Trying to Write a BookTry to write a book
The Attempt to Describe a Letter
It is always difficult to try to try to describe how to type, because so much of the entire creative work is not only unspeakable, but very personal. And not to speak of beginning your thought far enough from the outside rim of the bed so as not to drop off when you snore....oops...if you think particularly harsh. But more seriously, as I have already said, I like to do most of my thoughts before I actually put my mind to the keypad (and this way of doing things is often done horizontally), because it gives me a shot at doing a million thought tests and finding out prematurely what works and what definitely doesn't work.
In other words, when I am recording the sequence, I don't worry too much about what we would call a "blockade" in the theatre - the bodily detail of the animated actor on the set - and I can focus on things like the atmospheres and the interplay of the people. Of course, this also happens on a bigger scale, because like most people who put in this ridiculously long length, I have many time lines and plot lines that overlap.
It is necessary to counterbalance the effect of what has been learnt, lived and the ambience that has been made. Usually you don't want to have three or four high-energy sequences in a row, for example, no difference how well they are connected in a chronological order.
Similarly, if the sequences fit together nicely, but the timeline is really puzzling, you have looked back thirty years amidst a heap of very topical sequences, then you will get the readers out of Ye Olde Disbelief' sag. If you are a novelist, you do not have to be FALSE or do something obviously foolish to break this famous suspense.
If you want to make this mistake, you can do it just by making the readers think and reconcile too much when they are drawn forward by what is going on on the site. I have to find small ways to reduce the suspense in a situation like the one I'm working with now and then, otherwise the readers are just overexcited and the desired responses - emphathy, inquisitiveness, anxiety about the protagonist, anxiety about the antagonist - begin to dampen.
It is indeed very similar to what we call "compassionate tiredness": the first we hear about something terrible, we want to do something about it at this second. So at the height of a storyline, even if it is only a tape of a longer one, the author has to change things.
You' ve got to think like a readership (luckily most authors are readership, right?). Authors need to incorporate a little humour or a touch of aesthetics or interesting reflections that give the readership the opportunity to take their pant. And if the readership doesn't take a deep breath, you' ve got one.
Look, I'm a professional. I' m here to tell you important things. DO NOT STEAD YOUR do not stead your reader - this has always been one of the most important regulations. With his remarkable outputs of imaginative and sci-fi epics, fantastic tales of all sorts, metropolitan imaginary novel, comic books, screenplays, etc., he has strongly inspired a whole generations of authors.