deleonjh: (Default)

I have great ideas. I think I do, anyway, but I’ve never gotten around to actually putting those ideas into action. For many years, I’ve had various ideas for original stories fermenting in the back of my head, and I’ve even got a few notes I’ve written out here and there. However, I’ve never actually tried to write those stories down.

Until now. Seriously, I thought to myself, why the hell shouldn’t I try to write these stories? Why shouldn’t I try to publish these stories? There’s a lot of unreadable crap out there that somehow got published, so at worst I’ll just be adding another drop of literary horridness into the ocean of mediocrity that surrounds the rare islands of genius which make reading such a pleasure. And I might get paid for doing so!

And, you know, I’m already writing fanfiction anyway.

As part of my quest for joining the creative industry, I’ve started looking at venues for short story publishing. Specifically, I was looking at the submission guidelines for the Strange Horizons sci fi magazine when I came across their list of Stories We’ve Seen Too Often. All of these story types sound incredibly bad, but the situation turns from amusing into horrifying when you remember that all of these stories keep getting submitted.

Still, while some of these stories are simply uncreative (honestly, a story about a writer having difficulty writing?) while others are merely clichéd, some stories are actively detestable, particularly the ones that are heavily misogynist in plot. If you can get past that, though, then it can be kind of fun to spend some time being reminded that there are worse writers out there than you. Some favourites:

A "surprise" twist ending occurs. (Note that we do like endings that we didn't expect, as long as they derive naturally from character action. But note, too, that we've seen a lot of twist endings, and we find most of them to be pretty predictable, even the ones not on this list.)

  1. The characters' actions are described in a way meant to fool the reader into thinking they're humans, but in the end it turns out they're not humans, as would have been obvious to anyone looking at them.
  2. Creatures are described as "vermin" or "pests" or "monsters," but in the end it turns out they're humans.
  3. The author conceals some essential piece of information from the reader that would be obvious if the reader were present at the scene, and then suddenly reveals that information at the end of the story. (This can be done well, but rarely is.)
  4. Person is floating in a formless void; in the end, they're born . . .

Story is based in whole or part on a D&D game or world.

  1. A party of D&D characters (usually including a fighter, a magic-user, and a thief, one of whom is a half-elf and one a dwarf) enters a dungeon (or the wilderness, or a town, or a tavern) and fights monsters (usually including orcs).
  2. Story is the origin story of a D&D character, culminating in their hooking up with a party of adventurers.
  3. A group of real-world humans who like roleplaying find themselves transported to D&D world . . .

Strange and mysterious things keep happening. And keep happening. And keep happening. For over half the story. Relentlessly. Without even a hint of explanation . . .

Evil people hook the protagonist on an addictive substance and then start raising the price, ruining the protagonist's life . . .

Twee little fairies with wings fly around being twee.

Man, suddenly I feel like ten times more confident in my writing abilities. Thanks, Strange Horizons!

Oh, and don’t you fret, I’m still working on my fanfics.

deleonjh: (Default)
by Walter Benjamin

I. Anyone intending to embark on a major work should be lenient with himself and, having completed a stint, deny himself nothing that will not prejudice the next.

II. Talk about what you have written, by all means, but do not read from it while the work is in progress. Every gratification procured in this way will slacken your tempo. If this regime is followed, the growing desire to communicate will become in the end a motor for completion.

III. In your working conditions avoid everyday mediocrity. Semi-relaxation, to a background of insipid sounds, is degrading. On the other hand, accompaniment by an etude or a cacophony of voices can become as significant for work as the perceptible silence of the night. If the latter sharpens the inner ear, the former acts as a touchstone for a diction ample enough to bury even the most wayward sounds.

IV. Avoid haphazard writing materials. A pedantic adherence to certain papers, pens, inks is beneficial. No luxury, but an abundance of these utensils is indispensable.

V. Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.

VI. Keep your pen aloof from inspiration, which it will then attract with magnetic power. The more circumspectly you delay writing down an idea, the more maturely developed it will be on surrendering itself. Speech conquers thought, but writing commands it.

VII. Never stop writing because you have run out of ideas. Literary honour requires that one break off only at an appointed moment (a mealtime, a meeting) or at the end of the work.

VIII. Fill the lacunae of inspiration by tidily copying out what is already written. Intuition will awaken in the process.

IX. Nulla dies sine linea * — but there may well be weeks.

X. Consider no work perfect over which you have not once sat from evening to broad daylight.

XI. Do not write the conclusion of a work in your familiar study. You would not find the necessary courage there.

XII. Stages of composition: idea — style — writing. The value of the fair copy is that in producing it you confine attention to calligraphy. The idea kills inspiration, style fetters the idea, writing pays off style.

XIII. The work is the death mask of its conception.

* “Not a day without a line,” i.e., writing a line — variously attributed to Horace, Cicero, Pliny, and a mess of other dead guidos.

deleonjh: (Default)

From io9’s 4 Danger Signs to Search For, Before Sending Off Your First Novel:

  1. Adverbs, overuse of
  2. Sentences beginning with “it”
  3. “There was”, or “there were”
  4. “Was being”, or “were being”

Damn, now I’m becoming self-conscious. I don’t tend to revise my fanfic too much, mainly because when I finish one all I want is to get it out there as fast as possible. What usually happens is I revise when I start writing the next chapter. My stories are all works in progress (except for my single one-shot, of course). I have no qualms against drastically changing something that I’ve already put up and in fact have already done so with Ranma Saotome’s Guide to Dating.

But after reading the above article, now I’m tempted to look over what I’ve already written. I don’t think I overuse adverbs, I prefer to use simile and metaphor to describe stuff that’s happening. However, I might enter into the passive voice too often for fiction. Blame my graduate school detour into anthropology – sometimes the passive voice is necessary for that style of writing.

It’s too bad I’m so much better at writing essays, I could crap out a decent one almost without effort, but I often struggle with fiction. Writing posts for my blog is really quite easy for me. I suppose I simply have more experience with essays.

The only thing to do, then, is to practice. I need to write, and write, and write, and I also need to revise, revise, and revise. But I’ll have to remember this list when I’m doing my thing.

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Sarapen

December 2015

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