Автори споделят

Обсъждаме лични художествени текстове и споделяме идеи за разхубавяването им.

Re: Автори споделят

Postby Adi » Wed Oct 28, 2015 9:11 am

Кратък клип на Патрик Нес, в който разказва за своя опит с писането, идеите и мотивацията.

А междувременно ArtLine се похвалиха във фейсбук, че можем да видим Патрик Нес на живо за панаира на книгата през декември! Само да успея да отида... *няма достатъчно шаваща емотиконка за чувствата ми в момента*

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Re: Автори споделят

Postby Кал » Fri Nov 27, 2015 3:44 pm

In Sturgeon Is Alive and Well, Theodore Sturgeon wrote:Once to a perceptive friend I was bemoaning the fact that there was a gap in my bibliography for 1940 to 1946. (Actually some stories were published during the period, but only one had been written after 1940.) What wonders I might have produced had I not been clutched up, I wailed. And he said no, be of good cheer. He then turned on the whole body of my work a kind of searchlight I’d not been able to use, and pointed out to me that the early stuff was all very well, but the stories were essentially entertainment; with few exceptions they lack that Something to Say quality which marked the later output. In other words, the retreat, the period of silence, was in no way a cessation, a stopping. It was a silent working out of ideas, of conviction, a profound selection. The fact that the process went on unrecognized and beyond or beneath my control is quite beside the point. The work never stopped.
I’ve held hard to that revelation in recent years, and no longer go into transports of anguish when the typewriter stops. I do other things instead, in absolute confidence that when the silent subterranean work is done, it will surface. When it does so, it does with blinding speed—a short story, sometimes, in two hours. But to say I wrote it in two hours is to overlook that complex, steady, silent processing and reprocessing that has been going on for months and often years. Say then I typed it in two hours. I do not know how long it took to write. I could only type it when it was finished.

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Re: Автори споделят

Postby Кал » Mon Jan 04, 2016 9:31 am

In Splendor, David Zindell wrote:When I’m working at the peak of my performance—when the lightning strikes me and I write like a god—all consciousness of myself as a man and as a writer burns away. Only in those moments of grace do I become a real Writer. Only then, in that lucid state, do I become the pure Poet who knows that poems are the dreams of the universe crystallized in words. As I write and the word storm blows through me, my small self vanishes and I become the hand and fingers of that divine author; my mind becomes his pen; my blood, the ink. Nothing of the outer “real” world exists for me: neither taxes nor time, neither telephones nor TV. I live in another world, with my characters. In a way, I become one with them, and I live through them, as they do me. Tat tvam asi—that thou art. I sweat and I slay, along with Mallory, Valashu, and Kane. (...) When Lo cries out in her joy of loving Nick, I cry out inside, too. When I breathe in, I absorb all of my characters’ hopes, fears, agonies, and exaltations. And when I breathe out, my dreams become an entire universe.
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Re: Автори споделят

Postby Кал » Fri Jul 14, 2017 12:30 pm

David Farland, дългогодишен администратор (и „първа цедка“) на конкурса Writers of the Future, споделя:

What Makes a Story Great?

I just finished judging the Writers of the Future Contest for Quarter 2 of this year. These are stories that would have been written near the end of 2016 when political passions were running high, and in response to this, I received some of the most intriguing and powerful tales I’ve seen in months—stories about governments betraying their people, tales of revolution. The authors obviously cared about what was going on and responded with tales that were deeper, more creative, and more powerful than what I normally see, and they strove to elevate their language and write the tales more perfectly.


Now, when you’re looking for ways to reduce the audience to tears, there are a lot of ways to do it. People can cry in relief. They can mourn a character’s loss. They can weep at the good fortune of a character that they love. They can and should shed tears of astonishment at a powerful insight (or epiphany) that a character has. The strongest novels will stack scene after scene at the end of the tale to get an extended emotional release.

When you as a reader get those moments of tears, your body actually releases hormones that stimulate your ability to remember, so that the tale becomes stored in your long-term memory.
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Re: Автори споделят

Postby Кал » Fri Aug 18, 2017 11:39 am

Ако обичате дъъъъъългите списъци с препоръчителни елементи, отново David Farland ни се притичва на помощ:

“Boosting” Your Prose

... Честно, аз ако трябваше да мисля за дори една пета от тия неща, като пиша, с пръст нямаше да докосна клавиатурата... Та по-скоро бих препоръчал да ги мислите чак след като сте приключили с първата чернова. Поне докато не ви станат навик.

Ако въобще искате да ги слагате, разбира се. Моите герои в Юнакинските приказки например нямат никакви описания, понеже аз не желая читателите да ги свързват с определени физически типажи. Изборът е умишлен и нямам намерение да го променям, ако ще не Фарланд, а Зиндел да се казва горният Дейвид. ;)

Надолу ще цитирам само онези въпроси, които на мен ми звучат интригуващо:

Setting

4) Do I suffer by having repetitive settings? For example, if I set two scenes in the same living room, would one of them be more interesting if I moved it elsewhere?

11) Do my settings have duality—a sometimes ambiguous nature? (For example, my character might love the church where she was married, have fond memories of it, and yet feel a sense of betrayal because her marriage eventually turned ugly. So the setting becomes bittersweet.)

Characters

22) What would my characters like to change about themselves? Do they try to change?

Conflicts

6) Do I have secondary conflicts? Most stories require more than one conflict. For example, a protagonist will often have an internal conflict as well as an external conflict. He may also have a love interest. He might have conflicts with nature, with god, and with his companions. So as an author, I must create a host of conflicts and decide how each one grows and is resolved.
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Re: Автори споделят

Postby Broken Dragon » Sun Jan 07, 2018 9:26 am

Ето едно откритие, което направих малко след като приключих с NaNoWriMo 2017:

Youtube channel: Terrible Writing Advice

Пичът е супер ироничен (и често самоироничен) и демонстрира много забавен self-awareness, подкрепен с нон-стоп Fridge Logic когато нищи подбраната си тема.

Каналът засяга бая писателски клишета, включително от "мета" естество (например, как да довършим една книга, или как изобщо да я започнем), погледнати през призмата на абсолютната тролщина и ще накара всеки, който някога се е занимавал с "плетене" на истории, да се скъса от кеф, а даже може и да научи нещо ново, напук на заглавието. :D
Last edited by Кал on Mon Jan 08, 2018 10:35 am, edited 1 time in total.
Reason: премествам + преименувам
IN ORDER TO RISE AGAINST THE TIDE, ONE MUST FIRST BE BELOW IT.

Аз съм графист, а не кечист.
(Ама вече разбирам и от кеч, ако трябва)

'Tis I, master of the first floor, aspirant to the last, the Broken Dragon.


Accepting reality since 2017

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Re: Автори споделят

Postby Кал » Thu Feb 22, 2018 9:38 pm

In "Tell Me a Story," Larry Niven wrote:If the story you’re telling is a complex one—if the reader must understand the characters or the locale or some technical point to understand what’s going on—then you must use the simplest language. Your reader has his rights. Tell him a story and make him understand it, or you’re fired.

(...) If you don’t have anything to say, you can say it any way you want to.


Любимото ми правило за чупене. В „Да обичаш Сам Сама“ с Владо го счупихме отвсякъде. И счупихме главите на армади от читатели. :/

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Re: Автори споделят

Postby Broken Dragon » Sun May 20, 2018 5:32 pm

Защо Terrible Writing Advice e всъщност отличен канал?

Защото е точно това, което рекламира че е. Добре, де, сред сарказма човекът всъщност дава и добри идеи за деконструкции/subversions/други неща, които наистина предлагат решение на хората, омотали се в сухи клишета.

Но след време забелязъл, че много хора с аспирации да пишат, се оплакват как историите им били пълни с всякакви клишета, независимо колко се опитвали да оригиналничат.

Отговорът на JP? The Nature of Cliches - Honest Thoughts.

Точно, ясно, подкрепено с няколко примера. Отлично за начинаещи, превъзходно схематизирано и визуализирано за ветерани.

Не знам дали ще стане велик автор (мда, той има вече [само]издадена книга), но за мен е майстор в занаята.
Last edited by Кал on Sun May 20, 2018 6:25 pm, edited 1 time in total.
Reason: премествам + преименувам
IN ORDER TO RISE AGAINST THE TIDE, ONE MUST FIRST BE BELOW IT.

Аз съм графист, а не кечист.
(Ама вече разбирам и от кеч, ако трябва)

'Tis I, master of the first floor, aspirant to the last, the Broken Dragon.


Accepting reality since 2017
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