What do I need to know to Write a Book

So what do I need to know to write a book?

They can write a book - you just need to know the steps. That'?s what you're gonna learn now. That's what I did when I didn't know what to do next. When you really want to learn how to write a book - the best book you can write - start with a simple action today.

In fact, when I ask this question, all I want to know is your routine.

Writing a book: dosing and don'ts - plus hints from celebrities

As a result, authors like Leo Tolstoi, Jane Austen, Ernest Hemingway and Kurt Vonnegut had to get up early, work a tough shifts before dinner and relax, cut or do other work the remainder of the morning.... or drink in the case of Hemingway. Both Franz Kafka and 22's Joseph Heller had full-time positions as sales representatives and advertising managers, so they also had to work nights.

Hemingway often stood as Victor Hugo did, while Roald Dahl retired to his shed at the end of the backyard. Rowling does not have a set-in-stone routines, but writes whenever and wherever she can. Nominated for this year's Man Booker Prize, Fiona Mozley back and forth on her mobile on the London to York run.

Author and essaysist Susan Sontag urged them not to call in the mornings and never answer the telephone, but with the advent of the web, today's writers had to take more dramatic steps to remain on-target. Jonathan Franzen, the Pulitzer prizewinner, is one of the most radical, cutting his web cables when starting a novel.

Each writer is in some part to those who have gone before, and whether it is through the classics or cellulose, each outside hold can only better and reinforce your own typing. There' re millions like Robert McKee, the writer of Stories, who made a pile that tells us:'Story' is everything.

In fairness, even some respected authors support this structured view, but it does kill more than it heals. A new belletrist who describes this fascinating realm in detail and invents all kinds of places and incidents. However, think of your own environment - it's not about details, it's about connections.

Creating a universe requires a certain number of connections. When everyone's the same age, you have a sub-culture, not a whole universe. The novel is about what the protagonists feel in their hearts. Can' t tell about the state of the country and the climate when your protagonist hangs up on you.

You' re familiar with the game of golf, but not the cops. Type about what you know - gulf - and jump over the others. A good tip is to get all cops (if that's your weakness ) to hating their work - so you don't have to type about anything at all.

We see and perceive things differently according to what is at risk for the storyteller or with which eye. It' s the feeling of suspense or anticipation in this movement, not the history or events sequences or the causeal sequences or the characters motif. There' s something to be written here from the beginning.

The plot is just that: something you can tell about. You' re gonna have to get used to being carried away. If you want to, the situations you have put the character in - the whole life - must put enough weight on them to give you something to do. You need to make a crisp suggestion as well as the first chapter and it will take as long as the script to do so.

You' re going to have to do the script anyway, you' re going to have to resolve the issues at some point - so why not now? A lot of authors think the same way about operatives.

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