I made it to 2,192 words.

I really want to do more, but I need to study for my Chemistry final tomorrow, and I’m already exhausted. 

Maybe I’ll wake up early and write more… 

HA! 

6.01.12. CAMP NANOWRIMO,Camp NaNoWriMo 2012,NaNoWriMo,

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CAMP NANOWRIMO BEGINS NOW!

6.01.12. Camp NaNoWriMo,Camp NaNoWriMo 2012,NaNoWriMo,

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Camp NaNoWriMo in less than 10 hours!

 

I really hope I have time to pull this off. 

What with two finals tomorrow, and my sister’s graduation, and my grandma visiting, and work. 

I’m using this as a test of my determination.  

And I know I’m going to kick ass. 

5.31.12. Camp NaNoWriMo,NaNoWriMo,Camp NaNoWriMo 2012,

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(Source: platinumredneck, via thelonehuman)

5.30.12.

1266

(Source: lannewriter)

5.28.12. nanowrimo,

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The NaNoWriMo Song

Bringing this back from Camp NaNoWriMo :) 

5.28.12. Camp NaNoWriMo,Camp NaNoWriMo2012,NaNoWriMo,National Novel Writing Month,OLL,Office of letters and light,The NaNoWriMo Song,

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btlrb: Margaret Atwood

btlrb:

Margaret Atwood

(Source: sleepinginthesnow, via infatuated-with-language)

5.26.12. Margaret Atwood,

5740

Letter to the Playground Bully

5.26.12. spoken word,spoken word poetry,Poetry,Speaking,words,creative writing,poem,poems,

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Camp Nanowrimo Gear

rynambrose:

Basic Necessities:

  • laptop with wifi
  • notebook with gel pens
  • my scene notecards wih mechanical pencils
  • Scrivener (I’m hooked now)
  • the nano project spreadsheet
  • iPod
  • tumblr
  • nanowrimo.org
  • camnanowrimo.org
  • my Nook
  • Save the Cat by Blake Snyder
  • The Writer’s Journey by Christopher Vogler
  • The Elements of Style
  • various grammar books
  • my character sheet template 
  • mythology books and websites

Lunchbox:

  • coffee
  • peppermint mocha coffeemate
  • water with lemon
  • fresh fruit
  • ramen noodles
  • diet coke
  • deli meat for sandwiches
  • grill
  • hot dogs
  • a few cookies (but I better stick to my diet!)

5.26.12. camp-nanowrimo,camp nano,camp gear,

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Elmore Leonard: Using adverbs is a mortal sin

1 Never open a book with weather. If it’s only to create atmosphere, and not a charac­ter’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead look­ing for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.

2 Avoid prologues: they can be ­annoying, especially a prologue ­following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’sSweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks.”

3 Never use a verb other than “said” to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But “said” is far less intrusive than “grumbled”, “gasped”, “cautioned”, “lied”. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated” and had to stop reading and go to the dictionary.

4 Never use an adverb to modify the verb “said” … he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs”.

5 Keep your exclamation points ­under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

6 Never use the words “suddenly” or “all hell broke loose”. This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.

7 Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apos­trophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range.

8 Avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway’s “Hills Like White Elephants”, what do the “Ameri­can and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story.

9 Don’t go into great detail describing places and things, unless you’reMargaret Atwood and can paint scenes with language. You don’t want descriptions that bring the action, the flow of the story, to a standstill.

10 Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them.

My most important rule is one that sums up the 10: if it sounds like writing, I rewrite it.

Read This article! It’s full of advice for writers! 

5.26.12. advice,advice for writers,writing advice,creative writing,Elmoore Leonard,Adverbs,creative,Writing tips,Margaret Atwood,

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