This Is Some Solid Advice!

This is some solid advice!

so the best/most helpful advice that i found for writing openings was in a Writer's Digest magazine from january 2020, in an article by Jane K. Cleland, and it was detailed and interesting. at the end it was distilled into Three Questions To Ask Before You Start Writing Your Opening:

What is most unusual about my story?

How do I want my reader to feel?

What sets the story in motion?

most of the advice i've read tries to create a formula--"don't open with a dream" "don't start with the weather" "start in the middle of some action" "don't start with dialogue" "here's an example of how to start with dialogue" etc etc. but there are always exceptions and contradictions and it's frustrating to wade through. basically, you write the opening that's proper for the story you are trying to write, and the above questions help you narrow in on what that is.

1. What is most unusual about my story?

it doesn't have to be over-the-top unique, or subversive, or anything like that. but look at your core idea and try and think what about it is most interesting to you. you're probably writing it because you like the idea--so start with the interesting part so that readers know what they're in for. it can be a question that's raised, or a detail about the setting, or the protagonist, or something, that sets it apart.

2. How do I want my reader to feel?

atmosphere is important at all times, but sometimes just knowing, 'i want my reader to feel worried, or sad, or to laugh' can help with figuring out the point at which to start. the article's advice was to make it evocative of the theme of your entire novel/whatever you're trying to write--make it a smaller echo of things to come to strengthen themes and also let readers know what they're in for. relate it to the title, or whatever you need to.

3. What sets the story in motion?

maybe your story doesn't start in the middle of the action. maybe it starts with a realization or finding an old photograph or--don't shoot me--waking up on the wrong side of the bed. start the story at the start. when the inciting incident happens. some genres require additional set-up, which is fine! you don't have to reach some immediacy threshold for people to be interested. try to make it all tie in to the plot and you'll be good.

so combine it all and you get:

start at the inciting incident and use verbs that evoke the feeling you want your reader to experience, and remember why you are interested in writing what you're writing.

go. you can do it.

This video might not be relaxing to some, but here it is anyway, a hike across a desert world with occasional brushfires.

Story Starter #41

“I’m not much of a people person.”

“Do you like kids?”

“Aren’t kids people?”

A No Man’s Sky ambience set on a rainy blue planet.

Image Prompt #2

(Photo by Kristina Gain from Pexels)

Good to know!

The basics of swordfighting for writers

#1. Types of swords

Cavalry swords, two-handed swords, and cutlasses - these swords are used commonly for hacking and slashing - so they are swung in arcs or from side to side, not thrust forward.

Rapiers and small swords are one-handed weapons that are thin and light, but often quite long. They are used for thrusting and slicing, but as you can imagine they aren't much use in actual battle, but commonly used for sparring.

The third type is a mixture of the two - but less commonly found.

#2. Terminology

Fainting/Feinting - A false attack intended to create an opening for the real attack.

Parrying - When a swordsman uses his blade to deflect his opponent’s blade when he is being attacked.

Advance - A short forward movement

Fuller - A groove down the side of the sword to release suction when stabbed into a person's body.

Hilt - The base of the sword near your hands that isn't the blade

Pivot - Turning 180 degrees while keeping a foot planted

False edge - the "back" of the sword that isn't sharp and what you don't usually fight with.

#3. Common myths

A secret move that leads to victory - There is rarely such a "secret" move. Like chess, swordfighting is won through strategy and careful thinking, as well as physical prowess, not sEcRetT mOveS.

The Dramatic PauseTM - Nope, doesn't happen in real life. No one actually glares at each other in the middle of a swordfighting match when their priority should be, yknow, surviving.

#4. The Learning Curve of swordfighting

Unlike an ordinary learning curve where you slowly get better at something, in swordfighting, an untrained novice is much better than someone practising for a few months. This is because their actions are almost always wild and unpredictable. When a student receives training, their skill will actually decline over the next few months, because they will be trying to fight by the rules and are naturally not good at it. It takes at least two years to become a good swordsperson.

#5. The actual swordfighting itself

Footwork - Forward and back, in a line, in a semi-circle, a pivot. The basic goal of footwork is to give you a balanced center from which you can lunge, advance, retreat, attack, and parry. It also helps maintain the appropriate distance from your opponent and percieve.

Timing - How fast/slow is your opponent? How fast is your reaction time?

Every fighter has a different style. Some may naturally be inclined to use a certain move over and over, and have weakpoints in say, their reaction time. It is important that your character has a proper swordfighting style.

Predictability - How good are your characters/opponents at anticipating and learn each others fighting style? That determines the outcome of the fight!

Sources I used: https://kingdompen.org/writing-realistic-sword-fights/ // https://mythicscribes.com/miscellaneous/swordplay-for-fantasy-writers/ // https://lisashea.com/lisabase/writing/medieval/swords/glossary.html