7 deadly sin of writing

In a thought-provoking, writing tips based ThrillerFest panel provided by WD managing editor Zachary Petit, four popular authors shared what they believe to be the deadly sins of the writing craft. Here are seven of their offerings. Have you committed any of them?

1. Laziness
(David Hewson, author of the Nic Costa series)
Intellectual laziness is something all writers are prone to: as in writing the same type of book, and doing it annually. “I think you really have to fight against laziness and constantly keep challenging yourself.” Like great art, books aren’t ever finished—they’re abandoned. (In other words, don’t just finish writing a first draft and call it a day.)

2. Trying to be a good student
(Lisa Gardner, author of The Killing Hour)
Gardner said it’s a thrill to rope a lot of cool forensic facts in the research process. But the danger is in going home and regurgitating all of them in your novel—“When really thrillers are all about entertaining. …” Keep that story moving forward.

3. Marching down the outline
(John Sandford, author of Buried Prey)
This occurs when you sit down to write and follow your outline exactly. Sandford said some people use an outline like a frame, and merely embroider within it. Outlining is fine, but sticking too closely to it can stifle your story. “If you do outline, you have to be aware of the problems that that kind of thing can cause.”

4. Denying jealousy 
(M.J. Rose, author of The Hypnotist)
“I try to not allow myself to be jealous of other writers and the books they’ve written,” Rose said—but in fact, she believes it’s a good thing to let some of that jealousy seep through. So don’t bottle it up. “I think it’s really healthy to let yourself have the full range of emotions.”

5. Focusing too heavily on the business
(Sandford)
One of Sandford’s friends obsesses over the business end of writing—his friend writes a book, and then gets lost in all of the trappings of business and promotion … “to the exclusion of actually writing novels.”

6. Not reading books 
(Rose)
Reading is essential for writers. Rose cited a study that said that 23 percent of people in the United States want to be writers. If all of them read 10 books a year, Rose said, “We’d all be doing a lot better.”

7. Imitation
(Hewson)
There is a difference between imitating a book, and being influenced by a book. Hewson added that it’s valuable to figure out why you think certain things work in the books you read, and why others don’t.

sumbr :http://www.writersdigest.com/online-editor/the-7-deadly-sins-of-writing

which one you prefer

A simple story, written superbly. I prefer that, compared to an intricate one, written poorly. 
(primadona angela)

how identify-premise-conclusion-argument

Instructions

1. • 1
     Find the conclusion first by looking for the statement that makes the main point. Ask yourself with what thought the person presenting the argument wants you to leave. The conclusion is often the first or last statement in an argument, and sometimes it is repeated to emphasize that it is the main point. Write down the sentences on a piece of paper and figure out their relation to each other. Learn the key words that are likely to be used in a conclusion. Key words include therefore, for that reason, thus, so, for, then, consequently, as a result and accordingly.
   • 2
     Look for sentences that offer evidence, anecdotes, explanations, supporting arguments and quotations from authorities to support the conclusion. Premises are reasons given to support a conclusion, and they can be identified by key terms that include according to, considering, by, if, given that, in fact, for, since, because and after all. The context in which key words are used determine whether or not they are clues to identify premises and conclusions.
   • 3
     Identify missing premises. When presenting an argument, some speakers assume certain premises are facts or common knowledge that don't need to be stated. If a premise seems to be missing, you might have to try to get into the speaker's head and figure out what statement they have left unspoken that would support the argument's conclusion. Translate rhetorical questions in an argument into declarative sentences.

sumber : http://www.ehow.com/how_7762573_identify-premise-conclusion-argument.html

How To Write formal outline

Instructions

1. • 1
     Compose a sentence that describes what your book is about. In nonfiction, this sentence is synonymous with a thesis statement (eg, "This book examines why women in Southeast Asia have a higher pain tolerance than their American counterparts."). In fiction, the sentence you write identifies the book's core conflict (eg, "Miriam has 48 hours to prevent her brother from marrying the wrong woman.").
   • 2
     Divide the content of your book into three sections. Whether it's nonfiction or fiction, every book is structured around a beginning, a middle and an end. Assign these broad sections the Roman numerals I, II and III just as you probably did in school when you were learning how to create outlines for essays. Give each of these three sections a title or short phrase that summarizes the broad content of that section.

     In nonfiction, for instance, it might look like this:

     I. Methodology

     II. Case Studies

     III. Conclusions

     In fiction, the categories might be:

     I. Miriam learns who Harry is marrying

     II. Genevieve endeavors to silence Miriam

     III. The day of the wedding arrives
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   • 3
     Create subcategories under each of the Roman numerals and assign them the letters A, B, C and so forth. Depending on the level of detail you want to construct, you can then move to further breakdowns of 1, 2, 3, etc. and a, b, c, etc. When you have completed the outline, review each of your entries to ensure that they relate back to your original statement of intent, and that you've stayed on message. In her title, "The Scene Book," author Sandra Scofield emphasizes that each event in a work of fiction should have a definitive reason for its existence, a structure that advances the plot and a tempo that alternates between escalating the tension and allowing the readers to thoughtfully contemplate what they've just read. In nonfiction projects, each element should not only flow smoothly into the next but should embrace a structure in which simple concepts are introduced first and transition to more challenging material.
   • 4
     Rewrite the entries from your fiction outline into a narrative format if you're planning to send it to a publisher along with your query letter. Unlike a nonfiction outline in which all of the topics you've identified can stand as section and chapter titles and be submitted in exactly that form, a fiction editor wants to see an outline that reads like a sequential synopsis of events. Ideally, it should take no more than three paragraphs for this narrative overview and follow the same structure of beginning, middle and end.
   • 5
     Identify the placement of any supplemental content in your nonfiction project. This could include maps, photographs, translation guides, glossaries and appendices. During the writing process, including these elements in your outline will help ensure that you don't leave anything out.

sumber : http://www.ehow.com/how_6729830_write-formal-outline-book.html

Membuat Premis

Instructions

1. • 1
     Describe what your novel is about in 1-3 sentences. For many writers, this is more challenging than writing the actual novel but is a critical exercise for revealing whether the premise is both compelling and sustainable.
   • 2
     Understand the difference between a "story" and a "plot". They're often used interchangeably by new writers but mean different things. If you write, "My novel is about a parrot that herds sheep", you're describing the book in terms of its story. How the phenomenon of a sheep-herding parrot originated and what the outcome will be, however, is what constitutes your plot (which is also known as your premise).
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   • 3
     Go back and read what you wrote in Step 1. If you described your novel in terms of its story, rewrite it now to reflect its plot. For example, suppose you wrote, "My novel is about three brothers who are worried about what they'll inherit from their father". That doesn't say much to grab a reader's attention. We don't know what the setting and circa are, whether the siblings get along, or even whether the father is still alive. If your setting is Medieval England, the rules governing the division of an estate amongst brothers dictated that the eldest inherited the land, the second son took up arms to defend the king, and the third son was required to enter the clergy. Suppose, though, that the third son isn't keen on donning a monk's robes and being celibate. While he can't change English law, he can change his immediate circumstances and take steps that will ensure he assumes the number one slot. By spinning these collective elements into 1-3 sentences of intrigue, you have a premise that begs the question of "what happens next".
   • 4
     Identify the point of view that will prevail in your novel. In the example above, the majority of the action revolves around the third son and his determination to do whatever he has to in order to inherit.This then places all the focus on a character who is actually the villain instead of the hero. Consider how differently the dynamics would unfold if the core perspective were shifted to one of the siblings, the father, or even a household servant - any one of which could assume the role of hero and thwart the younger brother's evil schemes.
   • 5
     Identify what's at stake. For the premise of your novel to capture the imagination, it needs to be clear from the get-go what the end-game is and what the characters are willing to do or sacrifice in order to reach their goal. A solid premise is always based on reward, revenge or escape or a combination of the three. In the example above, the premise is based on reward (the inheritance) and revenge (predicated on jealousy of the two older brothers). The stakes are high because the property and the prestige translate to power and respect. These mean so much to the younger brother that he's willing (and perhaps even a bit eager) to commit murder, a crime that is punishable by death if he gets caught. If the premise is such that the character(s) could walk away from their quest(s) without incurring any consequences, it's not a sustainable plot.
   • 6
     Define the genre of your novel. This should be reflected in the premise and communicate to the reader the tone and themes that will prevail. Example: "'Ill Gotten Gains' is a Medieval comedy in which the youngest of three brothers seeks to avoid a life of servitude to the church by leapfrogging his way to the top of the inheritance line by whatever means necessary."

sumber : http://www.ehow.com/how_4928644_write-premise-novel.html

Membuat Premis Yang Kuat

How a Strong Story Premise Sets You up for Success

A story premise focuses your writing. To excite the interest of an agent, it is imperative that the agent knows immediately what your novel is "about." The value of this cannot be underestimated. A clear story premise sets out the core drama of your story, and the need that drives your main character. Remaining clear about the premise helps you decide which scenes to keep and which must go.

Blindness, by Jose Saramago, is a novel about an ophthalmologist, his wife, and a small group of people who try to survive as an entire city goes blind and enters a state of chaos.

This one sentence synopsis is the premise of the novel. It answers the questions What happened to whom that starts the story? and What will he or she do about it? This last part, the story goal of the character, is crucially important, as it raises the following question in the reader's mind: Will the character succeed? It is that main question, along with other minor questions raised in individual scenes, that will keep readers reading. When readers no longer need to know something, they lose interest and stop reading.

What happened to whom? Blindness happened to an ophthalmologist, his wife, and a small group of people. What did they do about it? They learn to survive the resulting chaos.

Drama revolves around human needs, such as the need to be loved, the need to survive or overcome challenges, the need for basic life necessities. The need to grow, or understand, or better oneself.

Ultimately, you will also need to know the result of the characters' need fulfilment efforts, but for now, it is enough to make it clear to readers what has happened to whom and what decision the character has made to cope with the problem and ensuing need. These two elements of the story premise cause readers to ask questions, and questions keep readers reading. It's vital to remember this.

Get in the habit of stopping your own reading to ask yourself why you're reading any book. What question has the author created that causes you to want to know the answer? As you train yourself to recognize how questions are raised, you will be better able to pose them yourself.

Now imagine that you tell a friend that you went to New York for the weekend. Everything went well-no turbulence on your flight, posh hotel, and exquisite food. Your friend may ask a few half-hearted questions. Which hotel did you stay at? Do you have a favourite restaurant? The conversation won't go much beyond that.

Imagine the same scenario with an upsetting incident. You tell your friend that you went to New York for the weekend and a woman collapsed in your arms on the subway. Your friend will spring to life and lean toward you. Who was she?

Why did she collapse? What did you do? Was she all right? Problems and the need that results raise questions.

So: What upsetting incident happens to your protagonist to set your story in motion, and what does the character decide to do about it?

Character >>>> problem >>>> goal = strong premise

What is your novel "about"? Your answer to this question will either stimulate or douse interest in your book. A strong story premise will focus your writing, just as a good thesis focuses an essay. A poor premise can cause you to write a lot of material that may never fit your story or interest readers. News stories focus on human needs.

Not: The city tore down several buildings to enlarge the freeway
But: a family is out on the street with nowhere to go because the city tore down several buildings to enlarge the freeway.

The first incites no reader emotion. The second engages reader interest and incites empathy and reader emotion because it raises a question about a human need. Where will these people go? Who will help them? How will they begin again? What they do to overcome their problem and resolve their need is the story.

A premise is the plot in one or two sentences.

A story premise is most useful when it names a specific character, a specific problem, and aspecific goal. A premise is not an abstract idea.

Action, particularly action that causes problems for someone, engages reader imagination and raises interest. The best stories involve both the intellect and the emotions. For this reason, any intellectualization in your story needs to revolve around a character acting to rectify a problem that has upset his or her world. Soul searching needs to revolve around goal-oriented action.

Not: My novel is about the increasing tendency toward isolation in the twenty-first century.
But: My novel is about a brilliant computer engineer who tries to save his reputation after his role in the creation of a deadly missile becomes public.

Note how this story premise names the character, his problem, and what he does about it. It also raises many questions: Why is his reputation ruined? What happened with the missile? What does he do to save his reputation? Is he successful?

Not: My novel is about what happens to individuals who have extreme surgical makeovers.
But: My novel is about a woman with Body Dysmorphic Disorder who undergoes dramatic surgery to correct her imagined flaws.

Each revised premise raises questions, and this is what your story premise needs to do. The more compelling the questions raised, the more readers you will attract. If you are uninterested in action, goals, and complications, you want to write an essay, not a novel. You will see this pattern of action carrying ideas in even the most literary novel.

A novel is a book-length narrative that involves characters that confront obstacles in the pursuit of a goal.

The drama in your story need not be "big." You don't need car chases and natural disasters, but you do need interesting goals and interesting action that moves characters toward goal achievement. A good premise makes your ideas as tangible as possible for others.

Story Premise = What problem to whom? = What response to what need? 

sumber : http://www.be-a-better-writer.com/story-premise.html

contoh premis

novel Meander, premisnya a: “Cinta menyembuhkan semua luka”. 
Bercerita tentang 4 orang tokoh utama yang harus berdamai dengan luka di masa lalu. Masuk di novel kedua, Apologia Latte, mengekplorasi emosi dan rasa bersalah. Perpaduan antara roman dan thriller. Akan ada adegan pembunuhan dan akan ada cerita mengenai alam selepas kubur. Tapi lebih dari itu segalanya bermuara pada satu premis, “Cinta yang terlalu berlebihan akan membunuhmu”. Lagunya Queen.