The Writing Thread

I did think, for when they're trying to communicate in a language they know but aren't fluent in, that the mains' dialogue is intentionally stilted or awkwardly phrased or even oddly worded

I think this is standard (and good) practice, part of the indirect characterization toolkit. I'd tend toward the "fluent" end of this spectrum unless there needs to be a gradation of fluency among characters. If the non-natives are practically uniform in their level of fluency, minor differences from standard idiom are best for the reader's comfort; they'll get the idea. Take care not to make these look like mistakes on your part!

Mann in Doctor Faustus is again one of my examples. For the personage of Saul Fitelberg, Polish and Jewish impresario stationed in Paris, Mann mentions simple things once, like Fitelberg's French pronunciation of "Leverkühn" and his appellation of Adrian's host as "petite maman" rather than the dignified German "frau." In both English translations, upon which I sadly must rely, the translators also introduce small and rare alterations to idiomatic English syntax. I assume this reflects the intention of the original.

An equivalent is the common "This is very good, yes?" In the American regions where I have lived, no native says such a thing. Your ideas are more extreme but certainly not out of line. You probably don't need them to be as common in fictional dialogue as they'd be in reality; that would make the reader's job much harder. Token reminders here and there ought to suffice.
 
Eugh. I've starting writing. I've always wanted to become a writer. But at 24, I never really wrote a story that wasn't for some grade school assignment. This year, I want to change that. I think I'm gonna write short stories for now. The story that I'm writing currently is.....kinda stupid? It's a dystopian somewhat based on Death Note. But I'm trying to make it original as possible instead of 2edgy4u ripoff. I'm also afraid to post it here because it's probably so bad. Maybe I'm might when I finish it. I have another short story that I want to write this year eventually. It's about a woman in the 80s who is very much in love with her husband (She credits him from saving her from an abusive homelife) only to find out he's gay and been cheating on her with another man. It then deals with her reaction and how she chooses to deal with the situation. I also have a great idea for a novel but I don't think I'm gonna attempt writing it for another couple of years.

I've also realized that for someone who wants to write, I hardly read at all. It's like wanting to become a director but you hardly watch films. I'm really trying to change that though.
 
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I'm working on a few academic articles for submission to a few journals (goal is to have the first completed by June, the other by the end of 2016). My greatest difficulty as a writer is my relative lack of ability to condense my writing without sacrificing important details or feeling like I'm not conveying information well. This is particularly difficult when editors want me to submit an abstract (ordinarily 250-300 words) with my manuscript.

I've never posted in this thread before - would it be all right for me to post an abstract here in order to get tips on how I can make my writing more clear and concise?
 
I've never posted in this thread before - would it be all right for me to post an abstract here in order to get tips on how I can make my writing more clear and concise?

It is called the writing thread. Go ahead, put it under a spoiler tag and go for it.

Speaking of which, here's the prologue for my attempt at a piece of work.

Robert Hardcastle paused before the huge set of double doors that led to the skydocks of Urbpolis.

“You’re sure it’ll work?” he asked the Chief Engineer, Hardwyk. The man rubbed his hands together as he spoke, nodding as he did.

“Of course it will. I admit that the five test models we made all ended in calamity but this…the balance of the ship is perfect, its wood has been carved exactly to my specifications. It will be a truly wonderful sight to see it fly.”

“Fair enough.” Robert said, shaking his head as he turned back towards the doors. He drew in a breath as they were opened by two guards, filling the corridor with the evening glare of the sun. There came a cheer, a huge cheer that almost knocked him backwards a step or two. Steadying himself, he went through the opening, emerging onto the skydocks.

The throng around him was huge and very unusual. Citizens had never been allowed into the skydocks, but today was different. Today was the dawn of a new era in flight.

There was a path through the crowd to his destination, the deck of the newest development, a three decker monstrosity that the engineers referred to as the Skymaster. He stood there for a moment, unconsciously waving at the crowd as his eyes remained fixed on the ship, resting in a dock with its deck level with the platform. He still couldn’t believe that it could fly, towering above the rest of the ships in port. Three times the size of a frigate, the engineers said, capable of holding five hundred good men.

He began to walk, his strides long and imposing, his cloak fluttering slightly in the stiff March breeze. The crowd continued to cheer, but he ignored them, his body turned to the balcony above the door, where the King and his closest nobles stood. But his eyes did not look at the King, they looked at the children standing beside him. His children. He gave them a little wave as he turned once more, heading for the dock.

As he stepped on board, he went into the special place he always went to when flying. The cheers quietened in his ears as he headed up the steps to the wheel, his breaths quick and shallow as his fingers closed around the wheel. It was a beautifully carved wheel, one of the finest he had ever held. He turned his head to the left, towards the balcony. The King raised a hand, a sign of respect for his adventuring friend. He’d asked to actually be on board the ship when it took off, but the engineers dissuaded him, speaking of the potential danger.

He thrust such thoughts of danger from his mind, and shouted for the engines to be started. There was a token crew of around twenty on board, enough to get the ship in the air and to circle around before landing back at the dock. If all went well, the flight would last a mere five minutes.

There came the familiar hum from the engines, the propellers that provided the upward thrust began to spin, with a force he’d never seen before on a ship. The ship began to rise slowly, with a gasp from the crowd as it did so, a shadow falling across them. As it rose further, the shadow began to fall across the balcony, bathing the King and Robert’s children in the Skymaster’s shade.

Then it began to move forward, slowly at first, but picking up speed. Supposedly, at top speed it could do around fifteen knots, not the fastest, but with a ship this size he was hardly expecting schooner-esque speeds. He turned the wheel slightly, to test the handling. It was slightly stiff, nothing too difficult to manage and it could probably be sorted out. After all, a new ship was likely to have teething problems.

The ship began to climb and pick up speed, the wind starting to rush through Robert’s hair. He chuckled, he loved this feeling, this feeling of freedom, as though he could fly and touch the very sun with his hand. This was why he put his life on the line to pioneer flight, so others could experience the same freedom.

Then came the explosion. It burst Robert’s eardrums with its sheer power, knocking him aside as he clung onto the wheel for dear life. The ship began to drop instantly, in the worst way possible. It was tilting, the nose pointing straight to the ground. Robert’s hat flew off his head and was cast behind him into the wind. They were barely two hundred feet off the ground, and it was starting to approach at an ever increasing speed. He turned behind him, to see smoke billowing.

He then realised that the engines had just exploded. He’d been in many terrible situations, trapped in the Heathen Lands with a schooner that was missing half its propellers to name one, but this was the worst case scenario. His clutched at the wheel, his feet starting to lose their grip on the tilting deck.

How? Of all things, the damned engines!?

And then the feeling struck him that he had never felt before. Fear. He was scared out of his mind, the face muscles tightening as he wrestled with the wheel, his feet now flying out behind him, then above him as the ship’s nose began to flip again, the ship slowly turning upside down.

“Come on you damned piece of junk!” he roared through his clenched teeth, wind drowning out his words. The ground was so close now, his teeth finally parted to let out a scream of frustration, of rage, of sheer terror. He slammed his fist into the wheel, holding on with one hand as the ship finally hit the ground, the explosion illuminating the evening sky. But even the explosion could not drown out the cries of the crowd, nor could the fading light of the explosion hide the horrified expressions of his children, Sykil, Anna, Tarkon and Carson.
 
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So for the online class on creative writing I'm taking this winter, I had to write a short (as in 1-2 pages) "fairy tale" of my own invention. This is what I scribbled. It got a full score from the professor, but I'm more fond of its concepts and twists than how I wrote it stylistically (it's very rushed and tell-not-show due to assignment specifications).

It would not be quite accurate to say Elizabeth Blake had been born with a silver spoon in her mouth. A spoon of pure gold, encrusted with diamonds, would do her upbringing more justice. All her life she had luxuriated within her family's mansion of dazzling white marble out in the countryside, supported by the labor of their cotton plantation's loyal and industrious workforce. Indeed, the Blakes had amassed so much wealth that finding a suitable husband for their darling princess Elizabeth was like mining for gems in a pig-sty.

True, armies of men would flock to the Blake estate to court her, showering her with praise for her ginger locks, fern-green eyes, and cherry-red lips. But a proper belle like Elizabeth cared little for all those smelly, sun-weathered rednecks, and her old father cared for them even less. It was not until after her twenty-fifth birthday had passed when one worthy young gentleman, an enterprising doctor by the name of Thomas Henderson, had moved into her neighborhood from the north.

As they say, a bachelor in possession of a good fortune is highly wanted as a husband by women like Elizabeth Blake. But every time she and Mr. Henderson crossed paths, despite her best efforts to grin and bat her eyelashes at him, the boy would simply smile back and continue with his business. At most Thomas would nod and compliment her dress upon request. This she found most peculiar; how could the one marriageable man she had ever seen not fall for her charms like all those hicks before him?

All her life, every time Elizabeth had asked for something, she would get her way no matter what. She would do anything she could to win this handsome newcomer over, even if it meant venturing deep into the dark overgrown swamp that stretched beyond her estate. For within that wetland lived a young voodoo priestess named Izegbe. Elizabeth would never let herself touch this savage heathen's sooty hand, but desperate times called for desperate measures.

"O Priestess of Voodoo, do you know how to make a man fall in love with me?" Elizabeth asked. "I love no man other than Thomas Henderson, yet I fear he doesn't love me."

The priestess bit her lip at first, but then smiled before fetching a flask of clear liquid from her medicine cabinet. "Take this love potion free of charge, my sweet Miss Blake. Take a few strands of your hair and mix them into it, and then give it to the man you love. One drink will make him fall for you."

Elizabeth went home to do as the priestess instructed. She opened the flask, wincing from the potion's awfully pungent odor, and stirred strands of her own hair into it. She cackled with eager glee as she prepared the potion thus.

The next evening, Elizabeth went down to the local bar where Thomas was enjoying his usual drink after a hard day's work. She handed to him the potion, wrapped with a glittery red ribbon as if it were a Christmas present. “It's a special gift just for you, Dr. Henderson.”

Dr Henderson scratched his hair with befuddlement, but shrugged and opened the flask. But after he sniffed its contents, he did not take even one sip.

“Why, this is none other than chloral hydrate---a common date rape drug!” he roared. “I know what you're up to, Miss Blake! Someone call the cops!”

“No! I didn't mean to rape you, Thomas,” Elizabeth said. “I was tricked by that sooty whore Izegbe!”

At that very moment Izegbe, who stepped forth from the shadows. “It was for good reason. You wanted a way to manipulate his feelings to benefit yourself. That, Miss Blake, is the textbook definition of date rape, and I had to trap you for it! And besides, Thomas is seeing me.”

As the police marched in to drag Elizabeth Blake away, the last she saw of Thomas Henderson was Izegbe embracing him with ebony arms and kissing him with a lover's passion.
 
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This was for an assignment using specific words. It's a little old, but I figure why not. I rushed it a bit since it wasn't supposed to be so long, but it's the best I have on me at the moment.

No creature could have expected the epidemic. It had arisen from what seemed to be thin air, stupefying researchers and officials everywhere. Some claimed it was caused by disease brought by off-world outsiders, others believed it was divine retribution for the sins of the people. Whatever the cause may have been, the epidemic swept the globe, afflicting living cells of plant and animal alike. It caused rapid deterioration once infection set in, destroying the cells until oneself fell into the clutches of death.


The epidemic was named Banshee Cry, in reference to the call of a creature that shrieked as a warning of a future death in families. Each person afflicted with Banshee Cry would let out a wild shriek utilizing all air left in their lungs. The same went for animals, letting out a sharp cry before death. Plants, of course, made no sound. They deteriorated the quickest, lowering oxygen production exponentially. The uselessness of living beings and the rapid decomposition of infected plants led to a widespread famine. At this point, thousands had already capitulated to the vile disease.


The chaos was far from over. With death imminent, those that remained alive, in their panic, went mad. Global hysteria took hold, treachery left and right, lamentations of mothers as their children and spouses were devoured alive by cannibals or beasts. Wendigo Psychosis became common in the minds of the starved. Sentinels were placed outside shelters for survivors, armed with limited ammunition. They were commanded to kill anything in sight, survivor or not. Survivors foolishly searching for shelter under the cover of night were shot dead without a single second to realize their allies could very well be their killers.


Cults formed, groups of delusional people claimed a ¨Nocturnal God¨ would save them. This cult amassed hundreds of followers that would praise the moonlight, enacting bizarre and bloody ritualistic sacrifices to be saved by their new god. The main cult supporting this god had been called ¨Aurata Lunam¨; an ironic mistake in the translation to latin had been made, as they meant for ¨Aurata¨ to mean ¨Gold¨. Instead, Aurata meant ¨Gilded¨. Their cult name itself proved their madness and untrustworthiness. Regardless of the name, every cult collapsed on itself when the planet´s situation did not improve. Living creatures kept dying, no savior came, and the cults slaughtered each other in the intensified hysteria.


Every last lifeform on that planet had been destroyed by Banshee Cry. Not one creature survived, and the planet is completely uninhabitable. How do I know of the planet's fate? Simple.


I am the cunning individual who began it all.
 
Past few months, I've actually been writing down ideas for things I want to write.
In that time, however, I have only actually written two things. Just short little dumb wannabe horror things I post on Reddit.
My only writing goal as of now is to start writing a book about a conspiracy theorist.
 
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There was a spring in the midst of winter as the fog dwindled away by noon after a cold yesterday. There was a feverish sensation around my head as it denied confronting the fact that there was a dramatic change in warmth. The trees still yet to sprout; more pedestrians walked outside as mothers walked with their young and schools of peers amongst my age walked up on rolly hills and roads while conversing one another over mundane subjects. Many people were fond of this oasis of a day as the winter weather in the area were usually accosted with spells of cold rain and spare snow and ice. This was a day in the middle of February.
 
I've written a fantasy novel for young readers, and primarily geared toward a female audience (the novel is about fairies). I have been trying to find a literary agent to represent me, but I have had no luck thus far. It really is difficult to get into this industry, since many agents are really only interested in works by referral, or they already have an established stable of writers.

So I've been toying with the idea of self-publishing on Amazon through Kindle. I mean, let's be honest, before the days of e-readers, self-publishing was a joke. (and it still is to some people). But with Amazon's self-publishing, your book can potentially reach a large number of readers, and if it is popular, might even get you attention by literary agents. Still kind of a long shot, but frankly, I'm tired of hearing nothing or just straight out being rejected by every literary agent I approach. I don't want to feel like I completely wasted my time writing this book.

So what do you guys think? Should I keep trying to submit this book someplace or should I take the plunge and give self-publishing a try?

EDIT:

Okay, so I have a question for anyone who might be kind enough to answer.

As I'm writing a fantasy, I've reached the dilemma of whether or not to use real-world languages as "translations" or to create languages from scratch. I've decided that the other countries would have their own languages (as in, I'm making them from scratch) but as for the main characters' country I'm debating on whether or not I should use something like Esperanto or Welsh, since they're the ones the readers are supposed to be identifying with and following. Basically, giving them a real-world language/"translation" so that they can be understood in a sense, since as they get further and further away from home they pepper their speech with words from "their" language to remember their homeland.

Any thoughts or suggestions?

To be honest, I would just stick to English, and convey through description how this other language sounds. You can make up some words to give the reader the idea of what this fictional language sounds like. But don't let your writing get bogged down by it.

A good example of this happening is in "Watership Down", where the rabbits mostly speak English, but have their own "Rabbit words". Sometimes the novel explains to you what these words mean, and sometimes a translation is not given (at least not very clearly). And they use this "rabbit language" throughout the book with certain words in a sentence of dialoge that is otherwise spoken in English. This can result in interrupting the flow of the story at best, and confusing the reader at worst. The publisher obviously foresaw this because many editions (if not all) of "Watership Down" include a glossary at the back of the book that gives translations for the Rabbit language.
 
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Been incorporating local mythology into a personal project.
 
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Recent writing woes

So you've been writing a thing (a novel to be exact) and you have notebooks and Word files aplenty about the characters, the world, the mythology, the direction of the series (it's part of a series) and how it will all end. But what you've struggled with, until recently, is which story set in this fictional universe that you want/need to tell first.

So you hem and you haw and you poo and you paw and eventually, you get an idea for a plot that will (hopefully) ease the readers into this fictional world, hint at its deeper mythos/history, all that good stuff without it turning into a Tolkienesque narrative tour. So the idea turns into a rough plot synopsis (4 acts, 3 disasters/direction changes) which turns into a 15,000 word outline (oy vey), and you start writing the first draft (which is, in itself, a glorified outline because trying to write passable prose right from the get-go tends to bottleneck your creativity so you write stories first in "tells" and later in "shows").

But UH-OH HOTDOG as you're writing you suddenly realize that while you have your beginning, your ending, your big moments and turning points figured out...you realize that your story's "connective tissue" leaves much to be desired, so what you're left with is a series of point A's and point B's with only murky, questionable notions on how to get there. So perhaps your only recourse is to go back to the outline, hell, maybe even re-outline to better incorporate the newly thunk'd up sub-plots that will hopefully bridge the big moments and clear up some muddy character motivations.

But outlining doesn't feel like progress and takes you a long time, which makes you sad. Very very sad. (:_(
 
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Recent writing woes

So you've been writing a thing (a novel to be exact) and you have notebooks and Word files aplenty about the characters, the world, the mythology, the direction of the series (it's part of a series) and how it will all end. But what you've struggled with, until recently, is which story set in this fictional universe that you want/need to tell first.

So you hem and you haw and you poo and you paw and eventually, you get an idea for a plot that will (hopefully) ease the readers into this fictional world, hint at its deeper mythos/history, all that good stuff without it turning into a Tolkienesque narrative tour. So the idea turns into a rough plot synopsis (4 acts, 3 disasters/direction changes) which turns into a 15,000 word outline (oy vey), and you start writing the first draft (which is, in itself, a glorified outline because trying to write passable prose right from the get-go tends to bottleneck your creativity so you write stories first in "tells" and later in "shows").

But UH-OH HOTDOG as you're writing you suddenly realize that while you have your beginning, your ending, your big moments and turning points figured out...you realize that your story's "connective tissue" leaves much to be desired, so what you're left with is a series of point A's and point B's with only murky, questionable notions on how to get there. So perhaps your only recourse is to go back to the outline, hell, maybe even re-outline to better incorporate the newly thunk'd up sub-plots that will hopefully bridge the big moments and clear up some muddy character motivations.

But outlining doesn't feel like progress and takes you a long time, which makes you sad. Very very sad. (:_(

Love the Bae Sung reference. Since I mainly do dramatic writing (screen/tv/sometimes plays), it helps to do a beat sheet. Write every important beat, with regards to character/story/plot. Looking at story structure (google it, and you'll find some good graphs) is a great place to start. However it can be a double-edged sword. After finishing the first draft of a screenplay in grad school, based off of my beats and story structure, I realized it was way too short. You rely on it too much and that can happen. As well, if you're using a different method of storytelling (flashbacks, out of sequence, multiple viewpoints) it helps to instead look at other stories/media that use that method.

As for those of you who are interested in world building/coming up with the mythology--especially if your story is fantasy/sci-fi, focus on story first, that's the most important part. And be sure to be careful about exposition--show don't tell. If it's exposition, it should come out naturally. Now if you are concerned about world-building and thinking it will help your story, write it down on a scratch pad. For the strongest pilot I've written, I wrote the episode first, and then months later I decided to write a bible/character descriptions (there are some fantasy elements but it takes place present day in our world), and then go back and tweak the script a bit based off of the bible.

For this new pilot I'm writing/toying with, which is sci-fi/time travel I decided to do a scratchpad where I wrote about the important characters, and some of the important elements/rules, mainly so I could get it out of my head and articulate it better.

If you guys are interested in hearing about the pilots let me know, and if you want to read it, I'll PM you. I'm always looking for feedback/critique.
 
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It's funny, because I was writing a beat sheet (or list of scenes, as I call it) when I realized that my story needed better connectivity between the major beats. I guess I'm just disappointed that I have to spend more time hammering out my list of scenes before I delve too deep into my first draft. And in terms of novels, flashbacks and multiple viewpoints is hardly a "different" method of storytelling.

And I'm quite familiar with the dramatic structure graphs (sadly, I've probably read more craft of writing books than most people have read books) and I'll be honest, I don't think they have much value to anyone who already knows that a story has an inciting incident, a climax, and a resolution. I found that, in all my years of reading and writing, novels aren't just one giant peak and one giant trough, but a series of peaks and troughs.

Which is why I tend to champion starting out with the 4 parts/3 disasters model, which I think is more representative of most longform works of fiction than just the vague graph that you see in every freshman creative writing class. I guess in terms of the three act dramatic structure, you'd have the inciting incident, then a "disaster" at the end of the Act 1, one in the middle of Act 2, and the major disaster (or I guess, the main Climax) at the end of Act 2, with Act 3 being the denouement and resolution ect. ect.
 
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I'm going to try and write a nazi-themed occult horror/adventure/action alternate history story. Are there any pitfalls that I need to avoid when writing it?
 
I decided to do a stream of consciousness story the other day and now I'm concerned about my consciousness and where that stream is headed. This is what I have so far.
Wilmur stood flummuxed in the middle of the pasture wondering what exactly had just happened.

Uncomfortable, very uncomfortable the situation was, and the sweaty sticky swamp of his mismatched socks adhering to his feet wasn't helping. He squirmed a bit in his beshitted clown pants as he scanned the ground. Several small chunks of a lumpy pink mass were scattered in the grass, smelling like rotting meat. You see, it was rotting meat.
It seemed like just yesterday that these verdant hills had been full of lumbering cows, grazing in the sweet spring grass and defecating in the dandelions. Now they were a veritable modern art painting, splattered across the ground. Wilmur himself had been resting underneath the shade of a cork tree watching his livestock wander. That had been at noon the previous day. Now it was the early morning and Wilmur had found himself collapsed 50 feet away from the tree, pants soiled and head pounding.

He felt terribly sick.

The air was heavy with the profound reek of onions, along with some metallic-y undertones that Wilmur could not identify. Stumbling, he tried to walk in the direction of his farmhouse though he could only see a mass of shingles and timber in a scorched heap as if a particularly hot elephant had charged into it. Wilmur himself felt like he had been hit by a particularly hot elephant. His hands and face burned terribly as if he had once again tried to wear a crucible as a hat . As he make his way to the remains of his home, his stomach lurched and he vomited out what felt like a entire organ. Gripping his head as if to stop the pounding, Wilmur decided that maybe he should just curl into a fetal position for now.

Wait.

His head.

His head!

He snapped back up into a seated position frantically gripping his scalp. His usual mess of matted and lice-ridden hair was gone and only freshly sheared skin remained. As his hands ran across the back of his neck, he felt something that he was sure had not been there previously. It was a strange lump, like a wooden nickel was stuck just under his skin. Scrambling across the ground he made a run for the farmhouse-pile, opening the door and discovering it just lead to more wood, climbing over the shattered walls and finally dropping into the one remaining room, Wilmur desperately tried to find a mirror. There was a shard of one laying on the ground along with countless other pieces of debris. Carefully picking it up, Wilmur inspected his appearance. His whole face and neck was red like a particularly homely tomato. His hair was most certainly gone, and small red spots were neatly lined along his scalp. He couldn't count them all as he had only 20 fingers and toes to count on and after that many he gets confused. He opened his mouth and was pleased to find he still had all twelve teeth.

Wilmur found himself at a loss of what to do. He was never very good at decision-making and this was a scenario he had never been taught to expect. First things first, he changed into a clean pair of clown pants. Everything would be okay, and Mrs. Blooms would be here soon.

For Wilmur every Saturday meant the visit of Mrs. Blooms, a kindly old woman who lived in the nearby town. The other townsfolk were cruel to him, taking advantage of his dullness and mocking his clown pants. The caring Mrs. Blooms saw that he was a good boy even though at seventeen years old he still couldn't speak let alone write his own name. She would bring him food and sweets and tell him stories about a man who lived in a place in the sky and loved him very much.
These visits made Wilmur very happy. Today he needed Mrs. Blooms more then ever.

He decided to wait for her on what was left of the porch.

Time passed and Wilmur was still alone. He felt terrible and sick and his skin burned, as if he had been marinating in some stagnant cesspool before being spitroased over a fire. The strange thing in his neck was still there, and he rubbed at it worriedly. His tongue felt fuzzy, so he thought a drink might help. Wandering downhill to the nearby stream, Wilmur smelled something fishy. Literally fishy. He stopped in his tracks when he saw the stream.
They were piled on the banks like the parted waters of the Red Sea, or the unfortunate souls unable to escape the plagues of Egypt. The dead putrid fish were everywhere and still more flowed lifelessly in the current. Wilmur sniffed the water and recoiled. There was that maloderous odor of onions again, this time tainting the water. Not even wanting to understand, he boy ran and ran, back up the hill to the pasture to scramble up the cork tree. There he would see Mrs. Blooms coming down the road. She had to come soon.

Wilmur looked down on his land strewn with gelatinous cow remains and noticed something funny. Not in the "Ha ha, that's a good one!" sense of the word but in the "Something is wrong and filling me with dull terror" sense. The grass looked like it had been flattened in some places. From his high vantage point, Wilmur could make out a series of shapes making a strange pattern in the grass. He thought it was kind of like how a branding iron makes pictures on cows, but it would take a very big iron to make this picture.
He looked to the town in the distance and saw there were similar circles in the surrounding fields. What were they? Maybe Mrs. Blooms would know.
 
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Sorry to necro a thread but I was wondering if any other writing kiwis could help me.

Does anyone have tips for getting your creative juices flowing when you feel like they've been drained out of you? Long story short, I came up with a character a few years ago that I used to write with, and I want to keep her alive because I'm really proud of her. I'd never put enough thought into a character before but this one had a real backstory and real flaws and relationships. She was my greatest project and I don't want her to die because my brain was eaten by my shitty jobs.

It used to be easy to write little vignettes while I was doing mindless tasks, but now I struggle, and it's really frustrating. This is pretty much the only creative outlet I have left, since I can't draw or make jewelry anymore (fucking arthritis) and I'm terrible at music...
 
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Sorry to necro a thread but I was wondering if any other writing kiwis could help me.

Does anyone have tips for getting your creative juices flowing when you feel like they've been drained out of you? Long story short, I came up with a character a few years ago that I used to write with, and I want to keep her alive because I'm really proud of her. I'd never put enough thought into a character before but this one had a real backstory and real flaws and relationships. She was my greatest project and I don't want her to die because my brain was eaten by my shitty jobs.

It used to be easy to write little vignettes while I was doing mindless tasks, but now I struggle, and it's really frustrating. This is pretty much the only creative outlet I have left, since I can't draw or make jewelry anymore (fucking arthritis) and I'm terrible at music...

Well, you have a good character, why not try to drum up some creativity by creating a world for her to inhabit? I find that often helps,when you are stuck try to world build, think of some crazy or silly little fact about your world and write about it.
 
Well, you have a good character, why not try to drum up some creativity by creating a world for her to inhabit? I find that often helps,when you are stuck try to world build, think of some crazy or silly little fact about your world and write about it.

Well, I more or less wrote her to exist in this world, but I'll try putting her in a few other settings and see if that doesn't help. Thank you!
 
(I didn't see this thread, oh boy.)

Sorry to necro a thread but I was wondering if any other writing kiwis could help me.

Does anyone have tips for getting your creative juices flowing when you feel like they've been drained out of you? Long story short, I came up with a character a few years ago that I used to write with, and I want to keep her alive because I'm really proud of her. I'd never put enough thought into a character before but this one had a real backstory and real flaws and relationships. She was my greatest project and I don't want her to die because my brain was eaten by my shitty jobs.

It used to be easy to write little vignettes while I was doing mindless tasks, but now I struggle, and it's really frustrating. This is pretty much the only creative outlet I have left, since I can't draw or make jewelry anymore (fucking arthritis) and I'm terrible at music...

I'd second what Lorento said about sticking her in different settings, like coming up with "AU" versions of the character can be a fun writing exercise, at least what I've found. Another way can just be drawing inspiration from literally anything (playing a video game? working on something? think of how the character would react to having to do the same task, for example).

I also write and have several writing projects I'm kicking around, though I don't have much "concrete" material down on paper yet except scads and scads of deranged worldbuilding notes - the main project is an urban fantasy mixed with conspiracy theories and folklore, one is basically what I call "Waterworld with more furries and social Darwinism", one's a romantic war story set in the hypothetical future with cyborgs.

Also a Fallout fic trilogy with some of my characters from the urban fantasy thing, but that's just because Bethesda video games make me a crazy person.
 
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