I want to be a Writer what do I do

I' d like to be a writer, what should I do?

Would you like to write fiction as an author? Do you have a poetic disposition and would like a career as a poet? "The more work you do, the more you'll know your strengths and weaknesses as a writer." This question can be answered in a number of ways. Need a degree in creative writing?

There You Want to Be A Writer.....

This is a set of nine papers with advices for would-be authors, initially authored in 1988-1990, released in various French magazines and then easily upgraded for the web. So what do I have to do? You want to be a writer. You mean you have to go to school and study to be a writer?

Meaning to take overnight classes? Participation in authoring seminars? I' ve never taken a class in university. I' ve never graduated from university, for one thing I wanted to be an author for the first and not an author, so I really had no need to take a course in schooling. When I left architectural schools, I spend a year selling my tales and I didn't feel well - I was selling a pretty stupid little story.

I had thought about taking some imaginative typing lessons in my final year, but since I never had a year of graduation, I never attended them. But what I've seen of imaginative writings, they wouldn't have been much help. I had also noted that while all the attorneys went to the Faculty of Justice and all the physicians went to the Faculty of Medicine, most of the authors I encountered had not studied in written form.

While most of the alumni of the Faculty of Jurisprudence became attorneys and most of the alumni of the Faculty of Medical Sciences became physicians, it did not seem as if most written creatives had actually ended up as authors. And so I came to the decision that typing is something you can't really learn, how to do so.

When you become a writer, you should really be learning the vocabulary - plots, subject, styles, characters, attitudes, etc... I don't think that if you think you already know the fundamentals, with two exeptions you can use them: you can learn from them: you can get the most out of them: When the course takes the shape of a write workshops and everyone does what they should, each meeting writes a history and criticizes the work of the other pupils, then this can be very useful - for some of them.

I' ve never liked workshopshopping fiction myself, but there are people that believe it. I am informed that Gene Wolfe still goes through every history in his workshops before he submits it for release. Aleksandr Jablokov, D. Alexander Smith, Steve Popkes, Martha Soukup - they are all publishers who still write fiction and are confident that it does them a great deal of good, making them better poets.

But the other difference is when there is a really good writer, truly sincere to God, who teaches the course, who knows how to spell and how to do it. Many " author shops " exist, but many of them are really not what they claim to be. There is no need for a group of a ten amateur scribblers to do a typing session; you need someone who has an understanding of what they are doing.

A group in which no one really does write the allocated tales will be of no use either, nor will a group in which no one is seriously critical, nor one in which they become angry and do nothing but tear each other's tales to pieces. SF's best-known writers' studio is the Clarion range - two-week intense with two or three big professionals who run things - but they are costly and difficult to get, and even then they have more failure than success.

They are so intensive that while some come out as better authors, others who may have been just as promising appear confident that they are simply not authors and never put another tale on record. In a nutshell, although it is possible to draw lessons from courses and workshop writings, it is not simple and I do not suggest it.

Reading a book is an easy way to get to know things. Many good learner novels are available. The Writer's Handbook is one of the best. Though it has article on various facets of crafts by various renowned authors; the individual most evident but useful piece of advice in there comes from Stephen King, who says that good typing is the knack of omitting blunt parts.

Writer's Digest has produced a dozen useful book. Simply look under "Write" in the cards-catalog. I' ve burnt about a quart million words at one point and then just kept write. I' d composed 36 shorts, two fiction and countless pieces that were never completed.

During the ten years since then I have been selling two of the shorts and a new version of one of the books; the remainder is still out there. You do not need any education or studies to become a writer. All you have to do is reading and writing and doing a lot of both.

So what should you be writing? I' m not talking about what kind of music - you know if you want to do swordplay or secrets of murders, and you don't need me to tell you. Well, I mean, in what way you should be writing. Now, first, complete what you are writing. There is no open air storyboard, out of contexts and other such practices; only for story with a beginning, a center and an end.

That leads me to a tip that I haven't seen much from other authors, but I think it's important: it's much more important to have a full storyline than a perfectly good one, and it's much simpler to re-write it when you know how everything comes out, so even if you know that you screwed up this sequence in chapter three and that the magical turtle's descriptions are all incorrect, you just let it stand until you have a full first one.

Don't stop and fix it; just go ahead, end the story! No! So go back and re-write everything that needs to be rewritten. You' ll find (as I often do) that only after the end of the storyline do you know everything you need to know about the character in order to re-write them well.

If you can't fix it, you can't put it in the history you wanted, go ahead and hand it in somewhere and go ahead and do something else. On this question, I don't think Ray Bradbury agrees with me; he was cited as saying that he should re-write every history until it is complete.

It may be okay with him, but I've seen too many young authors rewrite the same thing over and over again instead of ditching them and moving on to something better. Now, some kind of tip on what to put that has nothing to do with what is the best thing that will give you the most teaching, or any of that artistry.

Writing fiction. Shortfilms are nice and stylish things, but the chances of getting a novel to Asimov were about 1:300, while the chances of getting a novel to Del Rey were about 1:35. There is a much bigger novel and much more cash available at the moment.

Moneys may not seem like the important part now, but if you ever get a literacy careers off the floor, it will surely ultimately. In a 3,000-word storyline, if you hit a ring road, you've probably wrecked it. Things have to go together perfect in a brief history.

So, while writing a novel may seem simpler, since you can type one in a single days or so, while a novel lasts a month, I would suggest you to type fiction. It was more from my first novel than from all the thirty-six shorts that I didn't buy, and it was my second novel that eventually sells, not ashorts.

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