We Are On Strike. I Wish It Wasn't Happening, Wish That The Producers Would Negotiate In Good Faith,

We are on strike. I wish it wasn't happening, wish that the producers would negotiate in good faith, and support the strike 100%.

wgacontract2023.org

WGA on Strike

We have not reached an agreement with the studios and streamers. We will be on strike after the contract expires at midnight.

Hiiii… Active writeblrs?

hi there. just curious about what u guys are writing about. u can link ur work here if u wanna. tell me about the new character, the plot, the vibes. go ahead :) reblog if u like (I also wanna follow some active writeblrs, go ahead and like this/reblog if ur doing ur thing)

OOOOOOooooo. I think I know what’s going in the sequel.

Offering the dragon marriage into the royal family had been a power play on the king’s part, a way to intimidate the kingdom’s enemies. He had not anticipated the dragon actually accepting the offer.

Ending your Novel

When ending your novel, there are a few things to consider.

You’ll want to build up tension during the climax, and wrap things up during the resolution. Don’t forget to conclude your main storyline and finish up your subplots as well.

There should be some room left for readers to interrupt things on their own, such as the fate of certain characters.

Not only is it important that your ending makes sense, but it should also evoke emotion.

Knowing how your novel will end sooner than later will help guide you to its finish without wandering too much on pointless scenes.

📚 Here are some endings you can consider:

1) The Classic Cliff Hanger

Done wrong, this can leave readers unsatisfied. But if it’s done carefully, it can leave your audience yearning for more. Your protagonist’s main quest/goal should be concluded by the end of your novel, but leaving questions unanswered or a problem unresolved can be an intriguing cliffhanger. Cliff hangers don’t have to be groundbreaking, they can be small.

For example, Katniss survives The Hunger Games (concluding her main goal) but by tricking the Gamemakers into allowing two victors, we are left wondering what the consequences will be. Not only that, but we question what will come of her relationship with Peeta as he painfully realizes all of Katniss’s affection towards him was simply for the cameras.

2) End where you started

In a symbolic circle of events, you could potentially end your story in the location where it began. However, now the protagonist has newfound strengths or knowledge and can reflect on how they started. This cyclical ending can also work with a mirrored scene (ex. starting and ending with a sword fight). 

3) The What-If Ending

Instead of a direct cliffhanger, this conclusion focuses on leaving the ending up to the reader’s imagination. In The Giver, Jonas successfully leaves behind his town and approaches Elsewhere on a speeding sled. He is barely holding onto consciousness and we are left wondering if he will make it there alive—and if it’s even a real place to begin with.

4) The Twist

An unexpected (but planned) ending that can excite and surprise your reader. While a twist should be unexpected, when a reader goes back, there should be breadcrumbs and hints that make it intentional.

5) Simply… Resolved.

There are no open-ended questions or cliffhangers. Everything is wrapped up neatly in a satisfying way for your readers.

Instagram: coffeebeanwriting

Definitely doing this one

One can easily distinguish a true veteran adventurer from the masses, for one doesn’t fear those who show to the start of a dungeon with gleaming weapons and polished armor, but those who show up wearing casual clothing, looking like they just got done shopping in town not 5 minutes earlier.

Controlling Your Pacing

                Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.

                All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.

                For example,

“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”

                This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.

                Whereas, if we were to intentionally pace this scene, it may look like this:

“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”

                It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.

                To speed things up, we want less space between elements:

“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”

                The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.

                Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.

                For example:

“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”

                That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.

                Good luck!