Wednesday, March 28, 2012
Sunday, March 25, 2012
Thursday, March 22, 2012
Wednesday, March 21, 2012
Tuesday, March 20, 2012
Monday, March 19, 2012
Friday, March 16, 2012
Wednesday, March 14, 2012
Monday, March 12, 2012
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
via Brain Pickings, again. Sorry, I know I just posted a Brain Pickings link one post ago, but I couldn't help myself, they were both so good. I will stop now.
Friday, March 9, 2012
One of the interesting things about success is that we think we know what it means. A lot of the time our ideas about what it would mean to live successfully are not our own. They’re sucked in from other people. And we also suck in messages from everything from the television to advertising to marketing, et cetera. These are hugely powerful forces that define what we want and how we view ourselves. What I want to argue for is not that we should give up on our ideas of success, but that we should make sure that they are our own. We should focus in on our ideas and make sure that we own them, that we’re truly the authors of our own ambitions. Because it’s bad enough not getting what you want, but it’s even worse to have an idea of what it is you want and find out at the end of the journey that it isn’t, in fact, what you wanted all along.
Thursday, March 8, 2012
Tuesday, March 6, 2012
Monday, March 5, 2012
When setting out to design a book jacket for a work of fiction, whether we are aware of it or not, we designers are picking our subject matter from a limited set of bins. Though the choices we can make as designers are unlimited, the categories that define most of the choices we make when we pluck these ideas from their native fictions, are, on the face of it, quite easy to list.
To wit, some broad categories for fiction jacketing subject matter:
1. “Character”Put a person on the cover. Frequently a winning design tactic, though also tricky— as we designers don’t want to rob readers of their satisfying acts of imagination. One should always show a portion of a character rather than the whole magilla. Body parts: hands, feet, hair, ears, etc are, and should be, more common than full frontal facial disclosure. Much of our work is spent hiding, occluding, interrupting faces.)Read the rest of the essay at his site, Jacket Mechanical
Friday, March 2, 2012
Thursday, March 1, 2012
From an article in Smithsonian:
Scientists testing emotions in research subjects have resorted to a variety of techniques, including playing emotional music, exposing volunteers to hydrogen sulfide (“fart spray”) to generate disgust or asking subjects to read a series of depressing statements like “I have too many bad things in my life” or “I want to go to sleep and never wake up.” They’ve rewarded test subjects with money or cookies to study happiness or made them perform tedious and frustrating tasks to study anger.
“In the old days, we used to be able to induce fear by giving people electric shocks,” Levenson says.
Ethical concerns now put more constraints on how scientists can elicit negative emotions. Sadness is especially difficult. How do you induce a feeling of loss or failure in the laboratory without resorting to deception or making a test subject feel miserable?
“You can’t tell them something horrible has happened to their family, or tell them they have some terrible disease,” says William Frey II, a University of Minnesota neuroscientist who has studied the composition of tears.
But as Gross says, “films have this really unusual status.” People willingly pay money to see tearjerkers—and walk out of the theater with no apparent ill effect. As a result, “there’s an ethical exemption” to making someone emotional with a film, Gross says.
Read the rest of the article by Richard Chin at Smithsonian.