Writer's Flow

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The Writers Helpers: Writing a drunk character

thatfrenchhelper:

image

“A man’s true char­ac­ter comes out when he’s drunk.” -Char­lie Chaplin

Writing or RPing a drunk character can be quite a difficult thing, especially if you’ve never been drunk yourself. I gathered these few links in case you’d need help with this -just like I did-. Hopefully this will help some of you, and you’ll be able to make your character drink, and keep it realistic!

Oh, and my little piece of advice on this: don’t try to slur the words! Just say ‘he was slurring his words’ or something to that effect - otherwise it becomes difficult to read and understand for the reader. Hopefully all of this helped some of you dearest writers!

(via writingweasels)

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Joyce Dunbar's guide to writing picture books | Booktrust

abcofreading:

ecole-des-nuages:

Author Joyce Dunbar shares her twelve tips for writing a picture book

Although you may not be interested in writing a picture book - perhaps because you can’t illustrate - they are a very good way to learn about shaping a story, because they have a built in structure, generally, of 12-14 spreads (i.e. 24-28 pages). They also encourage you to think visually, which is always good for children. So here is my simple, 12 point guide:

1. Do you have a problem? Good - because then you have a story. If you are one of those rare beings without a problem, steal one from someone else. Call it a predicament. Sort it. Stories are about overcoming obstacles, never, ever, about everything being all right.


2. Stories that are just a string of events are boring. The way in which events unfold is part of the meaning. You need a turning point; this usually comes on about spread 8, followed by a resolution. Surprise is good too, an unexpected twist, if you can manage it.


3. It is a good idea to make a blank dummy book, with cover, title page etc, and the right number of spreads. This is easily done with folded paper. The lovely empty pages should encourage you to pace the story - to spread the events evenly with your imagined pictures.


4. The good news about picture books is that they are very short - between 500-700 words. 300 words, with a beginning, middle and an end, is even better.  People think that this is easy. The bad news is that it is very hard. Every word has to earn its keep. You have to keep cutting, so that only the best remains. What you say is very important; equally important is what you don’t say.


5. Language is very important in all books, but especially in picture books for the very young. Try to think of words as playthings; their colour, shape, taste, as well as their meaning. Roll them around in your mouth. See how they sound. Smell them. This will make your text very lively.


6. Rhyme, rhythm, pattern, repetition, are also a feature in picture books. They are an invitation to the child to join in. That’s why nursery rhymes are important. Refrain is good too - the same words repeated on several pages. But don’t overdo it.  And remember that rhyme is difficult to translate - so this could be a problem if you hope to have foreign co-editions of your book.


7. The shape of the story is important, so is the idea behind it. In picture books, you never explain. The structure, the pattern of events, explains itself. You don’t need to describe either; leave that to the illustrator. This does not mean that you cannot visualize for yourself - but never, ever, give instructions to the illustrator. They are equal partners in the making of a picture book and need their own space for their own imaginings. The pictures do not merely illustrate the text, they complement it. It is like a strange and wonderful dance, where you do not step on each other’s toes.


8. Sometimes, an illustrator will pull a story in a different direction from the one you have written. This can be annoying. But it can also be illuminating. I rewrote one story, 130 words long, 12 times over a year, because I liked what the illustrator was doing. I started the dance, but then was happy to follow his movements. It can be very tricky and disheartening at times, but you keep going. Any disputes are resolved through the editor and the art director. They like authors to know what they’re doing, but they don’t like bossy authors who have no respect for the role of other people in the making of a book.

9. Illustrate the story yourself by all means, but don’t worry if you can’t. Publishers always have lots of illustrators they would like to use, and are always on the look-out for good texts. If you have no desire to publish, but would like to make a book with a child, then you could collaborate with that person, or draw you own pictures. I have seen some charming results from this, but very few are publishable.  This is because publishers have a very important role to play and they do not like to be presented with the finished product.

10. A good story is more than just an idea - it needs a vital spark - an impulse. It’s a bit like an electrical charge. You could even call it love. It’s that moment when an image, or an incident, or some words, strike you as funny, important, or interesting. This is what brings a story to life. When you have written a really good story - you usually know. It feels as if you have written something that was already there, just waiting to be discovered.

11. There is a much overlooked element in picture books - the white space. The designer looks after this. This is the space in which the child readers make their own interpretations.A room crammed with furniture is not inviting. Nor is a book too full of words and pictures. Leave space for the reader to contribute.  This will foster literacy of both kinds in the child, the visual and the verbal. It will also actively engage and stimulate the imagination.


12. Be patient. Be gentle. Stories can be shy, furtive creatures, like fish. You must cast your line and your hook, but then be still for a very long time, making your brain an inviting place for a story to swim into. This rarely happens all by itself. You have to sit in the chair, write something on the page, make yourself available. Sometimes, you don’t catch a fish. You catch a tin can or an old boot. Before you throw it back, look inside the can or the boot -there might be a story inside it!

Good stuff. I especially like the idea of creating a blank dummy book to get an idea of spreads and pacing—I might try that with one I’m working on now. Though I still have yet to find an adequate answer to my question: is there a proper way to format a picturebook manuscript for submission? 

Filed under writing writers picture books writing tips Joyce Dunbar children's books