Hei, jeg har lyst til å leve av å skrive. (Helst fiksjon) men hvordan er egentlig prosessen?
Noen her som vil, eller vil bli forfatter?
Noen her som vil, eller vil bli forfatter?
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Å kunne skrive godt er vanskelig og krevende. Det krever fantasi, gode norskkunnskaper samt god artikulering. Det beste tipset er å skrive mye. Skriv hele tiden. Ha gjerne med deg en skribleblokk der du skriver ned følelser, hendelser og observeringer. Generell kunnskap er også nødvendig for å kunne skrive. Det skal tross alt interessere leseren, og kunnskap er interessant. Det er også flere steder du kan studere forfatteryrket.
Selvfølgelig hjelper det å lese bøker også. Sett deg ned med en av favorittbøkene dine og les den med en annerledes vinkling enn forrige gang du leste den. Hvordan ordlegger forfatteren seg? Hvordan bygger han/hun opp spenningskurven? Hvordan innleder forfatteren boka osv. Sett deg ned og studer yrket.
Selvfølgelig hjelper det å lese bøker også. Sett deg ned med en av favorittbøkene dine og les den med en annerledes vinkling enn forrige gang du leste den. Hvordan ordlegger forfatteren seg? Hvordan bygger han/hun opp spenningskurven? Hvordan innleder forfatteren boka osv. Sett deg ned og studer yrket.
Sist endret av bendiks; 15. november 2013 kl. 20:58.
Fikk en 6'er på Norsk-eksamen da jeg skulle over til Videregående skole, og gikk lenge og funderte på hva folk synes er så vanskelig med å skrive. Etter hva jeg har forstått, er Norsk det faget "ingen" vil komme opp i, nettopp fordi det er så krevende for de. Jeg kom til slutt fram til at grunnen: Enkelt og greit, er grunnen at de tenker for mye på hvordan folk reagerer på det de skriver. "Jeg kan ikke skrive", "Læreren er for streng" og "Jeg er ikke kreativ", er normale bomsperringer i skriveprosessen.
Men jeg har et par tips til deg: Tenk gjennom hvordan ulike forfattere ordlegger seg, finn din egen skrivestil- Små eller store skildringer? Hvordan vil du starte boken? In medias res, fra begynnelsen, eller fra slutten? Prosessen tar litt tid, men øv deg på et par noveller eller hvilken som helst annen tekst. En skriveøkt rett og slett! Håper dette hjelper deg videre!
Men jeg har et par tips til deg: Tenk gjennom hvordan ulike forfattere ordlegger seg, finn din egen skrivestil- Små eller store skildringer? Hvordan vil du starte boken? In medias res, fra begynnelsen, eller fra slutten? Prosessen tar litt tid, men øv deg på et par noveller eller hvilken som helst annen tekst. En skriveøkt rett og slett! Håper dette hjelper deg videre!
Sitat av Taurean
Ingen jobb vil noen gang spørre om dine karakterer. Ihvertfall ikke banken!
Vis hele sitatet...
Altså, jeg setter pris på den impulsen du har til selvrealisering, og det virker som du er genuint interessert i å hjelpe deg selv og andre til et "lykkelig liv".
Det fritar deg ikke fra å forholde deg til virkeligheten, som vi andre er nødt til.
Selvfølgelig er ikke karakterer alt, men å si at ingen bryr seg om dem er enten håpløst naivt, eller overlagt villedende.
Kanskje du burde lese en bok om kildekritikk før du går ut på neste tokt i bokhandelen etter selvhjelpsbøker.
Til TS: Om du virkelig vil bli forfatter, så lykke til, men ikke forvent å gjøre en karriere ut av det med det aller første.
Jeg kjenner mange som er utdannede litteraturvitere, som har utdannet seg rett inn i meniale jobber, for gjett hva? Det er ikke slik at markedet skriker etter forfattere, det er knallhard jobbing og årevis med avvisning som ligger bak de aller fleste etablerte forfatteres karriere.
Jeg kjenner også utgitte forfattere, en kamerat av meg ble f.eks. nominert til Tarjei Vesaas' Debutantpris, en av de største ærene som kan bli gitt til nye forfattere.
Boken hans solgte ut første opplag på kort tid og fikk strålende anmeldelser både i hovedstrøms og smale medier.
Selv om han altså nyter relativt stor suksess som forfatter, hadde han hatt større økonomisk gevinst av å bruke tiden han satt og skrev, til å sitte i kassa på Rema 1000.
Det er derfor imperativt å ha en plan i bakhånd for å finansiere skriveriene dine så lenge du ikke skriver krim, som av en eller annen grunn faktisk er mulig å tjene gode penger på.
Skriv fordi du elsker det, ikke fordi du vil leve av det. Kunst med økonomisk gevinst som mål er sjelden god kunst.
“Writing Advice: by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
For example:
“Ann’s eyes are blue.”
“Ann has blue eyes.”
Versus:
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
(…)
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
”
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
For example:
“Ann’s eyes are blue.”
“Ann has blue eyes.”
Versus:
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
(…)
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
”
Jeg skreiv nettop fortelling på skolen, men den ble mildt sagt dårlig!
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Sitat av stripilove123
Jeg skreiv nettop fortelling på skolen, men den ble mildt sagt dårlig!
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Vis hele sitatet...
Sitat av Avatar
det er så krevende for de.
Vis hele sitatet...
Sitat av boblesaft
Skriver du feil her blir du rettet med en gang.
Vis hele sitatet...
Sist endret av immolo; 22. november 2013 kl. 09:32.
Sitat av stripilove123
Jeg skreiv nettop fortelling på skolen, men den ble mildt sagt dårlig!
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Jeg vil ikke at læreren min skal tro jeg er en dårlig forfatter, for det er jeg ikke!
Hadde bare litt dårlig tid!
Har noen noen gode råd om hva jeg burde si eller gjøre.
Vi får den igjen til uka, og jeg syntes den ikke var så bra.
Men jeg la så og si hele sjela mi i den!
Er ikke akkurat så motivert allerede
Vis hele sitatet...
Og en annen bra måte å øve seg på er å lese bøker. Masse bøker og legge merke til hvordan de skriver, skildrer og holder på spenningen.
Hvordan bli forfatter av Darren Shan
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