Are You Legit? What makes you Qualified to Write?

"What Qualifies you to be a writer?" is likely the most negative question I've experienced since I began writing at 17.

I use to answer, "I passed 9th Grade English" or "Because English is my First Language"  In my 30s I was a little meaner -- "What qualifies you to breathe?"

Now that I'm 50 I don't answer at all.

Doubts plague every writer, as fierce as the Furies, as terrible as the Harpies. This particular doubt should never bother you.

Scene/Chapter Transitions(Bridging) Writer Tech

Ever feel the story is choppy, but can’t figure out why? The transitions between scenes or the chapters are a good place to begin. Transitions are words or phrases, which move the reader from one topic, idea or message, to the next in a sentence, but also this term describes the moving between scenes and chapters. The goal with these transitions

• covey why the next topic matters
• introduce an urgency
• create a tension for the scene ahead 
• if applicable, introduce characters 

So, a well composed transition reaches back, then forward, and gives a sense of interest, even urgency.

FrustrationEmotion Encyclopedia for Writers

FRUSTRATION 

TYPE: COMPLEX

DEFINITION: the feeling that accompanies an experience of being thwarted in attaining your goals

DESCRIPTION

In psychology, frustration is a common emotional response to opposition. Related to anger and disappointment, it arises from the perceived resistance to the fulfillment of individual will. The greater the obstruction, and the greater the will, the more the frustration is likely to be. Causes of frustration may be internal or external. In people, internal frustration may arise from challenges in

Writer Tips: Pain

Q: How would you describe in dialogue, someone talking while they'er in pain. Like, "My phone... arg... It's.. uh.. In my back.. pocket..." Or would you do it in dialogue tags. "My phone--" He gritted his teeth, his voice breaking as he groaned in pain. "It's.. uh.. in my back... pocket..."

Pain happens in novels. People get shot. People break things like bones, people get cut. There is also emotional pain. Pain of loss, pain of betrayal. Lots of pain.  So you might be surprised when you go looking for tips on conveying pain and find very little out there, or in books about fiction writing. There is a good reason for this.

Too Much Dialog?

"Too much dialog?"

"What?"

"She asked if there's a thing with too much dialog."

"Too much dialog? What's that? You mean like no description at all?"

"She didn't say that..."

"How can you write a story with no description?"

"She didn't say there wouldn't be any description. She just asked if there was a limit for how much dialog ...."

"How are  you going to know if it's raining or not?"

"That you could take care of  with dialog, no biggie, and if you didn't mention it then it probably isn't an issue."

"Like implied facts. If I walk from the front door to the the kitchen to get a beer, and I don't mention that a white ape flying a small plane crashed into the house, it probably didn't happen."

"Exactly."

"How you going to know if I'm at a door though? Do I have to mention everything I do?"

"You're back on the description thing again, and she didn't say anything about that."

"Well -- it's important."

"Right -- I'm getting the message. So, you agree that there is probably a limit."

"I would think so, yes"

"Since all things have a limit, I'll agree."

"We could figure out a percentage or a ratio, maybe."

"You got a D in math."

"Oh, right. Want a beer?"

"No, you already drank five for me. I think I'm good."

"Fine, I'll just get one for myself then."

"Watch out for white apes."

Something I would argue however is that the other side of that equation doesn't work out. I've read a few attempts at stories, even short stories, going for the "no dialog" goal, and imo each failed as a 'story'. To Build a Fire (London)i is the closest I've encountered, but even Jack breaks down and has the man talk to his dog. Without exchange of some kind involving the MC is nigh impossible to make a connection with the MC and therefore the story.

Sobering up Your Muse

Ever notice that being a writer is hell some days? Of course there is the daily doubt contest between your imagination, your internal critic, the internal editor and that bastard up in the seats. You get use to that -- learn to tune them out. But, then there are those special moments when you've been pushing a two ton rock up hill -- only to find that it is the wrong hill, and that's not the right rock.