The Crusades Of Writing

The Crusades Of Writing
This article does not discuss what to write or how to write, but merely a favorite ? why to write.
The world appears in its dissatisfactions. Potential lies in the prospect that desires to change it, and prosperity lies in the chaotic chase that has already begun. Writing is barely a provision of the many to choose from.

Any man can breathe. Any man can disembowel liquid. Any man can write.
Writing becomes a necessity when the worthier elements of life like love and joy, become pursuits instead of possessions. Those who like to mouth ?I love to write? might as well have ?loved to bungee jump?. So often, writing is an escape rather than a commitment, an alternative rather than a motive, a hobby rather than an involvement.

The difference between writing, when writing is the object of a desire, and writing, when it is the dearth of one, is similar to the difference between consuming food through your mouth or your nostrils. One is precise; the other is either foolhardy or deliberate.

A failure in one?s life is an achievement in one?s vanities. A hurt pride resorts to dissimilar paths of self-absorption eluding the one that confronts its vulnerabilities. Those who fail as intellectuals, rise as diplomats, but never cede to be individuals ? because compliance with circumstances defeats the purport of the indomitable convictions of man, so likely, we forge more humane opportunities. Opportunities that are severely consistent, ripe and simple. Opportunities like writing.

Once again, take notice ? Any man can breathe. Any man can disembowel liquid. Any man can write.

The object of scrutiny when two things are placed in contrasting contest is not spurious triumph, but progress through aptitude. Sometimes, it is essential to lose, and sometimes it is downright pivotal; it is forever substantial to remember that neither is success a construct of victories, nor is it a servant of one. Success lies deep in the path of experience and often, unknowingly, people who disembowel liquid, bungee jumpers, writers – pass it demurely. It is a fervent moment writhing within several unnamed others; it cannot be achieved, it has to be a yielding harvest.
In writing, there are no discoveries, only inventions ? those, that either concoct interest or intrigue. If anything in the written connotation is a function of the former, it is languid and specious. If anything, at all, as it has been a rarity for so long, compromises with the latter, it is grand, unique, most welcome, and most awaited.

Uselessness is an innate, inherent part of writing anything. Futility, you see, is perfect and the only thing that is so. Those who master it are legends, those who come across it accidentally are writers, and those who tend towards it are fools. Those who come closest are renowned as professionals.

Precision in any sort of writing is a triviality and a widowed clich?. There is no ?bull?s eye? in perspectives, in predilection or in opinion; it is consequential to generalize. A thing that is meant to socialize with more than a single existent word should never focus or centralize acutely. It?ll fail to stand ground, and eventually fail to impress.

The diversity one writer inures to delineate himself from another is only in an unrealized, imperfect conformity of perseverance. Hard work is an unknown realm, a world within a world, a most secret horizon of each written syllable ? when we expand these realms and horizons, when we free our worlds, we can hope towards hope to be writers. A just and lively hope to be good writers, and if not, efficient in the least.

There is still a last truth to reckon with, again and again, until it is defunct and old and as gray as cement stripping off naked walls ? Any man can breathe. Any man can disembowel liquid. Any man can write. Learn to survive it.
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Horror Writing – Ten Cliches to Avoid

Horror Writing – Ten Cliches to Avoid
For anyone thinking about writing in the horror genre, there are certain situations that, over the years, have been done so often that the audience knows exactly what to expect. Using any of these is fine if you’re being post-modern and ironic as in the Scream series, because you can get the audience laughing as they jump. But if you’re trying for the big scare, here are some situations to avoid, and alternative scenarios to consider.

For anyone thinking about writing in the horror genre, there are certain situations that, over the years, have been done so often that the audience knows exactly what to expect. Using any of these is fine if you’re being post-modern and ironic as in the Scream series, because you can get the audience laughing as they jump. But if you’re trying for the big scare, here are some situations to avoid, and alternative scenarios to consider.

The woman alone in the old dark house

She’s usually blonde, big breasted and not very bright. She shouts things like “Who’s there?” or “Is that you Joe?” Then she goes into dark rooms to see what’s in them. Tippi Hedren plays a fine example in The Birds, as does Jamie Lee Curtis in Halloween. This scene has been so successfully lampooned by the Scream series that its going to be hard for anyone to do it again; but if you must, you’ll need to find a new way of raising the tension. Making the woman blind has been done, as has having a man being stalked by a woman. But how about having the stalker existing inside mirrors, and only able to reach out at arms length. What happens if he gets a knife?

The kid who’s Mom isn’t Mom any more

The kid says “That isn’t my mom” A smug doctor says, “It’s all in your mind kid: The Mom leads the kid off, and the next day both Mom and the kid give the doctors far-away stares. This was a staple in 1950’s paranoia flicks like Invasion of the Body Snatchers and Invaders from Mars, and was given a new lease of life in Dark Skies. Serious thought is needed to give a new slant. How about if its the pets that are getting taken over, and only the kids notice?

The experiment gone wrong

They say things like “Morals are for lesser mortals” and “The ends justify the means” Then their creation jumps up and bites them. Think of all the movie versions of Frankenstein or Dr Jekyll and Mr Hyde and you can’t go far wrong. A more recent example was Beau Bridges in Sandkings, the pilot for the modern Outer Limits. Anyone planning on using this scenario should really meet some scientists. Many of them are weirder than their fictional equivalents, and they provide great material for stories.

The mob of villagers

Sometimes there’s a ringleader, such as an old woman whose grandchild has been killed. Other times there’s just an angry mob shouting “Rhubarb” and waving torches. Perhaps the best example is actually in a spoof, Young Frankenstein. How about trying a calm mob? I can’t think of a new way of doing this that would be scary, but maybe you can do better?

The priest who’s lost his faith

There are two ways this can go. The creature says “Your feeble god means nothing to me” and kills the priest in particularly gory fashion. Or the creature says “Your feeble god means nothing to me” and the priest steps up to the base and drives the creature away. There are fine examples of the first in Stephen King’s Salem’s Lot, and John Carpenter’s The Fog. You could try having the creature banishing the priest to hell? I haven’t seen that one… yet.

Running through woods in the dark

People run around in the dark, shouting things like “Mulder, where are you?” and waving flashlights, followed all the time by a malevolent presence in the trees. This is otherwise known as The Blair Witch Project. The idea was taken to extremes in Pitch Black where there wasn’t even hope of daybreak to come. A variation would be to do it in daylight, but Big Arnie covered that in Predator. How about having the monster as an urban creature that is actually afraid of the woods when chased into them? Time for that angry mob again perhaps?

Playing with dark forces

Somebody says “Let’s play with Grannie’s Ouija board” The next thing you know a planchette is flying around the room on its own. This idea has turned up a lot on TV recently, and usually involves scantily clad girls, in shows like Charmed and Buffy the Vampire Slayer.The way to use this scenario without looking tired is to find a new way of calling up the evil. How about a character who mouths the words as he reads them, thus calling up the beast by accident?

The love of a good woman

The monster dies an inglorious death and somebody says “T’ was beauty that killed the beast” Our cavemen ancestors probably told this one round the campfires. On film it dates back to at least 1933 and King Kong. More recently there was a variation in the Beauty and The Beast TV series and even the Disney movie of the same name. Why not try having the beauty fall in love first while the beast never succumbs? You’d need to find a neat resolution to the story, but then again, you’re a writer, so that’ll be easy 🙂

Let’s split up

Everybody knows that the monster is around somewhere, but someone says, “We’re off to explore that dark place. You go the other way and we’ll meet up later.” Why does everybody always think this is a great idea? Just watch Buffy TVS and count how often the gang lose each other. Or go back to the original Scooby gang and watch Shaggy and Scooby get split up in every episode. Why not have them stay together for a change? Or maybe they keep in contact via cell phones to foil the bad guys. Or, better still, what about a monster that can split up and be in two places at once?

I’m free

The monster has been vanquished, the victor turns back to the other survivors to take the acclaim, and the suddenly resurgent monster chomps him to pieces. There are nice examples in Starship Troopers and Deep Rising. One way to subvert this would be to have another monster save your victim? Or how about doing something brave and have your monster die first time?

Conclusion

I’m off to write my new script “Chomp!” It starts as a mob of angry villagers storm the lab of a mad scientist who has been dabbling in powers man is not meant to understand. The priest with the mob is killed by a “creature” that escapes into the forest.

A year later 10 nubile teens are shipwrecked on the island. They split up to search the area and find themselves being chased by a mutated man-beast, half-man, half Komodo Dragon. Soon there’s a lot of running through forests at night, and a tense scene where a blonde is trapped in the ruins of the lab.

The big climax comes when the last two of the teens confront the monster. The boy thinks he’s killed it, and turns back in triumph, only for the beast to rear up and dismember him.

In a poignant final scene the last girl cradles the monster’s head in her lap and weeps as it dies.

Do you think it will sell? If your answer is “No”, what would you do to make it work?
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Help on Writing Research Paper Thesis

Help on Writing Research Paper Thesis
If you really want to write a creative and newsy research paper thesis, then you will need to use your own knowledge, instinctive skills, imaginative power, abstraction, etc. persistently.

The very first fundamental point is to make a detailed outline for your research paper thesis. It should cover each chapter of your research thesis in a synchronized manner. The chapters for your thesis generally involve introduction, findings of the research, case studies, summary, and finally the recommendations. The backbone of your research paper thesis is a powerful research proposal.

The truth of the matter is that it involves introduction, statement of the problem, proposition, objectives, research methods, and significance of your topic. If you research proposal is well written, then you research paper thesis will be accepted at once.
Report writing is an important aspect while research paper thesis. You are often asked by your professor to submit him monthly or bimonthly reports consistently. Writing research paper thesis is not a trouble free job by any means.

In fact, it needs your imaginative power, creative skills, abstraction, dedication, passion, and commitment so as to write a quality based research paper thesis. How is it possible to improve research paper writing? Well all you have to do is to just make use of your creative writing skills so as to get the job done perfectly.

Using correct grammar, spellings, punctuation is the most fundamental requirement for the research paper thesis writers at all. On the other hand, you will need to use some short and snappy headings, subheadings, bullets, numbering, etc. for your research paper thesis. Add to that, tables, charts, and diagrams will make a big impression on the eyes of the readers. Try to remain synchronized as much as you can since it would lend a hand to make a sense of your research paper thesis in a real positive manner.

Another most important element for writing a creative yet synchronized research paper thesis is to quote examples according to the situation of your research topic. It would be wonderful if you add few case studies in your research paper thesis logically. Besides, life history of a special person, photography, and random sampling techniques play a critical role in your research paper thesis. Furthermore, you should pay a close attention to your research objectives, as they are the main concern of your research thesis indeed.

If you do not find out the qualitative data regarding your research objectives, then it will be a waste of time at all. Bear in mind your research hypothesis all the time as it would lead you to find out the qualitative data with regard to your research objectives. Finally create a self belief in a way that you could alone do an in-depth research and analysis regarding your research paper thesis at all. In short, these tips and tricks would surely help you to write a competitive, dynamic, newsy, and memorable research paper thesis ever in your life.
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