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Indoesian Duolingo Vocab > Writing Tips > Flashcards

Writing Tips Flashcards

Remember Writing Ideas

1
Q

Write from Feeling

A

Create a worrd from feeling

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2
Q

Begin with the character end

A

Plot how characters can get there

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3
Q

Feeling to character

A

Holly Black

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4
Q

Create characters: what fear, what want, what willing to do to get it

A

V.E. Schwab

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5
Q

MICE

A

Milieu, inquiry, character, event

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6
Q

Milieu story

A

Begins character enters place, ends when leaves place, e.g. Gulliver’s travels. Systematically prevent characters from reaching goal. So stuff in middle is about difficulty navigating space.
Anything about place = milieu.

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7
Q

Inquiry story

A

Driven by questions. e.g. Sherlock Holmes.
Confilct here is to keep character from finding the answer.

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8
Q

Character story

A

Driven by angst. Start with character unhappy. End when happy. Or begin with identity shift. How character self-defines. End when character has consolidated new version of self, e.g. coming of age story. So conflict is stopping them breaking out of their roles / changing personality

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9
Q

Event story

A

Driven by action. External threats.Don’t let character find status quo. Character story is interior (I’ll never be popular) Event is asteroid about to crash into Earth!

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10
Q

Nesting code

A

e.g. <m> <i> </i> </m> Do things in sequence.
e.g. Wizard of Oz. <c> Dorothy dissatisfied</c>

<e> Tornado
<m> welcome to Oz.
<i>What do ruby silppers do?
</>Ruby slippers take you home
</m> Leaves Oz.
</e>Arrives back in Cansas
</c>Didn't need to go looking farther from adventure than my backyard
</i></m></e>

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11
Q
A
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12
Q

Character building

A

Create shorthand description. Angsty accountant.

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13
Q

Yes but, no and

A

Yes but = Made progress towards goal, but pushed back from it.

No and = didn’t make progress and pushed farther from it.

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14
Q

Try fail cycle

A

Things get worse…

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15
Q

Three quarter effect (psychology)

A

Hardest time. Feels like Seems like can’t possibly finish something. Also feels hard because you are changing modes from starting things to ending things.

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16
Q

Resolutions =

A

Yes, and… Or No, but…

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17
Q

Ending

A

Close MICE element (mirror ending)

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18
Q

Grief building

A

No whiplash. Build. Build through different expressions of it.

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19
Q

Hands of lover over my wife

A

Murakami eg

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20
Q

Disconnect between dialogue and action

A

Say one thing, show something out of sync with this

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21
Q

Tragedy =

A

Character fails to overcome flaw. Tragic ending

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22
Q

Comedy

A

Character overcomes flaw. Happy ending

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23
Q

1st Reversal: first scene reversal. End s change of fortune at ending of act 2. 75%

A

They go from wanting to achieve one thing to opposing.

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24
Q

2nd reversal. Starts 75 % ends at end

A

Lowest point to happy ending in comedy.

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25
Q

Reversal in tragedy: here they succeed at 75% mark. So reversal doesn’t happen. Highest moment of success

A

Turning point of change of fortune, then flaw leads to downfall.

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26
Q

Comedy progression. 25-75% things get worse 75% = crisis

A

Then moves to happy resolution

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27
Q

25% protag gets serious want in point of no return

A

Did they also get something they don’t want, i.e. the catch.

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28
Q

Crisis

A

Is this the lowest point they can go? Is it the opposite state of mind of the turning point at the 25%?

29
Q

Catch =

A

The perfect test of the protagonist‘s flaw.

30
Q

Climactic choice equals

A

The protagonist moves away from theor flaw

31
Q

Floor and strength

A

Need to be exact opposites

32
Q

Scene

A

Point of view: goal: conflict: setback

33
Q

POV =

A

Person with most on the line.

34
Q

Goal - audience

A

Audience needs to know reason for goal so they care

35
Q

Conflict

A

This time it’s personal (Jim Butech).

36
Q

Scene question

A

Will protagonist achieve goal: 4 answers: yes (terrible). Yes, but…. No (even better! but use lightly). No, and furthermore (very best!)

37
Q

Ghost,

A

Character wound. Lie he believes

38
Q

Villain

A

Thinks he is the hero

39
Q

How to treat a villain?

A

Throw stuff at them like at a hero, but they get more yes, or yes buts.

40
Q

How treat villain?

A

Torture them too!

41
Q
A
42
Q

Characters about making choices

A

Why do what they do critical

43
Q

Writing Feedback

A

Descriptive, not prescriptive

44
Q

Humor

A

Subverted Expectations

45
Q

sequeal

A

Emotion, reason, review, decision

46
Q

How integrate fantastic? 3 Rules

A

2 for 1 (two normal things for one magiccal. Ground in the everyday/common. Yeti on the couch (it is just normal to people in the book, so not made a big deal of. 3) The idiot (person like the apprentice who you need to explain stuff to)

47
Q

characters off screne

A

Make sure their life continues

48
Q

Building community

A

Rituals, repetition, model (think Burning Man Santa)

49
Q

Create models to replicate

A
50
Q

Show case character

A

Comments in quotes

51
Q

Diminish character

A

Comments paraphrased

52
Q

Prove authority

A

Esp. with technical fact (especially unexpected). Prove authority then can do anything

53
Q
A
54
Q

Book strengths

A

Write for medium, things only a book can do.

55
Q

Book strengths

A

Write for medium, things only a book can do.

56
Q

Anecdote strings

A

Take readers from the believable to the unbelievable via stages.

57
Q

Surprise

A

Sam say readers value this above or else

58
Q

Misdirection

A

Direct and then misdirect your reader.

59
Q

When should the reader discover the truth?

A

Before it is revealed on the page.

60
Q

Recycle objects

A

Introduce them and then hide them. Then reintroduce them and hide them again. Do this throughout the story.

61
Q

Have tension?

A

Delay resolving it for as long as possible

62
Q

Never resolve a threat…

A

Until you raise a larger one. Ursula Leguin

63
Q

What to do with ‘is’ and ‘has’

A

Remove them from your fiction.

64
Q

To introduce threat

A

Deny it’s possibility

65
Q

Hazing stories e.g.

A

The vet and the dead horse

66
Q

Have you got an idea

A

Then try crowd seeding

67
Q

Series

A

Record them and progression

68
Q

Remembering your scenes

A

Old scenes in your novel. If you can’t remember them, then then maybe something wrong with them. There may be a repetition, or boring.

Indoesian Duolingo Vocab (2 decks)

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