The Periodic Table of Storytelling. I found this through Think Geek’s Twitter feed, and it’s too fantastic not to share.
Last year, Jezebel magazine published this flowchart of strong female characters. (I’ve had it bookmarked for a long time, but I don’t think I’ve shared it.) “This incredible flowchart from Overthinking It breaks down the many clichés female characters fall into. Note to writers: The “Mama Bear” and “Vanilla Action Girl” do not count as “strong female characters.””
The above infographic is tied to this essay: Why Strong Female Characters Are Bad For Women. “Yeah, the trouble is, although these characters were marginally better than the original Damsels in Distress, they still ended up having to be saved in the final act by the male hero.”
Gary Westfahl talks about Science Fiction’s Hundred Year Spree over at Salon Futura. “Its plot includes aliens, space travel, projected time travel employing a sort of suspended animation, and a future society distinguished by both scientific and social advances.”
Juliette Wade at TalkToYoUniverse: Never “just description”: making description subjective. “The fact is that description is always subjective in some way. It is literally impossible to capture every detail about something in the real world. Every time we notice and name an object, that is a subjective choice.”
Writer in Residence has two posts I’m sharing: The Editor is Not Your Enemy, part 1 and part 2. “There is a great deal of confusion out there about the role of editors. Part of the problem is that the same label is applied to three very different roles/processes: development editors, acquisition editors, and copy editors.”
Geena Davis talks about how women are represented in movies and television for children. From the Wall Street Journal. “And then we looked at aspirations and occupations and things like that. Pretty much the only aspiration for female characters was finding romance, whereas there are practically no male characters whose ultimate goal is finding romance.” (Personally I’d love to see numbers on children’s books, too.)
Edittorrent: A Quick Answer to a Quick Question. (Grammar! Subjunctive! Conditionals! Colloquial vs. Standard English!) “Fictive grammar is always something of a blend of grammar rules, part formal grammar, part wild English. How you blend them is part of your voice, but that doesn’t mean you get to do it blindly.”
Michael Moorcock has 10 Tips for Storytelling. Pulled from the Gothan Writers’ Workshop, their site says it appeared first in an article in The Guardian.
Justine Larbalestier loves bad reviews. “It’s very hard for authors to believe that reviews are not about them. To not take them personally. It’s hard for anyone to read or hear people hating on something they worked very hard to produce. But you get over it. Or you learn to stop reading your reviews.”
What is the Heart of the Story? from The Alchemy of Writing. “I have to find the heart of the story. I have to find that part, or those parts, that drive the story, that make it what it is. “
The Independent has an article on dystopian books that are all over the YA shelves these days. Doomed! The new teen book genre. “Lovesick vampires, angst-ridden werewolves and troubled wizards are to be cast aside as young readers turn to gritty, dystopian narratives filled with post-apocalyptic societies and climate catastrophe.”
Over at the Apex Book Company: Premature Plot Ejaculation. “But “accidents” do happen. To the best of us. And it’s time someone talked about it. Yes, yes, I’m talking about premature plot ejaculation. There, I said it! It’s out there! Now let’s deal with it.”