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yowordworm

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Everything posted by yowordworm

  1. When I saw this, I thought it was going to be something from Simon Sinek. His talk on "Start with Why" (in addition to Michael Jr.'s "Know your Why") inspired me to create a mission statement for my life. Part of my mission statement is to learn and create with joy. This connects pretty clearly with writing. In addition, I read a comment on a blog one time in which the commenter said, "Our goal in any relationship is to love the person well." This is my prayer every time I sit down to write, that I would love my readers well. For me, loving my readers means that I share with them what God is teaching me and pray that God uses the stories He's given me to glorify Himself. More specifically, one of the things I could rant about for hours is how single people are treated both in the real-life church and in fiction. The mission statement of the book I'm currently writing could be to love my readers by writing a story in which singleness is valued the way Christ values it.
  2. Hi Everyone, I am looking for a critique partner/beta reader for a novel I’ve been working on for a few years. This is novel 1/part 1 of a three-part series. Part 1 has been through about five or six rounds of revisions by me, and I’m currently revising part 2 and 3 for the third and second time respectively. I’d love to exchange work with 2-3 others to get some general feedback, particularly on content. I’m not particularly concerned with grammar until I get the content where it needs to be. I am willing to beta read in exchange. I read thrillers, romance (both historical and contemporary), fantasy, and some sci-fi and am willing to beta read in any of those genres (and possibly others if asked). The work I’d like feedback on is a novel I’m currently calling Every Longing Heart. I think it would be categorized as romance and/or women's fiction, although I think the friendship between the two women in the story is more important than the romance. It deals with themes of friendship, singleness, and accepting God’s plan for your life. It’s just over 90,000 words. Here’s my working blurb. When Arianna accepts a position at the company where her best friend, Savannah, and her high-school boyfriend, Nick, work, she imagines falling easily back into romance with Nick with Savannah’s support. Savannah loves her best friend but can’t stand the man who broke her best friend’s heart. Determined to protect Arianna’s heart, she scorns Nick’s flirtations. But when tragedy strikes, Nick is the one who stands by her. Then, Nick surprises them both by falling for the wrong girl. Savannah and Arianna’s friendship and faith is tested as they learn to accept and follow God’s leading, even into paths they’d rather not tread.
  3. Knives Out was excellent. One review I read said "In Knives Out, compassion wins the day." I completely agree with that. All the characters were a little over the top and funny, and their motivations so well developed.
  4. For a masterful description of music, see Langston Hughes' "Trumpet Player."
  5. It may also be helpful to think how the music relays loss or sadness or longing. What kind of and how many instruments are playing? Are the notes high or low, long or short? Is the music fast or slow? There are certain instruments that I associate with sadness (violins, bagpipes). Minor notes tend to sound more melancholy. In addition, the verbs you use in relation to the playing of the instrument change the feel. For example: "the pianist's fingers danced across the keys" feels very different from "the violin wailed a low, mournful note."
  6. The whole idea of not having an internal monologue is new to me, and it's got me questioning the way I've been writing. I've been reading a lot about deep point of view lately, and I'm wondering how these different ways of thinking would play out in deep POV, especially since deep POV is really about putting the reader in the character's head. I mean, it's one thing when my characters actually have an internal dialogue. That's basically words, so writing it isn't that hard. But how do you write those mental images? How do you turn those mental images into words that help the reader experience them as the mental images rather than words? For those of you who don't think in words, do your characters ever have internal dialogue (if you use deep POV)? Do they think in images or abstract concepts? If so, how do you convey that to the reader? (I'm totally picturing a comic book with thought bubbles filled with pictures right now.) Has anyone ever tried to give different characters in the same story (if 2 or more POVs) different thinking styles? Am I making this more complicated than it really is? Is this something that happens when you use sensory details to show rather than tell?
  7. I just read Finding Faith by Denise Hunter, a popular CF romance writer. In one scene, we switch from the woman's POV to the man's in the middle of the scene. The woman says something and feels guilty. Then we switch and see the man thinking she must be lying. I don't know what the experts say about it, but I see this switch in the middle of scenes a lot. I think the authors do it so the reader can see the same scene from different POVs. I'm not saying it's the best thing to do, but plenty of popular modern romance authors switch POVs in the middle of scenes, going from the woman's POV to the man's. This often happens about once a scene, but usually not more than once. This is a change I've noticed recently in romance fiction. It doesn't really happen in older novels. In some ways this makes sense when you think of how we're trained by film to see things from different POVs as the scenes take place. I've actually come to expect it from romance authors and am sometimes disappointed when it doesn't.
  8. Maybe it depends on genre? I actually see this a lot, especially in romance novels. It's pretty common in romance for the POV to switch between characters in the middle of chapters, even in the middle of scenes. I'm bothered by it if it happens every few paragraphs, but if the changes are spaced out well, it doesn't bother me at all and can, in my opinion, add depth to the story. That is if it's in third person. If it's in first person, I get tripped up even when the changes happen at the beginning of a chapter. First person POV changes drive me crazy!
  9. The first part of your question seems to be about whether Christians are okay with playing Bingo. I grew up in a super conservative Christian community (We were Mennonite.), and Bingo was viewed much the same as gambling. I don't know all the whys of it, just that no one would ever play Bingo. So not all Christians are okay with Bingo, but it seems, from all the other responses, that by and large, Bingo is considered okay to most Christians.
  10. I'd be willing to skip NaNoWriMo this year if it meant I got to travel with the 11th doctor! Besides, he could always bring me back to a few minutes after I left, so I wouldn't even have to skip.
  11. Most Popular Baby Girl names 1880-2019 Just in case anyone wants to know what the most popular girls names were in different time periods. And because I found it fascinating how long Mary held on to the top spot. And I also realized just why my name (Ruth) often reminds people of their grandmothers.
  12. I agree with Nicholas. A nine-year-old boy would probably just call it brown. However, if he's an observant sort of boy, he might compare the brown to something else in his life (the same brown as a his favorite caramel that sticks in his teeth or like the acorns he uses in his slingshot, etc.).
  13. I often do this for my main characters. I also found it really helpful to read about how the different personality types interact. Most of what I read made perfect sense for my characters and helped me flesh out their conflicts a bit more.
  14. You could also look up the meanings of the names you have and choose one that fits who your character is. For example, Aspen is the name of a tree that is described as having leaves that flutter in the breeze. (I know this because I have a character named Aspen.) The aspen tree is significant in Celtic mythology and associated with the wind, communication, resurrection, and rebirth. All of these things went into my choice to name her Aspen. This usually helps me choose a name when the name eludes me, and it helps with developing the character. Sometimes, I think of who the character's parents are and how they would have chosen a name. For example, one of my characters got her name from a city that was special to her parents. Parents also name children after family members or people they admire, and names also vary depending on the time period and region. Names say a lot about where and who a character comes from. For example, when I think of parents who name their daughter Evelyn (one of your choices), I think of people who like classic, elegant names, while parents who name their daughter Phoenix are probably edgier and value uniqueness, and parents who name their daughter Honey probably like the cute, sweetness factor.
  15. For me as a reader, I don't want a cliffhanger at the end of every scene or chapter. It drives me nuts. Sometimes is okay. Sometimes is good. But if an author puts a cliffhanger at the end of every chapter, I get really annoyed and feel like the author is relying too much on cliffhangers and not the general interest and complexity of the plot to keep me reading. I have been known to stop reading in the middle of a chapter (gasp!) just to avoid the predictable and inevitable cliffhanger at the end of the chapter.
  16. To me, this sounds like your friend is getting mixed up between past and passive. Past happenings aren't less active than present happenings. They just happened at a different time. If a flashback seems less active (or more passive), then I think there's probably something going on with the writing style of the flashback. I suppose if a writer has more flashback than anything else, he probably needs to start the story at a different point, but I've often seen flashbacks used very effectively. One result of putting the reader into the middle of the action right away (something that feels very active to the reader) requires that you include some flashback to show readers what led to that action. Otherwise, you'd have to start stories with information dumps to bring readers up to speed before the action begins.
  17. I just got this one this summer, primarily because my characters seemed to nod their head a lot. I've enjoyed looking through it but haven't really delved deeply yet.
  18. Currently, I'm writing contemporary fiction, but I've also got a few fantasy novels floating around in my head too. One year, I asked for, and received, a pack of those 5x8, 100-page journals/notebooks, and they were one of my favorite gifts. I go through those like they're going out of style. They're just so portable, and I don't feel like I have to fill them with lofty thoughts like I do a regular journal. But I'm also interested in books about writing that others have found useful.
  19. I'm currently in the process of writing my Christmas wish list (My family likes to get started early.) and need suggestions for writing resources to add to the list. What writing resources would you recommend?
  20. I think this depends heavily on genre. For example, in romance, while the antagonist is sometimes a rival lover, the real and most difficult conflict is often internal (man vs. self). So the antagonist and the protagonist are the same person (or internal forces within the same person). I don't think it's always a matter of creating an external villain to be vanquished, but seeing what the conflicts have in common to see if the real antagonist is internal (self) or external (like nature). You may find that all the conflicts you've created point to one of these antagonists. If that's the case, it may be a matter of playing up the antagonist that's already there in the conflicts you've created.
  21. Evidently, the same ones (or same kind) as Pressfield. But seriously, I suppose the ones I can think of off hand are older, more classic works written by men: The Woman in White by Wilkie Collins and The Turn of the Screw by Henry James come to mind. Even in Shakepeare's plays, women are constantly pretending to be someone they're not, and the truth must be revealed before the story resolves. I've also read a ridiculous number of books recently (written by women,not men) in which a mother has hidden or lied about a child, sibling, or father. Granted, in many of these novels, the woman hid the truth out of fear of what the man would do. But the resolution of the novel (in both mystery and romance) comes from the woman finally revealing (whether by force or not) the truth. But I'm not alone in seeing this trope, otherwise Pressfield's article wouldn't have discussed it. All that being said, I can think of plenty of deceptions in fiction that are preciptated by men (Superheroes are notoriously deceptive about their identities.). The real question is, why is hiding the truth (the mystery) something that Pressfield sees as inherently feminine?
  22. I might concede that women (in general) are more difficult to understand, but I don't think that women in real life seek to conceal truths rather than reveal them. That's a trope that's been overused, that makes women out to be deceptive and manipulative--common enough in fiction, but harmful in the stereotypes it encourages. I would think (and I hope) that Godly women in Christian fiction would be portrayed as truth-tellers rather than truth-concealers.
  23. Hi Ryan, It's nice to meet you. I'm especially curious about the "charismatic anabaptist" perspective you hold. I grew up Mennonite, so I'm always interested in other anabaptist beliefs. What do you mean when you say charismatic anabaptist? I don't think I've ever heard anyone use that phrase before although I can make a guess at what it might mean, but I'd rather hear it from you. If my curiosity is too much, feel free to ignore my prying.
  24. I think there's a few things going on there. I think it's less of a problem if the name is really common. For example, John is a common enough name that readers probably won't think the author is writing himself into the novel, but if the name is unique, readers will think the author is trying to insert himself into the world of his characters. As for writing yourself into fiction, readers respond to that in different ways. Usually, it doesn't really bother me--especially if the character is a minor one, but I recently read a novel in which the main character was a writer who wrote all the books the author of the novel had written. (She didn't share the author's name, just her bibliography.) It was highly distracting, especially since other characters were often praising the main character for her well-written books. It felt a bit self-indulgent to me--as if the author was telling readers what to think of her past novels. I think that's the danger of writing yourself into a novel--it distracts readers from the actual story and puts the focus on the author instead of the characters.
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