Mice on Venus by The Synthetic Orchestra

Calming! Relaxing! This rendition of C418’s “Mice on Venus” from Minecraft is very well done and I urge you to hear it.

Haven’t heard of Minecraft? ——> http://www.gameskinny.com/12t4q/a-parents-guide-to-minecraft

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Plot

Links

http://www.creative-writing-now.com/what-is-plot.html

http://www.scribendi.com/advice/goldenrulesforagoodplot.en.html

http://www.how-to-write-a-book-now.com/plot-outline.html

 

Summary

  1. For there to be story, there must be flow and change. How to get from point A to Point B.
  2. The change can be the realization that nothing will change.
  3. Happiness is overrated.
  4. Stir up trouble; otherwise the plot will be dull.

 

Questions

  1. Can characters ever have a happy ending?
  2. How often does change need to occur?
  3. Is death a viable plot device?

Writing Dialogue

 

Links

http://www.writersdigest.com/uncategorized/writing-dialogue-the-5-best-ways-to-make-your-characters-conversations-seem-real

http://writetodone.com/10-easy-ways-to-improve-your-dialogue/

http://www.creative-writing-now.com/how-to-write-dialogue.html

 

Summary

  1. Make sure it fits with the personality of your character.
  2. Don’t make them speak in paragraphs. Less is more.
  3. Do NOT use dialogue as an information dump.
  4. If writing in an accent, don’t make it too heavy.
  5. Use simple dialogue tags.

 

Questions

  1. How much information should dialogue give?
  2. How often should there be dialogue?
  3. Can/should dialogue describe characters?

Editing

Links

http://www.dailywritingtips.com/how-to-revise-edit-and-proofread-your-writing/

http://www.sas.upenn.edu/irp/editing-tips-effective-writing

http://www.writersdigest.com/online-editor/how-to-edit-and-polish-your-writing

 

Summary

  1. Look at the surface. Does it look clean and well-written?
  2. Proofread three times for spelling and grammar.
  3. Uncover the clutter in the writing. Shorten paragraphs to keep them simple, yet interesting.
  4. Fill in the cracks.

 

Questions

  1. How could you determine whether or not the writing is wordy?
  2. How can you find out if the author had a writer’s block?
  3. How can you shorten paragraphs?

Endings

Links

http://www.writersdigest.com/online-editor/how-to-structure-a-killer-novel-ending

http://thewritepractice.com/ending-rules/

http://www.thecreativepenn.com/2010/08/09/how-to-write-the-ending/

Summary

  1.  “And they all lived happily ever after” is reserved for children’s fairytales.
  2. Surprises are good, but the reader must be satisfied.
  3. Don’t make it boring and pointless.
  4. You must accept that some genres have expected endings; the characters have to get together in a romance, lest the genre changes.
  5. Keep characters alive should you wish a sequel.
  6. Don’t forget to end the book, or explain that there will be a sequel. Tie up the loose ends.

Questions

  1. How long should the ending be?
  2. Should the ending come right after the climax?
  3. Should the death of a main character mark the end?

Setting

Links

-http://www.writing-world.com/fiction/settings.shtml

-http://www.tameri.com/write/setting.html

-http://www.writersdigest.com/tip-of-the-day/discover-the-basic-elements-of-setting-in-a-story

Summary

  1. Lay down the locale. Bad neighborhood? What are the buildings like?
  2. Time is important. What’s the time of year? Time of day?
  3. How’s the lighting and temperature?
  4. Decide on the geography.
  5. Were there ever any historic events there?
  6. Decide what the people are like there.

Questions

  1. How can the setting affect the story or characters?
  2. How long should you focus on describing the setting?
  3. When should you describe the setting?

 

Monologue of an SS Officer

The bricks beneath my boots are covered in a thin layer of frost as steam hisses loudly, covering the entire station in a white mist. Despite the thick fabric of my trench coat, I feel a chill as the wind blows on my face, burning my ears and nearly knocking my cap off. My attention is drawn at the sound of shuffling feet and loud shouts, so I look over to see a large group of people in dregs wearing yellow stars, led by my comrades in black. The people all huddle together against the cold, their suitcases pressing against each other. When they reach the platform it is my turn to shout out commands.

I yell to them to mark their luggage with chalk, assuring them that they will see it again when they step off the train. This makes it easier for them to get on, kind of like how they will get a bar of soap to convince them to go further later on when they arrive. They all scrawl their names all over their belongings to make sure that there would be no mix-up. They leave their suitcases on the platform as they cram into every boxcar along the track, their breaths as white as the snow falling around them. When the doors close I see faces poking out from behind the barbed wire windows. They believe they are headed off to another ghetto. I know where they’re going.

The train pulls out of the station with a screech. Those people will travel for a day or so until they reach the next stop. It will be cold, and they most likely won’t be offered food or water, and none of them will be able to sleep. Of course I don’t tell them where they’re actually going, that would cause problems. Nobody tells them, but we all know. It’s also like how instead of being sent with them, their suitcases will be emptied here. All of the clothes, jewelry, and other valuables found inside them will be used to fund the war effort. They won’t need them anyway.

Not where they’re going.