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Favourite Fantasy Quotes? What are you favourite Fantasy Quotes?

Mine would be:

"It had flaws, but what does that matter when it comes to matters of the heart? We love what we love. Reason does not enter into it. In many ways, unwise love is the truest love. Anyone can love a thing because. That's as easy as putting a penny in your pocket. But to love something despite. To know the flaws and love them too. That is rare and pure and perfect."
— Patrick Rothfuss (The Wise Man's Fear)

"Welcome to adulthood." Cob said. "Every child finds a day when the realize that adults can be weak and wrong just like everyone else. After that day, you are an adult. Like it or not."
— Peter V. Brett (The Painted Man)

"Do you know what punishments I've endured for my crimes, my sins? None. I am proof of the absurdity of men's most treasured abstractions. A just universe wouldn't tolerate my existence."
— Brent Weeks (The Way of Shadows)

"It's easy to believe in something when you win all the time...The losses are what define a man's faith."
— Brandon Sanderson (The Well of Ascension)

"Some day, Locke Lamora,” he said, “some day, you’re going to fuck up so magnificently, so ambitiously, so overwhelmingly that the sky will light up and the moons will spin and the gods themselves will shit comets with glee. And I just hope that I’m still around to see it.”
“Oh please,” said Locke, “it’ll never happen”."

— Scott Lynch (The Lies of Locke Lamora)

June 15, 2011, 12:50:21 PM
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Re: Favourite Fantasy Quotes? I was reading The Desert Spear today, and came across this thought of Arlen's. This tops my list of favorites:

"There were few balms so sweet as choking the life from a demon with one's bare hands."

June 15, 2011, 10:56:24 PM
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Re: Voice
poorly defined
That's for sure.  ;D

I find it a little odd when people talk about "finding your voice as an author", actually. I always think that the important one is the character's voice, and the author's voice should only really be heard as the narrator in omniscient (and even then, the narrator could be a different voice). Hobb is a great example of that, the Fitz books have the clearest "voice" I can think of, and its source is definitely the character rather than the author.

So yeah, I think you can search for it and develop it, and use different voices for different books. I think it's just a case of immersing yourself in the protagonist so much that their character starts to come through in the writing itself via tone, word choice, turn of phrase, etc. :)

April 29, 2015, 06:19:16 PM
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Re: Voice Drink heavily.

Spoiler for Hiden:
Not really, although setting aside your inhibitions, as hard as it is, will help imo. I think authorial voice isn't as much finding a style, as it is the confidence to say what you want to say the way you truly want to say it. Some of that comfort comes with experience, part of it is overcoming the stress of writing, especially that fear your work won't be good.

May 06, 2015, 05:21:09 AM
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Re: How to Avoid Scaring Away Male Readers - Too Much Touchy Feely Stuff (literally) Brandon Sanderson talked on some occasions about every book having a "promise". Right at the start every story is telling the audience what kind of story it will be. Even the title, cover, and marketing, and to some extend the previous reputation of the author are part of telling the audience what to expect.
When this promise is not kept, and the story is something different than expected based on what the author indicated at the start, audience reactions are almost always overwhelmingly negative. It doesn't really matter a lot of the story is good or bad, but when you go into a story with a certain expectation, the mind deals really poorly with getting something else.

I guess the best approach here is to make it clear right from the start what readers are going to get from the book. If there are no unexpected shifts in mood and themes, reactions shouldn't be too bad. (Unless it's actually a bad story, of course.)

May 08, 2015, 02:05:39 PM
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Re: How to Avoid Scaring Away Male Readers - Too Much Touchy Feely Stuff (literally)

Personally, my advice would be to write the story you want to tell, how you want to tell it.

Word

Write the book you want to read -- chances are someone else will too. You cannot write a book to committee, so write what you like to see

And consider...there is a quite famous, popular SFF book my husband read ( I tried to, but got bored, he had issues, made himself finish) and...well my Old Man is not into Romance. At all. But he finished the book and said "It was ruined because the relationship wasn't set up properly" Now, sometimes you need an..intimate scene to set that up and sometimes you don't but it's the relationship that is the important part, whether jiggy things are going on or not. And I say this as someone who has written erotica (great practice btw -- it helps you see how to build and hold tension, and if you then later decide not to use sex scene you can still use the tension...)

And, ofc, there is the old bait and switch -- I can think of several films frex that are in fact romances at their core...but are not marketed as such. The first Pirates of the Caribbean. It's a romance, pure and simple (take out Will and Elizabeth's relationship the whole story changes). But dressed up as adventure so much, no one who would be bothered by that was bothered by it.

We could go into how a healthy percentage of Romance readers are men (they just dare not admit it) but say it's true and men really don't like romance (or do but won't admit it)

Women buy more books than men. Women read more than men. Even in SFF

Soo....

Write what you want to read. Sure keep an eye on he market and make sure you appeal to as many peoples as possible. But do not compromise your story for some mythical "reader" who may not even exist

May 08, 2015, 10:58:00 PM
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Re: How to Avoid Scaring Away Male Readers - Too Much Touchy Feely Stuff (literally) IMO, the only reason to detail sexual encounters is if it reveals character or furthers the plot. Otherwise it's just for titillation.
If it doesn't reveal character or further the plot, I tend to fade to black as soon as the reader is sure sex is about to happen. I might fade back in to show a dialogue during the afterglow, but otherwise I just move ahead to the next scene.
If it is a continuing relationship, I might only allude to subsequent sexual encounters.

May 09, 2015, 05:03:00 AM
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Re: What's the problem with omniscient point of view? Let us not discuss any further without talking about the same thing.

Let me be a douche and do a massive copy paste from Wikipedia!

Here goes, this is the full link : http://en.wikipedia.org/wiki/Narration#Third-person_voices

And the different type of third person narration :

Third-person voices

The third-person narrative voices are narrative-voice techniques employed solely under the category of the third-person view.

Third-person, subjective

The third-person subjective is when the narrator conveys the thoughts, feelings, opinions, etc. of one or more characters. If there is just one character, it can be termed third-person limited, in which the reader is "limited" to the thoughts of some particular character (often the protagonist) as in the first-person mode, except still giving personal descriptions using "he", "she", "it", and "they", but not "I". This is almost always the main character (e.g., Gabriel in Joyce's The Dead, Nathaniel Hawthorne's Young Goodman Brown, or Santiago in Hemingway's The Old Man and the Sea). George R. R. Martin's A Song of Ice and Fire is an example of a series with each chapter presented from the point of view of one of the numerous characters. Certain third-person omniscient modes are also classifiable as "third person, subjective" modes that switch between the thoughts, feelings, etc. of all the characters.

This style, in both its limited and omniscient variants, became the most popular narrative perspective during the 20th century. In contrast to the broad, sweeping perspectives seen in many 19th-century novels, third-person subjective is sometimes called the "over the shoulder" perspective; the narrator only describes events perceived and information known by a character. At its narrowest and most subjective scope, the story reads as though the viewpoint character were narrating it; dramatically this is very similar to the first person, in that it allows in-depth revelation of the protagonist's personality, but it uses third-person grammar. Some writers will shift perspective from one viewpoint character to another.

The focal character, protagonist, antagonist, or some other character's thoughts are revealed through the narrator. The reader learns the events of the narrative through the perceptions of the chosen character.

Third-person, objective

The third-person objective employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead, it gives an objective, unbiased point of view. Often the narrator is self-dehumanized in order to make the narrative more neutral. This type of narrative mode, outside of fiction, is often employed by newspaper articles, biographical documents, and scientific journals. This narrative mode can be described as a "fly-on-the-wall" or "camera lens" approach that can only record the observable actions but does not interpret these actions or relay what thoughts are going through the minds of the characters. Works of fiction that use this style emphasize characters acting out their feelings observably. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the author to reveal information that not all or any of the characters may be aware of. A typical example of this so-called camera-eye perspective is Hills Like White Elephants by Ernest Hemingway.

The third-person objective is preferred in most pieces that are deliberately trying to take a neutral or unbiased view, like in many newspaper articles. It is also called the third-person dramatic because the narrator, like the audience of a drama, is neutral and ineffective toward the progression of the plot—merely an uninvolved onlooker. It was also used around the mid-20th century by French novelists writing in the nouveau roman tradition.[citation needed]

Third-person, omniscient

Historically, the third-person omniscient perspective has been the most commonly used; it is seen in countless classic novels, including works by Jane Austen, Leo Tolstoy, and George Eliot. A story in this narrative mode is presented by a narrator with an overarching point of view, seeing and knowing everything that happens within the world of the story, including what each of the characters is thinking and feeling.[9] It sometimes even takes a subjective approach. One advantage of omniscience is that this mode enhances the sense of objective reliability (i.e. truthfulness) of the plot. The third-person omniscient narrator is the least capable of being unreliable—although the omniscient narrator can have its own personality, offering judgments and opinions on the behavior of the characters.

In addition to reinforcing the sense of the narrator as reliable (and thus of the story as true), the main advantage of this mode is that it is eminently suited to telling huge, sweeping, epic stories, and/or complicated stories involving numerous characters. The disadvantage of this mode is the increased distance between the audience and the story, and the fact that—when used in conjunction with a sweeping, epic "cast-of-thousands" story—characterization tends to be limited, thus reducing the reader's ability to identify with or sympathize with the characters. A classic example of both the advantages and disadvantages of this mode is J. R. R. Tolkien's The Lord of the Rings.

Some writers and literary critics make the distinction between the third-person omniscient and the universal omniscient, the difference being that in the universal omniscient, the narrator reveals information that the characters do not have. Usually, the universal omniscient reinforces the idea of the narrator being unconnected to the events of the story.


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This being said, it means I do enjoy writing a "third person, subjective" that could also qualify as some type of Omni, because it switches between pov. Clearly demonstrating there are grey areas, GRR Martin being a great example.

May 14, 2015, 03:00:05 PM
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Re: One Sentence writing advice
Characters must be true to themselves.
That seems to require some more elaboration. As someone who does not know what "staying true to himself" means, what do you think I should know or look out for.
The idiom "true to yourself" in general means behaving according to your beliefs and doing what you think is right. When it comes to fictional characters, I'd assume it has a slightly larger scope, so rather than specifically beliefs and concept of justice, they should behave in a consistent manner that always reflects some part of their personality.

May 16, 2015, 06:38:47 PM
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Re: One Sentence writing advice


I pretty much meant just what Yora said, "behaving according to your beliefs and doing what you think is right."

Each character should have his/her own set of beliefs, influences, back story, etc. that makes them who they are. The way they respond to different situations should be based on who they are as a person. What I often see is an author who needs something to happen to advance the story, but the "something" is totally out of character for the person involved. For example, the sidekick who always acts as a leveling influence to the hero suddenly loses his temper over something insignificant then storms off into the wilderness so the hero has a chance to face some monster by himself.

Real people do things that seem unreasonable to an observer all the time.
;
Yeah, fair enough, but that doesn't make the point moot. A Muslim can drink alcohol IRL. That's a reflection on religion, how religious you are, and how real life practices can sneak past a half shameful, half sheepish muslim wine amateur...
Now a character who is described as a vehement feminist and goes about the country side raping and making broad "women" generalisation, that's pretty problematic.
Believe it or not though, that happened to me, when I indulged in a self published vampire story, called "Here there be sexist vampire" or somesuch. It was pretty bad. Inconsistent writing, bad story, cliche characters, poorly written, ect, but the worst was that it was supposed to be all about that super gifted woman vamp showing the big sexist man vamp that women can kick it... and all the while she couldn't resist being totally enamoured and attracted by the big macho vamp, loving being exasperated by his statements, getting rescued, and totally indulging the men's macho behaviour. The massive inconsistencies in that character was an immediate turn off, and the novel was finished only because it was short.

May 18, 2015, 04:28:20 AM
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