I want to preface this by saying that you are free to ignore or answer this ask in private if you wish. By scrolling through your posts, I noticed you indicate in a couple of places that you have PTSD. I'm currently considering working on a piece about recovering from war, and I was wondering if there's anything you'd be willing to share about your experience with PTSD. Thank you for your time & consideration.
Good day. What are the advantages and disadvantages of writing a novel in a non-linear sequence? The Time Traveler's Wife by Audrey Niffenegger justified the use of this style and accomplished it nicely, hence i didn't give it much thought. It was only after reading J.M. McDermott's Last Dragon (a fantasy novel) that I began to wonder whether there are considerations you have to make before applying it to your own work. Thank you!
Any tips for writing a scene about a 'hooded figure' doing something without revealing the character's name or gender? I can only use 'the figure' and 'they' so many times before it starts to look repetitive and I have a reveal planned for later that I don't want to spoil.
The problem that I'm currently having is the fact that when I write outlines I'm just not satisfied with them (but I have so many ideas that I can't connect them to form coherent plots). Please help!
I was wondering if you knew anything on how to write sarcasm without sounding repetitive. I have a character who's always making sassy comments and has a very dry sense of humor but I don't want to have to add the whole "she said sarcastically" bit to every sentence.
Anonymous asked: What are some things that you should never do/avoid when making characters? Do you have any examples of really bad characters as well?
Things to Avoid When Making Characters:
- Basing your fictional character too much on one real person
Ask an agent or editor whether your next novel should have the themes or settings of whatever is currently popular (vampire romance, suburban porn, etc.) and they’ll invariably say: ‘No, just write what you want.’ They’ll justify this by saying the time to print of a new book, especially by a new author, is one or two years, that popular trends will change, and nobody can spot a winner. Then they…
For anyone having problems with structuring their novel, this might help. I know your story won’t always be so cut-and-dry, but this is good for outlining and figuring out where you want your story to go.
It’s time to get back into the groove with my weekly writer tips! They may not come directly from me every week, but they are tips worth sharing – so hopefully you will appreciate them and find them useful! *wink, wink*
This week I’d like to talk about sensory description. For your book. Because it’s important. Why? Readers use their imagination to direct your story in their head…and in order to…
Do you have any advice for when you start to notice that your writing style is slipping or has become progressively worse than how you used to write.
A Brief Introduction to Armoured Longsword Combat
- By Matt Anderson and Shane Smith (ARMA Virginia Beach)
Most practitioners of historical fencing have not extensively explored armoured fighting techniques. This is due to several factors, including the expense and difficulty inherent in obtaining a decent reproduction harness.
The fact that most harness fighting techniques involve thrusting and violent grappling actions is also daunting. Still, several members of the ARMA, Virginia Beach study group have for several years had a keen interest in trying to recreate the type of harness fighting we see in the "fechtbuchs".
Not the hack and bash type of display commonly seen at Renn faires, or the armoured stick fighting practiced by some medieval reenacting groups, but something more like what might have really been seen in 15th century Europe. We knew from our examination of the "fechtbuchs" that real armoured fighting of the period was efficient, effective and brutal.
Certain tactical basics became apparent early on. The edge of the sword, for example, is relatively useless against plate armour. Most source texts show no edge blows at all. Rather, armoured sword fighting is all about putting the point into a relatively unprotected area.
In order to thrust effectively and accurately to these relatively small targets such as the face, armpit, inside of the elbow, and other areas which are not covered by plate armour, and defend them, half-swording is the predominant technique.
Half-swording, with a firm grip closer to the point, gives one the thrusting accuracy to hit these relatively small areas. It also enables one to thrust with power and body weight behind the attack, often necessary in order to penetrate the maille and padded garments between the plate defenses.
Grappling moves such as trips and throws are an essential element as well. Levering with the sword, arm and wrist locks, even kicks and hand strikes are all useful techniques against an armoured man. It is often necessary to throw your opponent to the ground and perhaps hold him there in order to make an opening for your finishing move.
The more we studied the source texts, the more we realized that the only way to really learn how to fight in armour was to armour up and try to duplicate what we saw in the source texts. We have studied and experimented with several sources and many techniques but in this article, we will focus on what we have learned in our exploration of the armoured longsword techniques from Fiore Dei Liberi’s Flos Duellatorum.
Our editors often get asked for advice on writing cross-culturally, so we thought we’d round up some of the best links on the subject. Writing cross-culturally means writing about a culture that isn’t your own (and in this definition of culture, we include race,…
a six word story
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