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Re: Writing 101, a tutorial on fiction
It needn't be detailed, but it can provide depth and connection.Just Kevin said:I would sincerely hope that most people do not require a description of a casserole.
Telling - "She served me casserole."
Showing - "She served me casserole, hot out of the oven and latticed with perfectly cut vegetables, just like my mom used to make."
The second might be over doing it, but it creates a connection between what's happening in the moment (eating casserole) and the narrators past. It also creates a reference point for the reader - do you have a memory of your mom's casserole? I do. That, to me, causes a deeper appreciation and connection to the story, while elevating the telling with a more sensory passage.
Re: Writing 101, a tutorial on fiction
"Word Picture." That's a great thought, Paul.
Our goal as writers of fiction is to put a picture into the readers' heads. We want them to visualize the plot points and the scenes. Ideally, we want them to feel that they are riding along, taking part, even perhaps influencing the scene itself (though then we go into metafiction).
Richard Feynman once had someone challenge him thus: "You know the shape of a crankshaft on an engine, right? Okay, now describe that shape without using the word 'crankshaft.' " -- I think that this illustrates what we're trying to do: To put a picture of a crankshaft into someone's mind without actually saying "crankshaft."
Our goal as writers of fiction is to put a picture into the readers' heads. We want them to visualize the plot points and the scenes. Ideally, we want them to feel that they are riding along, taking part, even perhaps influencing the scene itself (though then we go into metafiction).
Richard Feynman once had someone challenge him thus: "You know the shape of a crankshaft on an engine, right? Okay, now describe that shape without using the word 'crankshaft.' " -- I think that this illustrates what we're trying to do: To put a picture of a crankshaft into someone's mind without actually saying "crankshaft."
Skoob_ym
1
Re: Accessing the Academic World
Just FYI: There's a difference between editing and proofreading or copy editing. An editor is concerned only with the content of the book. The copy editor is concerned with the book's grammar, spelling, punctuation, etc. (The job of the proofreader is to compare the proofs with the approved edited copy...a job that is not always necessary in digital publishing, where the final edited copy and the proof are the often the same thing.) So...an academic publisher, for instance, would assign an editor who is knowledgeable about philosophy to at least some degree. They would be responsible in working with you on making the book intelligible and readable. Once both you and the editor are happy with the MS, the copy editor would go over it looking for typos, spelling, punctuation, etc., including checking to make sure that things like names and dates are consistent, indicating where citations may need to be included, etc.
As I have often mentioned elsewhere in these forums, an editor doesn't change anything in a book. In fact, a professional editor doesn't even touch so much as a syllable. Their job is to go over the book in collaboration with the author to make sure that it is clearly written, that things are said in the right order, that clarifications, explanations or additional information are added where needed, where extraneous material might be shortened or deleted, etc. But the editor does not themselves do any of these things. Any changes, revisions, etc. are up to the author to implement.
As I have often mentioned elsewhere in these forums, an editor doesn't change anything in a book. In fact, a professional editor doesn't even touch so much as a syllable. Their job is to go over the book in collaboration with the author to make sure that it is clearly written, that things are said in the right order, that clarifications, explanations or additional information are added where needed, where extraneous material might be shortened or deleted, etc. But the editor does not themselves do any of these things. Any changes, revisions, etc. are up to the author to implement.
The Best Job In The Whole World
The Best Job In The Whole World
Today’s the day Kemma has to give her report on what her dad did for a living — in front of the whole class! “My dad’s job is soooo boring. Everyone is going to laugh at me!” thought Kemma. Join Kemma in her funny and heart-warming journey of navigating the shame and embarrassment of her dad's job, speaking in front of the whole class, and finding out that sometimes things are not quite as they seem. Written and illustrated by Tracy Hill, this wonderfully illustrated book is sure to put a smile on your face and tug at your heart. 
Re: Writing 101, a tutorial on fiction
I have not read Rama II, but thank you for the invitation. While I disagree with your interpretation, I will defer to your experience in having read it.
Youngblood Hawke is not a Who-Dun-It? It is a novel about a heavy equipment operator, a Sea-Bee from West Virginia, a mountain of a man, who aspires to be a writer. It tells of his successes, his pitfalls, his failures, and his eventual -- well, don't want to spoil it. It's a fine novel, and great literature, by the author who brought us The Caine Mutiny.
You wouldn't like it.
Youngblood Hawke is not a Who-Dun-It? It is a novel about a heavy equipment operator, a Sea-Bee from West Virginia, a mountain of a man, who aspires to be a writer. It tells of his successes, his pitfalls, his failures, and his eventual -- well, don't want to spoil it. It's a fine novel, and great literature, by the author who brought us The Caine Mutiny.
You wouldn't like it.
Skoob_ym
1
Re: Writing 101, a tutorial on fiction
Well, no; quite the opposite.
If we only say what is relevent -- A man stood in the road. The End.
We want to paint the scene. Why is the man standing in the road? What kind of road is it? Where does it lead? Is he alone? What are his intentions? Who is he?
That's the asparagus, right there. I can give you the asparagus straight up, raw, and it's going to taste like raw asparagus. Or I can cook it, add seasonings, provide a sauce or a garnish -- it'll taste okay. Or I can bake it into a casserole or roll it into a sushi, making it a small and potentially overlooked part of a tasty dish.
So in a way, the casserole -- the story line that encompasses the exposition -- is a byproduct (to the goal of laying out the context) and at the same time the main point (because it moves the story forward). What we're trying to avoid is raw exposition.
I can recite directly to the reader why the man is standing in the road, where the road leads, and so forth -- but that's boring. Or I can encapsulate it into the story itself. The trick is to tell the reader things without the reader noticing that you told him something. This is especially effective when you let the reader figure it out from clues. So the goal is to lay those clues in the most subtle possible way.
If we only say what is relevent -- A man stood in the road. The End.
We want to paint the scene. Why is the man standing in the road? What kind of road is it? Where does it lead? Is he alone? What are his intentions? Who is he?
That's the asparagus, right there. I can give you the asparagus straight up, raw, and it's going to taste like raw asparagus. Or I can cook it, add seasonings, provide a sauce or a garnish -- it'll taste okay. Or I can bake it into a casserole or roll it into a sushi, making it a small and potentially overlooked part of a tasty dish.
So in a way, the casserole -- the story line that encompasses the exposition -- is a byproduct (to the goal of laying out the context) and at the same time the main point (because it moves the story forward). What we're trying to avoid is raw exposition.
I can recite directly to the reader why the man is standing in the road, where the road leads, and so forth -- but that's boring. Or I can encapsulate it into the story itself. The trick is to tell the reader things without the reader noticing that you told him something. This is especially effective when you let the reader figure it out from clues. So the goal is to lay those clues in the most subtle possible way.
Skoob_ym
2
Re: My First Real Review!
Oh cool! Thanks Paul, my thoughts are with your Raleigh office, hope everyone stays safe
Seamus
2
My First Real Review!
https://www.summitdaily.com/explore-summit/book-review-pow/
This is great! Right in the heart of my target audience. Thanks Lulu for allowing this to happen!
This is great! Right in the heart of my target audience. Thanks Lulu for allowing this to happen!
Seamus
3
Re: Thanks a Bunch Lulu
I doubt Lulu are the worst by a long margin. The likes of Facebook even know what colour knickers you are wearing. However, a pop-up appears on Lulu asking for permission to use cookies, and you can click no. That is now law in many countries and all sites have to ask. Anyway, when I close my browser, it deletes most cookies, even though most are harmless.