I want to right a BookI' d like to correct a book.
Top 10 items of a book people want to see.
You have a great notion and you want to make a script. I say anyone can print a work nowadays. We do not only want to publicize, we want to successfully publicize, we want to publicize works that readers want to do. Humans are enjoying very readable reading - stories with catchy stories and catchy personalities, things we can't take off, things that stay with us long after we've finished reading the last part.
I have found my part of the book as an independant journalist, and they are all well processed on three different but complicated interconnected layers. This is the contextual layer on which the fictitious realm comes to live. Easy-to-read textbooks are buffed, ingenious, clever and perfected on all three layers.
In order to tap the full impact of your books, you should design and enhance the following top ten items. So, run the spellchecker and do it right. Consequently, a character may appear or vanish accidentally because a chapter has been reordered; a subplot remains unsolved because a chapter has been truncated; and a time line problem can occur on toes.
When the teenager girls and the boss of a multi-billion dollars business have the same vote, we will know more about the author than about the people and their interrelations. Ensure that your character is more than a name. I would like to identify myself with your personalities as a readership.
But I want to know why they say and do whatever they say and do. I' d like to take good charge of them, frighten them and take good charge of them. That' s why your character must be recognisable and at the same inimitable.
This is what you want. The dialog gives information between the character and to the readers. The dialog drives the action forward. And the dialog shows the personalities of the interlocutors and their relationships. Your character interactions say a great deal about them and their relationships.
It is not only a question of what is said, but also of how the dialog partner deal with each other. Storytelling must help the dialog by uncovering the basic suspense, conflicts and motivations of your people. An intelligible novel gives a purpose to the way we are living, i.e. the sequence of occurrences must make perfect.
They are responding to these incidents in a way that is driven by their mental state. Interaction of occurrences and behaviour of your personality will advance your action. Therefore, you must prep your storyline turns within the novel before they pass, and give your character a cause for their behaviour. Construct your own universe. Tales don't just pass in a void of air.
In China, your history could be in the remote past, in America today, or in the futures on a planetary surface you have in mind. You need your reader to know what your environment looks like compared to theirs. It is a global construction that is about creating a clear time line, a recognisable place for your entire history and, equally important, the ambience of each and every setting.
You as a novelist must make a life inhabited by personalities who are living their life before ours. You only have to do this with words. Their words and their rhythms form your universe and let them rotate. Search for your upcoming on-line lessons on creating compelling personalities, the interaction of dialogue and narration, and how to reach and connect with your audience.
The publisher of this blogs is Brian A. Klems, Writer's Digest on-line publisher and writer of the much-loved Oh Boy, You're Having a girl present book: