2011-06-08

Emergency Beta Service offers to provide quick answers to any questions you might have concerning grammar, summaries, and/or insignificant plot points. Teasers (up to 250 words) are also accepted.
The goal is to answer within two hours of receiving the question (in their opening hours ;-) ).

The Staff of Emergency Beta is our guest for this week's Writing Lab.

10 Tips to Make Your Betas Love You

Yes, betas can love, too. A good beta should comment on all the little details that seem off, while giving you some much needed love and care for the baby that took you hours to birth. Your chapters should be filled with red marks, not only commenting on grammar, but also on the fabulously constructed sentences, the intriguing details, and that awesome character flaw you gave Alice. The biggest reason for betas not to show this love is simply obvious grammar errors every writer should be able to avoid.
So what is it that makes your betas want to tear their hair out as they go through your chapter? Here is a list of items that my fellow betas and I have come up with, along with some tips on how to fix or avoid them.

1. Commas around the one who is being addressed. It is the simplest comma rule to learn! When you’re addressing someone, put the little commas around the name/nickname/terms of endearment, etc.
  • Example: “Hello, Bella.” “So, slugger, you’re a doctor now?” “Don’t be so stubborn, dear.”
2. Commas before or after dialogue tags: the second easiest comma rule! And what exactly is a dialogue tag, you ask? It is anything following or preceding dialogue (inside the quotes) that describes the manner of the dialogue being presented.
  • Example: “Hello,” he shouted. He whispered, “Don’t tell anyone.”
    • Note: even if the dialogue tag comes before the actual dialogue, there is still a comma, and the first letter of the speech should be capitalized—unless it’s a continuation of a sentence from before the tag. Example: “You would think,” she said, “that he would learn from his mistakes.”
3. Use your spell check! Some spell checkers are better than others, so if you think you have the word right when spell check says otherwise, google it or look it up in a dictionary. A lot of the time, spell check is right. If your word processor doesn’t have built-in spell check, here is a free one online.

4. Homophones. If your spelling is poor, it’s hard to remember the difference between week and weak, or waist and waste (a spelling error I made frequently in grade school, and I still google it whenever I use either one, just to be absolutely sure). A good spell check will put blue squiggly lines if it thinks you’re using the wrong word or phrase. However, for many, it’s just something you have to learn—and good writers should put in the effort to learn it! Google is your friend.
  • Did you know that if you type in the search bar define [insert word] it will show you the top definitions of that word? And you can click More for more!
    • Try to come up with mnemonic strategies to learn the difference (like I frequently have to remind my sister, “where and here; were and are”).
5. Notice the changes your beta is suggesting! Often, the beta will tell you why they’re suggesting the change, but when they don’t, try to notice a pattern. When betas can’t be bothered to put in an explanation, it’s usually because the error is so basic or that they’ve already pointed out the rule, maybe even several times. Sometimes your betas don’t even know the rule, but they have learned the pattern from someone else. If you’re not sure why your beta suggested the change, try googling for a rule or ask EBS!

6. Make sure all the tenses are consistent. If you’re writing in past tense, there should be no verbs in the present tense! You can use simple past (write → wrote), past perfect (write → had written), past continuous (write → was writing), or past perfect continuous (write → had been writing). You should also shy away from words like now, here, today, tomorrow, yesterday, this, these, etc. They all indicate present tense and will often break the past tense flow. 
  • Note—if you’re writing in past tense and/or 1st person, you really shouldn’t be using the 2nd person pronoun “you.” It’s bad form. Many people will tell you to avoid it when writing in present tense and/or 3rd person as well, but I personally say that then it’s more a question of writing style.
7. Apostrophes. They are only ever used:
  • in contractions (you are → you’re);
  • to show the possessive of nouns, but never pronouns (the man’s dog → never you’re dog); 
    • Note that the plural possessive goes after the plural S (The Cullens’ house, his parents’ house, etc.). Some people prefer to add an additional S after the apostrophe (e.g. The Cullens’s house), but if you do, remember to be consistent!
  • when something has been removed from the word, like in contractions or when pointing out a g-dropping accent (hitting → hittin’).
    • The easiest way to remember when to use apostrophes is to ask yourself if you can insert something instead. You’re and they’re can obviously be changed to you are and they are, you can add a g to hittin’, and the possessive? Well, that is really clever, actually. The possessive apostrophe started out as a contraction of the noun and the possessive pronoun, e.g. this is the man his dog. This is why it doesn’t work with pronouns; you would never say this is your your dog (not even in the old days)! Clever, right?
8. Overuse of the word that. Did you know that people use that 80% more in writing than in speech? It really isn’t used as often we think. I might be making up the number, but the truth is, it is used too much in writing, and often it can be removed. 
  • Example: “the reason that it broke” → “the reason it broke.”
9. Jumps in time—if there are any in your chapter, make it clear. Either mention it in the text (which can easily be done in 3rd person and/or past tense writing), or mark it off with a page break. If you are suddenly writing a scene that happened three weeks after the last scene and you don’t make that fact clear, it will be disorienting for both the reader and the beta. Same goes for sudden flashbacks.
  • When writing flashbacks, I would recommend using the tenses and a play on the narrative as a tool to indicate the time change instead of putting whole paragraphs into italics. You’re writing in the past tense? Use past perfect to indicate the event happened further in the past. Writing in present tense? Use simple past or past perfect to indicate that it’s not happening now. Then you can also tone back the dialogue and tell the reader what happened, rather than show.
10. Use two betas! You can never have too many pairs of eyes looking through your chapter. Even the best novels go through multiple editors and are read time and time again before it goes to print, and still there are errors. Every beta has a different set of skills in her armory, so even if one of your betas isn’t particularly good with commas or explaining the rules of why that comma should be there, the other might be able to make up for that.
  • Submit your story to Project Team Beta and find a pair of permanent betas that complement each other and fit your style, or you can submit it to Sparkly Red Pen, who will accept up to 5 of your chapters and will work closely with you to help you improve your writing !
There you have it! Some of these tips might look more complicated than others, but the key is to google or ask around. The second or third chapter you submit to your beta might make or break your writer-beta relationship because those will show if you are truly taking in their comments. Once you actively start avoiding the mistakes your betas have pointed out to you, your writing will improve. One day your grammar might even be good enough for you to be able to coach someone else through their writing experience!
We here at Emergency Beta Service encourage both writers and betas to ask for second opinions or grammar rules and to ask when they get stuck on something. It can be for clearing up differences in opinions and confusion or helping the writer improve independently. We are generally available from 7am to 12am EST every day, but follow us on Twitter @emergencybeta for further information about who is on duty and when.
Rags, EBS Admin and Beta
 Thank you, Rags!
An excellent post, isn't it?
As usual, your comments are welcome!

2011-06-06

Every story -- or at least every good one -- has the power to make its readers know, love, hate its characters. Some authors can do more: page by page, they can make the readers travel in the world and the time they describe. And then there are excellent stories, that make the readers know better themselves. I think that
is one of these.

Summary: "Sun, surf and sand. Best friends, and best kisses. Broken hearts, broken ties, and dreams that can never be broken. A bounce through time. Every road we travel leads us to exactly where we are meant to be."

Don't miss it because:

Let's imagine that you are going to spend some days at the sea, this summer, or that you have done so in the past. Could you say what you will actually miss, once you are back at home?
A kiss under the night's breeze?
A bunch of friends around a bonfire?
The idea that every summer one can dream to start a new page of his/her own life in September?
Four Summers is not only a sweet story, with many funny moments, but can be also salty like  seawater (and some tears...). It's a tale that will keep you company under the sun, but will remain in your heart when the autumn winds will blow chilly and cold too.

If you read this fic, don't forget to tell the author that Raum sent you and say  "Ciao" from me! Thanks!

2011-06-01

K.M. Weiland, from Nebraska, is a published author of historical and speculative fiction. She mentors other authors through her writing tips, editing services, and workshops.
On her website, http://wordplay-kmweiland.blogspot.com/p/my-books.html you can get for free her book
  • Crafting Unforgettable Characters: A Hands-On Introduction to Bringing Your Characters To Life
Don't miss it because...
 
Featuring some of my most popular tips on character crafting, this pdf offers a good starting place for understanding the basics of character building, as well as some tips for troubleshooting. You’ll also discover inspiring quotes from successful authors, writing prompts, and creativity exercises. This information will give you the tools you need to tackle your latest batch of characters.
 
Your comments, and your suggestions for (new) writers, are welcome! Thank you!
Camilla (aka Camilla10) is currently posting Our New World on Twilighted.net.
She did a great research for her story and each chapter has its own images.
Here you can find some of the pics she chose. They'll make sense if you read the story...I absolutely recommend it!

Enjoy!

Chapter 3


Chapter 5
Chapter 6
Chapter 14



2011-05-25

The subject for today's post came from a campfire on the Twilight fanfiction site A Different Forest: present tense vs. past tense in fiction.

I've read and loved stories written in present tense as well as others written in past tense. But, as writers, what do you prefer and why? which would you suggest to achieve different effects? As readers: do you have any preference? why?

I found the answer provided by Miaokuancha very inspiring. Here it is:

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"Traditionally, the default mode for novels and such has been third person, past tense. In modern times this has loosened up quite a bit.

I have used third person limited (single character POV) past tense, third person semi-limited (dual or multi character POV, but not omniscient narrator) past tense, third person semi-limited present tense, and first person (with varying POV) present tense in my stories. The first person present, with changing POV, came about not by design. The story just insisted on being told that way, and no matter how I tried to at least shoe-horn it into single POV it just wouldn't go. It also wouldn't accept past tense narration. Weird, right?

As a reader, I can accept a lot of variation in narration mode so long as it grips my imagination. The key to this, for me, is two things: (1) the content of the story that is being told, and (2) the narrative voice. By content I mean the plot and the theme. These are at the heart of what the story is about. As for narrative voice, it is the sensory and emotional filter through which we perceive a story. It includes things like

-- What is told outright and what is left only implied,

-- Imagery and diction

The character of the narrator (in all limited POV, be it first, second or third).
Although it works subtly and behind the scenes, voice is a huge element of character, and thus really affects whether the reader can identify with the character and care about the story.

Emotional and thematic perspective on the events, people, and circumstances of the story.
For me, if story content and voice are gripping my imagination, then the particular tense or POV don't really matter. I will agree with other campers that present tense does lend a feeling of immediacy to the narrative, it also limits what the narrator can know about the significance of the events being told, since there is no ability to know what will happen after the events (unless one is Alice ...) This offers opportunities for suspense and surprise in the story as consequences unforeseen at each moment of narrative unfold in real time for the characters and the reader both."

*^*^*^*^*^*^*^*^*

Thanks to Miaokuancha! 

In real life, Miaokuancha is a mother, a registered nurse, and a student of Chinese medicine. In the Twilight Fandom, she's the author of Like a Bridge Over Troubled Water and A Garment of Brightness. Don't miss her stories!
And if you want to read also her non-Twilight-related writing (essays and some poetry), you are welcome to check Miaokuancha's livejournal.

As you probably know, A Different Forest is a very good place to discuss fics and many other topics! See you there.

Your comments are welcome!

2011-05-23

Indie Fic Pimp: One Shot of the Week: 5/16 - 5/22: "The Cliff by Raum http://www.fanfiction.net/s/6921947/1/TheCliff Rating: M Genre: Drama/Tragedy Summary: 'O is for originality, C is for..."

2011-05-19



Gabriel's InfernoMy rating: 5 of 5 stars

This book holds a special place in my heart because of its characters and its plot.

It was the right book at the right time, and I do hope that it will be the same for all its writers.

The characters are so well developed that you'll believe that you actually know them in real life; if you are looking for a journey with them, you've found the perfect book for you.



There are many universal themes in this story: becoming (and being) a parent, but also being a daughter/son; faith; redemption.

You'll find that you have many things in common not only with the main characters, but also with the literary characters so well presented in the book, although they lived many centuries ago.



But even if you think that books are just "well written, or badly written," as Oscar Wilde stated, this book is for you. SR's writing style is an art work. I'm Italian, but reading SR's work I forgot that I was reading in a foreign language: his prose is clear and perfectly polished. Every single word elicits a different feeling and you'll be surprised to smile, laugh, think and cry in the same page.

- Raum

http:/myreadinglounge.blogspot.com

2011-05-18

Hi guys!
This week the question for the Writing Lab is a very, very big one: how do I create an outline?

I guess that, for everyone, the time we spend writing is often "stolen" among so many other things to do; it's a precious time, so it's better to make good use of it. A solid outline gives you a map and is a good way to avoid to abandon a story after spending so many days working on it.

Big questions require big experts... so for this post I have the pleasure to present the answer of a published author and professional editor: Sandi Layne.

Let's read her post and thank you Sandi!



Originally posted on: http://sandyquill.wordpress.com/2011/05/03/112/


From tangles of string to….?

For SANDI, having an outline is essential in writing a story that will be longer than five chapters.

Which is, by and large, mostly what I write.

I need one so that I can plan a well-balanced trip. On a real roadtrip, the journey is the thing (and in writing, the writing is the valuable process in many cases) but for a book…getting to the end with the major conflicts resolved is kind of necessary for a story a reader will be satisfied with as a final product.

All ends do not need tying. But the biggies…yes.

So, how I make an outline:

When I have a story come to me, I know where I’m ending it. That might be true of many novelists; it might be idiosyncratic. I couldn’t tell you.

I do NOT do any “Harvard Formatting” when I outline. This is just for me, so all that is not required.

Knowing where the story will end means I have a final line on the outline. I write it in on the bottom of my page.

I usually have already started a story before I outline (because I only pursue an outline if a plot has stuck to me enough to get me to write an entire first chapter. And maybe second…) so I put that at the top.

Then, I divide my page into two long columns. In one column, I put my primary conflict steps, from introduction (which should have happened in the first chapter) to resolution (which is already down at the bottom of my page). In this column, I sketch out ideas of how to get from point A to point Z. You may find that you have GREAT ideas that lead up to the resolution and some AMAZING ways to get them rolling, but the middle is all nebulous.

That’s GREAT. Don’t worry about it. Just write down what you think of at the moment.

Then, slide over to the second column.

Remember, this little exercise is for folks who might need some structure in starting an outlining discipline. Once you are comfortable writing and outlining, some of your outlines may be as short and abstract as… well… some of mine are!

In the second column is where you have your other subplot ideas. If you’re writing a romance novel in which the PRIMARY CONFLICT/PLOT is the romance, then this is the column for the business surrounding the romance. For instance: There might be The Work Issue in this columm, as well as the Pregnant Best Friend/Sister issue. Or the Wedding Disaster plotline. And so on. In this column (or columns if that helps) sketch out your idea of the order in which these minor subplots might be solved.

Then, when you have an idea about each conflict and possible resolutions, you will PROBABLY have an idea of how to slot the subplots into the larger major conflict plotline.

Your outline could then be a series of phrases:

Sue and Rhi – coffee @ Starbux. Same time, Ryan and Mitch in Philly. Beers. (Ryan doesn’t know Sue’s preggers!)

Travel chapter. Honesty issue arises…Mitch knows Rhi from high school and nasty break up flashback.

Big phony smile rehearsal. First fight with Rhi and Mitch. VERY POLITE.


…

You can choose to separate these into chapters or just go with the flow of the story. You might find, though, that chapters are easier. They are for me, anyway.

It seems like a lot of work, I know. And it can be. At first. As with any skill, though, you will become more speedy and accurate over time.

IF THIS IS NOT WHAT YOU WANT TO DO then by all means, just write away. It works for many people! This approach is primarily for folks who find themselves floundering with an idea for a story but lack a method for ordering it so they can write coherently.

Please drop me a line if there’s anything I can make more clear.

And have a GREAT evening!


You know the drill: comments are welcome!

2011-05-11

The guest of this week's Writing Lab post is not a fanfiction author, but is...Ernest Hemingway.
Yes, that Ernest Hemingway.
On How to Plan, Write and Develop a book I found an inspiring exercise on dialogue. You can do it also when you are not at home -- or in the place where you usually write your fics. You need just a pen and a notebook, or your laptop, and...a lot of curiosity. Here it is:

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1. Find a busy place to sit for a while with your writer's notebook and take notes. Cafes are good. Or bus stations or doctor's offices or airports.
2. Eavesdrop. Take notes on how people talk. Write down all the jigs and jags of human speech.
3. Pay attention to the rhythms you're hearing, how many times people interrupt or talk around the topic or use partial sentences.
4. After an hour or so, or however much time you can spend, take what you've written and read it over. Underline the best three lines, the ones that speak about something that not's being said.
5. Using one of these, begin a freewrite for 20 minutes (no editing) for a scene from your book. Write the overheard line of dialogue at the top of your page and start adding responses until you've crafted a conversation.
6. Look it over. Decide what's not being said (the subtext). Is it a strong current under your characters' words?
  *^*^*^*^*^*^* 

And now, let's read and discuss this dialogue by Ernest Hemingway. I don't know if your eavesdropping session will be as interesting as this story. Anyway, it is a good reward after your writing exercise.

Enjoy!


As usual, your comments and your writing experiences are welcome!  

2011-05-06

She's the awesome author of greatly admired stories, such as Dead on my feet; she's a great beta-reader and she's contributed to MyReadingLounge's Writing Lab with a very inspiring article about The opening hook of a story. Today's guest is Cesca Marie.

Raum: The theme of illness is very relevant in your main story, "Dead on my feet", and the hospital setting, with particular attention to the childhood, is present also in your oneshot "And so this is Christmas." You presented both the patient's and the paramedics' POV. Would you like to tell us more about this choices?

Cesca Marie: For the last couple of years I've mainly been writing about disability and chronic illness, trying to represent it in an honest way that didn't sugarcoat or elicit pity. I also have a thing for medical fiction and memoirs (Bloodletting and Miraculous Cures by Vincent Lam, The Burn Journals by Brent Runyon, Gimp by Mark Zupan, A Nurse's Story by Tilda Shalof, etc.), which contributed a lot to "Dead On My Feet" and "And So This is Christmas." I pulled a lot of Edward's attitude both from my own feelings about going through adolescence in a spinal brace, and from a girl I met while travelling who has since died of cancer. That said, it was the first time I've written about cancer. My older stories (most of them aren't online anymore; the quality of the writing was too poor) included characters who were blind, d/Deaf, severely autistic, and mentally ill, but this was the first time I was going to write about a condition that was life-threatening. I chose to write about remission rather than the disease itself, because it's such a fascinating time: you're not ill but you look it; you don't feel that great, and people are happy for you but don't know how to deal with the fact that you're not magically back to your old self. Cancer isn't just a prolonged case of the flu -- it changes everything. A whole new identity has to be forged, and I find that fascinating, especially because we don't talk a lot about how to deal with situations like these in Western cultures. I still receive emails from the friends and relatives of people with cancer asking for information and recipes. The result is that I plug Elise Mecklinger's Goes Down Easy a lot, among other cookbooks. Some readers ask advice for how to give emotional support to a sick person, and it saddens me that something as common as chronic and/or acute illness is still such a taboo subject -- I really hope that one day people will have a more personal resource to turn to than the click-and-point PM button on my profile. Odds are, we're all going to need a resource like that at some point in our lives. 

R: Who is your favorite character in the saga and why?

CM: I like Charlie. He has some less-than-admirable moments, but for the most part he reminds me of my dad. Not very talkative, but a deep thinker.

R:
In "The Hideaway" and in "Dead on my feet" your Bella is ironic, sarcastic and sometimes also naughty. Would you like to tell us more about the way you developed this character? 

CM: In "The Hideaway" Bella is little more than a teenager with an attitude problem. She resents the stagnant nature of her home life, thinks she knows something about the world, and like most teens, is bitter about problems she doesn't have. She matures a little bit in that story, but in the beginning her belligerence was fun to write. 
With "Dead On My Feet" Bella, things were a little more complex simply because the story was longer and she had more of an evolutionary arc. She begins in a place where she's trying to better herself, keeping everyone at arm's length, and in no way inclined to befriend another cancer patient. Her issues come out slowly--even slower than do Edward's. Initially readers struggled with that because they were eager to see Bella and Edward in a relationship, but it just wasn't realistic to have them pour out their deepest secrets, regrets, and insecurities within a week of meeting.

R: Both your Edward and your Bella have OOC elements. In "Dead on my feet" Edward is neither a fascinating vampire, nor an extraordinary handsome young man, as he's usually described in AH stories. You also chose a difficult subject for the story. How do your readers react? Can you describe the relationship you established with your readers? 

CM: The fun of OOC in "Dead On My Feet" is that it's superficial. You're right, Edward isn't a vampire and he isn't good looking enough to stop traffic, but he and canon-Edward have a few things in common. They're outsiders, over-reactors, sometimes bitter, hopeless romantics, at odds with the masses, part of a loving family, and committed to their relationships. That said, the superficial element did turn a few people off initially, I think. It's not easy to picture Edward without his trademark wild hair. They understood why the change was necessary, of course, but the "cancer story" isn't going to have universal appeal. 
My relationship with my readers changed a lot over the course of the story. I wasn't expecting it to become so popular. Before "Dead On My Feet," I was happy if a story got 50 reviews over a period of 6 months, so in a lot of ways I wasn't prepared for the attention it would get or the amount of time I should have to spend interacting with readers instead of writing. Most of the initial response was positive, but as weeks went by and the story darkened I received a lot of hate mail, and even some commentary from people who hadn't read the story but had to throw their two cents in based on hearsay. It's not always easy to shake off the negativity, but I managed to stay focused and finish the story the way I wanted to. One reviewer for the story's last chapter remarked on the way that I didn't ask the audience to become co-writers. I hadn't thought about it until she said something, but she had a point. Some writers like to play to the desires of their audience, and some just want to be storytellers. To each their own. I just happen to prefer the non-democratic model; the choice of the readers begins and ends with which stories we choose to consume or pass over. It's better that way--just look at the platypus; see what happens when things are designed by committee?

R: Would you like to describe your writing process? How did it change during the time you have spent in this fandom? 

CM: My writing process usually starts with a single line, and then everything else falls into place. For "The Hideaway" it was "You survived Prohibition. I'm sure you can think of something." Once I have a good grip on the tone, I can write the rest. I like to have the whole story conceptualized early on, but will settle for not knowing the ending until I've written a little more. Other than that, all I need is a wall to put my back to (people reading over my shoulder is by far my biggest pet peeve) and my laptop. 
The only difference in how I normally write and how I wrote "Dead On My Feet" is that I didn't take many breaks. The story was composed in blocks of ~8k words per week, so I had to be on the ball.
R: You are also a Beta reader. Did your experience as a Beta influence your writing process and your stories? 

CM: It doesn't, really. I'm very picky about what I take on in terms of beta projects. If a story's synopsis or outline doesn't capture my interest, I know I won't do a good job beta-ing it. I'll lose interest. I'll be tempted to skim. Providing low-quality beta services doesn't appeal to me, so I end up turning down a lot of requests. And to a certain extent, there are things that a true writer will learn independently. If a person really, truly wants to be a writer, (s)he'll own a style guide and grammar book. (S)he'll examine the market/fandom for what's hot, what's not, and what's been done to death and resurrected in sequel form. A beta reader can't teach these things, but a writer who wants to know them and is actively seeking answers will often produce a compelling story. Attitude counts.
R: In "The Hideaway" Edward says: "Dreams are some of the best things about being human. You get to change and develop…to become instead of just be." Could it be a trait d'union among your stories, at least among "The Hideaway" and "Dead on my feet"? 

CM: You're probably right. Both stories deal with characterization and personality in very close proximity, so personal development is a ready-at-hand theme. I guess that sort of makes the stories bildungsroman in a technical sense, but it is only fan fiction.  

Thank you, Cesca Marie! I made a blinkie for Cesca Marie's story "The Hideaway." Here it is!
 

If you read these fanfics, please don't forget to tell the author that "Raum sent you" and say "Ciao!" from me! Thanks!


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