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Today’s Now I Know (a fun free newsletter, recommended) talks about some of the fundamental elements of being a successful spy. Essentially, the key is to play a character as truthfully as possible. 

When I moved to Canada I was suddenly surrounded by people and places that were just subtly different from what I was used to. The way people dress, talk, eat, smile, and yes, stand, are all signifiers of culture and place. It made me more conscious of what was the same and what was different, or what made me look at an actor in a commercial and immediately say, “Sooo Canadian!” when Mr Man didn’t register a difference.

Here’s the video referenced in the article, with Jonna Mendez, former CIA agent and Chief of Disguise:

What makes a character look “right” or not, or act as if they are rooted in a particular time and place? Understanding those fundamental cues is a great way to think about adding depth to stories and the characters who drive them.

While we’re here, Mendez also has a fun video critiquing scenes in spy movies, useful to anyone writing a story with espionage:

Alias for the win!

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Photo by Debby Ledet on Unsplash

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In writing, brevity works not only as a function of space on a page, but the time that an audience is willing to spend with you.

A friend sent me an excellent article this morning, with some of the most useful advice I can think of for writers. It can also be one of the least welcome suggestions:
Keep It Short.

Danny Heitman’s essay uses this pithy guidance to sum up a lot of bits writers hear when trying to improve their craft: be concise, be concrete, be on point, write for your audience, etc. This does not mean blindly banging away on the Delete button, mind you:

I frequently hear champions of brevity advising writers to cut their word counts by scratching all the adjectives or adverbs… The point of brevity isn’t to chop a certain kind of word, but to make sure that each word is essential.

Short version, keep it short. (Although I can’t help myself, here’s one more quote from the article, this time citing John Kenneth Galbraith):

The gains from brevity are obvious; in most efforts to achieve it, the worst and the dullest go. And it is the worst and the dullest that spoil the rest.

Draft your short story, essay, poem, novel or recipe, then if you have a little time, put it aside. When you come back to it fresh, make friends with that Delete button.

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Reblogging this because Elise Matthesen has been brave enough to turn a bad experience into something useful, and it may help someone in the future… although I hope you don’t need it.

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My friend Elise Matthesen was creeped upon at a recent convention by someone of some influence in the genre; she decided that she was going to do something about it and reported the person for sexual harassment, both to the convention and to the person’s employer. And now she’s telling you how she did it and what the process is like. Here’s her story.

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We’re geeks. We learn things and share, right? Well, this year at WisCon I learned firsthand how to report sexual harassment. In case you ever need or want to know, here’s what I learned and how it went.

Two editors I knew were throwing a book release party on Friday night at the convention. I was there, standing around with a drink talking about Babylon 5, the work of China Mieville, and Marxist theories of labor (like you do) when an editor from a different…

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