How to become a better Fiction Writer

Becoming a better Fiction Writer

In the past I was a good club athlete and a very good sprinter, who was never sufficiently committed to start at the highest level. You got what it takes to be a great writer? Making a writer: Get away from the car, sir. Easily detach from your surroundings.

Advices for the younger fiction writer

Attempting to give a young writer advices is a little like trying to give advices to a young sportsman. I' d also like to have been a footballer professionally, and I wouldn't mind being a movie actor, but I wasn't made for it either, and I had a full-lived (!) and now I am a writer and proud of it.

So, point one, by young I mean under forty and not disabled into a careers you think is more important to you than typing -- and there are lots of great, give, rewarding jobs-- don't let all those romanticists persuade you otherwise. I am a writer and I would not give it up, but let me tell you that there are many more important positions that each of them will pay better!

So, if you are a young and up-and-coming writer (and not an old up-and-coming writer), ask yourself first how serious you are. To become a good writer requires a lot of work. You' ve got to be reading and reading and reading: the good, the evil, the ugliness and the eyebleeding horror, then even more of the OK, and even more of the good, even more of the very good, the classic, the things you don't get in the first run (so let it again) and then you can go back and you'll see that the OK is also quite poor.

At least three years of full-time or 7-10 years of part-time studies are required to obtain a higher education qualification. It'?s more difficult to become a writer! It was Ray Bradbury who said we had to have at least a million words to make it to the foreshut.

Type 300 words a word a days, every single word, never miss, and in nine years you can do it. That' that' s BRITE, which means that as someone once said, you will have ate your art, absorb it until it's in your own body, so HOW you can put your thoughts, will be semi-automatic.

In the meantime, you'll walk, sleep, eat, dream like a writer. Cause you have EVERY single workday. When you get into a routine of your life (one page, come on, you can post ONE page, right?), you start to see the way a writer sees the outside wide, the usual inside the big, the minute brilliance in the common.

One begins to see with the writer's eye. Only if you are committed to the concept of daily paperwork. Like becoming a writer in a whole year. This is my writer's citation. An author is someone who always thinks when he wakes up: "How am I supposed to find the right moment to do so?

" When you begin to write every single workingday, and it becomes a custom, something that gets in your throat. When thirty and a half dozen working hours are passed, you are a writer, and you will be twice as quick there as the six-day author, tenfold as one.

Practice your sphincter muscle, train your mind, become pixel-dependent. RTMM: RTM. Track them. Be overwhelmed by things that inspire you, make you excited, upset, dejected. Type about things with importance, a point. Don't be quick-witted or banal or cliché, don't rewrite Asimov or Chandler, don't rewrite yourself, be courageous, and while you' reriting your millions of words, don't think you have to do it.

Understood what the Pandits don't explain by show, or better, understands my own expression, don't mean temptation statement. The younger author is constantly driven mad by this (especially since most are first interested in science fiction, where idea and action seem more important. So be courageous, picture your personalities, put them in one point and let them come out of it.

Some great authors have common genres and some "stylists" take our trousers off. Find out more about good dialogues, how they are NOT like genuine language, but create the artificial delusion of daily language. You should try to refine the dialog and study the great authors of the dialog - I like Elmore Leonard for that.

Now an old tip: at least fifty novels before you get involved in a novel, do excercises, try to rewrite big ones, try to rewrite big ones, try poetic, flash-fiction, try to push the boundaries of words. {\a6} (Writing pants does that). Do not try to be a "writer", because this is the fastest way to awful lilac fiction and pretense.

I have already said, reading, reading, reading, reading, reading, reading, reading and we know that we have to writing, writing, writing, writing; but don't ignore the paper! Filing our work after she had enough space to sit down and then undergo a serious review is one of the most ignored foundations for becoming a writer. You' re writing to be seen.

Now if you don't write to be Read, stop and go do something else. Reading means being made public, and to be made public, you have to be refused, and refused and refused, ten, a hundred, even a thousand time. Imagine the notion of the class (i.e.: RELEAD the press!) and goal a small indefinite quantity flooding than you should (but not too large indefinite quantity) and product your way feather and finished your position -- location are large integer and for these you draft out the Novel & Short Story Writers class, a Digest Publication (US and International) and in the UK, the Writers & Artist's Yearbook -- but most cardinal you publication the press to which you anticipation to submitting your product.

If you think so, just say so. Never use caution. It is not always simple to type some things, but if you half-write them, if you keep them back, it will show up in your work. You must be courageous. Authors are courageous. When you can struggle in battles (and survival -- survival is definitely useful), you have some fractured heart, make/have baby, you are suffering from trauma, all these things and more can profound enrichening experiences enriching your typing -- but so you can still read and live, so you can learn to see and listen with the writer's sensitivity.

If we' ve been reading Solzenitzin and Henri Carriere, maybe our four lessons in prison aren't that much..... but if we're BRITERS (we are writing every day), maybe we can liken the Gulag to Sheriff Tomkins' prison cells and make a comparison and make a difference and say something about view.

So, don't give up your daily work, but rather every single working days writing, honest writing, reading, reading, reading, reading (never to be without a book), revising, polishing and submission. You work until you see the way a writer sees the work. Then, when the highwayman yells in your face, take down his dialog and remind yourself of it.

" Alex Keegan is the writer and journalist of the UK literature journal Seventh Quark. He has published his award-winning shorts in a number of media outlets, among them The Atlantic, BBC Radio 4, Blue Moon Review, Southern Ocean Review and many more. He' a contributing contributor to the IWT.

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