Lite stöd i skrivandet? En liten push in i skrivarhörnet?
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Där hittar du bl a små skrivövningar, slumpvist finns där 504 st i dagsläget.
Sidan vänder sig främst till lärare som vill inspirera sina elever och presenterar sin metod. Fast jag tycker den var inspirerande även om man själv vill öva på sitt skrivande.
Sidan är lite under om- och tillbyggnad. Men enligt uppgift så ska det bli klart under våren. Och det finns tips så att det räcker ett bra tag.
Tara K. Harper, SF-författare visar på sin hemsida bland mycket annat ett exempel på hur det kan se ut när hon skriver och skriver om samt skriver om igen.
A Typical Self-Edit
Ett tips från mig är att skriva med mycket luft runt om text och mellan raderna. Så det går att läsa korrekturet (alla ens anteckningar, tillägg, ändringar osv) sedan.
Hon har på sin hemsida en skrivtips för författare (eller för oss som vill vara).
1. Have faith--not cynicism
2. Dare to dream
3. Take your mind off publication
4. Write for joy
5. Get the reader to turn the page
6. Forget politics (let your real politics shine through)
7. Forget intellect
8. Forget ego
9. Be a beginner
10. Accept change
11. Don't think your mind needs altering
12. Don't expect approval for telling the truth -
(Parents, politicians, colleagues, friends, etc.)
13. Use everything
14. Remember that writing is Heroism
15. Let Sex (The Body, the physical world) in!
16. Forget critics
17. Tell your truth not the world's
18. Remember to be earth-bound
19. Remember to be wild!
20. Write for the child (in yourself and others)
Lite sent hittat på nätet, men ändå blev jag glad när jag fann det. Mycket tänkvärt att läsa av författarna Jenny Crusie och Bob Mayer.
The CrusieMayer.com 2007 Online Writing Workshop
Indelat på föjande avsnitt
1. The One Sentence Idea: He Wrote, She Wrote Back
2. Situational vs. Character Ideas: He Wrote, She Wrote Back
3. Protagonist & Antagonist: She Wrote, He Wrote Back
4. The Central Question & Conflict Box: She Wrote, She Wrote Back
5. Outlining: He Wrote, She Wrote Back
6. The Camera: He Wrote, She Wrote Back
7. First Person: She Wrote, He Wrote Back
8. Third Limited Person: She Wrote, He Wrote Back
9. Third Omniscient: He Wrote, She Wrote Back
10. Character Development: He Wrote, She Wrote Back
11. Character Archetypes: He Wrote, She Wrote Back
12. Internal & External Goals: She Wrote, He Wrote Back
13. Levels of Motivation: He Wrote, She Wrote Back
14. Character Flaws: He Wrote, She Wrote Back
15. Dialogue: He Wrote, She Wrote Back
16. Community: She Wrote, He Wrote Back
17. Relationships: She Wrote, He Wrote Back
18. Character Arc: She Wrote, He Wrote Back
19. Narrative Structure: He Wrote, She Wrote Back
20. Scene Structure: She Wrote, He Wrote Back
21. Beginnings: He Wrote, She Wrote Back
22. Climaxes: He Wrote, She Wrote Back
23. Expectation: She Wrote, He Wrote Back
24. Tightening the Story: He Wrote, She Wrote Back
25. Subplots: She Wrote, He Wrote Back
26. Exposition: She Wrote, He Wrote Back
27. Action Scenes: Sex: She Wrote, He Wrote Back
28. Action Scenes: Violence: He Wrote, She Wrote Back
29. Collaborating: He Wrote, She Wrote Back
30. Publishing: She Wrote, He Wrote Back
31. Agents: He Wrote, She Wrote Back
32. Editors: She Wrote, He Wrote Back
33. Bookselling: She Wrote, He Wrote Back
34. Marketing Internet: She Wrote, He Wrote Back
35. Marketing Bricks & Mortar: He Wrote, She Wrote Back
36. Unity: She Wrote, He Wrote Back
37. Goals & MacGuffins: He Wrote, She Wrote Back
38. Beginnings and Endings: He Wrote, She Wrote Back
39. Plot Arcs: He Wrote, She Wrote Back
40. Character Arcs: She Wrote, He Wrote Back
41. Setting: She Wrote, He Wrote Back
42. Metaphors & Symbols: She Wrote, He Wrote Back
43. Repetition and Motif: She Wrote, He Wrote Back
44. Theme: She Wrote, He Wrote Back
45. Story Editing: She Wrote, He Wrote Back
46. Collage: She Wrote, He Wrote Back
47. Structure as Meaning: She Wrote, He Wrote Back
48. Beta Readers: She Wrote, He Wrote Back
49. The Editorial Letter: He Wrote, She Wrote Back
50. Copy Editing: He Wrote, She Wrote Back
51. Being an Author: He Wrote, She Wrote Back
52. Any Questions? They Wrote
53. Conclusion: They Wrote
Att skriva kan vissa dagar te sig som ett stort mysterium. Varför håller jag på och hur ska jag fortsätta. Här är iallafall tio tips att tänka på när man skriver.
Mystery writing, more than writing in other genres, tends to follow standard rules because readers of mysteries seek a particular experience: they want the intellectual challenge of solviing the crime before the detective does, and the pleasure of knowing that everything will come together in the end. Of course, the best way of testing out the mystery writing rules that follow is to read widely in the genre. See how others use them, or how and when they get away with breaking them.
1. In mystery writing, plot is everything.
Because readers are playing a kind of game when they read a detective novel, plot has to come first, above everything else. Make sure each plot point is plausible, and keep the action moving. Don't get bogged down in back story or go off on tangents.
2. Introduce both the detective and the culprit early on.
As the main character, your detective must obviously appear early in the book. As for the culprit, your reader will feel cheated if the antagonist, or villain, enters too late in the book to be a viable suspect in their minds.
3. Introduce the crime within the first three chapters of your mystery novel.
The crime and the ensuing questions are what hook your reader. As with any fiction, you want to do that as soon as possible.
4. The crime should be sufficiently violent -- preferably a murder.
For many readers, only murder really justifies the effort of reading a 300-page book while suitably testing your detective's powers. However, also note that some types of violence are still taboo including rape, child molestation, and cruelty to animals.
5. The crime should be believable.
While the details of the murder -- how, where, and why it's done, as well as how the crime is discovered -- are your main opportunities to introduce variety, make sure the crime is plausible. Your reader will feel cheated if the crime is not something that could really happen.
6. The detective should solve the case using only rational and scientific methods.
Consider this part of the oath written by G.K. Chesterton for the British Detection Club: "Do you promise that your detectives shall well and truly detect the crimes presented to them using those wits which it may please you to bestow on them and not placing reliance on nor making use of Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery-Pokery, Coincidence, or Act of God?"
7. The culprit must be capable of committing the crime.
Your reader must believe your villain's motivation and the villain must be capable of the crime, both physically and emotionally.
8. In mystery writing, don't try to fool your reader.
Again, it takes the fun out. Don't use improbable disguises, twins, accidental solutions, or supernatural solutions. The detective should not commit the crime. All clues should be revealed to the reader as the detective finds them.
9. Do your research.
"Readers have to feel you know what you're talking about," says author Margaret Murphy. She has a good relationship with the police in her area, and has spent time with the police forensic team. Get all essential details right. Mystery readers will have read a lot of books like yours; regard them as a pretty savvy bunch.
10. Wait as long as possible to reveal the culprit.
They're reading to find out, or figure out, whodunit. If you answer this too early in the book, the reader will have no reason to continue reading.
Källa: About.com
Förutom den ädla konsten att kunna skriva en bra historia med alla dess delar så gäller det för många att kunna ta ett nej. Och inte ge upp. Undrar hur många som faller på det?
Nobbad författare nu prisbelönt
Dagens Nyheter skriver om Catherine O'Flynn som vunnit Costa Book Award att hon liksom många flera kända och storsäljande författare, t ex JK Rawlings har en stor dos tålamod och optimism med. Förutom sin skicklighet att skriva.
Svenska Dagbladet skiver om Waltic. Författarkonferensen som äger rum i Stockholm i fyra dagar från den 29 juni.
Några av talarna:
Philip Pullman, Storbritannien.
Horace Engdahl, Sverige.
Gcina Mhlope, Sydafrika.
Mauro Covacich, Italien.
Dubravka Ugresic, Kroatien.
Bharati Mukherjee, Indien.
Assia Djebar, Frankrike.
Anitje Krog, Sydafrika.
Charles Bernstein, USA.
Mircea Cartarescu, Rumänien.
Sonia Nimr, Palestina.
Herta Müller, Tyskland.
Ludmila Ultiskaya, Ryssland.
Jonas Hassen Khemiri, Sverige.
Nancy Morejón, Kuba.
Jamaica Kincaid, Antigua.
Leevi Lehto, Finland.
Ho Anh Thai, Vietnam.
Karin Barber, Storbritannien.
Hans Rosling, Sverige.
Gayatri Spivak, Indien.
Roberto Bui, Italien.
Per Wästberg, Sverige.
Intressant startfält. Även om konferensen främst är en branschtillställning kommer det finnas symposium för allmänheten. Kul.
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