IF YOUR ART GETS STOLEN
Go there, and do as the instructions say.
When my art was stolen, I got the post reported, and it was taken down. Don’t worry, it doesn’t just take down the sources post, but it takes down all the reblogged posts too.
Please give this a reblog, many artists out there may not know this is here.
And remember, ask permission before sharing, or don’t post it.
asked: Do you have any words relating to dust in a sunbeam?
‘Dust motes' is all that I can think of.
Do you guys, perhaps, know a word (in English, or in your own dialect) specially made for these kinds of tiny particles or specks you see upon a sunlight? I’ve been looking for that word, too. Thanks.
In the meantime, I’ll just e-mail Mr. John Koenig to make a word for it. If he respond, I’m sure he can do that :D
Anonymous asked: Do you have any tags/ advice on including symbols? I have a few themes I want to touch on and connect items and characters to, but I'd like a little but of a basis before I develop anything.
This is a link to an article we shared a while back on symbols, colors and numbers. And this is a link to a website that discusses the use of symbols found in different cultures and societies. I will urge you, however, to be careful when using certain symbols. Some cultures may consider the use of their symbols to be offensive. Always do extra research on the meaning of a particular symbol so you aren’t accidentally a party to appropriation.
As I’ve been going through the intern slush, I’ve noticed that many times, when I recommend a rejection, it’s largely because of voice. Voice, to me, is one of the most important elements in a novel, because if it’s wrong on the first page, it’s usually wrong throughout the whole manuscript.
Being that I read a lot of YA submissions, this post is largely centered on voice-related problems I frequently see with YA submissions. But many of these issues can also apply to NA by looking at the points with a slightly older cast in mind.
YA Voice Red Flags:
- Lack of contractions. This can actually be a problem in any category, but it’s especially important in YA manuscripts—a voice without any contractions always sounds stiff. This is one of the easiest (and often one of the first) voice-related red flags I pick out. Why? Because we speak and think with contractions, so when they’re absent, the writing becomes stilted and loses a great deal of flow, making it extraordinarily easy to pick it out. “I am not feeling well so I can not go,” for example, doesn’t sound nearly as fluid as, “I’m not feeling well so I can’t go.” Agreed? Good.
- Outdated slang. If you’re writing YA, you need to be current with the language—no exceptions. For examples, teenagers today don’t really say “talk to the hand” or “phat” or “what’s the 411” anymore. (Note: those weren’t taken from actual submissions, I’m just giving outdated examples). Outdated slang, to me, is an enormous red flag and tells me the writer isn’t reading enough YA.
- Forced (current) slang. This is an equally problematic, but harder to spot problem. Sometimes I see submissions that use current slang, but the waythey use it feels…off. This is a little harder to describe, but the easiest way to ferret them out of your manuscript is to have critique partners and/or beta readers who are up to date with the current slang read your manuscript.
- Corny curse substitutions. This is a biggie. While not all teenagers curse, many of them do—and when they don’t, they don’t often use corny substitutions. “Frickin’” for example, could work as a substitution for a particular four-letter word, but “french fries” probably won’t.
Note: UNLESS your character makes a point of being corny, or it fits with your voice. I won’t say this never works (because I’m sure there’s a book out there that can make it happen), but to be honest, I’ve yet to see it work successfully with exception to “D’Arvit” in Artemis Fowl, which mostly worked because it wasn’t corny—it was a made up gnomish word.
- Teenager stereotypes. This is huge. When I see teenager stereotypes blended into the voice or the characters, it almost always puts me off. Teenagers are not a sum of their stereotypes, and relying on them in your writing, quite frankly, is lazy. You can do better–and teenagers deserve better.
- Listen to teenagers talk. A lot. Don’t have a teenager in your life? That’s fine—watch YA-centered TV shows and movies. They tend to feature teenagers who are effortlessly up to date with current slang, references, etc. Or go to your local mall and do a little (subtle) eavesdropping. Yes, really. It’s research.
- Read YA. By and large, the YA that’s published today (especially if it’s relatively recent) have great examples of successful YA voices. Read them. Learn from them. Write your own. (This step by the way? Not optional if you’re writing YA).
- Get critique partners. This is so ridiculously important—make sure you have beta readers and critique partners look at your work. I personally recommend having several rounds of betas and CPs, so you can see if the changes you made in the first round, for example, were as effective as you hoped.
Would you add anything to either list? Unmentioned problems? Solutions?
A weird thing I find incredibly helpful for art/writing.
Eplans.com is a website that sells blueprints for houses.
This might not seem that helpful but if you want a characters house you can make selections based on what sort of house you want them to live in.
Then browse through the results and find the house you want. Then you can view the blueprints and have a room layout for that house, which can help with visualising the space they live in.
It makes describing generic homes so much easier.