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Creative writing tips and tricks for beginners Creative writing. Easy, but difficult at the same time. So how do we make it easier? How do we make it fun? Also, how to get better at it? Should we use figures of speech in creative writing? What priorities should we give to grammar, spelling and punctuation? Novels, short stories, biographies... it's all covered here. For the answers, read on below! Six causes of a beginner writer’s expressive problem (and what to do about each) By Guest Author This is a guest article by Abraham Adekunle. If you want to submit a guest article of your own be sure to read the guest article guidelines. Writing can seem liberating at first. You sit down at your computer, smuggle your coffee beside your writing materials, and begin the session with an enthusiastic mind. You […] Filed Under: Creative Writing Tips, Magnetic Writing How to pick out a character for your novel By Guest Author This is a guest article by James Thompson. If you want to submit a guest article of your own be sure to read the guest article guidelines. Believe it or not, but the profession of your novel characters play a major role in making your novel a big hit. Using clichéd professions such as doctor, […] Filed Under: Creative Writing Tips, Fiction Writing Creative writing in 2015: here’s what you need to know By Idrees Patel There are few things constant in the world, and creative writing is not one of them. Sure, it may not look like it on the surface. After all, creative writing is one of those things which stays evergreen, supposedly. Books on creative writing written decades ago still have relevance in the present. Creative writing advice […] Filed Under: Creative Writing Tips The art of finishing a chapter By Guest Author This is a guest article by Jessica Millis. If you want to write a guest article of your own be sure to read the guest article guidelines. The end of the chapter. A mystery that most writers who are still working towards getting their first publication have yet to solve. Having read through many poor, […] Filed Under: Fiction Writing How to create characters readers really care about By Guest Author This is a guest article by Alex Limberg. If you want to write a guest article of your own be sure to read the guest article guidelines. Some writers claim they know their characters even better than their spouses. It’s great when your spouse doesn’t just exist on paper, and even greater when you can […] Filed Under: Fiction Writing How to write great scenes: tips and tools By Guest Author This is a guest article by Michael McPherson. If you want to read a guest article of your own be sure to read the guest article guidelines. Writing for a living is not as easy as people think. Most persons believe that writers have a great life – just sitting at a desk, filling in […] Filed Under: Fiction Writing Tips and tricks to add humour to creative write-up By Guest Author This is a guest post by Stewart Agron. If you want to submit a guest post of your own be sure to read the guest post guidelines. Forming up creative ideas and retaining creativity throughout a write-up is as arduous as trying to figure out how to put a giraffe in a refrigerator. But adding […] Filed Under: Creative Writing Tips What is good writing? By Idrees Patel Good writing. More precisely, a piece of writing or multiple pieces of writing which have been labelled with the quality of goodness. Everyone strives to have their writing become, through hard work, good writing. Good writing is a great thing, a thing to strive for. But what is it, really? Why is that we don’t […] Filed Under: Creative Writing Tips, Magnetic Writing 1 2 3 … 5 Next Page » Sign up for Treasure Trove Email address: First Name: Popular articles Common Mistakes Made by Creative Writers How to Master Clarity in Writing Why Hunting for Plots is Worthless Writing Tip: Experiment with Free-writing 1 Year Later: How I Improved My Writing Blog topics Academic Writing Creative Writing Tips Fiction Writing Poetry Writing Editing and Proof Reading Magnetic Writing Reviews Site News Technical Writing Web Writing Recent articles Six causes of a beginner writer’s expressive problem (and what to do about each) How to come up with great creative headlines How to become an outstanding writer Demolish your writer’s block How to pick out a character for your novel About me Idrees Patel is a college student who enjoys reading, writing, browsing the web, tinkering with consumer electronics and more. He is currently studying for a bachelor's degree in management, living in India. Learn more about him & the blog → Treasure Trove Treasure Trove is the Writers' Treasure newsletter, and it includes all blog articles, upcoming gui

teknik penulisan

MENYUSUN KARYA ILMIAH A. Konsep Karya Ilmiah Karya ilmiah terbentuk dari kata “karya” dan “ilmiah”. Karya berarti kerja dan hasil kerja dan ilmiah berari bersifat ilmu. Dengan demikian karya ilmiah berarti kerja atau hasil kerja berdasarkan ilmu atau kerja yang bersifat ilmu. Ilmu merupakan pengetahuan yang diperoleh berdasarkan metode-metode ilmiah. Metode ilmiah dilakukan untuk mendapatkan kebenaran ilmiah. Oleh karena itu, karya ilmiah harus berisi kebenaran ilmiah. Jadi, karya ilmiah adalah karya yang disusun dengan menggunakan metode ilmiah untuk mendapatkan kebenaran ilmiah. Kebenaran ilmiah akan tercapai apabila diperoleh dari pemikiran yang rasional (logis) dan dapat dibuktikan secara empiris. Pemikiran yang rasional merpakan pemikiran yang disertai dengan penalaran yang logis (diterima akal sehat). Penalaran yang ilmiah harus di sertai dengan informasi (pengetahuan) yang tepercaya. Sedangkan empiris maksudnya pemikiran yang disertai dengan bukti-bukti dan fakta-fakta. B. Karakteristik Karya Ilmiah Sesuai dengan uraian di atas, karya ilmiah berkarakteristik: a. objektif, artinya karya ilmiah harus relistis, apa adanya, sesuai objeknya, tidak ada rekayasa, dan tidak pula memasukkan unsure-unsur subjektivitas penulis, b. faktual, artinya karya ilmiah harus didasarkan pada fakta dan dapat pula dibuktikan, c. rasional dan logis, artinya karya ilmiah harus dapat diterima secara akal dan berisi penalaran-penalaran ilmia, d. ilmiah, artinya karya ilmiah harus didasarkan pada bidang keilmuan dan prosedur ilmiah, e. sistematis, artinya karya ilmiah harus disusun dengan menggunakan sistematika yang baik, dan f. manfaat, artinya karya ilmiah harus mempunyai manfaat untuk pengembangan ilmu pengetahuan secara teoritis dan pihak-pihak yang memerlukan, bahkan bermanfaat secara universal, dan bermanfaat praktis, C. Pola Pikir dalam Penulisan Karya Ilmiah Pola piker dalam karya ilmiah memunyai peranan yang sangat penting karena sebuah karya ilmiah selalu didasarkan pada hasil berpikir ilmiah. Pola pikir dalam karya ilmiah dipilah menjadi dua, yaitu pola pikir bersifat deduksi (cara berpikir deduktif) dan pola pikiri induksi (cara berpikir deduktif). Pola pikir deduktif merupakan pola pikir ilmiah yang didahului dengan pernyataan umum yang berupa kesimpulan terhadap suatu objek atau pernyataan teoritis dari sebuah teori tertentu kemudian ditindajlanjuti dengan pernyataan khusus yang diperoleh dari analisis objek, argument-argumen, bukti-bukti, dan hal lain yang aktual, realistis, dan logis. Sedangkan pola pikir induktif merupakan pola pikir yang didahului dengan pernyataan khusus yaitu hal yang bersifat aktual, realistis, dan objektif kemudian ditarik sebuah pernyataan umum (simpulan). D. Sumber-sumber Gagasan Penyusunan Karya Ilmiah Sumber gagasan penysunan karya ilmiah yang dimaksudkan di sini adalah bahan penulisan. Bahan penulisan adalah berbagai informasi baik teoritis maupun realistis-empiris yang menimbulkan inspirasi untuk menyusun karya ilmiah. Sumber-sumber informasi dapat diperoleh dari hal-hal seperti diuraikan di bawah ini. a. Inferensi atau pengalaman Profesi yang kita tekuni, aktivitas yang kita jalani, dan pekerjaan yang kita kerjakan pasti memunculkan persoalan-persoalan. Kerap kali dalam benak kita mempunyai gagasan untuk mengembangkan aktivitas tersebut menjadi lebih baik, maju, dan berkualitas. Sering pula, ketika kita menjalani kegiatan, pekerjaan, dan profesi menemui masalah dan terlintas cara memecahkannya. Gagasan, cara memecahkan masalah, dan hal-hal baru yang kita dapatkan dari aktivitas itu dapat kita pakai sebagai bahan untuk menulis karya ilmiah. Sumber yang kita peroleh seperti itu berarti bersumber dari pengalaman sehari-hari. b. Observasi Sumber penulisan karya ilmiah dapat diperoleh pula dari observasi. Observasi yang dimaksud adalah pengamatan terhadap suatu objek, kejadian, atau fenomena tertentu. Kegiatan observasi itu dilakukan dengan terjun langsung atau melibatkan diri ke dalam objek, peristiwa, dan fenomena yang diamati. Proses observasi harus dilakukan dengan sadar (terencana) dan terukur. c. Pustaka Sumber pustaka maksudnya adalah sumber yang diperoleh dari buku dan media cetak lainnya. Untuk mendapatkan bahan penuluisan karya ilmiah dari sumber ini harus melalui proses membaca kritis. d. Deduksi dari suatu teori Yang dimaksudkan deduksi dari suatu teori adalah pernyataan-pernyataan umum dari suatu kesimpulan suatu teori tertentu yang sudah umum dan diyakini kebenarannya. Penulis karya ilmiah berkeinginan untuk membuktikan simpulan teori tersebut pada hal lain. e. Kebijakan-kebijakan Kebijakan-kebijakan tertentu dapat manjadi bahan penuliusan karya ilmiah. Yang dimaksudkan dangan kebijakan adalah ketentua-ketentuan tentang suatu hal yang diberikan atau diberlakukan oleh pihak tertentu. Kebijakan-kebijakan tersebut menimbulkan dampak tertentu pada pihak lain. Pihak lain ada yang setuju, ada yang menolak, ada pula yang tidak mendapatkan pengaruh apa pun. Hal tersebut dapat dipakai sebagai bahan untuk menyusun karya ilmiah. f. Laporan penelitian Sumber dari laporan penelitian adalah sumber yang merupakan laporan dari suatu penelitian yang pernah dilakukan oleh orang lain. Penelitian itu telah dibukukan menjadi sebuah karya ilmiah. Dengan membaca laporan penelitian tersebut diharapkan kita akan memperoleh masalah lain yang dapat kita jadikan sebagai karya ilmiah. E. Prosedur Penyusunan Karya Ilmiah F. Sitematika Penyusunan Karya Ilmiah dan Teknik Penyusunannya Bagian Awal 1. Hal-hal yang termasuk bagian awal adalah : 2. Halaman sampul 3.Halaman judul 4. Abstrak 5. Kata Pengantar 6. Daftar Isi 7. Daftar Gambar 8. Daftar Lampiran Bagian Inti BAB I PENDAHULUAN A. Latar Belakang Masalah B. Identifikasi Masalah C. Pembatasan Masalah D. Perumusan Masalah E. Kegunaan Penelitian F. Definisi Operasional BAB II KAJIAN PUSTAKA A. Kajian pustaka setiap variabel B. .Hipotesis (jika ada) BAB III METODE PENELITIAN A. Rancangan Penelitian B. Tempat dan Waktu Penelitian C. Populasi dan Sampel Penelitian D. Metode Penelitian E. Instrumen Penelitian F. Teknik Analisis Data BAB IV HASIL PENELITIAN DAN PEMBAHASAN A. Deskripsi Hasil Penelitian B. Uji Prsayarat Analisis C. Pengujian Hipotesis D. Pembahasan hasil penelitian BAB V KESIMPULAN, IMPLIKASI DAN SARAN A. Kesimpulan B. Implikasi C. Saran Bagian Akhir • Daftar Pustaka • Lampiran • Riwayat Hidup Penulis Sistematika Laporan Penelitian Versi Pendek: (Makalah , Artikel Jurnal Ilmiah) 1). Pendahuluan 2) Kajian teori 3). Metode 4). Temuan dan Pembahasan 5). Kesimpulan dan Rekomendasi 6). Daftar Pustaka 7) Lampiran - Daftar Riwayat Hidup G. Teknik Penulisan Komponen-komponen Karya Ilmiah H. Makalah sebagai Sebuah Bentuk Karya Ilmiah Makalahadalah karya tulis yang membahas suatu masalah berdasarkan hasil kajian pustaka (teori) atau hasil pengamatan Tahap-tahap Penyusunan Makalah Persiapan a. mengumpulkan dan membaca buku-buku untuk memilih dan menentukan topik b. membaca buku-buku untuk memperluas pengetahuan yang berhubungan dengan topik yang telah terpilih c. mengembangkan kerangka makalah 2. Penulisan Kegiatan pengembangan kerangka makalah menjadi sebuah makalah 3. Pemeriksaan (Revisi) Pemeriksaan terhadap isi dan penggunaan kata, kalimat, ejaan, dan tanda baca. Pertimbangan dalam memilih topik (a) topik harus bermanfaat (b) menarik dan sesuai dengan minat penulis (c) topik harus dikuasai penulis (d) tersedia sumber-sumber informasi dan bacaan Kerangka Makalah BAB I PENDAHULUAN 1.1 Latar Belakang 1.2 Permasalahan 1.3 Tujuan 1.4 Manfaat 1.5 metode pengumpulan data 1.6 Definisi operasional BAB II PEMBAHASAN Berisi uraian yang menjawab rumusan masalah secara terperinci didasarkan atas data-data dan informasi dari berbagai sumber. BAB III PENUTUP 3.1 Simpulan 3.2 Saran DAFTAR PUSTAKA BAB I PENDAHULUAN Latar Belakang Pada bagian ini diungkapkan hal-hal yangmelatarbelakangi pembuatan makalah atau karya tulis.Bagian ini mengungkapkan landasan pemikiran pemilihan judul atau permasalahan yang akan ditulis. Tujuan Bagian ini mengungkapkan tujuan yangingin dicapai melalui karya tulis tersebut .Manfaat Bagian ini penulis menjelaskan manfaat penelitian. Manfaat tersebut diarahkan kepada pihak-pihak tertentu. Perumusan manfaat adalah untuk siapa dan apa manfaatnya untuk pihak tersebut. Pembatasan Masalah Bagian ini mengungkapkan cakupan masalah yang akan dibahas. Masalah yang terlalu luas harus dibatasi supaya pembahasan lebih terfokus.Pembatasan juga dapat berisi penjelasan tentang peristilahan yang digunakan dalam karya tulis. Metode Pengumpulan Data Bagian ini menjelaskan berbagai teknik yang digunakan dalam pengumpulan data untuk penyusunan karya tulis tersebut.Pengumpulan data dapat dilakukan melalui pengamatan, angket, wawancara, dan membaca buku. Definisi operasional Pada bagian ini penulis dapat menjelaskan definisi dari fariabel yang dipakai dalam tulisan. Definisi operasional bersifat teknis, artinya istilah tersebut yang dipakai dalam makalah tersebut. Bab II Pembahasan, Mengemukakan pembahasan masalah bersumber pada data yang diperoleh dibandingkan dengan teori yang terdapat pada berbagai sumber. Bab III Penutup, memuat simpulan dan saran. DAFTAR PUSTAKA Daftar Pustaka adalah daftar yang berisi buku, makalah, artikel, dan bahan bacaan lainnya yang dikutip atau digunakan sebagai sumber informasi dalam penulisan makalah. Hal-hal yang diinformasikan dari sebuah buku dalam penulisan daftar pustaka, meliputi: (a) nama pengarang, (b) tahun penerbitan, (c) judul dan subjudul (jika ada), (d) tempat penerbitan, (e) nama penerbit. Cara menulis daftar pustaka 1. Jika nama pengarang terdiri atas dua kata, kata kedua harus didahulukan. Misalnya, Amin Santoso ditulis Santoso, Amin. Di belakang nama diberitande titik(.). Nama gelar tidak perlu dicantumkan. 2. Tahun terbit buku diakhiri tanda titik (.) 3. Judul buku dan subjudul (kalau ada) ditulis miring atau diberi garis bawah per kata dan diakhiri tanda titik (.) 4. Kota penerbit diakhiri tanda titik (.) 5. Nama penerbit buku diakhiri tanda titik (.) Contoh Aminuddin. 1987. Pengantar Apresiasi Sastra. Bandung: Sinar Baru. Badudu, J.S.1981. Membina Bahasa Indonesia Baru. Seri 1, 2, 3. Bandung: Pustaka Prima. ………. . 1981. Kamus Ungkapan Bahasa Indonesia. Cetakan ke-9. Bandung: Pustaka Prima. Moeliono, Anton M., dkk. 1988. Tata Bahasa Baku Bahasa Indonesia. Jakarta: Depdikbud. Wijaya, Marlina dan Euis Honiatri. 1997. Intisari Tata Bahasa Indonesia untuk SLTP. Bandung: Pustaka Setia. Kirimkan Ini lewat EmailBlogThis!Berbagi ke TwitterBerbagi ke FacebookBagikan ke Pinterest

perenggna pertama

bagi saya perenggan perrtama memainkan peranan yang sangat penting.saya perlu memikirkan bagaimana hendak mencipta perenggan peertama yang baik. sesetengah cerpen menggunakan dialog untuk memulakan cerpen

ulasan creative writing 5%

artikel ini membincangkan sepuluh cara untuk memperbaiki cara kita menghasilkan karya kreatif melalui penulisan.sepuluh cara tersebut merangkumi cara kita memulakan aktiviti menulis,penghasilan perenggan pertama yang mudah didfahami tapi memukau,cara kita mengembangkan watak watak dalam karya kita,pemilihan cara penceritaan dari sudut mana,penulisan dialog yang mengesankan,pemaparan latar dan konteks,pembinaan plot jalan cerita,pemaparan konflik dan ketegangan dalam cerita,pembinaan klimaks serta penyamapaian solusi kepada krisis yang dipaparkan dengan penuh kreatif sepuluh perenggan pertama haruslah mempunyai keupayaan untuk menangkap perhatian pembaca kerana tulisan pertama kita memainkan peranan penting.jika penulisan kita membosankan,pembaca tidak akana nberminat untuk membaca perenggan seterusnya.jadi kita perlu memikirkan bagaimaan untuk mencipta perenggan pertama yang catchy agar pembaca timbul minat untuk membaca. kita juga perlu menetapkan kita ingin bercerita dari sudut mana.dari sudut dirisednidri iaitu aku saya atau dari sudut orang lain iaitu dia mereka atau kamu

ulasan makalah creative writing 5%

A short story conserves characters and scenes, typically by focusing on just one conflict, and drives towards a sudden, unexpected revelation. Go easy on the exposition and talky backstory — your reader doesn’t need to know everything that you know about your characters. Contents Get Started: Emergency Tips Write a Catchy First Paragraph Develop Your Characters Choose a Point of View Write Meaningful Dialogue Use Setting and Context Set up the Plot Create Conflict and Tension Build to a Crisis or a Climax Deliver a Resolution 1. Get Started: Emergency Tips Do you have a short story assignment due tomorrow morning? The rest of this document covers longer-term strategies, but if you are in a pinch, these emergency tips may help. Good luck! What does your protagonist want? (The athlete who wants her team to win the big game and the car crash victim who wants to survive are not unique or interesting enough.) When the story begins, what morally significant action has your protagonist taken towards that goal? (Your protagonist should already have made a conscious choice, good or bad, that drives the rest of the story.) What unexpected consequences — directly related to the protagonist’s goal-oriented actions — ramp up the emotional energy of the story? (Will the unexpected consequences force your protagonist to make yet another choice, leading to still more consequences?) What details from the setting, dialog, and tone help you tell the story? Things to cut: Travel scenes. (Save words. “Later, at the office, I…”) Character A telling character B about something we just saw happening to character A. (Cut the redundancy.) Facial expressions of a first-person narrator. (We can’t see what our own faces look like, so don’t write “A smile lit my face from ear to ear.”) See Writing Dialogue. What morally significant choice does your protagonist make at the climax of the story? (Your reader should care about the protagonist’s decision. Ideally, the reader shouldn’t see it coming.) An effective short story (or poem) does not simply record or express the author’s feelings; rather, it generates feelings in the reader. (See “Show, Don’t (Just) Tell.”) Drawing on your own real-life experiences, such as winning the big game, bouncing back after an illness or injury, or dealing with the death of a loved one, are attractive choices for students who are looking for a “personal essay” topic. But simply listing the emotions you experienced (“It was exciting” “I’ve never been so scared in all my life” “I miss her so much”) is not the same thing as generating emotions for your readers to experience. For those of you who are looking for more long-term writing strategies, here are some additional ideas. Keep a notebook. To R. V. Cassill, notebooks are “incubators,” a place to begin with overheard conversation, expressive phrases, images, ideas, and interpretations on the world around you. Write on a regular, daily basis. Sit down and compose sentences for a couple of hours every day — even if you don’t feel like it. Collect stories from everyone you meet. Keep the amazing, the unusual, the strange, the irrational stories you hear and use them for your own purposes. Study them for the underlying meaning and apply them to your understanding of the human condition. Read, Read, Read Read a LOT of Chekhov. Then re-read it. Read Raymond Carver, Earnest Hemingway, Alice Munro, and Tobias Wolff. If you don’t have time to read all of these authors, stick to Chekhov. He will teach you more than any writing teacher or workshop ever could. -Allyson Goldin, UWEC Asst. Professor of Creative Writing 2. Write a Catchy First Paragraph In today’s fast-moving world, the first sentence of your narrative should catch your reader’s attention with the unusual, the unexpected, an action, or a conflict. Begin with tension and immediacy. Remember that short stories need to start close to their end. No I heard my neighbor through the wall. Dry and uninteresting. Yes The neighbor behind us practiced scream therapy in his shower almost every day. The second sentence catches the reader’s attention. Who is this guy who goes in his shower every day and screams? Why does he do that? What, exactly, is“scream therapy”? Let’s keep reading… Yes The first time I heard him, I stood in the bathroom listening at our shared wall for ten minutes, debating the wisdom of calling the police. It was very different from living in the duplex over middle-aged Mr. and Mrs. Brown and their two young sons in Duluth. The rest of the paragraph introduces I and an internal conflict as the protagonist debates a course of action and introduces an intriguing contrast of past and present setting. “It is important to understand the basic elements of fiction writing before you consider how to put everything together. This process is comparable to producing something delectable in the kitchen–any ingredient that you put into your bowl of dough impacts your finished loaf of bread. To create a perfect loaf, you must balance ingredients baked for the correct amount of time and enhanced with the right polishing glaze.” -Laurel Yourke 3. Developing Characters Your job, as a writer of short fiction–whatever your beliefs–is to put complex personalities on stage and let them strut and fret their brief hour. Perhaps the sound and fury they make will signify something that has more than passing value–that will, in Chekhov’s words, “make [man] see what he is like.” –Rick Demarnus In order to develop a living, breathing, multi-faceted character, it is important to know way more about the character than you will ever use in the story. Here is a partial list of character details to help you get started. Name Age Job Ethnicity Appearance Residence Pets Religion Hobbies Single or married? Children? Temperament Favorite color Friends Favorite foods Drinking patterns Phobias Faults Something hated? Secrets? Strong memories? Any illnesses? Nervous gestures? Sleep patterns Imagining all these details will help you get to know your character, but your reader probably won’t need to know much more than the most important things in four areas: Appearance. Gives your reader a visual understanding of the character. Action. Show the reader what kind of person your character is, by describing actions rather than simply listing adjectives. Speech. Develop the character as a person — don’t merely have your character announce important plot details. Thought. Bring the reader into your character’s mind, to show them your character’s unexpressed memories, fears, and hopes. For example, let’s say I want to develop a college student persona for a short story that I am writing. What do I know about her? Her name is Jen, short for Jennifer Mary Johnson. She is 21 years old. She is a fair-skinned Norwegian with blue eyes, long, curly red hair, and is 5 feet 6 inches tall. Contrary to the stereotype about redheads, she is actually easygoing and rather shy. She loves cats and has two of them named Bailey and Allie. She is a technical writing major with a minor in biology. Jen plays the piano and is an amateur photographer. She lives in the dorms at the University of Wisconsin-Eau Claire. She eats pizza every day for lunch and loves Red Rose tea. She cracks her knuckles when she is nervous. Her mother just committed suicide. 4. Choose a Point of View Point of view is the narration of the story from the perspective of first, second, or third person. As a writer, you need to determine who is going to tell the story and how much information is available for the narrator to reveal in the short story. The narrator can be directly involved in the action subjectively, or the narrator might only report the action objectively. First Person. The story is told from the view of “I.” The narrator is either the protagonist (main character) and directly affected by unfolding events, or the narrator is a secondary character telling the story revolving around the protagonist. This is a good choice for beginning writers because it is the easiest to write. Yes I saw a tear roll down his cheek. I had never seen my father cry before. I looked away while he brushed the offending cheek with his hand. Second Person. The story is told directly to “you”, with the reader as a participant in the action. Yes You laughed loudly at the antics of the clown. You clapped your hands with joy. (See also Jerz on interactive fiction.) Third Person. The story tells what “he”, “she,” or “it” does. The third-person narrator’s perspective can be limited (telling the story from one character’s viewpoint) or omniscient (where the narrator knows everything about all of the characters). Yes He ran to the big yellow loader sitting on the other side of the gravel pit shack. Your narrator might take sides in the conflict you present, might be as transparent as possible, or might advocate a position that you want your reader to challenge (this is the “unreliable narrator” strategy). Yourke on point of view: First Person. “Unites narrator and reader through a series of secrets” when they enter one character’s perceptions. However, it can “lead to telling” and limits readers connections to other characters in the short story. Second Person. “Puts readers within the actual scene so that readers confront possibilities directly.” However, it is important to place your characters “in a tangible environment” so you don’t “omit the details readers need for clarity.” Third Person Omniscient. Allows you to explore all of the characters’ thoughts and motivations. Transitions are extremely important as you move from character to character. Third Person Limited. “Offers the intimacy of one character’s perceptions.” However, the writer must “deal with character absence from particular scenes.” 5. Write Meaningful Dialogue Make your readers hear the pauses between the sentences. Let them see characters lean forward, fidget with their cuticles, avert their eyes, uncross their legs. –Jerome Stern Dialogue is what your characters say to each other (or to themselves). Each speaker gets his/her own paragraph, and the paragraph includes whatever you wish to say about what the character is doing when speaking. (See: “Quotation Marks: Using Them in Dialogue“.) No “Where are you going?” John cracked his knuckles while he looked at the floor. “To the racetrack.” Mary edged toward the door, keeping her eyes on John’s bent head. “Not again,” John stood up, flexing his fingers. “We are already maxed out on our credit cards.” The above paragraph is confusing, because it is not clear when one speech stops and the other starts. No “Where are you going?” John asked nervously. “To the racetrack,” Mary said, trying to figure out whether John was too upset to let her get away with it this time. “Not again,” said John, wondering how they would make that month’s rent. “We are already maxed out on our credit cards.” The second example is mechanically correct, since it uses a separate paragraph to present each speaker’s turn advancing the conversation. But the narrative material between the direct quotes is mostly useless. Write Meaningful Dialogue Labels “John asked nervously” is an example of “telling.” The author could write “John asked very nervously” or “John asked so nervously that his voice was shaking,” and it still wouldn’t make the story any more effective. How can the author convey John’s state of mind, without coming right out and tellinig the reader about it? By inference. That is, mention a detail that conjures up in the reader’s mind the image of a nervous person. Yes John sat up. “Wh– where are you going?” Yes “Where are you going?” John stammered, staring at his Keds. Yes Deep breath. Now or never. “Where are you going?” No John sat up and took a deep breath, knowing that his confrontation with Mary had to come now, or it would never come at all. “Wh– where are you going?” he stammered nervously, staring at his Keds. Beware — a little detail goes a long way.Why would your reader bother to think about what is going on, if the author carefully explains what each and every line means? Let’s return to the first example, and show how dialogue labels can affect the meaning of a passage. Yes “Where are you going?” John cracked his knuckles while he looked at the floor. “To the racetrack.” Mary edged toward the door, keeping her eyes on John’s bent head. “Not again,” John stood up, flexing his fingers. “We are already maxed out on our credit cards.” In the above revision, John nervously asks Mary where she is going, and Mary seems equally nervous about going.But if you play a little with the paragraphing.. Yes “Where are you going?” John cracked his knuckles while he looked at the floor. “To the racetrack.” Mary edged toward the door, keeping her eyes on John’s bent head. “Not again.” John stood up, flexing his fingers. “We are already maxed out on our credit cards.” All I changed was the paragraphing (and I changed a comma to a period.)Now Mary seems more aggressive — she seems to be moving to block John, who seems nervous and self-absorbed. And John seems to be bringing up the credit card problem as an excuse for his trip to the racing track. He and Mary seem to be desperate to for money now. I’d rather read the rest of the second story than the rest of the first one. 6. Use Setting and Context Setting moves readers most when it contributes to an organic whole. So close your eyes and picture your characters within desert, jungle, or suburb–whichever setting shaped them. Imagining this helps balance location and characterization. Right from the start, view your characters inhabiting a distinct place. –– Laurel Yourke Setting includes the time, location, context, and atmosphere where the plot takes place. Remember to combine setting with characterization and plot. Include enough detail to let your readers picture the scene but only details that actually add something to the story. (For example, do not describe Mary locking the front door, walking across the yard, opening the garage door, putting air in her bicycle tires, getting on her bicycle–none of these details matter except that she rode out of the driveway without looking down the street.) Use two or more senses in your descriptions of setting. Rather than feed your readers information about the weather, population statistics, or how far it is to the grocery store, substitute descriptive details so your reader can experience the location the way your characters do. Yes Our sojourn in the desert was an educational contrast with its parched heat, dust storms, and cloudless blue sky filled with the blinding hot sun. The rare thunderstorm was a cause for celebration as the dry cement tunnels of the aqueducts filled rapidly with rushing water. Great rivers of sand flowed around and through the metropolitan inroads of man’s progress in the greater Phoenix area, forcefully moved aside for concrete and steel structures. Palm trees hovered over our heads and saguaro cactuses saluted us with their thorny arms. 7. Set Up the Plot Plot is what happens, the storyline, the action. Jerome Stern says it is how you set up the situation, where the turning points of the story are, and what the characters do at the end of the story. A plot is a series of events deliberately arranged so as to reveal their dramatic, thematic, and emotional significance. –Jane Burroway Understanding these story elements for developing actions and their end results will help you plot your next short story. Explosion or “Hook.” A thrilling, gripping, stirring event or problem that grabs the reader’s attention right away. Conflict. A character versus the internal self or an external something or someone. Exposition. Background information required for seeing the characters in context. Complication. One or more problems that keep a character from their intended goal. Transition. Image, symbol, dialogue, that joins paragraphs and scenes together. Flashback. Remembering something that happened before the short story takes place. Climax. When the rising action of the story reaches the peak. Falling Action. Releasing the action of the story after the climax. Resolution. When the internal or external conflict is resolve. Brainstorming. If you are having trouble deciding on a plot, try brainstorming. Suppose you have a protagonist whose husband comes home one day and says he doesn’t love her any more and he is leaving. What are actions that can result from this situation? She becomes a workaholic. Their children are unhappy. Their children want to live with their dad. She moves to another city. She gets a new job. They sell the house. She meets a psychiatrist and falls in love. He comes back and she accepts him. He comes back and she doesn’t accept him. She commits suicide. He commits suicide. She moves in with her parents. The next step is to select one action from the list and brainstorm another list from that particular action. 8. Create Conflict and Tension Conflict is the fundamental element of fiction, fundamental because in literature only trouble is interesting. It takes trouble to turn the great themes of life into a story: birth, love, sex, work, and death. –Janet Burroway Conflict produces tension that makes the story begin. Tension is created by opposition between the character or characters and internal or external forces or conditions. By balancing the opposing forces of the conflict, you keep readers glued to the pages wondering how the story will end. Possible Conflicts Include: The protagonist against another individual The protagonist against nature (or technology) The protagonist against society The protagonist against God The protagonist against himself or herself. Yourke’s Conflict Checklist Mystery. Explain just enough to tease readers. Never give everything away. Empowerment. Give both sides options. Progression. Keep intensifying the number and type of obstacles the protagonist faces. Causality. Hold fictional characters more accountable than real people. Characters who make mistakes frequently pay, and, at least in fiction, commendable folks often reap rewards. Surprise. Provide sufficient complexity to prevent readers predicting events too far in advance. Empathy. Encourage reader identification with characters and scenarios that pleasantly or (unpleasantly) resonate with their own sweet dreams (or night sweats). Insight. Reveal something about human nature. Universality. Present a struggle that most readers find meaningful, even if the details of that struggle reflect a unique place and time. High Stakes. Convince readers that the outcome matters because someone they care about could lose something precious. Trivial clashes often produce trivial fiction. 9. Build to a Crisis or Climax This is the turning point of the story–the most exciting or dramatic moment. The crisis may be a recognition, a decision, or a resolution. The character understands what hasn’t been seen before, or realizes what must be done, or finally decides to do it. It’s when the worm turns. Timing is crucial. If the crisis occurs too early, readers will expect still another turning point. If it occurs too late, readers will get impatient–the character will seem rather thick.-Jerome Stern Jane Burroway says that the crisis “must always be presented as a scene. It is “the moment” the reader has been waiting for. In Cinderella’s case, “the payoff is when the slipper fits.” While a good story needs a crisis, a random event such as a car crash or a sudden illness is simply an emergency –unless it somehow involves a conflict that makes the reader care about the characters (see: “Crisis vs. Conflict“). 10. Find a Resolution The solution to the conflict. In short fiction, it is difficult to provide a complete resolution and you often need to just show that characters are beginning to change in some way or starting to see things differently. Yourke examines some of the options for ending a story. Open. Readers determine the meaning. YesBrendan’s eyes looked away from the priest and up to the mountains. Resolved. Clear-cut outcome. YesWhile John watched in despair, Helen loaded up the car with her belongings and drove away. Parallel to Beginning. Similar to beginning situation or image. YesThey were driving their 1964 Chevrolet Impala down the highway while the wind blew through their hair. YesHer father drove up in a new 1964 Chevrolet Impala, a replacement for the one that burned up. Monologue. Character comments. Yes I wish Tom could have known Sister Dalbec’s prickly guidance before the dust devils of Sin City battered his soul. Dialogue. Characters converse. Literal Image. Setting or aspect of setting resolves the plot. Yes The aqueducts were empty now and the sun was shining once more. Symbolic Image. Details represent a meaning beyond the literal one. Yes Looking up at the sky, I saw a cloud cross the shimmering blue sky above us as we stood in the morning heat of Sin City

ulasan karya virus untuk zel

Cerpen virus untuk zel bagi saya mempunyai kekuatan yang tersendiri.cerpen ini tidak menggunakan bahasa yang terlalu tinggi.cerpen ini menggunakan bahasa yang ringkas tetapi mampu memancing emosi pembaca dan membawa pembaca hanyut berimaginasi tentang perjalanan cerita cerpen tersebut.bahasa yang ringkas bagi saya adalah tidak terlalu menggunakan bahasa yang bersifat sastera atau aras tinggi seperti pawana,prasasti,dan pasca hyang jarang didengari.jadi,pembaca mudah memahami dan menghayati cerpen ini. Latarbelakang watak utama cerpen dipaparkan secara menyelit.ia tidaklah terlalu diceritakan secara terus di permulaan cerita tetapi diselitkan di pertengahan cerita.misalnya latarbelakang mama dan abah zel yang berbeza tahap kedudukan social diceritakan di tengah jalan cerita.bagi saya,watak zel,mama,abah dan keluarga tiri zel dikembangkan dengan baik.pembaca dapat membayangkan karakter watak.misalnya,watak mama zel yang tidak berdendam dan sentiasa positif dapat dirasai apabila penulis menunjukkan dialog mama ezel yang memberi nasihat kepada zel supaya buat baik kepada bapanya meskipun mama zel diceraikan.Watak-watak lain juga sangat baik dikembangkan.watak zel sendiri yang diceritakan latarbelakang akademiknya serta gaya tutur bahasanya. Jalan cerita cerpen ini juga tidak membosankan.cerita bermula dengan jiwa zel yang memberontak dan benci kepada ayah dan keluarga tirinya.pembaca dapat melihat dan merasai konflik jiwa yang zel alamai.selepas itu,pembaca disaji dengan latarbe lakang akademik zel yang membolehkan zel membalas dendam kepada mereka.zel bukan sahaja bijak malah mampu melakukan sesuatu terhadap ayahnya menggunakan kepakarannya.pembaca pasti ingin tahu lagi apa episode seterusnya dana pa kesudahannya kerana permulaannya yang baik dan telah Berjaya membawa pembaca merasai konflik yang zel alami.zel berdendam dengan ayahnya namun di kelelilingi oleh orang yang menasihatinya kepada kebaikan iaitu mama dan rakannya win. Biarpun begitu,bagi saya jalan cerita ini haruslah mempunyai banyak elemen saspen dan sarat dengan konflik supaya pembaca tidak bosan membaca.penulis haruslah mengetengahkan pergolakan antara zel dan keluarga tirinya dengan lebih kompleks supaya pembaca dapat melihat kebencian zel kepada keluarga tirinya.pembaca seolah-olah tidak cukup puas dengan paparan sikap antogonis keluarga tiri zel.penulis sepatutnya memaparkan suatu peristiwa yang dapat membuatkan pembaca merasai sikap antogonis kelaurga tiri zel.misalnya,memaparkan sikap abang tirinya yang mefitnah zel melakukan sesuatu yang buruk atau sikap ibutirinya yang sentiasa merendah-rendahkannya.kegagalan penulis bukanlah bersifat major sehingga membuatkan cerpen ini gagal tetapi masih boleh diperbaiki. Cerpen ini juga menggunakan tema teknologi iaitu virus dan teknologi computer.bagi saya ia sesuatu yang unik dan berbeza.berbeza dengan cerita melayu tradisi yang menggunakan elemen memfitnah,menganiaya,dan mendera sebagai agen membalas dendam tetapi cerpen ini ada kelainan kerana menggunakan isu teknologi.zel menggunakan virus untuk membalas dendam kepada ayahnya.saya sebagai pembaca amat risau jika zel benar-benar menghantar virus kepada ayahnya. Klimaks cerpen ini berada dipenghujungya.cerita bermula secara mendatar dan mula menunjukkan konflik sedikit demi sedikit dan berakhir dengan klimaks dimana zel teringatkan mamanya sehingga zel tidak memutuskan untuk menghantar virus tersebut.pembaca dapat merasai kesan ingatan zel kepada mamanya sehingga zel berubah fikiran.sikap mama zel yang murni Berjaya digarap dengan baik sehingga pembaca dapat memahami kenapa zel boleh berubah fikiran daripada negative kepada psistif apabila teringatkan mamanya.hal ini kerana penulis Berjaya menggambarkan sikap mamanya yang sentiasa positif dan memaafkan. Watak ibu tiri zel pula kurang dikembangkan.hal ini kerana bagi saya ibutiri zel adalah watak penting.ia patut dikembangkan dan diceritakan sikapnya agar pembaca dapat melihat perbezaan sikap ibutiri zel dan mama zel.mungkin pembaca dapat melihat wajarkah zel berdendam dengan mereka.watak ibutiri zel kurang dirasai mungkin bukan kerana watak utama.penulis lebih tertumpu kepada mama zel,ayah zel dan zel. Walaubagaimanapun,elemen konflik,pergolakan dalam cerpen ini wujud dengan baik apabila penulis menceritakan perbezaan tahap kedudukan social mama zel dan ayah zel,sikap abang tiri zel yang seolah tidak menyenangi pencapaian zel dalam akademik,sikap ayah zel yang digambarkan berat sebelah,sikap murni mama zel yang berbeza daripada wanita lain,serta kepintaran zel dalam teknologi yang digunakan untuk membalas dendam.elemen konflik dalm cerpen ini berjaya dirasai oleh pembaca melalui keriteria diatas dan pembaca dapat melihat pergolakan sebuah keluarga yang berpecah.

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