The Kick-Ass Writer: 1001 Ways to Write Great Fiction, Get Published, and Earn Your Audience
Format: PDF / Kindle (mobi) / ePub
The journey to become a successful writer is long, fraught with peril, and filled with difficult questions: How do I write dialogue? How do I build suspense? What should I know about query letters? How do I start?
The best way to answer these questions is to ditch your uncertainty and transform yourself into a KICK-ASS writer. This new book from award-winning author Chuck Wendig combines the best of his eye-opening writing instruction--previously available in e-book form only--with all-new insights into writing and publishing. It's an explosive broadside of gritty advice that will destroy your fears, clear the path, and help you find your voice, your story, and your audience.
You'll explore the fundamentals of writing, learn how to obtain publication, and master the skills you need to build an army of dedicated fans. No task is too large or small for the kick-ass writer. With his trademark acerbic wit and gut-punch humor, Wendig will explain:
- How to build suspense, craft characters, and defeat writer's block.
- How to write a scene, an ending--even a sentence.
- Blogging techniques, social media skills, and crowdfunding.
- How to write a query letter, talk to agents, and deal with failure--and success!
Whether you're just starting out or you need one more push to get you over the top, two things are for certain--a kick-ass writer never quits, and chuck Wendig won't let you down in this high-octane guide to becoming the writer you were born to be.
life cycle of the slow loris. Plot is Soylent Green: It’s made of people. Characters say things and do things, and that creates plot. It really can be that simple. Authentic plot comes from internal emotions, not external mechanics. 12. Chart the Shortest Point Between Beginning and End One way to avoid the nonsensical, untenable plot is to cut through all the knots. If we are to assume that a plot is motivated by the characters’ choices and actions — and we must assume that, because who
enhance the mood. Maybe they signal some aspect of the theme. Maybe they offer a dash of humor at a time when the story really needs it. Each detail has text and subtext — the text is what it is (“a toilet”). The subtext is what it adds to the deeper story (“the toilet’s clogged and broken like everything else in this building, spilling water over the bowl rim” — saying this adds to the overall atmosphere and theme offered by the setting). 8. Abnormalities Are Your Friend Another tip for
viewing it as the writer. You need to view it as a reader, as a distant third-party editor flying in from out of town who damn well don’t give a shit. From subjective to objective. Take a month if you can afford it. Or write something else. Even a short story will serve as a dollop of sorbet on your brain-tongue to cleanse the mind palate. Anything to shift perspective from “writer” to “reader.” 6. The Bugshit Contingency You’ll know if it’s not time to edit. Here’s a sign: You go to
social media (agents, seriously, please don’t do this — just as you wouldn’t want an author to do this to you, you shouldn’t do this to an author). Some will string you along. When I went out to agents with my first book, Blackbirds, I was a little amazed that while agents demand professional behavior, several chose not to be professional in return — and we’re talking agents who belong to big agencies, not talking about some sleazy bookmonger from Detroit. Some strung me along. Some requested
it’s your job to give ten pages of straight-up synopsizing. You’re not the only pretty peacock in the room. Don’t stand out by giving your middle finger to the rules. Stand out by writing a kick-ass query for an even kick-assier story. 24. Vaporlock Is Your Enemy Paralysis of the analysis: Writing synopses will freeze a writer’s brain. You can try all manner of thought exercise, but in the end the only way to the other side is the same as it is with any project: Write your way through the