Today, while dealing with something at
work, it came to me, finally from a very external, detached point of view, that
I’m theoretically meant, as a fan, as a professional with a pertinent degree,
as a regular person with working braincells, to believe that the reaction
of Louis Tomlinson’s team to the unexpected issue of an unplanned
pregnancy with a random girl was to:
pressure either her or him into a paternity test
publicly announce it barely two months after the conception
a big deal out of it, so that the news was spread throughout the world, while
simultaneously using it as a platform for Larry jokes
allow anyone to release a formal/informal comment until a very awkward
confirmation on live tv
sure that their client totally avoided his mama-to-be, blatanly going out
clubbing and being generally involved with other girls
everyone else around him, his bandmates included, from showing any hint of
enthusiasm, except for a very inappropriate comment on a gay magazine
their client repeatedly state that his plans for the future didn’t include any
responsibility and act accordingly to that
their client start a new relationship with another random girl about a month
before the planned birth of his son and throw it into the face of the general
the news of the birth leak from the IG account of the baby mama’s (quite
their client completely change his attitude the day his baby was born
him and the baby incredibly publicized with several papwalks and articles, but
not a single proper statement about health, name, official details
the complicated relationship of their client and his baby mama’s family be
brought up, complete with their custody fight details
not care to force a paternity test and let the press insist on the lack of
said paternity test
the press go wild with offensive and silly speculation about the newborn
their client’s questionable behavior while in the middle of the custody fight
on making his very new relationship with the new random girl very public while
her presence stands as one of the main issues in the custody fight
to the offensive speculation through a very poor exclusive from the same outlet
who started it instead of a regular rep statement or photoshoot with their
client’s involvement and direct quotes.
And of course this is not even the
complete, exhaustive list of reasons why we’re sure nothing of this is organic.
But put it all together, from a PR perspective, from the little basic facts
that are common knowledge and elementary pillars in the scene (not only the
entertainment one) and the profession, it’s totally, absolutely, unquestionably
an endless load of bullshit.
This is all the tips I’ve gathered. This also serves as a reference for myself. Hope this helps you in some way too.
1) Don’t be afraid to be sadist. It’s necessary if you want to make your readers FEEL things. (Don’t overdo it though. My friend… took my advice to the next level *shudders*)
2) Backstories are important. Most villains aren’t villains just because they’re evil. They want something, and their backstories might explain why they want it and explain how far they are willing to pursue to achieve that.
3) Know your limits. If you know you can’t write twelve main characters, DON’T write twelve main characters. Because they’ll be characters with half-assed personalities if you can’t write them well. Rather work on maybe three main characters, and make sure they’re very well built personality wise. (uh, sure, they can be physically well built too if you want them to be…)
4) Teach your readers. Like a life lesson or theme or something. People read books to learn stuff right? Teach them something. Inform them. Fill their brains with a little more knowledge at the end of the day.
5) Set a goal for yourself. Tell yourself, I’m going to write a chapter today. Because if you’re anything like me, you’ll put it off unless you have a deadline. It’s very motivating. I would never get anything done if I don’t have a deadline.
6) Improve on what you lack. Can’t write a romantic scene? Well, if you know your shortcomings, you can always work on them and improve your skills. Go read someone else’s book, observe how they write it, and apply it to your own story. In this case, go read other people’s icky love story and think about how you can turn their style into your own style.
7) Practice makes perfect. Yadah Yadah, you know the drill. But seriously. Don’t be discouraged if your writing sucked and people threw rotten food at you. Keep on practicing. Ask other people on what you can add to. And next time, show those suckers who booed you off the stage just how awesome you are. You know the meme that’s been spreading around lately of artists redrawing their old work? And wow. Just plain wow. They improved. So much. Everyone started from the ground-up. You have to have the determination to improve and put in the effort to get good. And practicing is just that.
8) Don’t hesitate. Just write. Basically what it says. You’ll never get anywhere if you don’t even start. Don’t worry about your grammar, you can always edit that later. Get your pen, pencil, whatever, moving, and just kinda ride with the momentum. Don’t stop until you’ve completely run out of brain juice. And if you come across a writer’s block, just stop writing. Go read someone else’s work to boost your imagination again.
9) Get an editor. Sure, you can fix a lot of things yourself, but you want other people’s opinion too. Editors can be a bit scary sometimes because it seems like they’re revealing all the things in your story that sucked, but they’re also telling you how to fix them. Constructive criticism is so important. It’s what makes us improve.
10) Be proud of yourself. Finally finished? Feeling dead but accomplished? People actually appreciated your hard work? Great. Awesome. 100% fantastic. Give yourself a pat on the back and give yourself a break. Be careful about your health too. A lot of artists suffered from wrist pain because they worked themselves too hard.
That’s all for now. I may add on to this later as my experience grows, but if you have any suggestions for me, please tell me, for I am always trying to improve myself as a writer. I loudly applaud you if you even read to here. I tend to ramble sometimes heh heh…. But anyways, thanks for reading, and I hoped I helped you in some way. :D
Hi! I love your blog! I just wanted to ask, how do you effectively read a book? Reading in general is great holistically and it helps you improve your writing. But whenever I read, I always feel like I'm not gleaning anything that helps with my own work. Any advice on that? Thank you sm! xx
Yes, most writers have an opinion on this. But it’s hard finding resources that address your valid issue that don’t feel like being stuck in senior English Lit class on a warm summer day and looking out the window and seeing everyone else having fun and pointing at you.
[please note, some of the works referenced here may contain violence and other triggers; everything is duly noted and behind a link.]
The problem could lie in what you’re reading, how you’re reading or why you’re reading. I’m going to post some thoughts and some resources that hopefully will help you with your diagnosis.
Why are you reading? When bogged down with stuff they have to read, people often react by then turning to fun and fluff to relax. Perfectly understandable. The what that’s missing for a lot of people is reading in between. Something challenging that doesn’t feel like trying to climb an 80-foot brick wall. A different genre. Lit fic for adults (though I loathe that distinction, but the publishing industry doesn’t so there it is) instead of YA or NA. If you’re 15 or older, really, there shouldn’t be a problem with reading a good modern literary gem like The Historian or The Book Thief or Isabel Allende or Orhan Pamuk. And 15 is just arbitrary. There are 13 year olds who could devour these books and get more out of it than a supposedly educated 35 year old.
Now we get to how. Here are some tips and links for finding a way to read like a writer.
Stephen King Himself said: “Constant reading will pull you
into a place… where you can write eagerly and without self-consciousness.” Meaning you will, after reading stimulating prose, start to internalize good writing and that makes it easier for you to produce YOUR good writing. Again, what stimulates your creative senses is not likely to be the same thing that stimulates your best friend and writing buddy’s, or mine. Keep reading, you will find it.
This is a pretty good checklist to get you started.
One of the tips I see mentioned repeatedly is to just go ahead and rip off something you just read and write it your way, or write your own story in that style. I agree. Go ahead and copy. Read a novel or a chapter or a short
story and write it your own way. Fanfic Hemingway, ffs!
Publishing does not
have to be the goal for everything you write. You need to be able to write for
the sheer orgasmic joy of putting words on paper. Write for yourself every now
and then. You don’t need to silence just your inner editor; sometimes, you need to tell your inner lawyer to stfu, too.
Something I’m noticing at the back of books of multiple
genres in recent years is a section with questions for book clubs. You might
find some good, specific questions to help you think about the Big Ideas of the book.
Also, try googling interviews from the authors about the book you just read.
See what they were thinking. Did you get that out of their work? If not, why do
you think you saw it differently? The answer to that question might just be you, discovering your own voice.
As mentioned above: One format I think is underappreciated and not read enough
for simple pleasure is the short story. A good short story can teach you
economy of description, the evocation of mood and feelings, and all about
beginning, middle and end. I can give this advice to all writers, without equivocation: Read short stories.
There are free online journals,
really cheap (like 99 cents) literary journals on Kindle and other services,
classic stories for free at the library … Even if you never intend to write
short stories, READ SHORT STORIES!!
Here are some suggestions for short stories with explanations of how they can help you as a writer. Two are available online for free, the others should be at your local library, or they will know how to get them for you. Blatant opinion: If you don’t read Alice Munro, you are missing out on life.
And this just hit my email yesterday: Three very short stories by Syrian author Zakaria Tamer. They are crammed with violence, religion, sex and just plain WOW. His use of the absurd to showcase hypocrisy, both individually and by the state, is simply brilliant. Note how he uses structure and dialogue and voice in mere paragraphs. I also highly recommend subbing to Electric Literature for access to great reading for writers.
So this topic can never be discussed without further props to the master, Stephen King, and his book On Writing. He has lists of books he’s read and refers to both in the back and now online.
One last note for the brave and determined who get this far down:
I recently finished (in two days) John Rember’s
MFA in a Box: The Why to Write a Novel. I have to say, I am still raw and
hollowed out from reading it. It is a highly philosophical look at writing and
being a writer, and baldly psychotherapeutic in many places, too. He’s a bit old school, even for my old ass, but noting that is one way to begin to understand a writer’s voice.
chapters that resonated the most with me were Writing Violence and Writing
Grief. Not at all what you are thinking, but it is definitely not a book for
the squeamish or anyone afraid to look inside their own dark hearts. He
discusses quite a few books from other authors, and I’m not ashamed to say I
went and bought three of them (so far!) to read and digest like he did. Knowing why you are writing can help you choose what you are reading to figure out why you are reading and how that can help you.
If you find something that is of use to you on this issue, do share!
McSpirk stranded on a planet together where the water is tainted and acts as somewhat of a truth serum. They were forced to drink it in an effort to stay alive. So, the three of them are there babbling away, not able to stop telling the truth.
McCoy is the most embarrassed, because every time he opens his mouth its a southern love poem to Spock. He’d rather die than let Spock know his actual feelings. So he attempts to keep his mouth shut after that.
Kirk opens his mouth, and surprisingly enough most of it is self-doubt, some of loving Bones, and some of loving Spock. Jim tries to stay quiet because most of what he’s revealing is going to follow him forever. And now his closest friends know his darker secrets. Bones tries to calm Jim down by telling him softly how much he loves him.
Spock was silent up until this point. He wants to help Jim in anyway he can. But if he opened his mouth, all these human emotions may come piling out. And he didn’t want to take that chance…and yet…seeing McCoy afraid and Jim sad made him highly motivated.
And without knowing it he found himself confessing, “I love both of you.”
Bones looked up, shock vivid in his eyes. Jim’s tears were still falling, but he sat frozen, his lips tight together as if he couldn’t believe his own ears. Spock tried to speak again, but again it came out as; “I love you. I love both of you so much.”
Spock felt heat rise to his cheeks and he covered his mouth as if that would prevent him from speaking further….illogical.
In seconds, Bones was up and kneeling in front of Spock. He hugged him tightly. Uncharacteristic of the doctor, but Spock wasn’t complaining. Jim soon followed and the three of them were huddled up in a ball of love, just plain old honesty.