opinion, because they don’t write that much themselves
It is cheaper than any other writing class in the industry especially considering the variety of the topics and the scope of the class
Interactive lecture, where you can ask questions right after we finish discussing a topic
Lifelong support. Reach out to the instructor, me, at any time through my social media platforms and I’ll be happy to answer your query
Special discounts if you later decide to avail any of my writing services – manuscript critique, editing or proofreading. Or any of the publishing packages with Citrus Publishers
Certificate of completion from Citrus Publishers
Complete course notes along with assignments and exercises
Free evaluation of the assignments after the class for up to a month
Details Of Fiction Writing Masterclass:
Date:
Batch-1: 25th July 2020 – 11:00 am to 2:20 pm
Batch-2: 25th July 2020 – 04:00 am to 08:30 pm
Platform for the workshop: Google Meet
Fees for the workshop: ₹2,000 per person for Indian nationals and $27 for non-Indians (please email me for bulk bookings and discounts.)
Capacity: 10 students per batch
Once you make the payment, you’ll be sent the payment acknowledgement within 24 hrs.
Upon enrolment, you will be added to my Fiction Writing Masterclass WhatsApp group and will receive some reading materials and some writing exercises to do until the day of the workshop.
The main workshop notes would be emailed to you on 20th July (for both batches.)
What would you need for the Fiction Writing Masterclass?
You will need following for the class:
Laptop, computer, tablet or smartphone – anything would do.
If you are using a smartphone, then don’t forget to download the Google Meet app
A good WiFi or mobile data or internet connection
Printout of the notes that I will be sending you
A notebook and pen to take down notes
What will you receive in the Fiction Writing Masterclass?
3 hours of interactive lecture on writing your fiction novel
In-depth notes on the lecture (on all topics)
Bonus material to help in your writing on the WhatsApp group
Writing assignment and some exercises to defeat writer’s block
Course completion certificate awarded by Citrus Publishers (in printable PDF format)
Being a part of my Writing Pack – that is staying connected to me and other students through the WhatsApp Writing Group for life!
Registration
Please make sure to check the email address and the phone number before submitting the form otherwise I won’t be able to contact you.
I don’t think I have ever known, not even a single writer, who doesn’t get about a dozen ideas every day. But imagine what would happen if you’d start taking all of those ideas seriously?
As a beginner, you might feel the need, a very compulsive need, to note down all he ideas that you get and work on them, but the only thing it manages to do is keep you busy for a couple of months or maybe just days before the steam blows off and your mind starts to wander. And that is something that you cannot afford to do while writing a novel.
When you write a novel, you will be working on it for at least a year, (that is if you are lucky) otherwise you might end up writing it for a couple of years or maybe decades… but lets’ not go there now.
Imagine being stuck with an idea that you don’t like anymore after 3-4 months or an idea that simply can’t be developed further after the first 100 pages. It would be a disaster!
Most writers quit at this stage because they feel that either they cannot write, that they are bad at writing or simply that it is not worth the effort when in reality it is only because of the fact that you picked the wrong idea.
The best way to pick the right idea – a good idea, a solid idea is to not note it down when it comes to you. Yes. Do not write it down. Let it be in your head. Let is sleep there, eat there, poop there and grow there. Give it a couple of months, and only and only if you feel that the idea is growing and simply put – driving you insane because you cannot stop thinking about it then, that is a good idea.
The first place you need to begin, especially while starting a long-form fiction project (or re-starting it), is to discover yourself as a writer – to find out what kind of a writer you are. Because unless you do it, you won’t know how to proceed further, especially once the initial flame of anticipation and excitement burns off.
Typically, there are two types of writers:
Intuitivewriter (also known as Discovery writer)
Plotter (also known as an Outliner)
Now, these are basically the two extreme ends of the spectrum. So consider the figure below:
You will find yourself somewhere in between these two ends, depending upon your unconscious inclinations.
Intuitive or Discovery writers write based on their intuitions. The ideas come to them unbridled and then the details follow, their unconscious as well as subconscious mind working on the idea day and night without them even being actively aware for most of the process. Majority of the story as well as the elements in it, comes intuitively to them. Think of a big cauldron (the mind) on the flames of your unconscious and subconscious mind cooking the soup (the story) month after month, simmering it as it bubbles there, and gets nice and thick, as you (consciously) stir it sometimes and adding bits of veggies and pieces of meat into it. It keeps on cooking and bubbling and improving its consistency, while the writer himself goes on about living their life knowing something is brewing in their mind and that ‘something’ is going to be good!
What their job is to give it enough time and keep on putting as many stirs and veggies and chunks of meat in it as they can, by consciously working not their stories and when it all gets too unbearable – when you feel the urge to jump out of the bed in the middle of the night and stat losing your precious sleep night after night, to grab your laptop or pen and paper and write it all down, then you do it.
This is how the mind of an intuitive writer works.
The downside is, their mind it always hyper -aware of their story and they find it hard to separate the real world and their story-world as it reaches its crescendo. It tends to drive a person mad – imagine all your characters talking in your head and wanting to be written!
Generally, people who are on the emotionally sensitive side, and are more receptive to energies, tend to be intuitive writers. Simply put, they are easily possessed but heir ideas and stories.
This intuitive approach is the same for all kinds of artists – painters, singers, lyricists, etc.
Outliners or plotters on the other hand, are the writers who have to outline their ideas, plot their characters and then work from the inside out. This may turn out to be an absurdly complex process, but it won’t feel like that to an outliner. The advantage is that, it is a very meticulous way of writing. And discipline prevails over creativity, so in this case you have to make sure it doesn’t kill the creativity all together because it possess the ability, and may tend to, suck the joy out of writing by making it feel too mechanical at times.
If you are an outliner, then it should be obvious to you why you get stuck in your writings – because your mind needs an outline or a plan to go ahead. That is simply how your mind works, so no need denying it. Brace it and do what is needed. Learn to plot ahead, learn writing by chalking out a plan for what to write next.
Eventually, when you have worked on your projects enough, you will start to feel a deeper connection with your writing intuition and then will you’ll automatically start writing based on intuition than an outline. But it takes time.
This is why you need to know what kind of a writer you are. You need to understand how your mind works in order to be able to work with it in harmony.
I have more insight to share about intuitive writers than outliners because I happen to be one. I am a highly intuitive person and as a result, I am an extremely intuitive writer. My stories keep me up at night, making me spend a lot of my sleeping time tapping away at my laptop while my cats stare at me like something is wrong with me. When I write, I enter a trance which can only be felt and not explained. All I can tell is, when I start writing, everything else fades to nothing and I forget time and space and enter a world that is not the one we are in. It is my story’s world, I am not me, I am my characters and that is how I do it and I wouldn’t prefer it any other way. Although it is emotionally taxing, it is irrevocably rewarding.
As an intuitive writer, I very rarely face the blank-page-syndrome, though on the downside, I cannot force myself to write when I don’t feel like it. So I had to learn to navigate these slippery slopes in order to build a consistent writing habit.
It is difficult, but achievable with time, patience and disciple.
Editing is the process in which a manuscript is modified, corrected and polished thoroughly. In the literary world, there are different kinds of editing. Editing is very subjective, depending upon what exactly is lacking or needs improvement regarding the overall quality of the individual manuscript. For example, in some manuscript, prose needs tightening, whereas in the other the overall plot-structure needs to be fixed, or in some, the scenes are not executed well or the dialogues are lacking in quality, and so on. So the first job of an editor is to determine (based on the sample chapters they are provided by the writer) to determine which kind of editing does their work needs.
Editing is the process of correcting and polishing the manuscript in order to make it stand out.
To understand this better, the editing can be categorised as following::
Substantive Editing
Developmental Editing
Mechanical Editing
Line Editing
Copy Editing
Now, let’s take a look at the definition of all the types of editing listed above and try and understand them better:
Editing (in the overall sense): Editing involves minor changes that polish your manuscript technically by focusing on the sentence structure, punctuations, spelling mistakes, typos, grammatical errors, pointing out mistakes in the already revised text. While editing, the overall story remains the same. Here, ‘fixing’ the manuscript’s structure, as well as the overall plot, is the priority.
Copy Editing: Copyediting, commonly known as line editing, is a light form of editing that lends a professional polish to a book. The editor reviews your work, fixing any mechanical errors in spelling, grammar, and punctuation. Copyediting is the least-expensive version of editing. Some professionals divide copyediting and line editing into two separate edits, copyediting being the lighter, grammar-only edit, and line editing being a more intense look at each sentence’s meaning.
Line Editing: Lineediting is often used interchangeably with the term copyediting. However, when it is distinguished from copyediting, it refers to a unique edit that falls between copyediting and developmental editing in intensity. In line editing, the editor looks at your book line by line and analyses each and every sentence. The editor considers word choice and the power and meaning of a sentence. The editor considers the syntax and whether a sentence needs to be trimmed or tightened. Line editing helps in making the prose sing.
Mechanical Editing: Mechanicalediting refers to the application of a particular style, such as The Chicago Manual of Style or Associated Press (AP) Style. The editor looks at punctuation, capitalisation, spelling, abbreviations, and any other style rules. Mechanical editing is sometimes included in copyediting.
Substantive Editing: Substantiveediting considers a work’s organisation and presentation. It involves tightening and clarifying at a chapter, scene, paragraph, and sentence level. Unlike developmental editing, which covers the big-picture issues and deep-level restructuring, substantive editing deals with the actual prose. Substantive editing is sometimes referred to as line editing and can also be confused with developmental editing. Always check with your editor and put in writing what his or her services cover, regardless of the term used.
Developmental Editing: The developmentaleditor looks deeply at the organisation and strength of a book. Think big picture. The editor considers everything from pacing to characters, point of view, tense, plot, subplots, and dialogue. Weak links are exposed and questioned. The editor scrutinises order, flow, and consistency. He asks questions such as: Is this the right number of chapters? Are the chapters and paragraphs in the right order? Are there any places in the book where the pacing lags? Is there a hole in the information or story presented? Are the characters likeable? Developmental editing considers all the aspects of a manuscript that make the book readable and enjoyable. Because of the extensive nature of this form of editing, it is more time-intensive and costly. However, it is worth the investment if you are serious about succeeding as an author.
So these are the types of manuscript editing a writer has to inevitably come face-to-face with, at some point or the other, in their writing journey. So it is always advisable to know these terms before you deal with an editor who might expect you to already know about them. Or better yet, it might save you from a trap if, god-forbid, you end up with an editor who doesn’t know what they are doing (believe me, there are a lot of people who just do things for the sake of it, and of course also for the money.) So educate yourself well, before negotiating any kind of deal with an editor especially while self-publishing.
A lot of people love reading but when it comes to practising it on a regular basis most of them fail. Wonder why?
More often than not daily life, responsibilities and “important” things come in between you and your love for the written word. Oft times we get too involved or busy in other things that we have no time for something as “time-consuming” or as “frivolous” as reading. Right? WRONG. All these are nothing more than excuses! If you really want to read, you will read – simple as that.
If you love books then they should be important enough for you to make some place for them in your daily life. Reading is my first love and I manage to read anywhere from 5 to 8 books a month. I am a writer, editor in chief and a manuscript critic, so sometimes work does come in the way, but so far as I can remember, in the last 7 years I cannot remember a time when I wasn’t reading something. Being a writer it is kind of a necessity for me, but the truth of the matter is that I would not have been a writer in the first place had it not been for my love of reading books.
Just like achieving anything else in life, it needs a bit of patience, effort and planning, and of course, the will to do it.
This article is for those book lovers who, for whatever reason, haven’t been able to cultivate a reading habit and need a little nudge, and for those who have somehow, fallen out of the habit of reading regularly and are looking for a way back in. This article is also for those parents who want to incorporate a reading habit in their child’s or teen’s routine.
8 Steps To Develop A Reading Habit
Reading should be fun, but sometimes to get into a habit you have to make a conscious effort until it comes naturally to you. As a writer, I have to do the same for writing in order to get work done and reading is no different. Please remember that this is only for those who actually love reading and want to develop a routine that’ll help them in reading the books they long to read and not for those who love the idea of reading and have no particular interest in it.
1) Make a reading list
Cultivating a consistent reading habit, or any other habit for that matter takes a bit of planning. Reading list, or as we bookworms call it TBR-list) is a list of books that you want to read. Preparing a list of books ahead would not only help you in knowing what exactly to buy, borrow or issue from the library but will also set the mood for a great start. Write down the names of books you’ve always wanted to read. They can be classics or the latest releases. Don’t forget to add the books whose movie adaptations you like because chances are the book would be a hundred times better than the movie.
Search the internet for the top ten books in genres you prefer and go through the first 5-10 lists you find and note down the books that catch your attention, or simply the ones that are common in all or most of the lists. If you want to research further, then read a couple of reviews of these books but be sure of spoilers. Throw some of these names too in your reading list. This way your list would have a nice mix of new and old books which will make reading more exciting for you.
2) Get the books in your reading list:
Check the pricing of the books on your reading list online, if you like what you see then buy the books in your preferred format. If the prices of paperbacks and hardbacks are too much, then try going for e-books; they are generally cheaper and can be read on any device including the most basic smartphones. If you don’t like what you see, then check your local bookstores or get the book from a library in your area (if you are in India, JustBooks is a very good library option and has a great online service too.)
Living in this amazing digital age provides us with so many options when it comes to book formats, so go crazy and try them all! You might love the snazzy new Electronic or Audio versions of books that you might have been sceptical about. Get at least two e-books and one audiobook. You can get free classic ebooks at Project Gutenberg (if you are in India, this link might not work, try this one instead.) For free classic audiobooks, you can visit LibriVox. Audiobooks are horrendously priced in India so this website is a great starting point if you are new to audiobooks. Though, you can try the free trial of Audible as well (I did and liked it so I buy a lot from there as they are pretty good.)
3) Create goals
Now that you have the books, chalk out your goals because without goals you won’t get far. Set a simple monthly goal or if you really want to be doing this, go for a yearly goal (once you get into the habit of reading, you can set weekly goals too.) For monthly goals, set the number of books you want to complete in a month and likewise for yearly goals. If you are just starting or re-starting after a long time, start with only one book as your goal. Then gradually go up from there. In setting an unreal goal you would only be setting yourself up for failure.
If you want to stick to one book a month only, then your yearly goal would be 12 books in a year, but that’s rarely the case because on your reading journey you’ll find some books you simply won’t be able to read fast enough and will end up finishing them earlier than planned and there will be some books that will turn out to be not as good as you expected them to be. Also, with each passing month, your speed will increase and so will your capacity, so there’s a good chance that you’ll be reading more than 12 books in the first year itself. I’d suggest setting 15 books a year as your first goal if you are serious about developing a consistent reading habit. A lot of my fellow book readers read 100, 200 and some even 500 books a year, so don’t underestimate yourself.
4) Create a routine
In order to develop the habit of reading, set aside anywhere from 15 minutes to 1 hour daily as your ‘reading time.’ It can be while you have your morning coffee or your breakfast, or in the afternoon just before taking a nap or with the evening tea/coffee or, my favourite, just before sleeping in the night – bed-time reading. Do note that this is the time you will be consciously putting into reading – which means for your ‘reading time’ you will deliberately sit, preferably in a comfortable chair or sofa or bed, and put a conscious effort and read the book you’ve picked up. Initially, you might not enjoy reading this way every time, but it’s okay to feel that way, just make sure to read for the minimum amount of time you’ve set for yourself. As the days will pass by and as you’ll start to take interest in the book you are reading, you’ll settle into the routine nicely. You can even set a number of chapters or pages to read every day instead of setting time.
Note that your ‘reading time’ should not be affected by any other times you might decide to read the book during the rest of the day. Treat these extra opportunities as a bonus.
5) Utilize weekends and holidays
Read twice or thrice the number of pages or chapters or minutes you generally read on the weekdays. If you have a book that is not too long, say 100-150 pages, then try and finish it over the weekend. It’ll be a great boost to your confidence and will help you ward off boredom which might otherwise settle upon you if you keep on following your routine for long periods of months.
Same way, try and use any unexpected holidays and vacations as an opportunity to get some extra reading time and finishing the book you started. A great way to make use of holidays is to listen to audiobooks while doing something mundane such as doing the laundry or gardening or cooking.
6) Always carry a book
This is like a thumb rule or a ‘mantra’ for all bibliophiles. It doesn’t matter if you’re going to work or just taking a walk to the local park or going to school or college or the mall or the movies; always carry a book with you. You should have a book at hand when you are out in the real world in case if you have to wait for someone at a cafe or classroom or if you get some free time on your commute from one place to another or maybe if the queue you’re waiting on takes a really long time to move? These and many more opportunities will always knock on your doors when you are outdoors and it is the best thing to have a book to indulge in at hand. It can be the book you’re already reading or some other book entirely. If carrying a book is physically impossible, then carry ebooks or audiobooks on your smartphones or tablet.
Most of the time I read more than one book at one time so I always carry my Kindle with me whenever I go out in addition to the audiobooks and ebooks that I can access on my phone through LibriVox Audio Books and GuteBooks Ebooks apps respectively.
7) Check off the books read and add new ones to the list
Check off the books you’ve finished on your to-read list – strike them off and I bet you’ll feel ecstatic doing it. Don’t forget to add new books to your list that you find along the way or that someone recommends you, but keep in mind not to add ten new books for every one book you read. It’ll only lead you down a path where you might get unnecessarily overwhelmed. Cut off one book and add another. Stick to this as much as you can. But again, don’t limit yourself entirely.
Once in a while, ditch your to-read list and pick up some random good book that you come across in a bookstore or a friend’s place or maybe a book whose adaptation is going to be released in the coming weeks.
8) Explore, experiment and enjoy
Once you have developed or at least have started with a reading habit, try to go for different genres. Explore new genres and revisit the old ones from your past. It’ll add another layer of self-indulgence to your reading experience. Also, try and connect with other readers amongst your friends or join online or local book clubs to be in the know of new releases and to discuss books you’re reading or want to read. I highly recommend that you join Goodreads because it is the best place to be online for any book aficionado. I myself run an online book club on Goodreads – RMFAO, and it has helped me and many others tremendously in reading a lot more and better books. I am also a member of a couple of book-dedicated Facebook pages and groups, such as Did You Read Today, and they are amazing and the interacting makes reading more fun as we share our progress, book hauls and random reading-related thoughts there with other like-minded bibliophiles.
Apart from that, you can even join various reading challenges on Instagram (if you are a regular ‘grammar.) They greatly help in making the to-read lists more fun and diverse. You can also follow book-related accounts and hashtags like #bookstagrammers, #readingislife, and many, many more in order to get creative and fun ideas to make your reading a bit more rewarding.
In a couple of months, before you even know it, you’d be reading more than you ever imagined you could and that too without even trying too hard. You’ll just have to put in a little effort at the beginning and then once you develop the habit, you won’t even have to try at all. I followed these steps when I re-started reading 7 years ago and haven’t looked back since. I started with reading 1 book in 2-3 months and now can read up to 10 books in a month.
Reading is a beautiful adventure and it should be enjoyed thoroughly in order to experience it completely. keep these steps in mind only at the beginning, later, when you develop your reading routine, forget all the preconceived notions and follow your instincts. This article is just to get you started on the right track.
If you have any questions related to reading or want any book recommendations or want to share your bookish thoughts then feel free to comment below.
Happy Reading!
Ciao ❤
Note: All the images used in this article are my own (except for the featured image which was taken from Pixabay). Visit me @crazycatwriter on Instagram.
Character Profile Sheets are a great literary tool that help you in profiling your characters, especially the main characters of your story. They not only help you in being consistent with your character’s traits throughout your story or manuscript but also help a great deal in creating as well as painting the character arc you desire for your story.
Generally, a Character Profile Sheets consists of the main physical, mental, emotional and social traits of your character’s life and personality along with their general likes and dislikes, their taste in music, their occupation, and stuff like what they like to eat, what they don’t their allergies and different kind of health issues, etc, etc, etc. Basically, your Character Profile Sheet consists of everything about your character.
Character Profile Sheets can be as long or as short as your want them to be, but my advice would be to keep them detailed because detailed Character Profile Sheets lead to good characters and good characters leads to good characterisation.
Another great thing about Character Profile Sheets is that it greatly helps if you get stuck in a writing slump. Working your characters is a great way to jump start your brain to getting into the right mindset to start writing again.
Check out my video on Character Profile Sheets on YouTube or listen to its podcast on iTunes.
When it comes to Character Profile Sheets there are three things that you need to remember:
If you are a punster then start with a basic Character Profile Sheet to begin with and add details as you go further because starting with a detailed Character Profile Sheet can be very overwhelming. But if you are a plotter then you can straight away start with a detailed Character Profile Sheet.
No matter how long or short your character profile sheet is or how detailed or summarised it is always make room for character’s background in it because character background is very, very, very important an you need to be consistent with it throughout your story. Take it from someone who has written a book with a lot of characters, always make a room for character background in your Character Profile Sheet.
Your Character Profile Sheet will evolve as you make progress with your manuscript so always keep on revising your Character Profile Sheet along with each and every single draft of your story. Otherwise, there’ll be either no point of maintaining a Character Profile Sheet or it’ll get too confusing for you and ruin your manuscript.
So that’s Character Profile Sheets for you. If you want a ready reference with links to some really good Character Profile Sheets then read this article – Character Profile Sheets(the links are the end of the article.)
If you have any questions or doubts or want to discuss Character Profile Sheets with me then leave a comment below and I’ll get back to you ASAP.
As a writer, it becomes a necessity at some point or the other, to understand as many technicalities of the craft as possible. Whether you’re an intuitive writer or a deliberate one, there will be times when you’ll have to break the literary rules in order to create your masterpiece, but in order to do so, you first need to know what those rules are. So studying literary devices becomes essential and significant in order to become a better writer.
On the other hand, it is not only beneficial to know about literary devices as a writer, but also as a reader. As a reader, it will help you understand the purpose of the writing better and also to know the real focus of a particular written work. And, on a more practical note, it’ll help you write your school reports and book analysis or reviews better and score good grades (I’m sure that alone should be motivation enough.)
I have come to realise that it is a healthy practice to become a well-informed writer as well as a reader.
A Comprehensive Look At Literary Devices
The definition of a literary device on Your Dictionary, an online open dictionary source, is as a technique a writer uses to produce a special effect in their writing.
This definition is short and sweet but leaves a lot of unanswered questions in one’s mind. In order to fully understand the ocean of things hidden behind these two words, one needs to look at it very closely. So here’s my take on these two very beautiful words:
Literary devices are the techniques a writer uses in order to create a unique and powerful yet appropriate effect in their writing to help them influence the reader’s imagination while at the same time helping the reader to understand the writing effectively and on a much deeper level. It adds multiple layers of sense, feelings and emotions to the reader’s imagination and helps the writer in gripping the reader’s conception of their work in a very effective way.
To further understand literary devices better, they can be broken down into two parts:
1. Literary elements
Literary elements are elements used by the writer in the overall scheme of the things. Some of the main literary elements are:
Antagonist – a character, or a group of characters, which stands in opposition to the protagonist, which is the main character.
Characters – any person, animal, or figure represented in a literary work. There are many types of characters that exist in literature, each with its own development and function.
Conflict – A conflict in literature is defined as any struggle between opposing forces. Usually, the main character struggles against some other force. This type of conflict is what drives each and every story.
Dialogues – a technique in which writers employ two or more characters to be engaged in conversation with one another.
Mood – a literary element that evokes certain feelings or vibes in readers through words and descriptions. Usually, mood is referred to as the atmosphere of a literary piece, as it creates an emotional setting that surrounds the readers.
Moral – a message conveyed by, or a lesson learned from the story.
Narrative – a report of related events presented to listeners or readers, in words arranged in a logical sequence. A story is taken as a synonym of narrative. A narrative, or story, is told by a narrator who may be a direct part of that experience, and he or she often shares the experience as a first-person narrator.
Plot – literary term used to describe the events that make up a story, or the main part of a story. These events relate to each other in a pattern or a sequence. The structure of a novel depends on the organization of events in the plot of the story.
Point Of Views – he mode of narration that an author employs to let the readers “hear” and “see” what takes place in a story, poem, or essay.
Protagonist – the central character or leading figure in poetry, narrative, novel or any other story. A protagonist is sometimes a “hero” to the audience or readers.
Setting – the time and place in which the story takes place. The definition of setting can also include social statuses, weather, historical period, and details about immediate surroundings.
Structure – the arrangement of story elements according to purpose, style and genre.
Theme – the central topic or idea explored in a text.
2. Literary techniques
Literary techniques are the words or phases employed by the writers in their writing. Some fo the main literary techniques are:
Allegory – use of characters and events in a story to represent or deliver a broader message.
Alliteration – a series of words or phrases that all (or almost all) start with the same sound.
Allusion – an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.
Anachronism – the action of attributing something to a period to which it does not belong.
Analogy – a comparison between one thing and another, typically for the purpose of explanation or clarification.
Antithesis – explaining an idea or thing by comparing it to something that is familiar.
Colloquialism – use of informal words, phrases, or even slang in a piece of writing.
Consonance – the recurrence of similar-sounding consonants in close proximity, especially in prosody.
Diction – the style of speaking that a writer, speaker, or character uses.
Epigraph – a short quotation or saying at the beginning of a book or chapter, intended to suggest its theme.
Euphemism – a mild or indirect word or expression substituted for one considered to be too harsh or blunt when referring to something unpleasant or embarrassing.
Flashbacks – a scene set in a time earlier than the main story.
Foreshadowing – a warning or indication of (a future event).
Hyperbole – exaggerated statements or claims not meant to be taken literally.
Irony – the expression of one’s meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect.
Imagery – use of language and description that appeals to our five senses.
ImpliedMetaphors – a word or phrase that compares two unlike things to more clearly describe them, without mentioning one of the things.
Juxtaposition – the fact of two things being seen or placed close together with contrasting effect.
Malapropism – the mistaken use of a word in place of a similar-sounding one, often with an amusing effect.
Metaphor – a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.
Metonym – a word, name, or expression used as a substitute for something else with which it is closely associated. For example, Washington is a metonym for the US government.
Onomatopoeia – the formation of a word from a sound associated with what is named.
Oration – elaborate and dignified speech.
Oxymorons – a figure of speech in which two opposite ideas are joined to create an effect.
Paradox – a statement or proposition which, despite sound (or apparently sound) reasoning from acceptable premises, leads to a conclusion that seems logically unacceptable or self-contradictory.
Personification – giving human traits and qualities, such as emotions, desires, sensations, gestures and speech, often by way of a metaphor, to things.
Repetition – the recurrence of an action or event.
Similes – a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid
Soliloquy – an act of speaking one’s thoughts aloud when by oneself or regardless of any hearers, especially by a character in a play.
Symbolism – using symbolic images and indirect suggestion to express mystical ideas, emotions, and states of mind.
Synecdoche – a figure of speech in which a part is made to represent the whole or vice versa.
So this is the in and out on literary devices. There are a lot more literary elements and techniques but the ones listed here are the main ones so they would be enough if you just want to know literary devices on the surface. But if you want to dig deeper, I’ll be writing another article in future exploring these and many other literary elements and techniques in detail.
If you are a new writer, or an established one stuck in a rut looking for inspiration, do read these articles:
As almost all the plotters would swear by, outlining a story helps a writer greatly in making sense of the story for the readers. We, as writers, know what our story is and how it plays out, the difficult bit is to put in into words in a systematic way and have it make sense to its readers the same way that it does for us. And this is where the story structures come into play.
I used to consider myself a hardcore plotter until I finally realised that I’m more of an intuitive person who writes by the seat of her pants as much as I rely on planning my stories. So now I try to find a balance between pantsing and plotting. And I personally see story structures as an adventurer’s maps – you can have all the adventures you want to have by following your intuition, but occasionally you need the maps to take you where you want to go, especially when you get lost or stuck.
I used the 3-Act Structure for plotting my first novel, Deceived, but for my second and third manuscripts, I needed something more extensive as they are more complex than my earlier work, so I used the 4 Act Structure. In this article, I’ll be introducing the 4-Act Structure and its benefits and use. If you wish to know more about the 3-Act Structure then you can read the following articles I wrote a while ago:
The 4-Act Structure is basically the broader version of the 3 Act Structure in which the elaborate ‘middle’ is broken into two separate acts. This method is very popular among writers especially those who write lengthy novels and the ones who struggle with the ‘infinite middle.’
Act-1: Setup of conflict
Act-2: Build-up
Act-3: Crises
Act-4: Resolution
Here’s a simple diagram to depict the 4-Act Structure:
This image is subject to copyright.
What are the advantages of using the 4-Act Structure?
There are many advantages to using the 4-act structure, just like any other outlining tool:
It helps in dealing with the overall story better, in an organized manner (just like any other story structure.)
It assists in specifically dealing with the problematic middle of the story – the 75% part of the story that is a bit vaguely structured in the 3-act structure of story writing.
It encourages in figuring out the problems with the story plot and in combing out the plot holes that would inevitably make your story weak.
It helps in understanding what exactly your story is lacking in order to make it into a near-perfect manuscript.
It even aids in recognizing, and then getting rid of, the redundant scenes, side stories and subplots.
It greatly helps in dealing with the most coveted enemy of any writer – writer’s block, when you get stuck in the inescapable limbo.
It also serves, for many writers, as a quick fix to complete the drafts within a particular timeline. It’s not necessarily a short cut, but can definitely be viewed as an answer to many plot-progression related problems.
When should the 3-Sct Structure be used? Before starting the first draft, in between or at the of the nth draft?
Over the course of the last couple of years, I’ve discovered the hard way that it’s always best to first write the first draft by the seat of your pants, no matter if you consider yourself a planner or a pantster, because the first draft has to be as unadulterated and pure as can be, and that would be possible only if you let your imagination take over your mind and the muse and instinct guide your hands. The story structure, whether it is a 3-act structure or the 4-act structure or even the 9-act structure, should be applied for the first time to the first draft once it is complete. Then as you progress, it depends on how often you want to adjust your story according to the structure; you can do it while you write or revise your drafts or before or after that. It is entirely up to you.
I have come to realise that if the story structures are applied to the story in the initial stage of the conceiving of the plot, before or right after beginning the first draft (which is far too complex and difficult than one might think) then it corrupts the authenticity of the plot that otherwise might have been and makes it feel constrained. And such writing often results in an amateurish end product.
I always read craft books not once, but several times. I guess that’s the best way to really get the techniques and the wisdom they have to offer. Lately, I’ve been re-reading Bird By Bird by Anne Lamott and came across a concept, more like a paragraph or two, where author Lamott mentions about naming the unconscious:
“My friend Carpenter talks about the unconscious as the cellar where the little boy sits who creates the characters, and he hands them up to you through the cellar door. He might as well be cutting out paper dolls. he’s peaceful; he’s just playing.”
I paused at this particular bit, as I did the first time I read this book, and started thinking about how my unconscious would be?
Here she describes her friend’s version as a boy sitting in the cellar. But I don’t like the pictures of him sitting in confinement. I like her version of the unconscious better, “instead of a little kid, there’s a long-necked, good-natured Dr. Seuss character down there, grim with concentration and at the same time playing.”
So as I said earlier, I thought about my unconscious and this is what I came up with:
A Little Girl And Her Puppy
Image Courtesy: Pixabay
My unconscious, The Boy In The Cellar if you will, is a Little Girl. And this Little Girl is me, of course.
And the Little Girl is not alone; she has a puppy with her. A GSD puppy of about 4 months. And yes, this puppy is Tiger, my deceased pet.
So that’s my unconscious.
The Little Girl sits in the middle of the aangan of my childhood bungalow, on a stone-tiled floor on a thick faded rug called dari. She’s sitting cross-legged, wearing a beautiful white frock that hangs loosely from her thin wiry shoulders. Her dark-roasted-coffee-brown hair hanging down in waves reaching her waist.
Fair as she is, she has a small mouth and small ears but big brown curious eyes. She’s sitting with her coloring book sprawled luxuriously in front of her among her uncountable Camlin crayons of every color you could possibly imagine. They are the ones that her father gave her.
Now she’s bent over her book and scribbling away with cyan color. She looks happy today.
The Puppy is sitting beside her in a relaxed fashion that only 4-month-old puppies can manage. His head is resting on the girl small knee. He is looking at whatever the Little Girl is drawing with his droopy doggy eyes that look like they’re falling down. He’s a healthy Greman Shepherd and is big enough to come to her knees when she’s standing. He loves the Little Girl immensely and enjoys looking at her draw.
As I said, she looks good, happy. That makes me feel very good. And the important thing is she is not alone, she has the Puppy with her.
She loves drawing and therefore she is always drawing something or the other. Sometimes it takes her days, sometimes weeks and sometimes months or even years to complete a “masterpiece.” And when she’s done, she looks up from her work and calls me and hands me over those drawings.
Sometimes these drawings are so clear that I can clearly see what she has come up with, but sometimes they’re all blurred and abstract and it takes me a while to figure them out, to understand what is it that she wants me to see.
This is how my ideas come to me or rather delivered to me by my unconscious. The Little Girl is not a fragment of me, but she
The Little Girl is not a fragment of me, but she is me. This is how I get countless ideas for my books, characters, plots, sub-plots, short stories, flash fiction pieces, poems, etc.
This is how I write.
Takeaway:
If you are new to writing or if you are struggling with it, then I highly suggest this exercise. It’ll help you attain the very focus you need to center your creative mind.
What about you? Have you ever thought about how your unconscious works? Do you have a particular image of that unconscious?
Further Reading:
If you liked reading this article, then you might like these as well:
There are a lot of people who don’t believe in the existence of Writer’s Block, but let’s face it, even though you don’t want to name it, there are periods of time in every writer’s life when you simply can’t write (no matter how much you want to!) You can call it a “bad phase”, a stupor or whatever the hell you want it all comes down to the same thing – You can’t write sometimes.
No matter what you want to name it, the truth remains the same – This “bad time” or whatever you want to name it wastes a lot of precious time of writers that can be otherwise used for writing.
This is what is called Writer’s Block. Think of it as just something to name this condition for the sake of convenience.
It’s not all bad if you can recover from it in a short while, say a day or a couple of days or even a week. But it gets pretty bad if you simply can’t get over it for a long period of time, say a month. Or maybe more.
I’ve come across a lot of stories of writers giving up when they suffer a prolonged period of Writer’s Block and it greatly saddens me because this is not a solution. Giving up never is.
In 3 years of my full-time writing career, I’ve gone through multiple phases of Writer’s Block, both short and long spells. And if there’s something I’ve learned from each and every time, it is these 3 things:
1. Make use of this time
Many of us use our extra time for writing. We get a day off, we write. We get an hour off, we write. We go on a vacation, we write. Being a full-time writer also, I use my extra time for writing, so I practically don’t get any free time for other things.
Use this “bad spell” to do the other things like weed the garden, take a small vacation with your family, do the house chores, spend time with your family and friends (god only knows how limited time writers get to spend with others), go for swimming, movies, or do anything else that either needs to be done, or you’ve wanted to do but couldn’t because of writing.
2. Keep feeding your creative mind
Just because you can’t write doesn’t mean you can’t read, or draw or do research or can’t do anything else that’ll work as a fodder for your creative mind.
Remember, our minds are like a sponge, they keep on absorbing and observing things. So when you’re not writing, either read books in your genre or read some refreshing new genre, or sing or dance or do something that you like. But again, don’t do anything that stresses you. You’re just doing these things for yourself, not to please others.
I watch a lot of movies and read a lot of books, both in my genre of writing. It always helps me.
3. Don’t give up
It’s okay to take a break. In fact, the way I see it, Writer’s Block is a way for our mind to tell us to take a break. If you’ll notice it generally happens after you’ve spent a considerable time working on your writing projects.
So listen to your mind and give it a rest.
You’ll always bounce back eventually.
Takeaway:
Don’t over think. Relax and take a calming breath. Your mind simply needs a break, it is NOT giving up on writing. So do what you want to do, keep in touch with your creative side and don’t ever think of giving up.
In case if the Writer Block doesn’t go away after a while, then face the truth – It’s not the Writer’s Block, it’s you. You (maybe your subconscious self) are making reasons and coming up with stupid excuses to not to write. So get on your ass and start writing. It’ll be hard, but who said writing will be easy?
Choosing the main Point Of View(s) for your story is either the simplest or the hardest thing you’ll ever come across while writing your book. Determining the voice which narrates or unfolds your story is a tricky thing because if you select the wrong one your story is doomed.
Sometimes (a few precious instances), you don’t have to think about the POV because either you already have it figured out even before starting the story or know which one comes more naturally to you, the one that suits your writing style and feels like the perfect fit for your story. If you find yourself in this situation then consider yourself very lucky because otherwise, you might have a very hard time figuring it out.
Rest of the time (i.e., for the majority of your writing career), you won’t know how to go about determining the POV for your story. This happens mainly due to the unyielding need for perfectionism. You want your story to be perfect (obviously!) but you can’t figure out which should be the main or the central voice that tells the story.
Ideally, more than half of the times the answer lies in using multiple POVs, but that comes with another set of problems that I’ll be covering in my next article relating to POVs. But what if you don’t know which multiple POVs to use?
When stuck in the latter situation, you’ll find yourself in a dark endless pit which will drive you to the brink of giving up, and we certainly do not want that. So to make the process of selecting the perfect POV(s) for your story, I’ve come up with a list of 10 questions that you need to ask yourself in order to get the answer to your POV worries.
The 10 Questions:
How much you want to reveal? And how much you want to hold back?
Whose perspective will be interesting for the reader?
Who’s in the middle of most of the conflicts?
How much information about the plot/story you want to reveal?
How much information about the character you want to reveal?
How it’ll affect the pacing of the story?
What are you comfortable with? First person? Second Person? Or Third Person?
How’d you like the reader to perceive your character and story line?
Are there any parts of the story that need to be shown through different perspectives or through scenes that don’t have the main POV character(s) in them?
How many stories are you trying to tell? And are these stories a part of the main story?
The process doesn’t end here. Once you’ve asked these questions to yourself, it’s imperative that you don’t only answer these questions truthfully but also try to understand them in detail so as not to mess it up. Once you’ve laid out the answers, 99% of the times you’ll be able to figure out the POV(s) for your story. The remaining 1% is your gut feeling which will either confirm your decision and make you feel like you’ve conquered the world or (at it happens to me most of the times) will make you doubt everything you just did and will force you to repeat the entire exercise again (and again, till you get it right.)
If you want my advice, never ignore the gut feeling. Otherwise, you’ll regret it later on.
Watch my video podcast on 10 Questions To Help You Determine The POV(s) For Your Story:
If you have any doubts regarding this post or want to share your experiences or anecdotes then please leave a comment below.
Point Of View, casually known as POV, is one of the most important literary devices that is used in fiction writing. Determining the perspective from which the story is told is often the making or the breaking point of a novel.
If you make a wrong decision, your readers will be highly disappointed due to lack of plot coherence, and not only this, choosing the wrong POV also affects the bonding between the main characters and the reader, thus, affecting your novel on the whole. But if the point of view is chosen well, the readers will not only love your story and develop a memorable relationship with your characters but will also respect your writing and look forward to reading your other works.
Hence, it won’t be wrong to say that the choice of point of view and its execution shows the writer’s ability, efficiency, and dedication to their story. And in order to make the right choice you need to have an in-depth and precise knowledge about all the POVs before settling on one (or more) for your story.
Definition:
Point of View aka POV is the perspective from which a story is told. Point Of View is what can be called as the voice that tells the story to a reader.
Following are the 3 types of Point Of Views (POVs):
First Person Point Of View–
In First Person POV, the narrator is a character himself/herself. The story unfolds as a first-hand experience of the narrator or it can be said that the character is narrating the story.
The information is unreliable as its scope is limited depending entirely on the main character’s knowledge of/in any situation. For instance, if the character is delusional then it creates a problem if you’ll write the entire book from his perspective.
The First Person POV has recently garnered a lot of popularity as a lot of new authors are using it. The advantages of First Person POV is that the reader can relate to the main character quite easily and the bond that follows is very strong. But of course, it requires a high level of expertise to pull it off.
The pronouns used in First Person POV are – I, me and mine.
Types of First Person POV:
First Person Central POV: When the story is told from the point of view of the main character it is known as the First Person Central POV. This helps in developing an intimate bond between the main character and the reader. It often includes internal monolog, personal feelings, etc, which help in making the reader understand the main character inside-out.
First Person Peripheral POV: When the story is told from the point of view of a secondary or a minor character, who can also be an observer, is known as First Person Peripheral POV. This POV is detached and neutral and provides an objective look at the main character.
Popular books written in First Person POV:
To Kill a Mockingbird by Harper Lee
The Adventures of Huckleberry Finn by Mark Twain
Hunger Games Trilogy by Suzanne Collins
The Fault In Our Stars by John Green
Penryn And The End Of Days Series by Susan Ee
Twilight Saga by Stephenie Meyer
Second Person Point Of View–
In Second Person POV, the narration is addressed from one person to the second person.
The disadvantage of this POV is that it is difficult to relate to. It is a form of direct speech and the narrator or the character refers directly to the reader as “you.”
The Second Person POV is rarely used in fiction-writing, though there are some authors who use it for writing their novels. It is mostly used for instructional writing and how-to books.
The pronouns used in Second Person POV are –You, your.
Popular books written in Second Person POV:
Bright Lights, Big City by Jay McInerney
If On A Winter's Night A Traveler by Italo Calvino
You by Caroline Kepnes
All The Truth that's In Me by Julie Berry
Booked by Kwame Alexander
The Night Circus by Erin Morgenstern
Third Person Point Of View–
Third Person POV is the point of view in which a narrator (generally, the one who is not part of the story) tells the story.
This is one of the most widely used POV and most of the early literature and classic novels are written in this POV. A lot of contemporary writers still believe that only the stories written in Third Person POV are good, but of course, it’s their personal opinion.
The Third person POV helps the readers understand the main characters from a distance and many believe that this is what makes it so interesting and capturing.
The pronouns used in Third Person POV: He, she, it, him, her, they, them, its.
Types of Third Person POV:
Third Person Omniscient POV: Omniscient = All-knowing. In Third Person Omniscient POV the narrator knows and reveals the feelings, thoughts, and/or motivations of all the characters (at least partially.)
Eg. Unwind Series by Neal Shusterman.
Third Person Limited POV: In Third Person Limited POV the narrator knows and reveals the feelings, thoughts, and/or motivations of only a single character, the main character.
Eg. Harry Potter Series by J.K. Rowling.
Third Person Objective/Dramatic POV: In Third Person Objective POV the narrator knows and reveals no feelings, thoughts and/or motivations of any of the characters. Rather, the narrator reveals only the facts and details about the story.
Eg. The Scarlet Letter by Nathaniel Hawthorne.
Popular books written in Third Person POV:
Harry Potter Series by J.K. Rowling
The Lunar Chronicles by Marissa Meyer
The Mortal Instruments by Cassandra Clare
Maze Runner Series by James Dashner
The Scarlet Letter by Nathaniel Hawthorne
Watch my video podcast on POVs:
If you have any doubt regarding POVs or want to share your experiences or anecdotes then please leave a comment below.
Freewriting is a very important prewriting technique that not only helps you to get over your writer’s block, but also to tap into your sub-conscience mind and see what all ideas and stories are hiding there.
Most of the times, we get stuck while writing a story, or an article, and simply don’t know what to write next, and sooner or later we find ourselves facing the age old problem – “What to write?”
The only thing that can solve this problem instantly is Freewriting. So, now you know why Freewriting is so important.
Today I will not only tell you what Freewriting is but also show you how it is done using a demo I recorded a few days back. I’ll also tell you how to pick up main streams of thoughts, or, as I like to call them, nuggets of gold, from any Freewriting session. (in order to watch only the demo, watch the second video: Ep. 04 – Freewriting Pt. 02)
Here’s my video podcast on Freewriting:
What is Freewriting?
Freewriting is a prewriting technique in which a writer writes continuously (without stopping) for a predetermined period of time, paying no heed to grammatical mistakes, typos, sentence structure or even the general order of words and sentences.
The whole point of doing Freewriting is that when the writer runs out of things to write consciously, he or she will unintentionally start to write unconsciously if they keep on writing. Don’t bother about what you’re writing. Simply keep on pushing till your predetermined time is over. As soon as the time’s up, stop writing. If you’re in the middle of a sentence, complete it and then stop entirely.
It unclogs your mind and starts a downpour of ideas. Most of the ideas will be crappy, but, trust me, you’ll find at least one idea that’ll be worth working on.
Remember, that it doesn’t matter how much you write or what you write, the only thing that matters is that you write.
How to do it?
Freewriting is the simplest of all writing techniques because you really don’t have to care about anything much other than writing. Following is the step-by-step method to do it:
Grab a pen & paper, or your laptop and open your writing screen.
Set a timer for a particular time (anything between 2-30 minutes.)
Write non-stop, without getting distracted by anything, and by that I mean ANYTHING! If you don’t know what to write, then simply start by writing that, “I don’t know what the hell to write but I’m writing anyway….” and so on.
Stop only when the timer goes off.
If you feel that you have more thoughts coming to your mind, then do another session of Freewriting in a similar way.
Freewriting Demo:
Are there any rules?
Yes. Following are the thumb rules of Freewriting:
Write in a distraction-free environment.
Don’t bother with the grammar or vocabulary.
You can write about absolutely anything
You can even write scenes or dialogues this way
You can even write about a particular topic in Freewriting sessions.
Don’t stop till the timer goes off.
If you’re new to writing then start with a Freewriting session of only 2 minutes and then gradually increase the time period
You can have multiple Freewriting sessions in a day.
You can also do a second round of Freewriting session, immediately after the first one.
Never delete your Freewriting sessions. Save them on a disk or on a cloud service (personally, I use DropBox.)
What to do next?
When you’re done with your Freewriting session, follow it through by selecting its and bits of ideas out of it:
Read what you’ve written.
Make notes – highlight the ideas you think are workable.
Work on these ideas in your next Freewriting session to get more flesh on the subject.
Keep on doing this till you know what are you going to write about and what are you going to write.
Freewriting will help you tremendously in not only improving your writing habits but also to find some of the best ideas you’ll ever come across. Freewriting is a lifesaver when it comes to writing First Drafts, because it is when you write the First Draft of your project you always get stuck wondering what to write next, and that’s when Freewriting comes in handy.
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If you have any questions or doubts regarding this article then please ask them below in the comments sections and I’ll try my best to answer them as soon as I can. Also, please feel free to share your thoughts on this topic in the comments as I always love listening to all my readers.
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Rest of the time (i.e., for the majority of your writing career), you won’t know how to go about determining the POV for your story. This happens mainly due to the unyielding need for perfectionism. You want your story to be perfect (obviously!) but you can’t figure out which should be the main or the central voice that tells the story.
