SPECULATIVE FUTURISTIC INSPIRATION

SPECULATIVE FUTURISTIC INSPIRATION

Creative Writing Prompts by Melissa Donovan, https: http://www.writingforward.com

Get inspired by the future. How would people in the Middle Ages respond to a television? What would someone from the 1700s think of a helicopter? What would a person from the early twentieth century think of a computer, or more specifically, the Internet?

They would think these things were magical — either illusions or genuine supernatural occurrences. They might even believe the persons yielding the magical objects were witches, wizards, or gods.But you and I both know that’s not the case. Televisions, helicopters, and computers are all very real, and thanks to modern technology, most of us have access to them.

We humans have a tendency to believe that we are at the apex of knowledge — that right now, we know as much as we ever will. As much as we love fictional, futuristic stories, we tend to think of them as fanciful. Sure, a great writer or a skilled filmmaker can help us suspend our disbelief for the duration of a book or a film, but sitting in your living room on an ordinary day, it all seems rather unlikely, doesn’t it? People bouncing around in time? Fighting intergalactic wars in outer space? Come on.

But if you stop to wonder what our world will look like 100 or 1000 years in the future, these fantastical ideas don’t seem so crazy. What incredible inventions will be developed over the course of the next millennium?

Asking questions about the future is an excellent way to generate ideas for speculative fiction. Let’s Take a Trip to the Future Let’s do some thought exercises to flex your imagination. You’ll need to envision what the world looked like in the past, what it looks like today, and what it might look like in the distant future.

Use these questions to spark ideas and then write anything you want: a poem, a story, a personal essay, or just a short scene. The goal is to engage your imagination, remove barriers that block all the possibilities, and open your mind.

Medicine

Some of humankind’s greatest achievements have been in medicine. We now use all the technologies at our disposal to diagnose, treat, and prevent illnesses — from pills and vaccines to X-rays and MRIs. From a device as simple as a stethoscope to one as complex as microscope, we’ve made wellness possible in ways that couldn’t have been imagined a few hundred years ago. What is yet to come? How will health care change in the future? Will we walk through a machine that scans our bodies to detect any possible ailment? Will there be a heal-all pill? And for each advance we make, will another new devastating disease rear its head?

Travel

Advances in travel are awe-inspiring. There was a time when humans were limited to travel by foot. Then came the wheel, which made the cart possible. Later, ships carried people across water. Eventually, trains made high-speed, long-distance travel possible. Next, the airplane. Then, spaceships took us higher and submarines took us deeper. Where will we go next? Will intergalactic travel ever be possible? What about teleportation? Time travel? A thousand years ago, it’s doubtful most people believed traveling to the moon was possible. Where will we go a thousand years from now?

Personal Technology

Technology has grown rampantly in the past few decades. Since the 1970s, almost all households in developed countries are equipped with more than one television, stereo, and computer. We can store an entire library of books, movies, and music on a device that fits in the palms of our hands. Two hundred years ago, if you wanted to talk to someone, you had to go to their house. Fifty years ago, you had to find a phone and dial their number. Today, you reach into your pocket, pull out your device, and press a button. How will personal technology advance in the next 100 years?

Have Fun!

It’s not easy for everyone to imagine things that don’t exist yet. It might help if you can summon your old history lessons. If you can conceptualize where we’ve been and contrast it with where we are now, you might start getting ideas about where we’ll be at some point in the future. Run with your ideas, even if they seem crazy, absurd, or impossible. The purpose is to let your imagination run wild and to have fun.

Once you’re done, come back and tell us what inspired you. What did you write? Was it fun to explore the future? Will you keep writing?

8 Ways to Convince Book Bloggers to Review Your Book

8 Ways to Convince Book Bloggers To Review Your Book

Book bloggers actually do want to review your book! But we don’t have a lot of time so when you forget to include vital information or don’t follow the submission instructions, your requests end up in the trash bin. Here are 8 ways to convince me—and other book bloggers—to review your book:

via http://www.bookdaily.com/  There’s no reason to pile on and make your request email an epic read – that’s your novel’s job. When approaching reviewers keep your request on point. Give each blogger exactly what they ask for – no more, no less. Remember, we get lots of emails and the easier you make it for us, the greater your chance of acceptance. Here’s what should always be included.

1. Reviewer’s name: Guess what? You may have to read through the blog a bit to find it. Check contact information. Read all the way to the bottom of submission guidelines. It’s there. Now address your email to an actual person. Don’t write a generic salutation like To whom it may concern, Madam, Sir or other nonsense. Personalize it like Hi, D or Ms. Bale. Start requests using a smidgen of professionalism.

2. Your name: State this in your first sentence and again at close. Something like My name is Wendy Woman, author of Windy Woods, and… Sign off with Sincerely, Wendy/Ms. Woman. You get the drift.

3. Book title: Again, include this in paragraph one similar to the example given in #2.

4. Word count: If your request is for an eBook, include word count. If for print, reference page count. Reviewers need to have an idea of the time investment required.

5. Genre: Thriller, Mystery, etc. In a world of crossovers and sub-genres it can be difficult to classify your novel’s niche. Try and focus on the main thematic element. Is it something taking place in a galaxy far, far away? Science Fiction is for you. A post-apocalyptic world? Dystopian. Who done it? Mystery. Fast-paced, high stakes? Thriller. Even if your novel has elements of romance, action, or mystery classify it under one main heading then choose the underlying classifications to further identify it, such as Romantic Suspense – a romance novel with elements of suspense. As a reviewer if I’m told a novel is thriller, then I expect a fast-paced read. If it ends up plodding and drags my review will reflect this perceived negative due to deviation from the genre’s norms. But if this same book was referenced as a fantasy, I’d expect a more character-based journey and the slower or uneven pace would fit. Therefore my review would not perceive this as a negative. Simply put – KNOW YOUR GENRE – and know it well.

6. Time frame: If you have a hard date for reviews (release party, tour, campaign), tell a potential reviewer up front. Otherwise, don’t even mention time frame in your email. If a hard date is the case, always give a minimum of two months lead time. This allows reviewers to decide if they can meet your deadline. Don’t email two weeks before said date. We may not even get to your request within that time. Conversely, if you are like most authors and have no established date by which you need reviews, don’t say anything about a time frame. Referencing you want a timely review goes back to the slap in the face moment mentioned earlier. We try to make reviews timely – but timely to authors and timely to reviewers are very different. Authors are happy when reviews are posted the following week. Reviewers are happy when we post the following month (or two, three…).

7. Book blurb/synopsis: Sell reviewers on your book. Make it sound like something we’ve gotta read ASAP. Don’t do the lazy thing and simply provide a link. Copy/paste description/synopsis/blurb into the email body. Make it easy for reviewers to take a chance on you, an unknown indie, to want to read your novel.

8. Subject line: State Review Request or Book Review. Don’t get all flowery or funky and make the email subject line long and convoluted. Anything longer won’t show up in a condensed line anyway.

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See? It isn’t difficult to compose a concise request detailing a novel’s basics. You don’t need to write another manuscript to get your point across. You don’t need to brow-beat reviewers or blow sunshine up dark places. You don’t need to denigrate or puff yourself up to get a point across. If reviewers want more simply go off submission guidelines – follow reviewer guidelines first and foremost.

Otherwise, lean on the side of KISS – Keep It Simple, Silly!

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🐦CLICK TO TWEET🐦 #Authortip from @BookDailycom: 8 Ways to Convince Book Bloggers To Review Your Book by @DABale1 http://www.bookdaily.com/authorresource/blog/post/1966703 #amwriting #writerslife

ABOUT THE AUTHOR: In her previous career, D.A. Bale traveled the United States as a Government Relations Liaison, working closely with Congressional offices and various government agencies. This experience afforded her a glimpse into the sometimes “not so pretty” reality of the political sphere. Much of this reality and various locations throughout her travels make it into her writing.

She dreams of the day she can return to visit Alaska.

You can find out more about her on her website www.dabalepublishing.blogspot.com and on Twitter

5 TED Talks Everyone Should Have Already Watched — Kopitiam Bot

(Source: dollarsandsense.sg) #1 The Secret Of Becoming Mentally Strong (Speaker: Amy Morin) “Good habits aren’t enough. It only takes one or two small habits to really hold you back.” Amy Morin starts off by sharing how everyone has a friend that seems to have a perfect life, and how we kind of don’t like that […]

via 5 TED Talks Everyone Should Have Already Watched — Kopitiam Bot

WHAT MAKES BAD WRITING BAD

virginia-woolf

 

Virginia Woolf: “The psychic risk of a novel such as Woolf’s The Waves is vast – particularly for someone for whom psychic risk was so potentially debilitating.”  This article is Written by Toby Litt who is a London-based writer. Hospital, his latest novel, is published by Hamish Hamilton. ( A reblog from 2015)

Bad writing is mainly boring writing. It can be boring because it is too confused or too logical, or boring because it is hysterical or lethargic, or boring because nothing really happens. If I give you a 400 page manuscript of an unpublished novel – something that I consider to be badly written – you may read it to the end, but you will suffer as you do.

It’s possible that you’ve never had to read 80,000 words of bad writing. The friend of a friend’s novel. I have. On numerous occasions. If you ask around, I’m sure you’ll be able to find a really bad novel easily enough. I mean a novel by someone who has spent isolated years writing a book they are convinced is a great work of literature. And when you’re reading it you’ll know it’s bad, and you’ll know what bad truly is.

The friend of a friend’s novel may have some redeeming features – the odd nicely shaped sentence, the stray brilliant image. But it is still an agony to force oneself to keep going. It is still telling you nothing you didn’t already know.

Bad writers continue to write badly because they have many reasons – in their view very good reasons – for writing in the way they do. Writers are bad because they cleave to the causes of writing badly.

Bad writing is almost always a love poem addressed by the self to the self. The person who will admire it first and last and most is the writer herself.

When Updike began writing Rabbit, Run it was either going to be a great technical feat or a humiliating misjudgment

While bad writers may read a great many diverse works of fiction, they are unable or unwilling to perceive the things these works do which their own writing fails to do. So the most dangerous kind of writers for bad writers to read are what I call excuse writers – writers of the sort who seem to grant permission to others to borrow or imitate their failings.

I’ll give you some examples: Jack Kerouac, John Updike, David Foster Wallace, Virginia Woolf, Margaret Atwood, Maya Angelou. Bad writers bulwark themselves against a confrontation of their own badness by references to other writers with whom they feel they share certain defense of worthy characteristics. They write defensive admirations: “If Updike can get away with these kind of half-page descriptions of women’s breasts, I can too” or “If Virginia Woolf is a bit woozy on spatiality, on putting things down concretely, I’ll just let things float free”. If another writer’s work survives on charm, you will never be able to steal it, only imitate it in an embarrassingly obvious way.

 

Bad writing is writing defensively; good writing is a way of making the self as vulnerable as possible. The psychic risk of a novel such as Woolf’s The Waves is vast – particularly for someone for whom psychic risk was so potentially debilitating. When Updike began writing Rabbit, Run all in the present tense, it was either going to be a great technical feat or a humiliating aesthetic misjudgment. (Excuse writers aren’t, in themselves, bad writers; not at all.)

Often, the bad writer will feel that they have a particular story they want to tell. It may be a story passed on to them by their grandmother or it may be something that happened to them when they were younger. Until they’ve told this particular story, they feel they can’t move on. But because the material is so close to them they can’t mess around with it enough to learn how writing works. And, ultimately, they lack the will to betray the material sufficiently to make it true.

Bad writers often want to rewrite a book by another writer that is written in a different time period, under completely different social conditions. Because it’s a good book, they see no reason why they can’t simply do the same kind of thing again. They don’t understand that even historical novels or science fiction novels are a response to a particular moment. And pretending that the world isn’t as it is – or that the world should still be as it once was – is disastrous for any serious fiction.

Any attempt to write fiction in order to make the world a better, fairer place is almost certain to fail

Conversely, bad writers often write in order to forward a cause or enlarge other people’s understanding of a contemporary social issue. Any attempt to write fiction in order to make the world a better, fairer place is almost certain to fail. Holding any value as more important than learning to be a good writer is dangerous. Put very simply, your characters must be alive before they seek justice.

Bad writers often believe they have very little left to learn, and that it is the literary world’s fault that they have not yet been recognised, published, lauded and laurelled. It is a very destructive thing to believe that you are very close to being a good writer, and that all you need to do is keep going as you are rather than completely reinvent what you are doing. Bad writers think: “I want to write this.” Good writers think: “This is being written.”

To go from being a competent writer to being a great writer, I think you have to risk being – or risk being seen as – a bad writer. Competence is deadly because it prevents the writer risking the humiliation that they will need to risk before they pass beyond competence. To write competently is to do a few magic tricks for friends and family; to write well is to run away to join the circus.

Your friends and family will love your tricks, because they love you. But try busking those tricks on the street. Try busking them alongside a magician who has been doing it for 10 years, earning their living. When they are watching a magician, people don’t want to say, “Well done.” They want to say, “Wow.”

At worst, on a creative writing course, the tutor will be able to show you how to do some magic tricks; at best, they will teach you how to be a good magician; beyond that, though, is doing magic – and that you will have to learn for yourself. For what a tutor can’t show you is how to do things you shouldn’t be able to do.

Toby Litt is a London-based writer. Hospital, his latest novel, is published by Hamish Hamilton.