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Thread: The Critic's Quill: Issue 42

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    Default The Critic's Quill: Issue 42



    From the TeamHello and welcome to all.

    We are proud to present yet another edition of the Quill for your reading pleasure. In some of my occasional spurts of introspection, I have realized what the Quill is about. It is not about the numbers, but about the articles. It is all about a team of excellent volunteers coming forward amidst their busy schedules to deliver articles for our honored patrons, you.

    We have good number of articles, guest entries by Aquila Praefortis, Ybbon, and The Forgotten. The we have the staff contributions from McScottish, Axis Sunsoar, and Tigellinus. And last but not the least, f0ma is back again to catch up with the Writer's Study no matter how fast they try to elope, and a sequel to his previous article.

    I hope you all enjoy the articles which our team has done, and we hope to be back with another edition soon.

    Regards,
    m_1512
    Editor

    Table of Contents
    1. Catching up with the Study
    2. AARtistry in Total War: Rome II
    3. A Brief Look at the Character Dynamics of a Story in Relation to its Plot
    4. An Author's Guide to East Asia (Part Two)
    5. Humor in Writing
    6. Inspiration - Part One
    7. Lore masters - Introduction to lore in writing
    8. Way of the Buffalo
    9. Writing multiple characters in First Person



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    Default Re: The Critic's Quill: Issue 42



    Catching up with the Study
    Report by f0ma

    Spoiler Alert, click show to read: 
    Welcome one and all to another edition of the Critic’s Quill!

    With quite some buffer time between updates, and the article oriented issue which the last one was, we have a wealth of information to cover in this issue’s ‘Catching up with the Study’! When we left you last, we’re we gearing up for the 200th Tale of the Week. Now, at the beginning of June, we’ve just seen the completion of the 218th Tale! A frightening amount of yarns have been spun by the folks over at the study since October, but never fear, we shall be covering all of them here. Furthermore, we have coverage of not one, not two, but three MAARC’s, plus two MCWC’s! So sit tight, grab a snack or two, and get ready to catch up with the Study!

    For the 200th TotW, a special event was hosted. The more participants, the more prizes! With a total of 17 entrants (!), the winner was guaranteed three points towards their shiny Writer’s Study medals, with the second and third runner’s up earning two and one points respectively. The reason for the incredible giveaway and even more incredible turnout was owed to Rome II’s then imminent release. Whilst we might look back at those days and laugh at our optimism for the game, we nevertheless had a fantastic turnout for our special Rome-themed competition. Sweeping up the swag was the one and only The Thin Red Line, whose portrayal of a Carthaginian soldier at the battle of Cannae was both original and moving. In such a titanic battle between writers, wherein 47 people cast their votes, it would be remiss not to mention the runners up; each of whom crafted wonderful tales in their own right. Our own Maximinus Thrax narrowly missed first place himself, whilst William the Marshall and ImperialAquila rounded off the winners in third and fourth place respectively.

    ‘The Merchant’ was the title of the 201st TotW. Despite losing out on first place in the previous competition, ImperialAquila came back swinging with a new tale, taking first place. Putting us in the boots of a down-on-his-luck merchant, Aquila took us on a journey to the New World in search of the mythical Fountain of Youth. Whilst the merchant might have been disappointed with what he found, we were certainly not disappointed by the tale!

    In the 202nd TotW, Aquila emerged victorious in a closely fought race to take first place once again; his second consecutive victory in the competition! Playing on the theme of Megas Alexandros, Aquila recounted a touching narration of Alexander the Great’s life through one who fought with, and ultimately against the ‘god in all but name’.

    Aquila’s reign of glory was finally put to an end by Rex Anglorvm in the 203rd TotW, entitled Black Flag. With rapturous prose, Rex delivered a clever tale of lust, longing and lethality amongst a pirate crew, earning yet another accolade to add to his collection.

    The 204th TotW went by the title of ‘Who’s a Fool Now?’ and was thus quite open to interpretation by the intrepid writers residing in the Study. However, with a tale that was steeped in an irony that was nigh-on humorous, we found a winner in Scipi…Danc…Scipio Africanus? (Are we sure? Can we double check his name again?) Detailing a scribe recording the life of Caesar in the latter’s very presence, Scipio delivered a cunning tale most deserved of victory.

    Cohors_Evocata took home first place in the 205th TotW. Writing on ‘The End of an Era’, Cohors’ tale eventually came out ahead after three tie-break votes! (That’s right, three!) Taking his tale into the post-apocalyptic future, Cohors graced us with a poignant story, rich in both character and imagery.

    The week of the 206th TotW saw the return of a very familiar face, as Rex Anglorvm cast his hat back into the arena and seized first place once again. With the title ‘Jesse James’, Rex refused to go down the obvious route, instead turning the theme on its head and crafting a wonderfully funny story about a fellow with a very unfortunate name.

    With The Hobbit smashing box offices worldwide, it was only fitting for Smaug to play host to the 207th TotW. This time, veteran writer and duellist Dude with the Food won out against the rest with a very rare poetic entry. Donning his dwarf beard and raising his mighty axe, Dude took us on a journey to Khazad-Dum with his master crafted rhymes.

    The 208th TotW paid tribute to the late Paul Walker. Audacia himself took this solemn victory for himself, with a tale I’m sure many of us can relate to: just another poor unfortunate soul trying to get through the working day, made bearable only by the flash of a smile from that certain someone.

    Entitled Welc…Into the Jungle, the 209th TotW saw victory snatched away from the grizzled veterans of the competition by the newcomer ProtoBo! Undaunted, Proto sailed to victory with his first ever entry, proving that anyone can beat those useless buffoo…those esteemed and honoured regulars of this competition. Ahem. Steeped in complex, yet beautiful metaphor, Proto’s tale is as poignant as it is ethereal.

    For the World of Warcraft fans amongst us – what are you doing? There are far better MMO’s out there! (What’s that?) My editor has just informed me that this segment isn’t too be used for relaying my personal video game biases. Huh, you learn something new every day. Anyway, the title of ‘Night Elves’ defined the 210th TotW. Sailing to victory this time was the one and only Adamat. The tale of a traitorous assassin, Adamat’s story is simple, but powerful, evoking the emotion and tragedy of slaying one’s kin for a greater cause.

    Returning that next week with an Egyptian theme, the 211th TotW went by the moniker of ‘The Ankh of Life’. With a clever play on the theme of Ankhs, Mhaedros takes us to the Discworld with a tale to rival Pratchett’s very works themselves! As humorous as you’d expect Cut-My-Own-Throat-Dibbler to be, we find the wily merchant getting into a spot of bother in this rare display on fan fiction.

    Continuing in the vein of the mighty ImperialAquila, Mhaedros was to win his own consecutive victory in the 212th TotW. Working with the theme ‘Endless Seas’, Mhaedros lured us in with an old man’s tale of the sea and leaving us both enthralled and mortified at the end – in a good way of course!

    Whereas we saw a wealth of wonderful writers and stories from the 200th TotW onwards, the 213th TotW was an unfortunate travesty. Presented with the title of ‘Panzers!’, some young upstart writer penned a laughably horrible tale, which somehow managed to win despite it’s terrible prose and worse storytelling! I know, I’m a disgusted as you are! I think we should all go and lobby for a revote, because someone must surely have rigged the competition that week.

    Things returned to their usual standard of high quality with the 214th TotW. Strengelicher, veteran writer of all things Crusade-y, put his skills and knowledge to use to sweep the ‘Krak de Chevaliers’ themed competition. A story both haunting and touching at the same time, Strenge recounts the tale of two soldiers; divided by battle lines and religion, but united in death.

    Just when everyone was beginning to feel confident in themselves and their writing, the buffalo himself returned to show everyone just how things were done. After a long absence from the competition, Ybbon’s mighty hooves carried him to victory in the 215th TotW (nope, I don’t know how he grips that quill either). With a story where one can’t tell which is richer, the prose or the imagination, Ybbon showed his skill once again by recounting the actions of a duo of sci-fi janitors in the Roman Senate. Yeah it sounds weird, but it works!

    Following in the footsteps of ProtoBo (and well, I guess everyone at one point or another!), Disappoint Ed claimed his first ever competition victory in the 216th TotW. Playing on the theme of ‘Murky Woods’, Ed definitely took the story to murky depths with one of the few horror entries we’ve seen. With a wickedly crafted tale of a young boy’s adventurer gone wrong, Ed’s tale is definitely not for the faint of heart!

    What’s that coming over the hill? Is it a Mhaedros? Why yes it is! Come on, you should have guessed that! Yup, that’s right, Mhaedros wins another victory in the ‘Vitamin Water’ inspired 217th TotW. With a tale about a coven of witches with ‘warts as colourful as the rainbow’, Mhaedros’ delivers a vivid, yet funny story, putting him half way towards a shiny new medal!

    To celebrate the 50th MAARC, the Study decided to run two tie-in special TotW’s, which gave us regulars a chance to take on the staff themselves! Whilst the second is still concluding the voting at time of writing, the 218th TotW recently saw a winner. With a whole bunch of rep prizes up for grabs, the veterans of the Study came out of their hidey-holes to test their mettle against their overlords. After some fierce voting, the mighty Ybbon once again claimed victory with his fabulously spun tale about the embattled rear-guard of a Roman legion.

    Well, we’ve certainly caught up with a lot of what’s been happening in the Study since October! We’re not finished yet however! Whilst we’ve seen some exquisite stories win the Tale of the Week competition, so too have we seen some great wins in the MAARC and MCWC.

    MAARC XLVI concluded shortly after our last ‘Catching up with the Quill’. In first place, and carrying the torch for the Shogun 2 sub-forum, was Merchant of Venice, with his AAR: ‘Way of the Bow’! A well-crafted story by one of our resident staff here, ‘Way of the Bow’ sailed to victory despite stiff competition. The story of a young Japanese bowman in his quest for glory, love and survival, ‘Way of the Bow’ is fast becoming a titan in the Shogun 2 arena. Not only that, but victory finally afforded Merch the prestigious Bronze Medal! Here’s to many more!

    Biting at Merchant’s heels was another of our resident staffers: General Retreat. Sweeping second place in a tie-break vote, Retreat’s Medieval 2 AAR ‘Swords of the Sea’ delves into post-Hastings England with a host of familiar and not-so familiar (yet still of course enthralling!) characters. A well-deserved three points!

    Narrowly losing out on second place was the veteran Chirugeon, with his Skyrim AAR: ‘The Nascent Ranger’. A worthy tale with a considerable following, I’m sure Chirugeon will take pride in standing third on the podium.

    After an intense season of both writing and voting, MAARC XLVII finally came to a close in late January. First place was seized by the dark horse of the competition, as IneptCmdr’s then-new Empire AAR soared to victory. Entitled ‘For King and Country’, it follows the expansion of the British Empire in true history book format. With Empire AAR’s few and far between, Inept’s victory came as a pleasant (although nonetheless well deserved!) surprise. However, with fluid prose and beautiful screenshots, IneptCmdr can say his story earned his four points well.

    Second place for MAARC XLVII was as hotly contested as its predecessor, and one of the combatants was no stranger to these tie-break battles! Indeed, General Retreat once again triumphed with ‘Swords of the Sea.’ Despite missing out on first place, Retreat nonetheless earned himself his Bronze Medal for two consecutive second place finishes! Congratulations!

    A Rome II AAR finally graced the annals of the MAARC, with sbroadbent’s AAR ‘Epistolas de in Ante’ taking third place. A history of the House of Junia, ‘Epistolas de in Ante’ earns a hard fought victory and provides inspiration to the budding Rome II AAR community.

    Easter kicked off to a great start as the results for MAARC XLVIII arrived in early April. Strengelicher’s long-standing AAR ‘In The Holy Land’ once again claimed a victory, this time seizing first place in a landslide! A well-deserved victory for a veteran author and a proven story.

    Second place was snapped up by none other than sbroadbent, as ‘Epistolas de in Ante’ once again returned to the competition. He’s now teetering on the verge of his first medal, so keep up the good work!

    Third place was fought over by AquilaPraefortis’ RTW:BI ‘The Conquests of Constantinople’ and the Quill’s own Axis Sunsoar and his Medieval 2 AAR: ‘Raiders across the Sea.’ In the end, Axis triumphed and ‘Raiders across the Sea’ swept into port and grabbed third place.

    Whilst MAARC XLVIX has concluded the first two rounds of voting, at the time of writing Scipio and Chirugeon are still battling it out for second place. So keep your eyes peeled for our coverage of that next issue!

    Meanwhile, whilst the AARtist’s fervently scribble away, the MCWC has also seen much activity since our last ‘Catching up with the Study.’ MCWC III concluded in mid-November. In first place came General Retreat! Unfortunately failing to take first place in the MAARC, Retreat turned his hand instead to creative writing, and by gosh are we glad he did! With his thrilling sci-fi tale ‘Pax Anglia’, Retreat earns himself that much coveted first place.

    Just trailing him was the Study’s own Scottish King, who brought his own flavour of sci-fi to the table. With his Acamar short stories, SK earned himself some well-deserved points towards a shiny new medal.

    Rounding off the winner’s podium for the third MCWC was HunterKYA. Despite having a sci-fi story of his own, Hunter decided to enter his Roman historical fiction ‘Tales from a Past Life’ instead. There must be something in the rules that puts a limit on the amount of sci-fi allowed in any one contest! Nevertheless, Hunter proves himself equally adept at weaving a story set in the past and places respectably in third.

    With only one other sci-fi story competing against him this time, Hunter decided to try his luck with ‘Titanium Core; in MCWC IV. With a large portion of the vote, Hunter’s skill in sci-fi writing and imagination was once again proven and he placed first.

    Following on his heels was Gen. Chris’ Jericho fan fiction ‘A House Divided.’ A long-standing story which began in October 2012(!), ‘A House Divided’ earned the respect it was due with a second place win, after narrowly defeating Magister Militum Flavius Aetius’ ‘Starscape’ in a tie-break, which itself would take a comfortable third place.

    Currently, both MAARC L and MCWC V are in need of more entries, so get submitting for those! MAARC L in particular has some tasty rep prizes. Hopefully we’ll be able to bring you coverage of both in the next issue.

    Phew! Did we really just get through a backlog of eight months’ worth of competition news? That we did! What a rollercoaster of a few months it’s been! So, I guess that’s all from the Study…

    (Huh? Really? I have to talk about that as well? Fine.) Okay, so it looks as if there’s even more news from the Study to cover! Wow, folks really have been busy over there lately haven’t they!

    This is something we haven’t touched upon much in previous ‘Catching up with the Study’ segments, because, quite frankly, they just weren’t happening. Recently however, we have seen an unprecedented rise in duels! Those swashbuckling, party mouths of the Study are back fighting each other once again, with humorously sly witticisms and wonderful tales. So let’s take a look at what’s happened!

    Our first duel since January 2013(!) took place in late April. The grizzled writing warriors drew their quills at dawn and the battle was a tough one indeed! It pitted the wily Lyra of ‘Voices of Ataname’ fame against recent MAARC victor Axis Sunsoar. The battle was a close one, with the duo fighting to best describe a fine picture of a misty pathway through a forest. The duellists squared up to each other, quills inked, blood boiling and fires burning beneath their eyes. The result of the first duel in over a year? A draw! A first in the history of Study duels and an entirely deserved result! Both stories were excellent and incredibly tough to choose between. Both Lyra and Axis have set a precedent for quality that will be hard to match!

    Next in line to tug at each other’s hair were Maximinus Thrax and our editor himself, the esteemed m_1512! Deigning to join us from up on his throne over in the content forums (Ow! Sorry m, it was a joke!) m decided throw his hat into the ring for the second duel of 2014. However, a proven veteran of Tale of the Week and an incredible writer in his own right, Maximinus Thrax was more than ready to rise to the challenge. Presented with a picture of a Viking longboat in a storm, these two talented writers squared off against each other. Quills were raised and bam! One would look down at his tattered tunic to see ink spilling down from his wound. Collapsing to the ground in shock, m gasped as he saw the votes come in. In a landslide victory, Maximinus skilfully out-duelled his opponent. However, that’s not to say our venerable editor didn’t craft a superb tale himself. However, that Maximinus is feared as one of the toughest opponents in the entire Study. I’m sure m feels lucky to have walked away with his life! Better luck next time my friend and congratulations to Maximinus Thrax!

    However, as Maximinus began to gloat over his victory, a shadow was cast over him. His eyes, which had been alive with joy, suddenly grew wide. His jaw slackened as he looked up at the beast above him. The buffalo had arrived. Locking horns with the beast, Maximinus did do battle with the mighty Ybbon in a clash of titanic proportions. However, the dust has yet to settle on that duel, so you’ll just have to wait until the next issue to find out… (or you could just pop over to the Study in due course and check for yourself!)

    With more duels on the horizon, it’s looking like a very lively and exciting time for the Study. Not only that, but the mammoth MAARC L is in full swing, alongside MCWC V. And as always, the Tale of the Week rolls on, always looking for fresh faces. So there’s plenty to be getting on with in the Study and plenty to keep me occupied writing this segment in the next issue I’m sure! Keep reading, keep writing and I’ll see you guys later.



    AARtistry in Total War: Rome II
    A report by The Forgotten

    Spoiler Alert, click show to read: 
    For over 10 years Total War games have been inspiring AARs. Every new generation spawns a new wave of them and they all have their own unique style: their own strengths. Rome and Medieval 2 became the most popular, and those two games led to hundreds of stories that spanned worlds. Empire was the first “modern total war” and brought about changes such as instant diplomacy and naval battles, both of which added a completely new dynamic to AAR writing. Shogun 2 gave us beautiful Japan, a fresh change of pace from Europe and its old environs. Sadly though, AAR’s never seemed to flourish like they did in the old games, and so most of the stories of Japan have been left untold.

    Rome 2 has as much to offer as any of the previous titles, yet it’s AAR forum remains bereft. The reason for it is not much of a secret though, with many finding the game to be not as immersive. Even though it does have some flaws, the truth is that Rome 2 has the potential to bring tons of new AARs to the site because it is combines the best features of new generation games, and the antiquity of the ancient world. It is far too easy to let negative overshadow the good, so let us focus on some of the things that make this Total War worthy to write about.

    Graphics
    I understand it is a little ironic that one of Rome 2’s biggest pros for writing is graphics, but pictures do make up a very important part of AAR’s. The fact that Rome 2 has the best over any previous titles is a huge boon, as now writers can take top quality pictures that and atmosphere to your stories. Many of the units from CA are beautifully made, and modders are and will add onto that. Also, remember those often-annoying animations that cause problems in battles? Now they add character and action to battle pictures. Likewise, Shogun 2 had these things, but few writers took complete advantage of it.

    An example is never bad, so here are some well taken shots just from one page in the official R2 pictures and video thread.
    Spoiler Alert, click show to read: 
    Picture taken by Lucius_Lupus. Check out a few of his other fine photos in the Official Pictures and Video thread in the R2 subforum.
    Spoiler Alert, click show to read: 
    Here is another captivating picture, this time taken by mennelik. GEM and the Toons AIO mods used.

    As the second image shows, pictures also do not have to be of soldiers. Sometimes a simple landscape will do the intended job just as nicely. The addition of the wonders also gives more options of photo choice. As is Bam Citadel would provide some very good images to set up the tone for an eastern AAR. Videos too would be a powerful tool, although far less use them or have to desire to edit.

    I should note that to achieve the best results you must have the highest quality settings. Most do not have CA super computers, so if you do not have rig to run to Rome 2 on ultra try using custom battles. Turn it up as far as possible and just focus on getting the best shot with no worry on winning or tactics. Computers can probably run as long as there are not too many men on the field, or as long as the men are not bottled up. If this does not work then there is always the option to take slightly worse quality shots, or stick to scenery and buildings. If all else fails, then try asking a fellow TWC member to help, most would probably be happy to oblige.

    Mods and DLCs
    To put it bluntly, without mods or expansions the franchise would be a husk of what we have. Most AAR’s benefit from the author using different mods and DLC too, as it adds variety to their game, which reflects in the story by having unique settings. The future looks good for Rome 2, as CA will continue to produce their own content to complement the game, modders will also work on their own projects and come up with new ways to improve the game.

    Some DLC may or may not be so useful for writing AAR’s, but who knows? Perhaps reading about a young soldier that loads the beehive onagers could be good. Heavens know it could certainly be comical. But in all seriousness, CiG and HatG are both excellent opportunities along with any other future releases CA might have in store. Despite the fact that others have already written about both of those figures, does not mean a story cannot still be found hidden in the forests of Gaul or the seas of the Mediterranean.

    If you happen to be short on cash, or really wish for a new experience, then there are always mods coming out each week. A myriad of faction updates, units, and even graphical improvements, there should never be a worry that Rome 2 will run out of new features. And as for many of the problems that might have turned people at first, many have been remedied to a degree through the hard work of CA workers and modders.

    Conclusion
    In all, AAR’s have begun to fall off with the new generation of Total War games. It is a rather sad sight to see, especially with all of the great content that those games have to offer; Rome 2 especially. These are just two of the reasons why Rome 2 should have countless AARs filling it’s subforum. Many more reasons could probably be thought of too, if anyone bothered to read them. So get out there and write!
    Last edited by m_1512; June 18, 2014 at 08:46 AM.


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    Default Re: The Critic's Quill: Issue 42



    A Brief Look at the Character Dynamics of a Story in Relation to its Plot
    An article by Aquila Praefortis

    Spoiler Alert, click show to read: 
    Introduction
    The characters of a story are perhaps the most important aspect part of writing one. A character has to respond to the plot in a fashion that is not only in a believable way for that character to act, but also in a way that, ultimately, molds the plot into the author’s liking and intention. Making decent characters is not only an integral part of a good story, but in and of itself can make a good story. That’s why it’s important to know what to do with these names and people in your story.

    Character Type I: the Protagonist
    A lot of stories have this thing called a “protagonist” in them. Another name for a protagonist is “the main character”. The protagonist is central to the plot, so logically the plot and the protagonist’s choices or behavior are amalgamated. Since the protagonist is so important to the plot he or she would usually be introduced at the beginning of the story, to break this rule your piece of writing would be considered to contain a major plot twist in it. Since the main character has an important role in the story having a good protagonist, and being able to make one, is important.

    The protagonist, literally, is the person the reader is rooting for to win in the end. A simple test for qualifying as a protagonist is this: if this particular character died at the end, would the entire story be called a tragedy? If the answer is yes, you got yourself a protagonist. Usually, you want someone that seems more “normal” compared to everything else as a protagonist, so he or she is easily relatable to the reader. The protagonist tends to be someone who is in a hard time, made bad choices, or is just plain unlucky in their life recently. The reader is supposed understand what the protagonist has to do to solve his or her problem, and ultimately roots for the protagonists’ success. This is because if we like the protagonist, we want him to achieve his goal as much as the protagonist does as well. It is satisfying to think that someone ended a situation better off than they started from, opposed to invoking a deus ex machina sort of character, with whom we are completely unfamiliar with, to solve the problem that is the plot. Due to this liking toward the protagonist we often, sometimes erroneously, refer to him as “the good guy”.

    Of course, many protagonists (and most of the best ones) are not static in their viewpoints or relationships. The development of this change is called a character arc, which refers to the character development as the plot progresses. Although the details of character arcs vary significantly, a majority of them follow a general pattern. The character starts off relatively normal, and then it is revealed that they are now facing a problem, such as being in the wrong place at the wrong time, in a poor part of life, or just plain unfortunate in their experiences. After a time of denial or half-hearted commitment, the protagonist has some sort of awakening and realizes they need to fight harder for success or even their own life. This can be in any spot of the rising action of the plot, but it is generally at or just before the climax, the part of the story everything before has been leading up to. Our protagonist, hardly the same person we saw when we were on the first page, faces the problem, the antagonist, and either fails which results in him or her getting killed (a tragedy), or succeeds and triumphs (every other genre).

    The outlined plot works especially well for genres where the reader is in an unfamiliar environment, this is especially true for plots being in the past, future, alternate present, fantasy, or contain a lot of action. In these scenarios, the reader doesn’t have much to connect to and relate with, since the entire reality they are reading is so different from what they already know. That’s why having someone who starts as a relatively “regular” person as a protagonist is important, because the protagonist is an area of familiarity in an otherwise alien environment.

    It is usually easiest to make a protagonist because they are supposed to be like you. They are supposed to act like you or perhaps an idealized you. That’s what makes a casual reader care about them; it’s because you feel you know and understand their thoughts and struggles (both of which should be present in the story).

    To be clear, it would be quite boring if every piece of literature followed the exact same plot structure, but it is generally agreed the basic format I outlined often works. It is important to understand this concept of a protagonist-plot relation in order to deviate from it and still be an interesting read. You have to know as an author how plot is being twisted in order to make successful plot twists.

    Notice in all of this, I refer to this character as the “protagonist”, “a protagonist”, “he”, or “she”. There is a purpose in having the protagonist as a singular person. Almost all stories only have one protagonist in them, and there is a reason for that. It is almost impossible to make two of them in a single story. Both need a character arc, both need a back-story, and both need to be rooted for to succeed. If the interests of these two protagonists clash in a way that there can only be one winner you don’t have dual protagonists anymore. You have a protagonist and a very developed antagonist (opposing force to the antagonist).

    When it comes down to it, the protagonist is the most central aspect of a piece of fictional writing. When we all pick up a new story as a reader, we are reluctant to do so. We subconsciously check ourselves to make sure we aren’t wasting our time with something that doesn’t catch or attention into finding out more. After a “hook” ensnares a reluctant reader, a believable protagonist keeps the reader interested. To the grief of many authors’ wonderful imaginations developing entire worlds from hours of contemplations, a mysterious plot isn’t entrancing enough to a casual or reluctant reader as a character they truly understand, connect, with, and relate to. People tend to want to understand other people more than they want to understand the place those people are in. With that said, let’s now look at one of the best ways to develop a protagonist: interaction with peers.

    Character Type II: Supporting Characters
    Strictly speaking, the supporting characters only real purpose is to help the plot with its mission to make the protagonist change. As a result, supporting characters tend to have less character development, but this isn’t always the case. There aren’t many things more startling in writing than to see a character you thought you understood go defect in an uncharacteristic but believable way. Because of the broadness of the role “supporting character”, what exactly a supporting character should be like is difficult to distinctly and objectively define. A supporting character can play a significant role in the actual story or very little. Although a supporting character can be and is almost anyone, there are several major categories supporting characters fall into. These archetypes are the minor villain, the best friend/sidekick, the love interest, the mentor, and the minor.

    The minor villain refers to someone who opposed the protagonist, but isn’t the primary force or person that does so. The best friend/sidekick is usually someone who is willing to stick with the protagonist to whatever end. A good example of a sidekick or best friend is the first person that comes to mind when you hear or read those very words. The love interest is the protagonist’s . . . love interest. In some cases the protagonist gets a romantic relationship with the “love interest” supporting character at the end of the plot, just as icing on the cake for the resolution of the plot. The mentor is anyone who is more experienced in life, wiser, or more experienced than the protagonist is. The mentor tends to help teach the protagonist over fighting for him. The mentor can be an actual teacher, a father figure, or someone the protagonist bumps into. It is not unexpected for the mentor to die or be removed from a good part of the story because things get more interesting when the person you are rooting for has to figure out what to do with his or her inexperienced mind or body in comparison to the mentor’s, which they had lost contact with.

    All these people can actually develop or change the plot either directly or through influencing the protagonist and his or her decisions. The exception to this is the minor supporting characters. These people are very minor in their roles for the actual story. The point of a minor character is to have a small talk, confrontation, or some kind of interaction seen in a daily level that modifies how you think of the protagonist. For example, because that minor supporting character just tripped the protagonist in the school hallway between class periods we now know that the protagonist is probably not held in high regards by his or her academic peers.

    One thing to note about supporting characters, especially the more major ones, is that it gives the reader an alternative character to enjoy reading about or seeing some smaller character development. This is a nice addition to have when the protagonist’s traits, complexity or weakness and failings can cause some readers to dislike the protagonist. If the reader likes the story at this point, the reader could switch his attention to the supporting character who the reader likes.

    Character III: the Antagonist
    The antagonist is the person or force that directly opposes the protagonist at any given point of the plot. This gives the antagonist the ability to “evolve”; the antagonist could be a force of nature or a person at two different parts of the writing. It is almost as if the antagonist is an intangible metaphysical entity that perpetually opposes the protagonist. This tends to be especially true for both fiction and nonfiction book series with more than four installments. In contrast to an enjoyed protagonist often being referred to, sometimes erroneously, as “the good guy”, an antagonist is often referred to as “the bad guy” when in some cases there may not be any distinct way the antagonist is particularly more malevolent than the protagonist.

    There is a vague list of the difficulty to write a “good” antagonist by genre. At the easy end are the antagonists in stories that could conceivably happen to us. We are all too familiar with the arrogant hothead who bullied us back in high school, and this sort of person can easily make an antagonist. Next would probably be a less realistic genre for us, but still very heavily grounded in reality. This encompasses the courtroom drama, political, war, or crime genres. This is in part due because we can use real situations similar to these ones in our writings to have a clue how who we perceive as the antagonist might act. It is the antagonists in a more of a fantasy genre that are most diverse and difficult to write about. This is because the antagonists could be an evil entity beyond human limits, to the point where the antagonist could be anywhere from a particularly mean-spirited figure to what is practically an embodiment of an aspect, or entirety, of evil itself. The antagonist in the fantasy genre reveals the exclusivity of a realistic antagonist and a believable one. It’s more difficult have the latter without the former.

    The problem with not being able to right a believable antagonist that is a person goes back to our occasional polarized perception of the protagonist-antagonist relationship. Antagonists are not by definition malevolent in any way, they merely tend to be evil because of their status as the opposition to the protagonist, who we are (supposed to) support. Antagonists are not villains, villains are antagonists. The best way to make a decent antagonist that is a person is to make him a person. Make the character justify himself or herself as the protagonist in their mind, give the antagonist real motivations he or she is very passionate to act upon. Most importantly, make the antagonist adaptive and human in characteristics. Antagonists aren’t just plot drive; they are at least as complex as their character counterpart. And if the whole point of the story is the protagonist changes to overcome a problem, how is it remotely honest as an author to make a completely static antagonist peeled right off of old cartoons unless that was explicitly the antagonist’s nature?

    Now, the last two paragraphs were specifically referring to a person as an antagonist. But there is also a force of nature that is as much of an antagonist, in some cases more, than any human could fulfill. Such enemies to the protagonist include a part of or the entire natural world, the human mind/nature, or some sort of a metaphysical force.

    Since our view of nature only changes with our contact to it having the natural world as an antagonist is simpler to write about than an actual person. The case comes into point that in past times the wild was considered a foreign and cruel environment, probably until decent roads increased confidence that safety could be reached if need be. But in the age of Ford cars the deification and love of nature seem to come naturally to us, since it is easy to appreciate a conquered and marginalized enemy. In a survival-setting genre, such as the common plane or shipwreck setting, where mankind, the previously dominate species, is now a creature bound to measures of self-preservation qualifies as a plot of its own, as shown by various novels and films concerning the subject. The role-reversal can be exciting for many readers.

    The human mind as antagonist, however, sparks an entire branch of philosophy: mankind’s state of nature. The point of returning man to their natural state is to make the reader think, often times more than any other plot or setting would. The books following this genre make the reader consider how people truly behave when they are unafraid of that any harm will be returned to them. Having the mankind’s state of nature, practically as a rule requires some sort of way whatever form of government that controls various aspects of the character’s life or characters’ lives do be somehow suspended either temporarily or permanently. Having their own selves be the protagonist and antagonist more than anyone else is perhaps one of the deepest plots in literature by default. The battle of self can be captivating because it can blur or enhance the protagonist-antagonist relationship in an environment that highlights the protagonist’s change throughout the plot. As a result, successfully writing a story where man’s state of nature is the antagonist in the plot requires thought-provokingly insightful and honest. Not everyone can achieve this form of writing with success, but some of what are considered the greatest literary works ever written has done so.

    Conclusion
    In conclusion, what you have so far attempts to encompass all forms of writing, to the point it even overlaps into other forms of art such as moviemaking. Despite this, it is not honest to claim this attempt was successful. Even regarding the relative length of the article, it does not even come close to truly encompassing all of story writing in the past, present, or future. It does successfully give a brief outline on how to construct a simple story, or why a plot twist actually twists a “normal” plot. But, hopefully, this article can help various writers who stumble upon it as a means of consultation on how their basic storyline should be. All that can be asked is if you had a pleasure reading this and you consider how you want your characters in your own story to be like.


    An Author's Guide to East Asia (Part Two)
    An article by f0ma

    Spoiler Alert, click show to read: 
    Welcome back to an Author’s Guide to East Asia! In the last part we examined some of the potential games available to the budding writer of an AAR set in East Asia. Let us say that you’ve chosen a game (or for the more adventurous amongst you, embarked on a piece of creative writing) and now you’re ready to start writing. Wait a minute though!

    What was that you just wrote? Don’t try and hide it, let me see. A scene where a young boy berates his parents for not letting him stay out late on a school night, only for said parents to rescind on their demands? Okay, put down that quill and pay attention now; we’ve only just begun.

    When we’re trying to convey East Asia in an AAR or creative writing setting, we will usually encounter barriers. Speaking from a Western perspective, East Asia is very much alien to us and many of its specific traits and nuances can elude us at first glance. Whilst it is more than possible to write an excellent story with little to no research, if we understand the context within which our stories take place, we can increase their authenticity exponentially. By learning a little more about the culture surrounding our locale, we can craft a richer, more detailed and ultimately more immersive story.

    Of course, when dealing with such a large area, spanning potentially thousands of years – depending upon when you set your story –, it’s difficult not to generalize. The cultures of China, Korea and Japan are all vastly different and within these countries too we find even more cultures and sub-cultures. So how can we discuss all of East Asian culture at once? Admittedly we do have to generalize to some degree, but luckily each of these countries share some similar traits, which – whilst not identical – can provide the budding author with some guidelines.

    Using this as a jumping off point, this article will discuss two themes common in East Asian culture, which you can use to enrich your stories. The first is Confucianism, which penetrated each of these nations and still to this day has a pervading influence. The second is the more abstract concept of ‘face’, which is something a lot less tangible, yet all the same incredibly important. Whilst these are both very much resting atop the tip of an iceberg, they are two important and relatively timeless considerations for anyone wanting to enrich a story set in East Asia.

    Although I have planned to pen this article for a while, I recently discovered something that illustrated my point better than my words ever could. Unfortunately however my words are all I have to convey it, but I’ll try my best. It was a specific scene in a Taiwanese drama I was watching a few months ago. It ran roughly along these lines:

    There was a brother and his elder sister. Their mother was the president of a large corporation. The brother was in line to inherit the business, but he eschewed his responsibility and travelled to live in Europe. The sister then took charge of the company when their mother fell into a coma. Distraught at the news of his mother’s illness and hoping to repent his past sins, the brother travelled back to Taiwan to rejoin the company. His sister, now the acting president, forbid him a place in the company. However, their uncle, who sat on the board of directors, lobbied for the brother to work at the company. The sister relented and the brother was assigned a position, although a relatively small one.

    These turn of events perfectly represent the concepts of both Confucianism and face. Hopefully you can already discern them, but if not, we can explore them further.

    Let us first take Confucianism. An incredibly loaded term, which a vast history and many intricate nuances, we won’t be penetrating it in depth. Instead we will cover the basics, which should provide you with foothold enough with which to begin writing your own stories. Confucianism is thus defined, at its most basic level, by something termed the ‘five relationships’, which are as follows:

    - Ruler to subject
    - Father to son
    - Elder brother to younger brother
    - Husband to wife
    - Friend to friend

    As I’m sure you can already guess, Confucianism is very hierarchical. The ruler automatically has authority over the subject, the father has authority over the son and so on and so forth. The latter person, should always defer to the former. That’s why it’s difficult to write a story about a child disobeying their parents. Of course it obviously happens, but unless you understand how Confucianism works, it will be difficult to authentically convey.

    Whilst these relationships are reasonably self-explanatory, it’s worth elaborating on a few of them. Taking the second for instance, whilst a son defers to a father, this rule actually encompasses more than what it literally portrays. Owing to the patriarchal structure of the system, it never really discusses women, aside from the wife in the fourth point. However, that’s not to say women are not included in these hierarchies. A son likewise defers to his mother, however he defers to his father more. A daughter will also defer to both her father and mother, along the same lines. That’s right, I saw you scribbling out ‘young boy’ and pencilling in ‘young girl’. Didn’t I tell you to put that quill away?

    Similar stipulations apply to the third point, wherein a younger sister will defer to an elder sister. Younger sisters naturally defer to elder brothers also. Things get a bit stickier with elder sisters and younger brothers. Traditionally, I’m guessing an elder sister should defer to her young brother, but – from an author’s perspective at the very least – there’s a lot more natural conflict to tap into here.

    The fourth points of husbands and wives can be stretched somewhat to say ‘men to women.’ Throughout most of East Asian history, women would naturally defer to men and understanding this is important if you want to convey gender relations in your story. It’s also important if you want a strong female lead. Whilst you could simply have an independent female, she gains so much more power as a character and as a story device if you the author can show how she breaks from these conventions.

    The final point is the one which people usually label as the equal relationship. Friends are equal to friends. However, this is not strictly true. A female friend will defer to a male friend, whilst a younger friend will defer to an older friend. As above, age and gender play instrumental roles in shaping the relationships between characters.

    Whilst these points are generally timeless (unless you’re writing in a pre-Confucian era), they will undoubtedly be more altered in modern times, should that be where you decide to set your story. ‘Ruler to subject’ can be read more simply as officials and subordinates, which won’t be too different to what you’d find in the west, whilst you might find greater parity between husbands and wives and more tension between siblings. However, don’t think that Confucianism has ceased to exist in any of these countries. Whilst it might be taking a bit of a back seat in the modern world, it’s been weaving itself into East Asian culture for as long as Christianity. Even if these points no longer exist as golden rules, they’re still engrained in the collective psyche and will undoubtedly play an influence in many relationships.

    So, with this in mind, let us return to our example above. No, not your little tale about the boy/girl staying out late, won’t you give it a rest already? I meant the scene from the drama. Here we can see a number of relationships. Both the brother and sister naturally defer to their mother; if we view her as not only a parent, but also as a ruler (their boss in the company), we can see how points one and two are fulfilled. Next, the brother was in line to inherit the company, despite the fact his sister was older than him. Here we see that gender trumps age from the mother’s perspective. This itself is very telling. Even as a strong, independent woman at the head of a large corporation, she would still rather her son inherit her legacy than her daughter. Next, we see the sister refuse her brother’s request to rejoin the company. Whilst naturally one might think brother would trump sister in this hierarchy, as the acting president, the sister can now be seen as the ruler, with the brother as the subject. However, we can also view this development as age trumping gender. Finally, their uncle intervenes and we see the perfect Confucian example; deferring the elder male.

    Boiling down Confucianism to a game of Top Trumps isn’t really what I had in mind when I wanted to pen this article, but hopefully you can get the feel for how it works in terms of relationship dynamics. Whilst it appears quite rigid, it can also be fluid at times too, when the lines between people begin to blur. Should a woman defer to a man because she’s a woman, or should he defer to her because she is his elder? What if one of them is a ruler? These examples are not limited to modern times either, as there is plenty of scope for writing about empresses and princesses in historical times. Should the princess defer to the prime minister? It could make for an interesting story. It’s not so much that your characters obey these rules to the letter when you’re writing them, it’s more than you understand that these rules exist, so that you can represent relationships better.

    So, that’s Confucianism 101, but what about that concept of face I mentioned? Were you paying attention to the example I gave? Remember at the end, where the sister reluctantly defers to her uncles and gives her brother a job? She did, but she gave him a lacklustre one. This is essentially face in a nutshell.

    To save face is not an uncommon expression to most of us, but it’s actually incredibly important in East Asian cultures. One cannot be seen to lose face in front of his superiors, peers or subordinates. Even if defeat, it must seem as if one has achieved some victory, however shallow. So, bested by the uncle she has to defer to, the sister has to follow his orders. However, in order to save face, she only allows her brother a relatively minor position. This shows that when she was forced to reverse her original decision (and lost), she had to exercise her power over her sibling in order to preserve her dignity and save face.

    If you decide to pen a story set in East Asia, this is an essential concept to grasp. People will not be bested outright; they must retain some measure of face in any defeat. Furthermore, whoever bested them will honour this and allow them said face. As in our example, rather than impose his will further, the uncle allows the sister to assign her brother lowly work, just so she can retain face.

    Understanding these two concepts, even in the basic ways I’ve presented them is not essential for writing a story set in East Asia. However, if you acknowledge them in your writing, your story will most certainly be richer and much more authentic. As always, I’m not dictating how to write a story staged in this setting by any means, only offering some potential guidelines that you can follow. Hopefully you found this useful, or at the very least mildly interesting. East Asian cultures are incredibly complex, but with a little bit of knowledge you can still spin a decent yarn or two about them.


    Humor in Writing
    An article by Axis Sunsoar

    Spoiler Alert, click show to read: 
    Writing with humor can be looked at two ways. Either it is a precise art, or something to do in your free time. When you hold the former view you are less likely to be successful in your goal. This is because adding references, jokes, and gentle sarcasm into you’re writing becomes more of a chore than entertainment. Whenever I work on a humorous piece, I seek to derive just as much entertainment from the writing as I envision my audience gathering from reading it. If you aren’t enjoying the time you spend writing then put down the pen (or take your fingers off the keyboard) and do something else for a while. It follows logically that you need to be in the right mindset to write such a piece. If you are sad about something, then it may not be the best time to try to write comedic literature. That isn’t to say that you shouldn’t write when you’re sad or stressed, in fact, sometimes it can be the perfect thing to cheer you up. You just have to be aware of the right time to take a break. The following will be a brief examination on the successful use of humor in writing.

    The first thing to consider when starting a piece is the role you want humor to play. If your planned tale will be an entirely dramatic piece, then there is probably no reason for you to continue reading this article. Otherwise, carry on! You could choose to write a dramatic piece with humor to lighten it, or you could make the same decision I did with my “Raiders across the Sea” AAR, writing an entirely humorous piece. This decision will mostly impact only the number of humorous references in your writing, but if you choose to write a piece with less humor, you will need to spend more time setting up opportunities to add that humor. Put scenes together with characters who have conflicting interests or personalities. A good example of this is a book like George R. R. Martin’s A Song of Ice and fire. Martin would not normally be someone’s first thought when humor in writing is mentioned, but for the dark tone and occasionally graphic content of his writing he manages to include a fair amount.

    Just think of Tyrion Lannister and his cutting remarks, or the often awkward situations created between Jaime and Brienne, caused by their opposite agendas and personalities. If you consider applying similar principles to your writing, and you should wind up with a powerful moving narrative that can still include humor and make your readers smile.

    Now of course, we come to the heart of the matter. “But Axis,” you ask “What exactly is funny?” Well, despite that being possibly the most important point of the whole article, I can’t really answer. I can’t tell you what other people think is funny, and I certainly don’t know better than you when it comes to what you think is funny. You just have to remember that there are other people who will think the same way as you. Maybe they’ve seen the same movie and recognize the reference you just made, or maybe they appreciate your dark humor or sarcasm. They key is to add a little bit of humor for everyone. Someone who misses your first joke may find the second hilarious, and so on. It just takes some practice to find the right balance, because if a story becomes a string of one-liners, it’s not amusing anymore.

    To decide what will be funny in your situation, just consider your material. This is where my personal experience ties in. In my AAR, I mock the bizarre decisions of the AI as well as some of the game mechanics. If you aren’t writing an AAR, you don’t have these things to make fun of, so you have to create humor through your character creation and scenery. If you have one character who fails to do something for comedic effect, perhaps it can be a recurring habit.

    The final thing to remember is that not everyone is going to find everything you write funny. I have had people say that my AAR was hilarious, and others don’t seem do understand half the jokes I make, even the ones I personally am most proud of. I can guarantee that this will be the same for you. You may spend hours perfecting what you think is the greatest installment in your work, only to have no one else think it is funny, or perhaps only your closest friends who really understand the way you think enjoy it. You can eliminate some of this by working understanding your audience. What references will they recognize? Will they be appreciative of situational humor, satire, or perhaps comedy through character attributes? No matter how long you consider this, there will still be some updates that people don’t seem to be interested in. This is something that you cannot let discourage you. If you work through the updates that people seem uninterested in, you will come through with a real gem of an update that has your audience rolling with laughter. The takeaway should be persevere, spend some time on balancing your updates, and understand both your audience and the fact that the same audience won’t understand all of the jokes, even the ones you think you've tailored to them.


    Inspiration - Part One
    An article by McScottish

    Spoiler Alert, click show to read: 
    If there is any one thing that any aspiring, as well as any already established, writer needs it is the inspiration that allows a writer to continue. I believe this is true from the rawest to the most seasoned author, and something that transcends genre, culture, and so forth.

    Although the word inspiration is one that's quite simple, to those of us that write - as well as those that wish to begin penning their own works of ink or digital lettering - it is so much more than a word you can simply throw around. There are any number of things in the world we live in (one of many) to inspire you, and to get those mind-juices flowing and in this article, my very first for the Critic's Quill, I shall be discussing a plethora of aspects which I believe can be applied by anyone wishing to enter the world of writing.

    I have pondered many, many, times exactly how such a subject could be separated out and into what sections, pockets, etc and have decided that, in short, it cannot be. Although genres are a possible seperator - being inspired by Gothic art and architecture for a Horror piece, for example - there are more than likely going to be any number of crossovers with other genres. If you took my example above...for example...you could just as readily use such inspiration for a sci-fi setting, perhaps as the interior of a space vessel?

    Anyway...

    Inspiration can come in any form and strike at any time, you just need to be able to use it. I personally have a 'catalyst system' that I use; once I find something or someone that inspires me I shall use it as a crucible or driving force of inspiration, for example, presently I am doing my world tour of New Zealand and the amount of things which I have found through the scenary and countryside alone is quite astounding. Matched with the rich heritage of the Maori people there is simply an abundance of sources wherever you go. From these you can create any number of scenarios or storylines; tales of shipwrecked sailors, stories of aliens with elements of Maori culture (Te moko-style facial tattoos, a mainly tribal lifestyle, and more), or any number of others.

    While I am well aware that this 'method' might not suit everyone - or indeed anyone except myself - that's no worry, as more-or-less anything and everything can give you an insight into your own imagination and produce the basis for a story.

    Try this simple exercise; find somewhere, anywhere, and sit or stand still. Now take a look around yourself, take everything in, all the details and any objects or persons that may be about, now use those grey cells to transform something seemingly mundane into something greater by 'threading' it through your mind.

    That man sitting alone on the bench, but why is he there? Waiting for the pick up? Spying on the rest of the human race for his overlords?

    You smell that...it smells like mustard gas! Trench warfare and the Great War.

    Those boots that those girls seem to be wearing, reminiscent of the boots worn by Mongol warriors, a story about Mongols.

    A chessboard - well, that alone is inspiration in itself.

    Most of what I have written here is more a scrambling together of my own thoughts on the matter, a matter that truly deserves more than one article. Therefore, I shall be writing a small series for the Quill covering a number of topics in more detail on the when, the where, and the hows of using anything and everything to conquer writer's block and blow away cobwebs of the mind.

    So, I apologise to anyone that is wondering at this moment why I even write for the Quill, but join me next issue where I shall be covering the wonderful and varied font of inspiration that is yourself.

    Until then, get writing!


    Lore masters - Introduction to lore in writing
    An article by m_1512

    Spoiler Alert, click show to read: 
    What it is
    Lore is the background information that adds or provides a base to a story. It is the information that gives depth to writing. Ever wondered why the Tolkien’s tale was so fascinating? Or why did the characters seem so life like? Or the world he created had so deep?

    It was because there was a lore. Tolkien had paid enough attention to the lore which meant that every character and place had its history and each event in the book had a significant impact on that history. As an example, we could consider a simple object mentioned in the tale, the phial of Galadriel. It is explained in the story that it has the power to remove darkness by its light. But lore created for it adds to it by telling us that its light is from the silmaril borne by Earendil.

    The Why
    So an interesting question one might add is if lore is absolutely required in a story. The honest answer to this would be no. Lore is not a pre-requisite to any creative writing, it has never been and might never be. However, it could very well be the main difference between a good story and an epic saga.

    It is also interesting to note that authors may write up the lore, but would not necessarily reveal it all to their readers. This is truer for the work of Rowling in her Harry Potter series. Oh yes, there was a lore there, it just was not completely revealed to the readers. For example, take the rivalry between the two houses, Gryffindor and Slytherin. One of the supporting character talks of how this rivalry developed, and there we have it. The series had a lore, a system upon which it was based. But it wasn’t just spelled out to all.

    The How
    At this point, I am guessing that you might have made up your mind to create a lore for your next series in creative writing. So let us look into ways how you can do that. The simplest tool which I use for this is linking. Although I call it linking, it is more of a chain with which I make the first entry for the lore and then expand on it.

    The best way to consider this would be through an example. Consider a story which is centred upon a town, and its people. Now, I need a lore to fit this into. So, I will start by describing the history of the town. How was the town founded? Was it due to a legendary battle or due to a long enmity between people ended and town formed? Your lore need not be restricted to the above only, it can be anything you like.

    Now that the first lore is done, you only need to expand on it. With the first piece in, you can add few other stuff such as early rulers of the town and any significant events such as invasions, times of strife, or even long duration of peace inducing decadence. There is no demanding need to make it intense events, as long as the lore is interesting itself to be read.

    Conclusion
    There is however, an inherent danger while writing up lore. You will need to take care not to lose the focus of the main story while writing the lore. If you had planned the main story already for a few chapters, getting engrossed in the lore might bring you fresh ideas to make changes to the main story. It is important to keep the focus of the story while keeping in mind the purpose of the lore is to add depth to the plot, and not become the main plot.

    This concludes the article. I hope you found it enjoyable and informative. I also look forward to reading a good deal of lore written by you in the Writer’s Study.


    Way of the Buffalo
    How to Succeed With a Story for Tale of the Week.
    An article by Ybbon

    Spoiler Alert, click show to read: 
    Tale of the Week, the very name conjures a delicious frisson of tantalising tingliness - or is that just me? Tale of the Week is just that, a writing competition held usually every week, we are given an image and a theme and your tale must have between 200 and 500 words (including any title or sub-notes etc) and there will always be five words that must be included in your tale. That is it, a deceptively simple format so how do you win it?

    Follow these 9 important rules and you too can be leaving little cow pats on the way of the Buffalo.

    1, The first important point to think about is the theme, even though we are given an image, it is not an absolute and your tale does not have to match the picture, think of it as a suggestion or a helper to give you some inspiration. Once you have your theme get a quick outline of where the story starts and where it ends, whether you do that writing it on a laptop, piece of paper or like some our more elderly writers, quill and parchment!

    2. Whatever you decide on, you must remember that although the word count is low you must create it like any other story with a definite beginning, middle and end. With this size tale you cannot spend whole chapters introducing characters - you may have in mind the next Game of Thrones but this is not the place for that. What are you going to write? The Starks had a big family, the Lannisters killed many, and they all went to war with each other. Some dragons appeared, so did some weird white fellows. The End. It just is not going to work. Bless his little cottons but George would never make it as a Buffalo.

    3. Now you have a story outline and the beginning, middle end, so what are you waiting for? Grab your reader and hold on for dear life and don’t let them go! Take for example this entry from ToTW-19 “Do not press the red button.”, it does not leave much doubt that you should read the rest of this story, however, don’t draw the beginning out as you need to get that middle and end done as well. “The End” is probably not the best way to finish so try to keep your beginning, to well, the beginning, leave room for the middle and make sure the end has time to mature. Think of this as a decent meal - starter, main and dessert - it may be McDonalds drive-thru speed but it should be so much more satisfying.

    4. So now you have your start and you have grabbed the reader by the short and curlies. Now your dear reader is ready to take the next step on the journey you have prepared for them. Decision time for you then my story-weaver, is it going to be a gentle stroll into the all important middle? Are you going to creep slowly in, sneaking from verb to adjective, hiding behind a tautology here or a dangling participle there and suddenly spring into a fountain of glowing prose? Or are you just going to throw your reader right over that literary cliff you have created and let them fall screaming into the rest of your story? Whatever you decide, make sure your reader stays with you, no good grabbing them at the beginning to let them wander off at the first junction.

    5. Easy there tiger, don’t stray from your plot and whatever you do, under no circumstances, no matter what - well if a supermodel stops by to say hi wearing a smile and nothing else you can stray - but let’s face it that is not going to happen anyway - don’t lose your muse! Try to remember where you story is going and make sure you don’t wander too far from that path. Sometimes it is very easy to get to the 500 word limit and go flying past, sometimes it is struggle to get past 127 - an odd number choice you may think, but speaking from experience of actually submitting a 127 word entry - not impossible to do.

    6. You may find that the story is a struggle, if so, consider that your muse may have turned traitor on you. At which point ignore point 5 - so if Elle McPherson has not stopped by but the story is not happening then you can ignore point 5. Remember your muse is not immutable - if she is just not working (your muse, not Elle!) do not be afraid to take your muse outside, give it a good beating and if it still refuses to work in your favour, shoot it! This may seem harsh but with a 500 word story you do not have time to pander to the vague whims of a muse who thinks you just said that “yes, your ass does look big in that). Start again, if the story is not flowing remember that it is only 500 words, it is absolutely not worth blood sweat and tears - or at least not yours, your muse will get over it and she will respect you more for having been firm.

    7. So now we get to the ending, the big razzamatazz, the showdown. The sun is setting, shadows are lengthening, there is a gunslinger standing in front of you and the scene is set for an ending that leaves your reader wanting to vote for you now. You really want to be Clint Eastwood and not Eli Wallach at this point - Clint always wins, Eli always gets shot. So make sure your ending does nt just fizzle out and leave your reader wanting more, but mainly make sure you leave them with an indelible imprint of your story on their brain. You really want your story to be the boot leaving an imprint on the ass of their mind.

    8. You have now got your beginning, the reader is still with you, you shot your muse and Elle just updated facebook telling you to stop stalking her and you have written “The End” - so now have a quick check through to make sure that you used all the required words (I like to just use a search function and I write the words I need at the top and then search for them, there should be at least two occurrences of each word). Then do a word count - if you use word or something like that it will be in the tools somewhere. If you are using a quill, you may need to get your abacus out. Bear in mind though there is an authoritative word count URL that you should always use if concerned your count is close.

    9. Lastly then we have point 9, most importantly - your aim is to write a great little story but this is a competition and the other writers like yours truly and doing the same and we want to get votes from you! So don’t write something that you think is simply splendid and no-one else does. The way you win is getting a story that people want to vote for. Good manners suggest you do not vote for your own story and although there is no rule to say you can’t, frankly if your story is rubbish, at least let it get the vote count it deserves and not one artificially improved by your own vote.

    I hope this has inspired you to give it a go, take a look at the index of previous entries and use them to inspire yourself. Why should you listen to me? Well I have won six of them so at least some of my stories were good enough to fool enough of the voters for some of the time. Lastly then, good luck and hope to see more new writers and some old returning ones in Tale of the Week sometime soon! Why 9 points you ask? Whoever heard of Buffaloes counting in decimal?

    Point 9 and half - whenever Content Staff enter, you are obligated, as an honorary Buffalo to enter that week. This is not negotiable.


    Writing multiple characters in First Person
    An article by Tigellinus

    Spoiler Alert, click show to read: 
    This has always interested me a great deal, mostly because the stories I dream off are so filled of grandeur and ambition that they simply could not be told through the eyes of a single character. But then I find it difficult to write in third person, I feel much safer and more at home when writing in first person than I do writing in third. So that leaves me to a dilemma; can I have multiple characters and write it in first person? I will try to set my case and speak of my opinion. Mayhaps this shall help those that have asked the same question. Mayhaps it won’t.

    First, allow me to discuss what (in my eyes) first person enables that third person does not, to the level first person does. Emotion, I find this to be possibly the most important thing in a story. A thing the A Song of Ice and Fire did remarkably well was make me, and others, emotionally attached to a specific character (Joffrey, anyone?). Which is what I hold key, why should a character matter to me if I care not for their sorrow? Savour their victories? Weep at their defeats? Something the movie Transcendence did (SPOILERS ALERT, kind of) well was the plot, it was interesting, it involved intrigue and I enjoyed it. What it failed to do, what it failed to do well, was create an emotional connection me and any of the characters, be it the Computer, or the wife. I just didn’t care about what happened to them, I cared about the ending, because I wanted to see what the plot grew to. But not once did I think. ‘I wonder what will happen to her?” it failed to connect me to the main characters.

    A story isn’t really a story unless you care, care about those that experience, what they see. I feel that First person does that best, first person allows for the conveying of emotion to the extremist of levels it allows for me to envision the character, to see what she sees. I want to feel the loss of James as he hears of his father’s death, I want to feel the victorious feeling that Alice has when she succeeds in becoming Class President. While third person can do this, very well. I’ve read authors on here that do so very well. I am more comfortable with First Person. Its just better suited to me.

    First Person allows for me to view a world (third person really is better for this, admittedly), it allows for me to be entrenched within the world, I can walk along the character, watch his battles, his friends, his decisions. What I cannot see is how he thinks, how he feels. What is behind that smiling face, is it malice and hate? Is it lust and desire? Where in third person I can see the world, see the scenery. First person allows for me to view a character’s soul, more so than third person does. I find it more desirable to see the character than the scenery. While that opinion is not law, it is what I hod myself to when I make the following points.

    Would the audience lose themselves? Would a name at the start of the chapter not be enough? Possibly. Quite possibly, actually. I for one don’t normally make the connection from a chapter’s title, it’s normally the first sentence or so that sorts everything out in my head, and while that general laziness will not be for others, some people will have the same habit/problem. Which puts me at a dilemma, another one. Would I rather I be able to understand the story? Or would I rather my audience be able to understand it? The answer to this is not as obvious as it seems. If I can’t understand it I can’t really write it, to least not well. But if the audience can’t understand it than that’s a more vicious problem.

    A solution to this, which may be feasible, if look a bit strange at first. Would be to have the name at the start of the chapter, yes, and then, like in a script, have the name of the character who’s POV you are seeing from before the first sentence. Not only would it only be there to reassert who it is, but you only need it once at the start of the chapter. Just t familiarize the reader with it.

    That’s probably a dismal idea, as even I have my doubts about it. But, it is perhaps feasible. So, the question that remains is this. Is it worth it? Is it worth, possibly confusing the audience? Perhaps irritating the audience? All for the sake that I feel more comfortable writing in first person?

    My honest answer would be this: no. Given a choice I would prefer first person. But I’m not so naive as to think that it beats it all. The POV I use should be based upon what I believe POV best suits the story itself, not my own personal preference.


  4. #4
    m_1512's Avatar Quomodo vales?
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    Default Re: The Critic's Quill: Issue 42



    Thanks for joining us in this edition of the Quill. I hope you found it an enjoyable read. Please let us show much deserved appreciation and rep to the staff for bringing about the issue with their tireless efforts, given that end school season is busy.

    Three cheers for the team:
    - Aquila Praefortis
    - Axis Sunsoar
    - f0ma
    - McScottish
    - The Forgotten
    - Tigellinus
    - Ybbon

    If you enjoyed the staff's efforts please leave your comments in this thread - and rep the writers generously. Regarding the comments, I would like to add the point that all your points are heard. One example of this I can give is that we have increased the font size for this edition upon your feedback. So, please feel free to post your comments here.

    Until next time,
    m_1512
    Editor




    If you find yourself at a loose end, then why not consider sampling some of the TWC publications or creative forums. It's easy, just click through the picture!


  5. #5
    Cohors_Evocata's Avatar Centenarius
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    Default Re: The Critic's Quill: Issue 42

    Yay, lots of articles to read!

    Thank you all for your efforts and not so thank you for putting me into rep debt again. Jeez, just after I'd paid off that one to Ybbon...
    I tend to edit my posts once or several times after writing and uploading them. Please keep this in mind when reading a recent post of mine. Also, should someone, for some unimaginable reason, wish to rep me, please add your username in the process, so I can at least know whom to be grateful towards.

    My thanks in advance.

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    m_1512's Avatar Quomodo vales?
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    Default Re: The Critic's Quill: Issue 42

    It is a pleasure and as mentioned above the reason why the staff works hard for it.

    And best wishes to the writers for putting forth an excellent issue.


  7. #7
    Ybbon's Avatar The Way of the Buffalo
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    Default Re: The Critic's Quill: Issue 42

    The first image link on Forgotten's excellent piece on AAR's is broken.

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    m_1512's Avatar Quomodo vales?
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    Default Re: The Critic's Quill: Issue 42

    Quote Originally Posted by Ybbon View Post
    The first image link on Forgotten's excellent piece on AAR's is broken.
    Fixed it. One of the brackets for the "IMG" tag was missing.


  9. #9
    Shankbot de Bodemloze's Avatar From the Writers Study!
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    Default Re: The Critic's Quill: Issue 42

    Great to see a new issue out!

    I will look forward to reading the articles you guys have rustled up - well done.
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