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Writer's Circle is a place to work with your fellow writers to improve your skills, get advice, get help and to provide more opportunities for writing at Gay Authors.


Writing Club
  1. What's new in this club
  2. No. With envision you would be dealing with ideas or concepts which are or at least may be possible. With vision you you are only dealing with belief. A magician can envision a new illusion and create it, what the audience sees is the vision part.
  3. Wouldn't this be the other way around. Envision is the imaginary dog, vision is the real world?
  4. You can envision walking your dog when you get home. In contrast, the invisible dog only you can see would be the use of vision.
  5. "Listen," Your soon to be ex boyfriend says in what he thinks is a calming tone, "I didn't mean to crash the space ship alright? That asteroid came out of nowhere. Lets just find some supplies and see what we can do about repairing the hull, please?" Trapped on an uncharted habitable planet with your air head of a lover and pilot, your task is to try to survive long enough in this blasted alien world to get off it in one piece. Figuring out how to do this without throttling the man next to you is an entirely different matter.
  6. A person can envision something even if they know it is simply a construct, not something that is actually true. A vision is usually of something that actually or can exist in nature or the physical world. Sci-fi writers have to envision their world and build it for others to envision it even though it is all speculation, albeit it might be based somewhat on science.
  7. That sounded like a fun story though, hope you can find some way of re-working it. I also had a dark Sci-Fi post apocalyptic story that I am on the verge of abandoning in the same vein, but instead of a group fighting to survive a disaster, mankind is already destroyed at the start of the story. I started thinking about my story over the summer too after reading about COVID-19 re-infections and stuff. It got me to think, if humanity was at the twilight of our existence, what can we leave behind, writing wouldn't convey our essence, living tissues will degrade over time, and structures will return to their base elements over millions of years. My idea is sort of an adaptation of Star Trek TNG's "Inner Light", one probe of many was launched with a complete record of a genome, brain scans, and records. The probe was never intended to be more than a PR-inclusion concept to add a LGBT human among those records to be preserved; in fact, it's direction placed on a course dangerously near a black hole. This probe will be found by an advanced alien civilization studying the black hole and its content recovered. They would use the knowledge found in the probe to recreate the long dead human being and we will learn through the narrator's slowly recovering memories about his life along with the aliens, who are considering if humanity is worth another chance. It's grand science fiction idea, I haven't written something like this in a while. However, I've struggled for months creating an outline of it: the bleakness of human existence, loneliness that individual humans feel in isolation during the final days of our existence, and how I can make a case that despite all that humanity did wrong we should be given another chance from the perspective of a human being, who was supposed to be forgotten and hurdling towards a black hole. I don't want to abandon it, but it's hard to write.
  8. Any English teachers, editors, or other persons who could explain (clearly) the difference between envision and vision? I do not understand the explanation found online: Envision is a synonym of vision. As verbs the difference between envision and vision is that envision is to conceive or see something within one's mind to imagine while vision is to imagine something as if it were to be true. The two words seem to me to have no difference in meaning, to conceive or see something within one's mind is to imagine something (as if it were true)?
  9. Game 7 of the World Series. It is the bottom of 9th. Bases are loaded. You are down by 1, needing 1 in to tie, 2 to win. Your team has two outs already. You're sitting at full count; 3 balls, 2 strikes. Your team is the visitors and there is 45,000 screaming, jeering, rabid fans yelling at you, never mind the other team's dugout. The pitcher looks around the bases, all 3 runners have a healthy lead off their bases. Not enough though to risk getting a quick out. Also, an error would let 1 possibly 2 of the runners into home. Not worth it. After confirming the call from the back catcher, he winds up and releases the ball and it is coming at you over 100 mph. You start your swing and ...
  10. 6 men, one habitation unit, ten matter converters (only one assembled). Setting: First days of the first colony on the moon Suggested Complication: Two female androids programed strictly for child care, and 10,000 cryogenics pods with 5 fetuses in each.
  11. The way I see it, the only thing you need to do with exposition is imply that the world is bigger than what is on the page. Context clues, implications, and passing mentions of unintroduced elements gives the readers questions they can mull over and want to find the answers for. Take someone shopping in an aisle of a supermarket. The only thing happening in that scene is someone looking through whats on display and trying to find what they need to purchase. However with implied exposition and context clues you could morph something like that into whatever you want. For example, lets say the person that is shopping is a kidnapper and this is a thriller story. He has a victim in the trunk of his car and he is currently shopping for things he'll use to dispose of them later. You can gradually reveal the true nature of his shopping trip through the course of the narration that not only conveys the necessary exposition, but builds tension and makes the reader want to know what happens next. Maybe he's musing about what his victim is doing in the trunk right now, and enjoying the thought of them squirming around in there. Maybe he had some injuries during the struggle capturing the person and he doesn't want to go to the hospital, instead deciding to try and find some self help products in the store. Maybe there's an off duty detective in the same aisle, and he notices the scratches on the man's face and hands, and other signs of a struggle, and he strikes up a casual conversation with the man about what he's buying to gather information. let the scene tell the story rather than thinking "I should put exposition here."
  12. I admire those who are able to make such languages. Personally, I wouldn't be satisfied with a language I made unless I did some in depth research on how languages are made to do it right. J.R.R Tolkien made languages as a hobby and that man had a massive college education on the nature of languages.
  13. "I don't really know much about you," he finally blurted out. Tom stared at him a strange expression on his face. "There's nothing to know," he said. "You mean you don't want to say." Arran knew there was lots to tell, but he couldn't easily read Tom. He looked like he was about to object, but before he could say anything Arran continued. "No, I understand. Why would you want to tell me anything about yourself? Why should I even ask?" He paused studying Tom. "Well, it's like this. Ever since that first day of term and now we've been working on this project together. There is just this thing. Something about you." "Okay, okay, stop!" Tom looked upset. "I've had this all my life. I don't need any more shit. Not now, not from you." He jumped off the stage, ready to walk out. "No wait! It's me. Fuck! It's all about me." Arran told him. Tom hesitated, turned back waiting. Arran could hear the beat of his heart pounding in his ears. He could just die if he had got things wrong. "I... God, I hope I'm not making the biggest mistake of my whole fucking life. Tom..." Tom was still there, looking, waiting.
  14. I just finished a scifi-ish story, The Keys to the Far Castle, about a group of teenagers running away from their farming village on terraformed Moresby's Planet in the Andromeda galaxy. They are led by Edgar Christiansson and his twin, Chad, who have in their engineered DNA/RNA genome construct something that could mean the death to at least 343 billion Terrans within 750 thousand light-years. They are being chased by a 28-member search party that is supporting a catch team bent on the death of all the teens, except Edgar who will be returned to the village for a special execution. All the teens have to do tonight is get across the sandstones bridges in Langley's Chasm and not get killed by a horse-sized lizard, sundew and flycatcher plants big enough to kill a grown man, or drink the water without treating it.
  15. Well... with this year being what it was, there was a huge delay on this. However, they have finally entered Alpha for the backers. By which I mean, they released it yesterday as Tec Alpha V 0.1.0. The artwork is designed such that you make some pretty nifty representative maps. I am highly interested to see where they go with this. I most definitely plan on using it with my worlds.
  16. Write a short story, song, poem or vignette that ends with: If I were... (insert an adjustive).
  17. A few people met for a round of Dungeon and Dragons. Snacks and beverages are at the ready. Each player has several sets of dice in front of them. The GM (game master) clears their throat. "You are in the Thornflower Pines forest." Suddenly a noise sounded, as if many dice were rolled, and everyone impersonates their D&D character sitting around a fire on a glade. From the off the GM's voice can still be heard. "You hear thrashing and stomping as if a large beast makes its way through the underbrush. "
  18. Write an instruction manual with a twist. (At least 500 words.) For example: How to put on a sweater with the left sleeve inside out. How to herd cats, or make scrambled eggs without eggs. (Don't use the examples )
  19. Wow... I don't think I've ever been the first to post a completed anthology story before!
  20. Creating anchors into reality is an excellent method and one I use myself. Writing different genres shows courage and an eagerness to experiment and develop. I like to do the same. I often read what people, other authors, say about writing different genres. Simply Google "how to write a mystery story." Not that I am going to follow the formulas, but it helps to know how others think and go about it. I recently discovered, through searching and reading links, that John le Carré, a famous writer of spy thrillers and an author whose books I love, doesn't plot his stories, but allows them to develop. Simply having an ending in mind, he lets the stories wander wherever the characters take them. I think that a good writer can write in many different genres, if you think about it, often they do already. The Sci-fi, fantasy, has romance and drama, even murder and mystery, etc. What makes a story great is not the genre, but the quality of the writing. I like to have sub-plots and develop a few storylines. I think character development, including secondary characters is important. The genre you can also warp to meet your own style and imagination. The murder mystery can have a supernatural element, provided the reader knows this and it isn't simply a ploy to compensate for lack of plot. One of the worst stories, an epic by different authors, which I read, engaged the reader in a dramatic future scenario of drama, action, and political revolution, before introducing, halfway through, aliens and super normal powers. A complete surprise and unexpected change of genre that destroyed the story for me. Surprises, twists and turns, I like, warping a story without letting the reader know at the start, I don't like.
  21. Question for authors: How do writers experiment with other genre of stories, i.e. Romance, Sports, Mystery, Sci-Fi, Fantasy, History, and so on? For me, technical speculative fiction and science fiction were and still are my chief interests in writing. I'll be experimenting with a modern fiction soon, remote from my prior writing style. A down to earth drama about corruption and power, centered around a semi-fictional version of Boston, my current city of residence. Reason why I am doing this is due to the need to write with an anchor to what I know and what exists around me as points of context, while I experiment with a new genre. It's not difficult to write this story. I thought there may be many other approaches to experimenting with genres that are not your not natural storytelling interest, maybe we can share it with one another. My way is to create anchors of reality.
  22. Bit late to the party. I had a concept over the summer of an apocalyptic fiction piece, even worked on it while camping. The premise of a lot of apocalyptic media is that there is a disaster of some kind, a certain number of humans survive, and the characters learn something. The story ends, and we're left to assume that things go back to something vaguely resembling the pre-apocalypse normal. In reality, that wouldn't happen. There are thousands of things both mundane and more exotic that help maintain our societies, things that can't always be done without specialized knowledge. I wanted to write from that perspective of one of the survivors. Just how does a small group of people try to start rebuilding society? The twist here being that instead of some kind of natural disaster or human error that leads to a mass extinction event for humanity, all heterosexual people simply disappear overnight. Infrastructure remains untouched, which would become one of the recurring issues of the story. I'm hoping to set it up here in Vancouver so I can speak more authoritatively to some of the infrastructure... things like what the survivors are supposed to do about maintaining the hydro-electric dam system that powers our region. Topical, since one of them breached a few weeks ago and led to casualties. I abandoned it because I didn't really give it a solid plan for what I wanted to write, it was going to be a free writing adventure for myself to ease back into creative writing, but I find I can't operate without some kind of plan of what I want each chapter and scene to look like, and then torture the English language to give me the scene I'm looking for. Instead I'm back into my out on the field series... maybe this thing is worth workshopping into something I can soldier through.
  23. I should have mentioned all those were mistakes I had to unlearn making while writing, and even I sometimes fight author voice, btw... not just what annoys me now, regardless of what @Myr says of how I flay him while editing. 😈 I'm always my most critical editor first.
  24. Every 'suddenly' is all of a sudden consciously chosen now, nods vigorously. And I stopped the eye-rolling.
  25. People are not objects. I am not a 'that'. I always see it and envision a snooty lady making a snarky comment about a person with a lip curl, no matter who is talking or the person being referenced. LOL And yes, I get irked when dialogue is described with vocalizations or actions that cannot possibly be actually done at the same time a person is speaking. I "see" what I am reading, so it jars me out of the visualization. Another pet peeve that does that? Independent body movements like "his arms fell" or "his eyes shot over". Um, no. People move their arms and your gaze goes places while your eyes stay firmly in your head, thank you. Or how about "I thought about" or "I considered" as phrases when writing a story in first person limited? No, I'm sorry, if an author is writing in first person then they are literally sharing the story from that character's point of view and people don't think to themselves "I thought about" or "I considered" in their own head. Using those phrases is author voice, which isn't great author craft. It's better to have the character think about the whatever or consider the two options. "I thought about how hot he looked in those jeans." is a no. "He looked great in those jeans" is a yes. "I considered if I should take a chance or wait for a better opportunity to come my way." is a no but "Should I take a chance or maybe I should wait for something better to come along?" is a yes. This, however, is one of the sneakiest and hardest author voice mistakes to avoid, imo.
  26. "Well, I should say not as much as my Who/That thing.," I scowled.

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