الاثنين، 15 ديسمبر، 2014

The 38 Most Common Fiction Writing Mistakes

The 38 Most Common Fiction Writing Mistakes
Jack M. Bickham

على لم اقتنع ببعض تلك القواعد ...لكنه فى النهاية كتاب مفيد....كانت تلك بعض من نصائحه
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الخطأ الاول: اختراع الاعذار

دعك من الاعذار...انا مشغول ,عملى متطلب ,فى انتظار الوحى ,...الكتابه "الاحترافية" عمل و مجهود و ليس لعب و لهو...لو كتبت كل يوم صفحه فى اخر السنه هتلاقى عندك 365 صفحه يعنى كتاب كامل

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الخطأ الثانى: اعتبار نفسك اذكى من القارئ

Come down to earth! that's where the readers are.

خليك متواضع...شوف القارئ بيحب ايه و ايه اللى يفيده و اكتبه متتخليش ان الناس هتموت على كتابك

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الخطأ الثالث: التباهى
You must remember that readers do not read your story to hear how smart you are, or
how complicated you can make your sentences.

مش لازم تبين للقارئ انك عبقرى و صاحب الفاظ عميقه و معقده فى كل صفحه...الكتاب مش مجال لاثبات ذكائك

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الخطأ الرابع: انتظار معجزة

زى ما الدكتور بيحتاج 10 سنين تعليم...الكتابه مش وليدة يوم...حتى ركوب العجلة محتاج تمرين...مش هتبقى كاتب كده من فراغ

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الخطأ الخامس: تسخين المحرك

دعك من البدايات البطيئه فى روايتك..ابدء بحماس و اجذب قارئك

Do you think that you're really going to get past that first reader with an unmoving description of a house or a street? Do you imagine that that reader, going through hundreds of manuscripts every day, is going to pass on your story if it begins with stuff that happened

twenty years ago?
The chances are very, very slim.Moral: Don't warm up your engines. Start the story with the first sentence!

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الخطأ السادس: وصف الشروق

لا تبالغ فى الوصف و الحشو بعضا منه مفيد و يدخل قارئك فى القصة و عمقها...كثير منه قتل للوقت و يؤدى الى جعل قارئك ببساطة يتجاوزه

There are

different ways to deliver your information to your reader. They have characteristic speeds:

 Exposition. This is the slowest of all. It's the straight giving of factual information Nothing whatsoever is happening. You're giving the reader data -biographical data, forensic

data, sociological data, whatever. Some of this has to go in your story, but there's no story movement while you're putting in your encyclopedia info.

Description. Almost as slow. Again, some is necessary. But watch it

Narrative. Here we have characters onstage in the story "now”, and their actions, giveand- take, are presented moment by moment, with no summary and nothing left out. This is like a stage play, and much of your story will be in this form, as we'll discuss in a later section. This kind of storytelling goes very swiftly and provides continuous movement.

Dialogue. Story people talking. Very little action or interior thought. Like a fastmoving

tennis match, back and forth, point and counterpoint. When the story people are under stress and talk in short bursts, this is tremendously fast and forward-moving.

Dramatic Summary. The fastest form of all. Here you have dramatic stuff happening, but instead of playing it out moment by moment, as in narrative, you choose to add even more speed by summarizing it. In this mode, a car chase or argument that might require six pages of narrative might be condensed into a single light-speed paragraph

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الخطأ السابع: استخدام شخصيات حقيقية

الشخصيات الواقعيه ممله...القصة تعنى احداث...و الشخصيات الخاليه من الطعم و اللون و الاحداث يصلحون للحياه فى الواقع لكن ليس بين صفحات كتاب

Good fiction characters, in other words, are never, ever real people. Your idea for a character may begin with a real person, but to make him vivid enough for your readers to believe in him, you have to exaggerate tremendously; you have to provide shortcut identifying characteristics that stick out all over him, you have to make him practically a monster-for readers to see even his dimmest outlines.Thus, even if you start with some real person, you won't end up with him as your
character.

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الخطأ الثامن: الكتابة عن المتخاذلين
لا تكتب عن ذلك الشخص الغير مقاتل...لا يعرف هدفه فى الحياه...ربما يتوفر الكثير منهم فى الواقع لكن الكتابة لا تحتاج هؤلاء...لان اختيار هذا النوع -بلا تطوير- يؤدى الى الكاتب الى "قفله الكاتب الشهيره" فهى ببساطة لا تدفعك للكتابه عنها

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لتقرأ بنفسك الكتاب...و تكتشف باقى قواعدة

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