websandwhiskers:

So, because people writing inaccurate kid!fic bothers me, a quick reference to kids (Disclaimer:  I have no professional background in child development, and no offspring of my own – this is all based on other people’s kids.):

Newborn:  Person-larva.  Cannot do much but eat, sleep, cuddle, cry, poop.  Cannot hold their own head up.  May pick up on the mood of the person holding them, but response to it is going to consists of either contentment or complaining.  Those are pretty much the two states of a newborn: happily cuddly or expressing displeasure. 

2 – 6 months:  Somewhat more aware of surroundings, own appendages, etc.  Will recognize people, like some better than others.  Smiles, laughs, babbles.  Somewhere in here rolling over commences, and possibly crawling.  Starts teething. 

6 -12 months: Lots of babbling, but no actual talking.  Crawls, pulls self up to standing while holding onto things, may start wobbly independent walking.  Some kids are climbers (may heaven help their parents).  Eating some solid food (as in, mashed up stuff), but still nursing / drinking formula too.  This is the beginning of the exploratory, everything-goes-in-the-mouth stage.  Still teething.

1 year old: Has teeth, eats solid food.  Many parents wean at this age, but it’s not unusual to continue breastfeeding.  Talks, but probably not very clearly – pronunciation will be interesting, and vocabulary very limited.  May repeat a new word incessantly.  Points at things they want.  Physical coordination and verbal skills increase as child gets older.  Maybe develop utterly random phobias, usually of things that are new or unpredictable.  Interested in other children, may mimic older children.  Still sticks everything in their mouth.

2 years old: Speaks well enough to be understood by those who know them, but not necessarily strangers.  Uses simple phrases.  May mash words together to express a concept for which they don’t yet know the word, or make a word up.  Is learning labels for things, though they may not be accurate (i.e. all old men are grandpa, all round objects are a ball, etc.)  Knows colors, parts of the body, types of animals, etc.  Walks, runs, dances, etc – basically the full range of physical stuff, just all of it is kinda awkward.  Can roll a ball or throw it in a clumsy way.  May have a favorite toy, security blanket, etc.  May play pretend games or make up stories, but they’re likely to be fair inscrutable to adults.  Wants to do things independently, but is likely to be easily frustrated.  Has tantrums.  Plays with other children, but not terribly good at sharing or being nice.  Asks questions; the ‘why?’ stage has begun.  Toilet training begins around this age; girls tend to get the hang of it quicker than boys. 

3 years old – pretty much the same as 2, only a bit better at all of it.  Asks a LOT of questions.  Has friends.  Plays pretend.  Understands rules (though is unlikely to obey them very well).  Can count, though not very far.  Speaks well enough to be understood by strangers; you know that so-cute-you-could-die kid-speak people love to write?  This is the appropriate age for it (up through about age 5). 

4 to 5 – cutesy kid-speak is age appropriate.  May still have tantrums, still not the best at sharing, but should be starting to get socially functional.  Can throw or kick a ball, jump, stand on one foot, all that.  Can count, recite alphabet.  Some kids start learning to read and write arond this age, though it wouldn’t yet be abnormal for them not to be able to.   Lots of pretend play.  Emotionally intense; everything is dire.  Learning to be self-maintaining, i.e. may bathe independently but needs an adult to wash their hair.

6 – 10 – speaks like an emotionally immature adult; the things they have to say are still kid-like, but they should be easing out of kid-speak.  Reads, writes, can do math – these skills increase with age.  Understands and (usually) obeys rules, has a concept of fairness, kindness vs. cruelty, etc.  Forms tight friendships, keeps secrets, wants to fit in and be liked; having a best friend or a group of friends is the most important thing in their world.  Wants to be good at things; has definite interests and academic strengths and weaknesses.  May bully or be bullied; kids this age can be mean.  As in horrifyingly so.  Has crushes (though probably still finds it acutely embarrassing).  Understands death.  Kids this age will curse, though hilariously badly.  Still wants parental affection, but probably not in public. 

11 – 12 – mini-teen, which is to say emotionally vulnerable, short-sighted mini-adult.  Naive still, but not terribly so – has a basic understanding of human nature, events around them, etc.  Begins to form political / ideological / religious opinions.  May begin reciprocal romantic attachments.  Strongly focused on collective identity, what ‘niche’ or ‘crowd’ they identify with.  Some girls start puberty.  This is also the age of things going badly wrong; kids know which other kids are the sociopaths at this stage.  While everybody else is learning how to not be a mean little shit to everybody unlike themselves (or a bitter perpetual victim), those few who aren’t developing in a good direction become downright terrifying. 

13 – 15 – somewhere in here, kids will start either facing major adult-scale decisions and problems themselves, or seeing peers doing so.  Shit gets real.  This is why teenagers think they know everything; the rose-colored glasses of childhood fall off, and they are suddenly So Very Jaded and cannot imagine there being more to the world than what they can suddenly perceive now, because it is overwhelming.  Likely to be angry at the world, likely to gravitate toward ideological extremes.  Takes risks.  Forms romantic attachments; may experiment sexually, may not, maturity levels here very A LOT. 

16 – 21 – moody adult with far more curiosity than common sense.  Does thing in grand and dramatic fashion.  Experiments with different identities.  Wants total independence.  Many develop greater social maturity around this time; stop seeing others in terms of cliques, develop greater empathy and ability to see things from multiple perspectives.  Forms romantic attachments that may be serious or even life-long. 

I’ve been trying to write a Deaf character but my dialogue is coming out kind of … flat. Should I use “said” or “signed” when I’m attributing the dialogue to the Deaf character? How do you even describe someone’s tone if they’re not speaking? Do hands even have a tone? Help????

deafcecil:

Hey anon! So, let’s go over some tips for writing Deaf and Hard of Hearing characters, shall we?

Said or Signed?

Either! “Said” is one of those words that readers don’t even notice, which is a good thing. You know when you’re reading and everything is “moaned Kate” “uttered Chance” “grumbled Lacie”? That’s annoying, and every writing blog will telly you to use those words sparingly. “Said” is just from the verb “to say,” which doesn’t specify whether you’re speaking or signing. Using “signed” can be really useful, especially when you have hearing characters along with the Deaf character. A hearing character may sign something when the Deaf person is in the room, but speak something when they leave, or the Deaf character may use spoken language primarily but sometimes sign. Don’t overuse “signed” though, because that can be just as distracting as “grumbled.” If your Deaf character is signing, you can just say “Alex said.”

ASL Tone

Yes, inflection and tone do exist in ASL! I love it so much it’s so awesome ok here we go.

Facial expressions are used for grammar in ASL for some signs, but are also used for tone. You can easily tell if someone’s angry by their facial expressions, and Deaf people are no exception.

Also, you’ll DEAFinitely (I’m so hilarious) be able to tell someone’s tone by their hand movements. I knew it was possible to yell in ASL, but I didn’t really know how until I was talking about an episode of Grey’s Anatomy with my ASL professor, and it went somewhat like this.

Me: Remember last class, when you told us about that Grey’s Anatomy episode with Deaf characters?

Shannon: Yeah, that was such a good episode! Did you watch it?

Me: I did, it was so good!

Shannon: IT WAS SO GOOD I WAS SO EXCITED APRIL PAYS SO MUCH ATTENTION TO WHAT THE DEAF COMMUNITY ACTUALLY WANTS AND JACKSON IS A JERK

Shannon really yelled, and there was no question about it. Her face absolutely lit up, eyes wide, beaming smile about to crack her face in half, and she actually leaned into her signing with her whole body. When she was praising April, she leaned forward. During the transition to her next point, she sort of returned to leaning back normally. When judging Jackson, she leaned forward again on the word “jerk.” Her signing was still very legible but it was forceful, flowing very smooth and fast. The stress was really put on “pays attention” because that was praise and it was very important, and she really snapped the sign “jerk” and gave it a negative, sharp tone. 

In short: yes, signers do very much have tones and inflections – they’re just not communicated via voice. Actually, sometimes they are; my Deaf camp counselor vocalized some signs when she got really excited (which was all the time). She didn’t speak, but she did vocalize a bit.

Writing ASL Grammar

Please please please do not write in ASL gloss!!!!!!!! ASL gloss, if you don’t know, is pretty much a written English form of ASL. If I was to sign “I went to the store yesterday,” the gloss version would be YESTERDAY STORE I GO. That is not something you’re going to want your readers to sift through, as it is neither English nor ASL anymore. It’s jarring to read. Don’t use the grammar of ASL while you’re writing in English. Also, because ASL has expressions that English does not, people may get confused (I highly doubt a non-signer would understand when a Deaf character gets in a sticky situation and the dialog reads “DO-DO-DO”).

Writing A Non-Signer/Beginning Signer

If you’ve got a character who is hearing/raised orally/LDA (Late Deafened Adult) or for whatever other reason is learning ASL later in life and is trying to use it, they’re probably going to get a little stuck. It happens! But how do you write that?

The answer is still not to gloss it. You can use other tips and tricks to make the reader understand that this character is grasping for the right word or expression, or just has completely blanked out! Just remember not to overuse ellipses.

Writing Deaf Characters Interacting

Really, if you’re writing any Deaf/HoH character, it’s important that you are knowledgeable about Deaf culture, mannerisms, etc. Deaf culture is very different from hearing culture. For instance, Deaf people share a lot more information than hearing people do. If a hearing person is late to a meeting, they’ll just say “Sorry I’m late, car trouble.” A Deaf person will say “Sorry I’m late, my car made this weird knocking feeling and then totally died on the highway! I had to call Triple A – what a hassle with VRS, right? – and it took an hour for them to come!”

Another example is my relationship with one of my Deaf professors. Most hearing student/professor relationships are very professional with not a lot of (if any) friend elements. Our relationship is very professional, but she emails me links to articles she thinks I might like, rec’d me a movie about a transgender porn star, and told the entire class the story of her first period. Information sharing is very important in Deaf culture, and conversations within that culture will look different than similar conversations between members of hearing culture.

Also, be sure you’re not having Deaf characters facing away from each other when they’re chatting, or in different rooms. With hearing characters, they can chat while doing the dishes or shout from upstairs to someone downstairs. Deaf characters can still do the dishes and sign at the same time, but it just has different dynamics. Like hearing people can talk with their mouth full, it’s possible to multitask with hand use. Just remember what your characters are up to when it’s time for dialog; if someone’s still in the bathroom with the door shut, now is not the time to ask him where he wants to go to dinner tonight. 

All in all, just remember that Deaf people have the same conversations hearing people do – we still talk about how shitty our jobs are and how hot it is outside. We just sign about it. And just like two hearing people are going to have difficulty having a spoken conversation from across a football field, two Deaf characters are going to have difficulty having a signed conversation if someone’s glasses are off or if someone’s juggling their coworkers’ coffees in one hand while fishing for their car keys in the other.

officialleoneabbacchio:

writerlyn:

The most important writing lesson I ever learned was not in a screenwriting class, but a fiction class.

This was senior year of college.  Most of us had already been accepted into grad school of some sort. We felt powerful, we felt talented, and most of all, we felt artistic.

It was the advanced fiction workshop, and we did an entire round of workshops with everyone’s best stories, their most advanced work, their most polished pieces. It was very technical and, most of all, very artistic.

IE: They were boring pieces of pretentious crap.

Now the teacher was either a genius OR was tired of our shit, and decided to give us a challenge.  Flash fiction, he said. Write something as quickly as possible.  Make it stupid.  Make it not mean a thing, just be a quick little blast of words. 

And, of course, we all got stupid.  Little one and two pages of prose without the barriers that it must be good. Little flashes of characters, little bits of scenarios.

And they were electric.  All of them. So interesting, so vivid, not held back by the need to write important things or artistic things. 

One sticks in my mind even today.  The guys original piece was a thinky, thoughtful piece relating the breaking up of threesomes to volcanoes and uncontrolled eruptions that was just annoying to read. But his flash fiction was this three page bit about a homeless man who stole a truck full of coca cola and had to bribe people to drink the soda so he could return the cans to recycling so he could afford one night with the prostitute he loved.

It was funny, it was heartfelt, and it was so, so, so well written.

And just that one little bit of advice, the write something short and stupid, changed a ton of people’s writing styles for the better.

It was amazing. So go.  Go write something small.  Go write something that’s not artistic.  Go write something stupid. Go have fun.

@cohensdisciples

Describing Skin Colors

thewritershelpers:

Having trouble finding synonyms for ‘white’, ‘black’, ‘tan’, etc? Have any clear idea what tone you’re going for? Here’s some web pages for skin tone description and references:

Words Used To Describe Skin Color

Handy Words for Skin Tone (Includes palettes and comparisons)

Describing Characters of Color

More Tone Synonyms w/ Pictures

7 Offensive Mistakes Writers Make (includes more than just skin color)

Ways to un-stick a stuck story

firemoon42:

  • Do an
    outline,
    whatever way works best.
    Get yourself out of the word soup and know where the story is headed.
  • Conflicts
    and obstacles.
    Hurt the protagonist, put things in their way, this keeps
    the story interesting. An easy journey makes the story boring and boring is
    hard to write.
  • Change
    the POV.
    Sometimes all it takes to untangle a knotted story is to look at
    it through different eyes, be it through the sidekick, the antagonist, a minor
    character, whatever.
  • Know the
    characters.
    You can’t write a story if the characters are strangers to you.
    Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.
  • Fill in
    holes.
    Writing doesn’t have to be linear; you can always go back and fill in plotholes,
    and add content and context.
  • Have
    flashbacks,
    hallucinations, dream sequences or foreshadowing events. These
    stir the story up, deviations from the expected course add a feeling of urgency
    and uncertainty to the narrative.
  • Introduce
    a new mystery.
    If there’s something that just doesn’t add up, a big question mark, the story becomes more
    compelling. Beware: this can also cause you to sink further into the mire.
  • Take
    something from your protagonist.
    A weapon, asset, ally or loved one. Force
    him to operate without it, it can reinvigorate a stale story.
  • Twists
    and betrayal.
    Maybe someone isn’t who they say they are or the protagonist
    is betrayed by someone he thought he could trust. This can shake the story up
    and get it rolling again.
  • Secrets. If
    someone has a deep, dark secret that they’re forced to lie about, it’s a good
    way to stir up some fresh conflict. New lies to cover up the old ones, the
    secret being revealed, and all the resulting chaos.
  • Kill
    someone.
    Make a character death that is productive to the plot, but not “just because”. If done well, it affects
    all the characters, stirs up the story and gets it moving.
  • Ill-advised
    character actions.
    Tension is created when a character we love does
    something we hate. Identify the thing the readers don’t want to happen, then
    engineer it so it happens worse than they imagined.
  • Create cliff-hangers.
    Keep the readers’ attention by putting the characters into new problems and
    make them wait for you to write your way out of it. This challenge can really
    bring out your creativity.
  • Raise the
    stakes.
    Make the consequences of failure worse, make the journey harder.
    Suddenly the protagonist’s goal is more than he expected, or he has to make an
    important choice.
  • Make the
    hero active.
    You can’t always wait for external influences on the
    characters, sometimes you have to make the hero take actions himself. Not
    necessarily to be successful, but active
    and complicit in the narrative.
  • Different
    threat levels.
    Make the conflicts on a physical level (“I’m about to be
    killed by a demon”)
    , an emotional level (“But that demon was my true love”) and
    a philosophical level (“If I’m forced to kill my true love before they kill me,
    how can love ever succeed in the face of evil?”)
    .
  • Figure
    out an ending.
    If you know where the story is going to end, it helps get
    the ball rolling towards that end, even if it’s not the same ending that you
    actually end up writing.
  • What if?
    What if the hero kills the antagonist now, gets captured, or goes insane? When
    you write down different questions like these, the answer to how to continue the
    story will present itself.
  • Start
    fresh or skip ahead.
    Delete the last five thousand words and try again. It’s
    terrifying at first, but frees you up for a fresh start to find a proper path. Or
    you can skip the part that’s putting you on edge – forget about that fidgety
    crap, you can do it later – and write the next scene. Whatever was in-between
    will come with time.

writers:

ao3sburbanite:

ironinkpen:

ironinkpen:

  • break up your paragraphs. big paragraphs are scary, your readers will get scared
  • fuuuuck epithets. “the other man got up” “the taller woman sat down” “the blonde walked away” nahhh. call them by their names or rework the sentence. you can do so much better than this (exception: if the reader doesn’t know the character(s) you’re referring to yet, it’s a-okay to refer to them by an identifying trait)
  • blunette is not a thing
  • new speaker, new paragraph. please.
  • “said” is such a great word. use it. make sweet love to it. but don’t kill it
  • use “said” more than you use synonyms for it. that way the use of synonyms gets more exciting. getting a sudden description of how a character is saying something (screaming, mumbling, sighing) is more interesting that way.
  • if your summary says “I suck at summaries” or “story better than summary” you’re turning off the reader, my dude. your summary is supposed to be your hook. you gotta own it, just like you’re gonna own the story they’re about to read
  • follow long sentences w short ones and short ones w long ones. same goes for paragraphs
  • your writing is always better than you think it is. you just think it’s bad because the story’s always gonna be predicable to the one who’s writing it
  • i love u guys keep on trucking
  • say your dialogue out loud and see if it flows like an actual conversation two real people would have
  • keep your vocab relatively simple. trust me on this. if your reader has to keep toggling between your story and dictionary.com, you’re alienating them, not showing off your “writing prowess.” It’s okay to throw in a few fancy words in once in a while to spruce things up, but don’t use things like “he extrapolated” too often
  • synonyms are great, but don’t go overboard. instead of “he pronounced, retrieving the container” just say “he said, picking up the box.” again, keep it simple
  • doesn’t matter how in love they are. they still need lube
  • if the only thing carrying your plot is an easy-to-fix minor miscommunication/misunderstanding, you might wanna throw something else in there to keep your reader on their toes
  • describe accents, but try not to put them into dialogue. “Iz cold up een Russia”??? just tell your reader the dude has a russian accent and have him talk
  • ur all beautiful and i still love u

Great great great advice. Here’s a little more I’ve learned from writing: 

  • Writing in the past tense? Your verbs should be in the past tense (had, was, did, sat, ran, kissed). If you’re writing in the present tense, they should in the present (is, has, does, sits, runs, kisses). Don’t switch back and forth between them – especially not within the same sentence.
  • The only exception is if you’re writing a “flashback” from a present tense story, in which case your flashback needs its own paragraph/prargraphs.
  • Ravenette is also not a word (at least according to the dictionary).
  • It’s better to describe the effects of environmental conditions than describe them directly – “Rose shivered as she stepped out into the snow” is better than “It was cold and there was snow on the ground.”
  • Direct descriptions are fine too, as long as they’re interesting, not overwrought, and don’t run into multiple sentences. 
  • Most couples don’t go from kissing to boning in one smooth movement (unless it’s a one-night-stand) – in a real relationship the slow build is usually it’s own reward.
  • Condoms are a thing. They’re not a mood killer.
  • Write, write, and write some more! 
  • Read other people’s great stuff and tell them how great it is
  • Have fun and don’t give up ❤

10 Things that Red-Flag a Newbie Novelist

writeworld:

Beginning novelists are like Tolstoy’s happy families. They tend to be remarkably alike. Certain mistakes are common to almost all beginners. These things aren’t necessarily wrong, but they are difficult to do well—and get in the way of smooth storytelling

They also make it easy for professionals—and a lot of readers—to spot the unseasoned newbie.

When I worked as an editor, I ran into the same problems in nearly every new novelist’s work—the very things I did when I was starting out.

I think some of the patterns come from imitating the classics. In the days of Dickens and Tolstoy, novels were written to be savored on long winter nights or languid summer days when there was a lot of time to be filled. Detailed descriptions took readers out of their mundane lives and off to exotic lands or into the homes of the very rich and very poor where they wouldn’t be invited otherwise.

Books were expensive, so people wanted them to last as long as possible. They didn’t mind flipping back and forth to find out if Razumihin, Dmitri Prokofitch, and Vrazumihin were in fact, all the same person. They were okay with immersing themselves in long descriptions and philosophical digressions before they found out what happened to Little Nell. The alternative was probably staring at the fire or listening to Aunt Lavinia snore.

But in the electronic age…not so much. Your readers have the world’s libraries at their fingertips, and if you bore them or confuse them for even a minute, they’re already clicking away to buy the next shiny 99c book.

Whether you’re querying agents and editors or you’re planning to self-publish, you need to write for the contemporary reader. And that means “leaving out the parts that readers skip” as Elmore Leonard said.

Agents and readers aren’t going to want to wade through a practice novel. They want polished work. All beginners make mistakes. Falling down and making a mess is part of any learning process. But you don’t have to display the mess to the world. Unfortunately easy electronic self-publishing tempts us to do just that.

But don’t. As I said two weeks ago, it takes the same amount of time to learn to write as it did before the electronic age.

Here are some tell-tale signs that a writer is still in the learning phase of a career.

I’m not saying these things are “wrong”. They’re just overdone or tough for a beginner to do well.

Read More →

10 Things that Red-Flag a Newbie Novelist

World Building

createwithwriting:

Sometimes, writers find it necessary to add more depth to the world surrounding their characters. I’ve collected a few links that should be helpful in this process. Some of these are better for a fantasy stories, but have ideas that could prove useful for writers of all genres, in one way or another.

  1. MAP GENERATION
    If you have decided to create your own land mass for the sake of your story, you may be grateful to have this link. Users should read the description below before using, but it is easy to use and helpful for anyone wanting to create a new island or continent. I prefer using this tool over any others I’ve seen online. This website only contains the demo. The full version has more ways to edit the map, but getting the full version requires downloading and having proper software. I’ve found that the demo, on its own, should be enough for anyone who can’t get the full version for one reason or another. However, the link for full version is also on the page, should you want it.
  2. WEATHER AROUND THE WORLD
    Knowing weather details of areas can be helpful when writing about an area, especially if it’s one you’re not familiar with. This website has the recorded weather of pretty much everywhere on Earth, and even provides averages for the past year in specific areas. It’s great for writers who want an understanding of how the weather in their story might affect the characters. For instance: if the summer heat in an area is consistently over 100 degrees, the characters might be less willing to go outside, and be in need of constant hydration.
  3. FANTASY JOBS THAT AREN’T KNIGHT OR PEASANT
    Anyone who is writing a story that takes place in a less developed civilization, be it medieval times, or a fantasy world that hasn’t quite hit its industrial revolution, should probably have this list. It’s a simple list of a 100 jobs that you might consider giving to the characters in your story to make them seem like real people. The creator of the list even adds a few at the end for younger characters. Choosing any of them for your story may take some added research, but will be worth the depth added to your story.
  4. FAMILY TREE TOOL
    If you’ve ever read the series “Lord of the Rings”, you may know that pretty much everyone in the books has a long list of ancestors. While I would never endure such an endeavor, if you feel so inclined to come up with a lineage for your character, this is a tool you can use. It’s easy to use, and allows for adding information beyond name and year of birth/death. You’re able to change what information shows up on the table, and when finished you can even print it out.
  5. HOME DESIGNER
    So this is good if you have time to kill and really want to do some in-depth building. This tool will let you be the designer of the home of your characters. You’ll get out what you put into it, so if your character lives in a three story, 10 bedroom home, you may have to put in a bit more effort to use this tool effectively. You can also simply create individual rooms, if that’s more along the lines of what you want. Over all, while this tool may take a bit of time to learn, it isn’t very complicated. I suggest it to everyone who wants to explore how the home of their characters looks.
  6. LANGUAGE CREATION
    If you were thinking about writing your own language, this link will make you decide whether you really want to create your own language, or if you want to give up on the idea entirely. It’s a long process, but is completely spelled out in this link, and the additional pages that the website provides links to. You can also buy the book by the same author for $0.99; but all the information is available for free. Either way, it should be an easy choice to make after reading through what the website has to offer. I think creating a language is for people with more time, patience, and understanding of their own language than I have, but it is certainly fun to think about. The author also discusses different methods people use to create languages, and what is wrong with those methods. I believe this is, by far, the best resource for creating a language.

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Save Your Story: Finding Where it All Went Wrong

lizard-is-writing:

So you’ve started writing and you don’t know what your story is about yet. You like what you’ve got and suddenly you’re scared you’re just going to mess it up. Yeah, we’ve all been there. Whether you’ve planned it from start to finish or you’re writing without a compass, if it goes wrong, it’s still wrong. Let’s talk about how to figure out what happened. 

  • Identify your premise. If the start was something great and you want to keep going on that momentum, put into words what that was. What was so captivating? Know that. Be able to say it. In fact, write it down. 
  • Read it out loud. This is important. Where is it boring? If you know when you stop liking it, you can jump right to that. In what scene does it start to lag? It could be immediate. Now write out the summary right up until it starts to lose your interest. 
  • Where were you going with this? Whether or not you had much of a plan, now you have to name generally where you hoped this story could go. It can be vague. Vague is probably better. You don’t need to be describing the end of the story, it could be a mid-point. An end I think is easier, but still you don’t need to know how to get there exactly, just what it might look like. 
  • Now write a sentence that will help you get from the premise to that goal. It doesn’t have to be a big jump. In fact, make it small, just something that will push the story in that direction. If you’re not a planner, then don’t go into detail. I never go into detail, it’s just one small step. If this is “Little Red Riding Hood” and you know the character and that in the end you want her to be eaten by a wolf disguised as her grandmother, then you might decide to have her talk to the wolf. Baby steps. This will keep you on track until you can make it to the end. 

Don’t research
Researching isn’t writing and vice-versa. When you come to a factual matter that you could google in a matter of seconds, don’t. Don’t give in and look up the length of the Brooklyn Bridge, the population of Rhode Island, or the distance to the Sun. That way lies distraction-an endless click-trance that will turn your 20 minutes of composing into a half-day’s idyll through the web. Instead, do what journalists do: type “TK” where the fact should go, as in “The Brooklyn Bridge all TK feet of it, sailed into the air like a kite.” “TK” appears in very few English words (The one I get tripped up on is “Atkins”) so a quick search through your document for “TK” will tell you whether you have any fact-checking to do afterwards. And your editor and copyeditor will recognize it if you miss it and bring it to your attention.

Cory Doctorow

Use this writing technique to avoid endless click-trances. For more snazzy writing tips for the 21st and ½ century open Context to page 30.

(via bookphile)

I didn’t realize I was doing this until I read about Avoidance in The War of Art. Good advice, Cory!

(via wilwheaton)