I have an Idea for a Book

I' ve got an idea for a book

The Friday of this week's Refresher takes up an old favourite who turns your idea into a novel. You need a good book idea before you write a book. That sounds obvious, but deciding what to write about is a challenge. The majority of first-time exhibitors have ideas that meet at least one of these rules. I had to take these tiny seeds in each of these cases and let them grow into full-fledged stories.

I' ve got an idea for a novel, but I' m not a very good author. Am I hiring a host author or am I trying to do it myself?

I' d definitely try, otherwise you don't have much to do! You think you're a writer, it's probably because you're doing it incorrectly. When you are open to the opportunity that your letter is not ingenious, you can find out what you need to do to make it better.

Then, try to try to get as much out of your typing as possible. A few useful things I would have liked to know when I began writing: If you keep things wide at the beginning, then you become very concrete. You' ve got to try to have a fundamental overview of the plot - where the protagonists are at the beginning and what will have been at the end before you begin the novel (that's what Craig described as the plot in his answer).

That doesn't mean that your history has to be simple, only that there has to be a solid base on which everything else is on. Usually it's about who the character is, what they want, what they end up learning (if any). There are no true formulae or precepts, but you should always try to outline these things before you start to write dialogues and certain sections.

One good analogue is to think of how someone, when he draws a picture, starts with a coarse graphite contour to make the fundamental proportion right. When you have a lousy history, everything you type will go to pot. When you have a really good history, it becomes clear how to describe something or what a person should say.

People say you can't know the beginning of a tale until you know the end. You' re going to need to know what the endpoint is so you can help design the remainder of the game. To know the end is the difficult part because it means to have a history.

But it' essential that you begin to find out what your endpoint is, no matter how difficult it is. So the way how folks joke is to begin with the punch line and then work backwards to get the first part. It' about the same thing when you write a history.

They can' t choose where to begin a storyline until you know how it ends, because what the end is affects where you should be. It doesn't mean you have to begin with the punch line in your head - a storyline can be inspiring from a line of dialog to a personality (see example below), but you have to find out quickly what the end is before going too far.

LIPY: Did you get your Bryan spot a weekend later? It' s a fucking sound one - I'd like to make a film! But before McQuarrie wrote the screenplay, he knew exactly where it went, which makes it such a great film.

As soon as they had the general history sheet, they can ask themselves the following questions: Authors have written much more footage than has been written in recent history. Nobody finds writing'easy' in the way that he can just sitting there and whip out a novel one afternoons. Much of what you type will be rubbish, the knack is to persist and simplify until what you have is complete.

Check the lost writer's Bible to see how much footage they created that didn't end up in the TV show. Get aheadIn the beginning, explore your storyline as much as possible, find real-life samples, and try to know the characters-in and out.

And the more materials you need to use to write, the simpler your work will be. When you get bogged down while you' re typing (writer's block), go and do more research or brainstorm more meetings. Players with ambiguous or bad motivation - everyone does things for a certain purpose, even if it seems insane - make complete sense to themselves.

Human beings are designed to be able to read other human beings, and so it will make good business if you get your character to do things for drama, or if you haven't really thought much about their motives. Typing that doesn't add to the narrative - folks are inclined to begin to write aimlessly, without worrying about whether what they write is something the public wants or needs to know.

History is like the spine, and if it's good, your work is much simpler. Every choice you make and everything you put in should be there to improve and beautify the history behind it. If you describe the Spookhouse, you have to think about what the readers should feel about this place, that will tell you what to do.

If you judge your work, do you always think of yourself as a readership - if that were someone else's tale, would she grab you or pull your trousers down?

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