beginning a novel

Ok ok ok but can you imagine The Song of Achilles movie

And the opening shot is of this gorgeous landscape and there’s a single stone standing in the green that just reads Achilles.

And you hear a male voice go “I’m made of memories”

And a female voice says “Speak then”

And then the events of the novel begin with a little voiceover

Then at the end we come back to the same spot and Thetis is there obscuring the stone and when she stands back you see “Patroclus” under it

And the last shot it pans to a ghostly shape of Patroclus embracing the ghostly shape Achilles and we get some LoK esque spirit world lights that dissolve the scene

Because guess what I CAN

There’s so much wrong with the novel Lolita itself but one of the several problematic things written aside from the pedophilia are Humbert’s comment about Inuit girls. At the beginning of the novel he says “The plump, glossy little Eskimo girls with their fish smell, hideous raven hair and guinea pig faces, evoked less desire in me…” Like eww get the fuck out, like those innocent children wanna seek approval from your dirty ass. Truly one of the most despicable characters in fiction and I pity anyone who has sympathy for HH.

Mutually Assured Destruction

Their last year at Watford reimagined. (This chapter featuring: an annoying man with a pointy beard)

Warnings: Language (?)

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20

Chapter Seven

Everyone at the Watford School of Magicks knew that Simon Snow and Baz Pitch hated each other. It was considered fact. Students found it amusing to count how many times one of them would glare at the other during class. Teachers exchanged horror stories of trying to break up their fights.

Everyone at the Watford School of Magicks knew that Simon Snow and Baz Pitch hated each other.

They were all really fucking wrong. 

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Joyce Carol Oates’ latest book opens in 1999 with a killing: A man who considers himself a soldier of Christ shoots a doctor who performs abortions. Over the next 700-plus pages, we see the consequences of that act ripple through the doctor’s family and that of his killer.

The novel is called A Book of American Martyrs, and Oates tells parts of the story from the perspective of the killer, Luther. She says, “Luther is very sympathetic. … It’s not my point of view, but it’s a very real point of view. … He doesn’t want to be a murderer; he doesn’t want to give up his own life. He feels he’s been called by God and it’s a mission.”

Joyce Carol Oates’ New Novel Begins With An Abortion Doctor’s Murder


“I don’t know much about being a kid…never really had a childhood.”

I just….can’t believe this, the trump supporters are going to be even worse now than ever before.

This is the beginning of a dystopian novel.

I feel like I need to document this in some way or else our descendants will never know where everything went to shit for them.

anonymous asked:

Hi, I really want to start this novel but idk how ??? I have some scenes but these are part of the middle. Do you have some tips?

Hey! So a while ago, I really wanted to be an author. Because of this, I did do a bunch of research and spent my fair share of time on writing blogs reading articles on this exact thing so here are some points/tips I’ve learned:

  • For starters, the first part of beginning a novel is establishing your idea. From what you’re telling me, it seems as though you’ve already established it and you’re trying to build off of it. But still, just in case you haven’t drawn out a basic outline of major events and scenes that you want, it helps if you write it out on paper in a timeline type of structure. As you do this, think about whether or not this material could make a lasting story. There are some stories that are better left as short stories rather than novels, and we want to be sure that your idea is sustainable. Through this, you will hopefully develop a bigger and better picture of what you want. 
  • Now, you have a few events and ideas about events in your book but they’re all over the place and not really connected. My advice for piecing things together would be to work backward. Take one of your events and focus on how they got there and why they got there in the first place. 

Know the elements of what the first chapter of a novel should consist of. From my experience, you want to establish a setting, the main character, as well as generate an interest for your potential readers. There are different ways in which you can do this. 

  • First, you can establish a problem/failure for your character. For example, the third sentence from the book My Left Foot by Christy Brown begins states this: Mine was a difficult birth, I am told. Here, we are introduced to a problem, enabling the reader’s interest to ask themselves the question of “Why was it so difficult?” While this may not be the best example because it is a memoir, you can still feel the anticipation for wanting to know more. This is a very common technique and in my opinion, the best way to begin a novel. 
  • Second, you can begin your story by establishing what an ordinary day would look like for your main character. This isn’t my favorite technique, but it does have its perks. Through doing this, we learn about your character’s patterns and their daily activities. This arranges the perfect set up for later introducing a problem or disturbance, effectively giving them a reference to what their day/life should be like. This will put emphasis on the differences. 

While there are many things that you want to do with the first chapters, there are also many things that you want to avoid. Here are just a few things that tend to be very off-putting:

  • Creating a faux scene is a very common mistake. A faux scene would be something that sets up a false environment. An example of this that is often used would be the book beginning with a dream. No one wanted to read about a dream believing that it is reality up until the next chapter where the first sentence is something like “he awoke in a puddle of his own sweat, grateful that it was all just a dream.” A lot of times, these scenes are considered to be irritating due to the fact that they are completely unnecessary. 
  • Not having a clear goal for the main character can be a total killer. Most of the time, a book will consist of a problem that needs to be solved. If there is no problem or predicament, then what makes this story important? What separates that from a random diary from a teenage girl? Having a clear goal is very important. 
  • One thing that I’ve noticed that seems to be very common is the use of purple prose. If you don’t know what that is, it’s basically prose that is overly elaborate and ornate. These days, brilliant metaphors and over exaggerated details and descriptions are praised for their beauty and splendor. However, too much isn’t good. Purple prose can often come off as boring to the reader as they attempt to interpret every metaphor you write and even try to find something out of nothing. If you’ve ever been in a high school literature class, you’ll get what I mean. But overall, this type of writing is often considered to be insincere and even pretentious. 
  • Avoid the clichés. Stuff like a staggering drunkard in a crime novel or a character jolting up in their sleep as they wake up from a nightmare can be a painful thing to read. Also, no random life or death situations. Don’t randomly start with the character having a gun against his head without any context. It’ll leave the reader confused.
  • No prologues. Just don’t. These are so commonly hated and disliked. 

It’s also important to note that many authors, if not, all, go through several rough drafts prior to coming up with the final one. That being said, you don’t have to have your novel start off as some brilliant, award-winning piece of literature from the get-go. You can begin with something basic and build your way up from there. That’s always been my approach to things, as I’m a very careful and meticulous planner.

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Luz Argentina Chiriboga is an Afro-Ecuadorian writer who was one of the first writers to address the duality African and Hispanic cultures. In her poetry and novels, she writes about women in ways that challenge preconceived stereotypes. Her short story “El Cristo de la mirada baja” won first prize in 1986 in the International Literary Contest of the Liberator General San Martín held in Buenos Aires.

Beginning in 1983, Chiriboga became involved in the Congress of Black Culture, participating in the event held in Cali, Colombia and the 1985 Congress in Panama. These conventions, inspired her to begin work on her novel Bajo la piel de los tambores (Under the Skin of the Drums).[1] The novel, published in 1991,[4] marked an emergence of Afro-Latina identity into what had been either a homogenized Hispanic literary tradition or an Afro-Hispanic tradition focusing on male protagonists.[5] Not only did it introduce race, but the work encompassed topics often avoided in Hispanic literature, such as birth control, fetishism, sexual violence, and others. It received favorable critical attention, as[4] as had a short story she published while she was working on the novel, called “El Cristo de la mirada baja”.[1] The story won first prize in 1986 in the International Literary Contest of the Liberator General San Martín held inBuenos Aires.[2]Chiriboga’s works challenge the stereotypes of women’s sexuality, and looks at desire, ignoring the traditions of propriety imposed by patriarchal honor codes and religious authority.[6] She confronts stereotypical ideas of clerical purity by depicting their sensuality and lustful black women with characters who are asexual.[7] Recognizing that men writing about women tend to poeticize them, Chiriboga uses her voice to raise consciousness.[8] She also questions the duality of culture and what it means to be part of the African Diaspora in a country dominated by Latino and mestizo traditions.[3] She has been a featured speaker at conferences and seminars throughout Africa, the Americas, the Caribbean and Europe, and has had her works translated into English, French, Italian and Quechua.

Writing the Falling Action

So, your story has hit its climax. The moment your readers have been anticipating since the beginning of the novel has arrived, but where does it go from there? At the turning point of any story, there needs to be something important that happens after it—ultimately leading to the resolution.

But what’s the falling action and why does it matter?

Here are a few things the falling action should accomplish:

Address the aftermath of the climax

The climax is a big moment that has major impact on your novel. Clearly, your characters shouldn’t just move on without feeling sometime or addressing that impact. What will your characters do next? How will they get over what just happened? Use the falling action to let your characters (and readers) take in what occurred. What are the consequences?

Unpack the conflict

The conflict should begin to unravel at this point. If your protagonist had to make a tough, life-changing decision, how does that change the conflict? Remember, you’re leading up to the resolution now, so there should be very few new problems introduced. How has the conflict changed? What will your heroes/villains have to do now?

Helps correctly pace the novel

Falling action isn’t all about the aftermath and conflict, it also helps flesh out your novel so it doesn’t end too abruptly. There needs to be more than the climax and then a few paragraphs explaining what happened to your characters.  Stories usually don’t end on their high point! What happens after the main problem of the story has been resolved and what are the direct effects of the climax?

Builds a bridge to the resolution

Start working to the resolution through the falling action. Where will your characters end up? How has the story been pushing them there? Begin tying up loose ends and figure out what everyone’s “new normal” will be. The climax should have a direct influence on the falling action and resolution.

-Kris Noel

Possible hints about Hide gaining power in CCG during :re

I’ve gathered them here for easier access, because they were all scrambled on some of my other posts. Will contain quotes from older posts and also some new things. A theme in all of them depict Hide as somebody with a good leadership sense who wants to do the right thing and is acceptant of others. You can debate why exactly this organisation, but if you look at all the things as a whole it points to CCG.

But first, a few words paragraphs about CCG’s future as an organisation. As we can see, things aren’t going well neither for CCG nor for Aogiri. Marude’s ominous words that there will be trouble in the future if Matsuri takes power and the many secrets and shady business going on behind the scenes don’t really help the situation. So a downfall is a pretty logical outcome, which will lead to CCG crumbling down and no longer existing.

However, when was the answer to anything big in this manga destruction? A positive outcome is usually achieved by change. Most of the Investigators in CCG are likeable people with good intentions from whom the truth is often hidden.The problem isn’t in the organisation as a whole, it’s the system and the way it’s controlled. Rather than destroy everything, there is always the possibility to change the system into something better.

In Hide’s tarot cards and trump card the key words are always: “new beginning“ and “change“ rather than “new beginning“ and “destruction“.

I’d also like to point out how CCG isn’t the organisation’s first name: it was Counter Ghoul Institution, but later on it was renamed. In a sense, we can expect for CCG to “die”  by changing the system and the name, creating an organisation that fights for real justice, both for humans and ghouls.

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