In the Czech Surrealist tradition, “morphologie mentale” is applied to the meshing of subjective experience with an external topography, so that particular external landmarks (such as houses, staircases, or trees) are integrated into one’s psyche, and affect its formation in the same way that certain vital experiences can.
“…human consciousness is not so much determined by various childhood deprivations and traumas, but rather by the landscape in which a person has lived and the objects that they might have touched. Many years ago, the Surrealists even tried, with the help of questionnaires, to prove that the way a landscape is formed, the number of corners a house has and how crookedly a tree grows outside the window, have as much effect on the psyche as the upbringing. The Surrealists called this imprint of the external (a collection of measurable quantity, dimensions, tone and colour) onto the spiritual microcosm of a…
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these are very good! thanks!
1. Write the sentence, not just the story
Long ago I got a rejection from the editor of the Santa Monica Review, Jim Krusoe. It said: “Good enough story, but what’s unique about your sentences?” That was the best advice I ever got. Learn to look at your sentences, play with them, make sure there’s music, lots of edges and corners to the sounds. Read your work aloud. Read poetry aloud and try to heighten in every way your sensitivity to the sound and rhythm and shape of sentences. The music of words. I like Dylan Thomas best for this–the Ballad of the Long-Legged Bait. I also like Sexton, Eliot, and Brodsky for the poets and Durrell and Les Plesko for prose. A terrific exercise is to take a paragraph of someone’s writing who has a really strong style, and using their structure, substitute your own words for theirs, and…
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This was really interesting, cause I usually fail at delivering the right dose of sucker punch.
Last week, I talked about book openings in one of my posts. This post talks about the other end of your book, the ending. It will briefly discuss the types of endings and the importance of choosing the right one for your book.
Leaving the reader hanging – is it a good idea?
Many sources will tell you not to end your book with a cliffhanger. The reader needs some satisfaction or a happy ending to complete their reading experience. In my opinion, the answer to this is not quite that simple.
As someone who has written a series, I strive to make each book capable of being read as a standalone story. There is, however, a backstory arc for my main character that continues from book to book. What I like to do is resolve the current story within the book but provide a lead in to the next…
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So you made up a character you are fond of? Well done!
Let your character come to life. You know the drill: a face, a body, a CV, a past, jobs, families, friends, past lovers, nick names (cool and nasty ones), pets, favorite drinks, tattoos, scars, allergies and whatnot. The being of the character forms gradually in front of your mind’s eye. Mannerisms give a vivid stroke. Borrow them from people you know, if you must.
Almost there! Your character is fleshed out, but still a bit flat. Facts and habits do not add up to a realistic figure. The whole is more than the sum of the parts. The magic potion to add depths, is labeled – no, not unicorn tears – the character’s emotions. Continue reading “Spiderweb of Understanding, a Puny Guide to Writing Emotions”