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DRAGONMOUNT

A WHEEL OF TIME COMMUNITY

About This Club

A place for writers to gather and talk about the business and craft.

  1. What's new in this club
  2. I think the break down is specific to the use of his characters. Writing Egwene, Rand, etc. Those lines are more "fanfic" while writing "Arie Sedai" for me would be Roleplay. At least in that regard, what you are describing are 'kinda' okay, but definitely leans more into our Roleplay area.
  3. Well, I don't see why fan fiction would immediately impede on his work. Role Playing to me is acting a role either by table top or developing stories within the fictional context... I wouldn't write about Rand or Matt (for example) directly, but would really enjoy to take events from the books and show a different perspective from another character's PoV, or describe a thief catcher working the streets, or an Aiel fighting in the wetlands, yearning to see their home again. So to me, this interdiction is somewhat baffling... unless I'm misunderstanding something?
  4. So I'm editing my novel. And in order to keep the scene, I need to be able to define the elements of a scene/sequel pairing otherwise it's trashed. This particular scene could be cut, but the facts involved in the scene establish a little bit about Nox's ability that you really can't see otherwise. Nox has just been informed that he's going to be Valedictorian of his class and he needs to give a speech. Which he doesn't want to do because the rest of his classmates would make it epically horrible and he wants to avoid it at all costs, so his plan is to fail the remainder of his tests and papers to drop his grades down to the third in the class. Which we will say is theoretically possible, but I'm not going to actually calculate exact numbers or anything. Nox calculated the precise number of questions he can answer to fail the tests but still does all the work on the scratch/test paper but doesn't log the answers in the key he's turning in. Scene: Goal: To become third in class and not give a speech Conflict: Only finals and a on paper left to turn in for the end of the class Disaster: Sequel: Reaction: Dilemma: Decision: So I need some sort of disaster. He has to graduate today, I'd prefer his ploy actually work so I don't actually have to write his speech or work it into the story since he has never given it any version. I suppose I could rework the goal/conflict/disaster The goal is not to give a speech The conflict is he has straight As The disaster is he only has two finals and a paper he's willing to fail in order to achieve his goal The reaction then would be to use his ability to calculate the exact number of answers he has to leave blank for each test in order to just lower his grade just enough to become 3rd in class The dilemma is his mentor will be upset with him if he fails his tests His decision is to go through with it and deal with the consequences from his mentor. Sound logical? I think that worked out well enough... thank you Rubber Duck Debugging!
  5. I was going to work on some things I have started already. I began looking for ways to edit and improv a one act play I wrote a while ago. But I had no time on Nov 1st, and on Nov 2nd after the end of my day I had a new idea. I think it is a pretty cool idea so I wanted to share as a way to make one's own prompt or to jump start a thing. I sat down specifically to start a game civilization, to use the geography and early explorations to set up a world to write in. After two days of writing I realized I was creating a story that takes place within a world I already created, like 3 or 4 generations after another project I'm working on (a screen play). It was a coincidence that the major geographical features that the game gave me matched pretty well with something I started writing and created beat sheets for. I'm about 20% into the 50,000 word goal for the month, and of course it's horrible as writing but the idea I think is strong and I want to get as much written of the story as I can, hopefully finishing the story, before editing and making it read better. It's very 'talky' now, a lot of dialogue between characters, a decent sense of how the various characters talk and what their deals are, but not so much of the writing filling the eyes along with the ears if that makes sense.
  6. Apologies, they should be posted up this evening. Although you are always welcome to snage one of the older ones.
  7. I was hoping the November Prompts would get posted earlier just in-case that one works.
  8. Maybe look up some prompts? We have our group November prompts.
  9. that always is a bummer.... either too many or none...
  10. I'm still stuck on figuring out an idea. lol
  11. That's a great start! My brain, yesterday morning, decided to plop an entire new novel idea in my head.. I may write two at the same time if i get stuck on one. Dumb brain.
  12. I have been in last minute Nano prep mode. Finishing up a few character outlines, and working on a VERY rough outline.
  13. I have to admit, I clicked on this video for salacious reasons, but what this writer went through and his own insecurities and his journey is worth hearing about. It is very much about standing up for yourself in what you write and what you won't write. He mentions writer's processes but only towards the end and not really in any specific way. I guess you have to pay him for that ;^) I hope this kind of content is welcome.
  14. There are so many ways improv is used for writing, but it definitely comes from performers and directors more so than writers or English majors. It is not much different than turning improvised music into a written piece, and their are as many routes from i to w as there are people or groups. The oldest way I know about goes back to the Compass Theater and early Second City days, that's how it was told to me. It was taught to me as an exercise called "screen writers" but I don't know if that is a great name for it. Basically a director, or just someone, has a notebook and pen, and about 5 or more people get up divided evenly or as evenly as possible if an odd number. (They might have preferred odd numbers, but that's me speculating on very little data) on either side of the playing area. A suggestion (random word, newspaper headline, anything) is offered to the group that is up, and they do quick improvised two person scenes. The first person on the one side of the room initiates the scene, generally with a line of dialogue, miming an activity, and anything else you use to initiate a scene. The first person on the other side then comes in and responds/reacts and helps build the scene and they play the scene till the either they self-edit and end the scene or the person writing calls it. They next scene is started and joined by the second person on each side. This continues in order till everyone initiates an idea, either inspired by the suggestion or by something they saw in one of the scenes. Then they all sit down and figure out what was worth keeping, and how to best put forward the comedic idea in any given scene. It might lead to "well it would be funnier if they were (some job or some kind of person), or if they were (some other place)" or things along those lines. It's not necessarily the case that these things got written down all that quickly. I think it is the case that a lot of the sketches performed at the Second City were written down until long after they were established and worked on stage. They might have been something like the scenario plays used in commedia dell'arte. Another way is to have people ready to play, and before you start, make two lists: one of adjectives, and the other of jobs or circumstances or anything. Then, you play those combinations and see what comes of it. The more you do this, like anything in improv, the further away you get from hoky/corny stuff and into things the group would find have more meat on the bone. This is a quick way to generate a ton of material, most of which might be useless, but it is so quick that after an hour or two you could have 15 ideas worth exploring with even if you threw away 40 (depending on how fast you play). The key is how you play the ideas, not if the idea seems good or not (like anything in improv). I saw people create scene around a homeless beggar who was also a financial adviser, and it was brilliant because of how it was played. Something I didn't see much of in NYC but I think is more common elsewhere and might be how the Groundlings do things, is just when you are improvising and you find a character you like playing, keep playing them and write for them. In NYC when I was active there, that was looked down upon (it was very hipsterish and snobbish and "cool" at least to themselves. One teacher who moved to NYC from Chicago took half a class to remind us that nothing about this is cool, no one doing it was the cool kids in high school and she rattled off all the nerds and outcasts who were idolized because they got famous.) I only add all that to say that I don't know much about the details about that approach, because rather than perfect a character, everything I did and was taught was about finding ways to play as many different and varied characters as possible. The very great Lennon Parham (who can be seen on the show Bless this Mess as Kay) had two shows of her own with her writing partner Jessica St Clair, where both were based on their improvisation. I don't know how they came up with the premise for the shows, but the episodes all started with them improvising a bunch of scenes as all the characters, and then getting together with the writers and writing the episode. The show The League was largely improvised where scenes were set up with "you guys are doing this. Action!" and they might play a scene many times till it worked. The drawback to that is that great lines that came as result of something unique in the moment (like maybe involving some element of surprise) that the director liked and wanted repeated were difficult to reproduce the way it hit the first time it was played. It might come down to like schools of acting, but the kinds of acting where you do not expect each performance to be the same are like improv-friendly, and ones that perfect the one way it is played might be tougher to work with in improv-- I think. The show Ten Items or Less was improvised. The guy behind it, Jon Lehr, had actors come in for auditions; but, when they got there, they all had to fill out job applications for a job at a small independently owned supermarket called Greens and Grain. One actress thought this was the cruelest joke her agent could possible pull on her to tell her to give up on acting. However it was that she filled out the application though, it got her the job. The applications became the basis for the characters they played on the show. Over my time in that stuff, I came up with variations on exercises that I felt really could lead to improvised sit-coms or "dram-edies" (because after a certain point, improv is about playing good scenes and trusting the process. It might not be funny but it better be good, and regardless of how wacky a character might be, they have to be human and real), I've tried them out with people in a couple of ways, in workshops and in classes, and with a group that wanted to create a something big, but that group fell apart due to scheduling issues. I found that certain improv long-forms (The Slacker in particular) lend themselves to creating 'playable' worlds where movies or sit coms can be born in. I think certain processes lend themselves to helping to build episodes, but that is still an idea that sits on the back burner for me now. I'd be lying if I pretended I didn't want another crack at putting together as director a group of people to co-create sit-coms or web series using these improv things. I put a lot of time and engergy into it. NYC is too expensive for me to commute into.
  15. I agree 100%. When I used to write songs I felt like I had to get the bad songs out of me, or the bad ideas or the bad ways of saying things out of me, or they'd weasel their way into everything I was trying to do. So I definitely agree with the idea of continuing to write even (or especially) if its bad not just with the idea that could be changed and edited and save but to get it out of the way the way we throw out bad food rotting in the fridge every once in a while or less. Another teacher I had talked about keeping a folder on a table (really, table, not a computer he said) where any and all ideas he had would go into. When he was inspired to write something, he'd write it; and when he was out of inspiration or ideas for it, rather than force it he'd just stick it in the folder and move on. Either inspiration for that project would return and he'd continue it, or he'd review the folders and suddenly pieces would fall into place for something. He also wrote for a high-stakes late night TV show that everyone knows and he didn't use this approach for that. He had to have two different approaches, one for his writing and another dictated by how that specific writing room worked to get a show out 4 nights a week.
  16. Welcome Again Juan. I LOVE comedy. In high school I was in drama and advanced repertory theatre. I was a huge into improv. My artistic endeavors took me away from the stage, but I still love comedy, improv, and of course the theatre. So what do you mean about using improv for writing??
  17. Thanks Juan! And welcome. That’s all great advice... I have come to learn that I just have to sit down and make myself write without judgement, and it eventually leads me somewhere. Good, bad and ugly I just get the words down. I’ve taken to writing late at night, when I am too tired to be self critical. Then I pick it back up to edit during the day.
  18. Hi! I'm new in town. I do a bit of writing, and am supposed to be doing more. I got into it writing sketch comedy which I would perform in ratty little basement theaters in NYC, and for classes in that kind of thing. That was an outgrowth from acting an improv. I'm very big on using improv for writing and co-creating, and I've taken a few classes on that and have been on like a low-key look-out for people to like direct in that kind of thing. I have two drafts for pilots that are in need of writing and editing. One needs a big overhaul actually in terms of the vocabulary in the world. I also have a screen play that is sort of in a circling pattern for now. Two of the sketches I wrote I turned into one act plays, and my sketching writing in general has sort of turned into that. I have a sketch that I wanted to make into a web series, a parody of the HBO series Young Pope, but that show died so the joke is like over. I saw this club and saw the NaNoWrMo forum entry and figured I'd join up and prepare to do the writing for November thing.
  19. I had a sketch writing teacher who told us it's better to see "writer's block" as the normal state of affairs instead of seeing those moments where the ideas and dialogue are coming faster than we can write them down. If we treat writer's block as the normal state, then we don't get hung up about it. She also gave the same advice everyone else does: just write anyway. I think forcing ourselves to write just one word and stick with it and then finish the sentence is important. Then just deal with the truth of what ever you wrote. Is it stupid? Deal with it, but leave it on the page and move forward with it-- it is like the idea of incorporating the "mistake" into the pattern so that it is not a mistake at all because it makes sense in the overall structure. Another teacher I had spent a lot of time on making us write with various implements and on various medium, and to do it walking around or with the paper leaning on a wall, or all sorts of weird combinations. Her idea was that writing is a physical process, so the variations in how you do it physically will lead to new things you write that you'd otherwise not write. She also had us like stretch and relax all our muscles and clear our minds and she would walk us through a kind of meditation where we left what ever we were thinking about when we came in to the room and like centered ourselves in the space we're in. Being physically and mentally connected to the space you're in and like fully present and open to what ever impulses come to you is a good state to be in. Just write, without judgement. Hi, I'm very new here. I joined the club to type this response, before I even looked for the introduce yourself thing (which I'm assuming is here).
  20. Each instance enacting within me a hollowing sense of societal bankruptcy.
  21. https://www.writersdigest.com/online-editor/7-steps-to-creating-a-flexible-outline-for-any-story A thoughtful little article on Outlining for those interested. 🙂
  22. Reading through this, give me a tick to break it apart for you. 😄
  23. Preface: The opening paragraph has already been posted to my MC's blog, so I'm offering this shredder up as a public piece.
  24. One of my many visions of worlds out there has a cyberpunk sci-fi feel to it set in a very far distant future. This was the original information sheet I created for my MC. He's since been renamed to Phoenix or just Nix for short. It wasn't written for the word prompt. And if I have time I'll see about writing a short snippet but have a deadline at work but wanted to at least attempt but I got lost in hunting for words and the bios stuff lol.
  25. I'd love to be able to split my time between writing and coding.... drawing will never be a go to topic as much as I want to be able to draw my characters. I'll just have to commission someone to do it.
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