Bridge Of Writing (Domination #2)

DeYtH Banger

Bridge Of Writing (Domination #2) How to write?

To the people who inspired me into starting to write: Including: Stephen King Dean Koontz James Patterson Jeff Lindsay Jack Ketchum

Bridge Of Writing (Domination #2)

by DeYtH Banger

Аuthor Аuthor Of

(The Kid.D #) - SERIES

1. The Life Of One Kid (The Kid.D #1) by DeYtH Banger 2.

The Life Of One Kid (The Kid.D #2) by DeYtH Banger 3.

The Life Of One Kid (The Kid.D #3) by DeYtH Banger 4.

The Life Of One Kid (The Kid.D #4) by DeYtH Banger 5.

The Life Of One Kid (The Kid.D #5) by DeYtH Banger 6.

The Life Of One Kid (The Kid.D #6 - Part 1) by DeYtH Banger 7.

The Life Of One Kid (The Kid.D #6 - Part 2) by DeYtH Banger 8.

The Life Of One Kid (The Kid.D #7 - Part 1) by DeYtH Banger 9.

The Life Of One Kid (The Kid.D #7 - Part 2) by DeYtH Banger

(Domination #) - SERIES

1. Bridge Of Writing (Domination #1)

(Deeper Level Drop #)

1. All As None and More (Deeper Level Drop #Collection)

(Notes #)

1. Notes Of A Dead Man Sequel (Notes - #1) 2. Notes Of A Dead Man Sequel (Notes - #2) 3. Notes Of A Dead Man Sequel (Notes - #3)

WorNn

“Whatever you do, good or bad, people will always have something negative to say” W.H. Auden

“Poetry might be defined as the clear expression of mixed feelings.” ― W.H. Auden, New Year Letter

“Some books are undeservedly forgotten; none are undeservedly remembered.” ― W.H. Auden, The Dyer's Hand

Chapter 1 - You are Crazy Can you admit it?

Ongro (Part 1)

by DeYtH Banger

31/10/2017

LEARN TO WRITE

…

READING AND NOT UNDERSTANDING DOESN'T MEAN THAT YOU ARE AN IDIOT… IT'S JUST NOOOOOT YOUR THING

….

CLOSE IT …

OPEN IT …

CURRENT CHANGING POSITION AND DEPISITION WHAT BOTHERS MY MIND is all "WHY" QUESTIONS. …

CLOSE IT …

OPEN IT …

YOU CANNNN STEAL IT… YOU CAN LIE…. … AND CHEAT … We are 21 CENTURY HUNGER IS WHAT KEEPS US AWAKE WORK IS WHAT MAKES US TO LOSE PERCEPTION OF TIME… LIMITS AND HAVING FUN. WE DIDN'T CAME HERE TO WORK OR TO BE SLAVES… WE CAME HERE TO HAVE FUN …

CLOSE IT …

OPEN IT …

LAUGH AND REPEATION… I DON'T FEEL WELL SOMETHING IS BOTHERING ME RIGHT NOW I FEEL IT… BEFORE I HAD THAT SENSE OF A FEELING… BUT COUNT ME AS A FOOL.. . BUT I JUST IGNORE IT. …

CLOSE IT …

OPEN IT …

I HAVE NEVER WANTED TO BUILD MUSCLES…. BUT LOOK ME NOW I AM NOW AT THE FITNESS AND LIKE SOME CRAZY BASTARD DOING SOME THING WHICH HAS SLOGAN TRAIN… AND YOU WILL BE HEALTHY. ..

OPEN IT …

CLOSE IT …

SOUNDS LIKE TYPICAL DOOR…. BUT RIGHT NOW I AM PLAYING WITH GLADIATOR (THAT'S HOW THEY CALL THE FITNESS MACHINES.) FOOLING AROUND… …

YOU AND ME

Ongro (Part 2)

by DeYtH Banger

31/10/2017

I AM REALLY SCREAMMING WHO WON'T SCREAM? …

IT JUST CAME OUT MY NEW BOOK BRIDGE OF WRITTING… IF YOU WANT TO LEARN TO WRITE TO GET SOMETHING OUT THERE WHICH WILL FASCINATE PEOPLE JUST GO OVER MY BOOK… SOON IS COOMING AND SECOND VOLUME SO FAR ROUGHLY 500 PAGES BOOK IS THE FIRST VOLUME ….

OPEN IT ….

CLOSE IT ….

I AM REALLY INTERESTED INTO CHANGING THE TOPIC LIKE FOR EXAMPLE I HATE COPS… LIMITATIONS…. REPEATIONS AND CLICHES… ALL THOSE THINGS I HATE THEM

…

OPEN IT …

CLOSE IT …

COOL HAIR STYLE… …

NICE FACE… UGHHHH, horrible body…

…

Horrible face, nice hair style… awsome body… …

OHHHHHH GOD GIVE ME A BREAK …

OPEN IT …

CLOSE IT …

SAY IT… TELL ME WHAT YOU THINK ABOUT ME… IT'S NOT CLICHE FROM NORTHEN EUROPE… IT'S LIFE AND YOU SHOULD SWALLOW OH THE SHIT …

CLOSE IT …

OPEN IT …

DON'T FOOL ME YOU COCK SUCKER YOU ARE ONE FUCKING LIAR… BE A COP OR A DELTA BITCH… BUT REMEMBER ALPHA… BETA AND GAMA ARE GOING TO FUCK YOU RIGHT IN YOUR BUT HOLE.

….

CLOSE IT

…

OPEN IT …

I AM CRAZY ….

I SEND YOU A REQUEST… WON'T YOU ACCEPT IT… AT LEAST SAY HI… BECAUSE WE WON'T SEE EACH OTHER ANYMORE… SAY BYE.. . JUST TO BOTHER ALL IN THIS ROOM.

…

OPEN IT …

CLOSE IT …

IT'S OVER… IT'S GETTING LATE AND IT'S TIME FOR MUSCLES STOP PLAYING WITH PENANANAH.

…

OPEN IT ….

CLOSE IT …

HERE THE CONCEPT IS THAT ALL HUMANS ARE A DISEASE… LIABLE… HATEABLE… CREATURES.

SHE SAID "WHY YOU DON'T GO IN THE ROOM" …

BUT FIRST MADE SURE TO GO NEXT TO ME… ME SAID "I AM HAVING A CONVERSATION…" …

WHAT'S NEXT …

I SHOULD IGNORE THIS BITCH… HOW? ….

BITCHES HATE PEACHES???

….

OPEN IT …

CLOSE IT …

I AM SO FUCKING DEPRESSED WHY I JUST DON''T JUMP FROM THE WINDOW…. AHGHGG NOBODY CARES… WHY NOT A CAR GOES THREW ME…

…

SLOW DEATH… BUT STILL GATTA A POINT.. HE IS NOT A LIAR… NOW TELL ME WHY YOU ARE BUTTING AND SLAPPING THE WHOLE POINT OF THIS HOLE?

Ongro (Part 3)

by DeYtH Banger

1/11/2017

It's ONGRO… EVERYTHING CONNECTED WITH SICK SUCKS… DON'T THINK OR BECOME A SUCKER… DON'T PUT YOURSELF IN THE WRONG SHOES.

….

CLOSE IT …

OPEN IT …

AND IT'S ROLEN… I COULD BE DOING SOMETHING MUCH BETTER THAN STAYING HOME.. AND GETTING FALSIFY HOPE ABOUT ALL CONCEPTS.

…

AND IT'S THE END OF THE DAY… THERE IS REPEATION…. AFTER ALL… THE WHOLE THING IS CORRUPTED.

…

CLOSE IT …

OPEN IT …

NO SENSE OF LOGIC AT ALL… JUST THE OLD JUNKIE TRACK… PLEASE VIBE ME…

….

CLOSE IT …

OPEN IT …

JUST FORGET THAT WE HAD EVER THIS DISCUSSION IT'S ONE OF THE WORST MOMENTS WHICH HUMAN BEING CAN IMAGINE.

…

CLOSE IT …

OPEN IT …

NO CHANCE AT ALL… I AM DEPRESSED AND PRESSED.. WHICH IN OTHER WORDS MEANS STARING AT WOMEN.. WOMAN… GIRLS IS THE BEST THING WHICH I CAN ACCOMPLISH.

…

CLOSE IT …

OPEN IT ..

I WANT TO BE REMBERED AS STORY TELLER… BUT THIS RANK IS VERY HIGH AND STAKES ARE GETTING VERY HIGHT. ...

HOW DOES SOUND, I AM GOING TO FUCK YOUR MOTHER.. THEN KILL HER AND BY MY OWN HANDS I AM GOING TO DIG A WHOLE IN THE GROUND. IT'S MY LAST JOURNEY… I WILL TYPE AND STARE… AT LEAST ACTION… NOT NON ACCURATE PASSAGE… …

REMEMBER DEATH BY BY FOLLOW UPS

Chapter 2 - Reviews Review iT

CRUSH THEM!

Review: Thinner Thinner by Richard Bachman My rating: 5 of 5 stars "October 23, 2017 – 50.0% "The Whiteman Curse :D" October 23, 2017 – 50.0% "From everybook get something to learn and work on. That's what life is all about."

October 23, 2017 – 50.0% "1:05:59 ...."

October 23, 2017 – 30.0% "All people here are shady, shaky and full of rage."

October 23, 2017 – 30.0% "31:23" October 23, 2017 – 1.0% "Another work again by Stephen King ...

Let's see what next is going to happen" October 23, 2017 – Started Reading" P.S. - Comparison between being fat and SuperNatural

Review: 1922 1922 by Stephen King My rating: 4 of 5 stars "October 22, 2017 – 35.0% "1:05:34" October 22, 2017 – 35.0% "41:02" October 22, 2017 – 5.0% "35:53" October 22, 2017 – 5.0% "What's more awesome than being around again a Stephen King work and this is another example of a story which has been adapted into a movie."

October 22, 2017 – Started Reading" P.S. - Full dark, no stars... what's deep down... it gets on the surface.

Review: The Coldest City

The Coldest City by Antony Johnston My rating: 4 of 5 stars "October 17, 2017 – 35.0% "48:17" October 17, 2017 – 35.0% "Everyone on the TV Screen are big deal..."

October 17, 2017 – Started Reading" P.S. - No sense at all!

Not ENOUGH I am not not enough brutal!

Review: Thrust Thrust by Tom Piccirilli My rating: 4 of 5 stars "October 16, 2017 – 0.0% "This book is short as (PAGES)... But stIll deep enough there is a message which needs to be spread around."

October 16, 2017 – Started Reading" P.S. - I like the title of this book.

Review: The Butcher's Son

The Butcher's Son by Grant McKenzie My rating: 3 of 5 stars "October 16, 2017 – 100.0% "What we really need is *new words... We shoups fix our own vocabulary."

October 15, 2017 – page 59 17.56% "Can You detect!

Fast Read Fast View Watching Movie Going Around the audioBook ...

How does all that sound?"

October 15, 2017 – page 59 17.56% "I have been schooled, it pays me to go to school and to stay."

October 15, 2017 – page 35 10.42% "Within Each book, lies wisdom.

- DeYtH Banger" October 15, 2017 – page 35 10.42% October 15, 2017 – page 19 5.65% October 14, 2017 – page 10 2.98% October 14, 2017 – Started Reading"

Review: The Snowman

The Snowman by Jo Nesbø My rating: 4 of 5 stars "October 15, 2017 – 100.0% "dissapointed... I expected much more!"

October 15, 2017 – 100.0% "For 2 Time being around No Nesbo work, little" October 15, 2017 – 100.0% "3-Stars and half could be my rating for 4 Stars... I expect much more... Not simplicity to kill the whole cake, complexity is what we really need here in a such novel like this one."

October 15, 2017 – 100.0% "The movie is weak.. I watch it.. It's more like boredoom... boredoom... KILLING! ...

Probably there is a position in which has slight excitement... Then It rolls back to being EXTREMELY BORING - DIALOGUE" October 15, 2017 – 100.0% "For all people who want a review from me. It will be again like a progress, but it's review.

Matt, - You want it; so you are going to get one."

October 15, 2017 – 100.0% "For all people who want a review from me. It will be again like a progress, but it's review.

Matt, - You want it; so you are going to get one."

October 15, 2017 – Started Reading"

TWO REVIEWS Review: Mr. Monk Goes to the Firehouse

Mr. Monk Goes to the Firehouse by Lee Goldberg My rating: 5 of 5 stars "October 15, 2017 – 25.0% "Mr.Monk is typical old school character, not very familiar with tech, but very familiar with "Being clean" and "Having Order"."

October 15, 2017 – 15.0% "If there isn't order.... There is something wrong all the story."

October 15, 2017 – Started Reading"

Review: The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History by Robert M. Edsel My rating: 5 of 5 stars "October 14, 2017 – 70.0% "Gold has been found ...

And Culture Has been refunded. ...

1:43:58" October 13, 2017 – 50.0% "1:20:00" October 13, 2017 – 50.0% "1:06:31" October 13, 2017 – 50.0% "What happen with the art... which re-present culture? ...

Here in this book is the whole story, do you dare to open it?"

October 13, 2017 –

50.0% "1:03:40" October 11, 2017 – 15.0% "40:11" October 11, 2017 – 15.0% "Life did changed all of humanity... but how everything came into such a precious mind? ...

Madness, agression, evil and so on and so on and the story continues!?"

October 11, 2017 – 15.0% "38:21" October 11, 2017 – 5.0% "The point why I am reading this book is because - I wonder what happen with all art masterpiece."

October 11, 2017 – Started Reading" P.S. - WHat happen with the art? ...

Is the question which you should ask yourself while you are here around this movie.

TWO REVIEWS

Review: Mr. Mercedes Mr. Mercedes by Stephen King My rating: 4 of 5 stars "October 13, 2017 – page 332 76.15% "My rating probably will be 3 stars and a half" October 13, 2017 – page 332 76.15% "The End is crazy! ...

Rare- Ending of a book" October 13, 2017 – page 332 76.15% October 13, 2017 – page 318 72.94% "it's getting horrible! "spins her around. “He’s out, Holly! He’s out! What are you doing?”

“Therapy,” she says, and then all the strength runs out of her legs.

She sits down in the aisle. Her fingers relax on the knotted end of the Happy Slapper, and it drops beside one sneaker.

Onstage, the band plays on"" October 13, 2017 – page 291 66.74% "Chapter 27 ...

- I am more interested in what next Brady is planning, that's what comes on the surface which I enjoy, going through."

October 13, 2017 – page 252 57.8% October 11, 2017 – page 230 52.75% "Everything is mixed up... the TV SERIES KINDA LOSE THE MAIN POINT OF THE WHOLE STORY." October 11, 2017 – page 230 52.75% "I am as interested in "How is written" as "What's Next". I CAre more about what's next."

October 10, 2017 – page 200 45.87% "The Story is Mixed Up" October 10, 2017 – page 200 45.87% "Plenty of new words (Part 4/Chapter 6)" October 10, 2017 – page 180 41.28% October 10, 2017 – page 174 39.91% "What you need is vocabulary.com, while you follow the story."

October 10, 2017 – page 174 39.91% ""The REAL Mercedes Killer PS: Your mother was a whore, she took it up the ass & licked cum out of gutters..""

October 10, 2017 – page 174 39.91% "If The Book is getting to slosshy... Skipping few pages is auto generated choice."

October 10, 2017 – page 150 34.4% "Bulgarian language FUCKS up English and American Books."

October 6, 2017 – page 140 32.11% September 30, 2017 – page 136 31.19% September 30, 2017 – page 131 30.05% "Part 3/Chapter 4" September 29, 2017 – page 123 28.21% "Part 3/Chapter 1 ...

That's for what I am talking about... The original story/language that's a great read."

September 29, 2017 – page 103 23.62% "Български не струваааа!"

September 20, 2017 – page 103 23.62% "You know the story... no need to continue... you know how is going to end all this shit... don't ya?"

September 20, 2017 – page 103 23.62% "Chapter 13"

September 10, 2017 – page 90 20.64% September 9, 2017 – page 88 20.18% "Oh god... so the whole point of this book is "Life fuck me... Now I fuck you"" September 9, 2017 – page 71 16.28% "Глава 3/Част 2" September 9, 2017 – page 67 15.37% "Това е Стивън Кинг, лицемирен.. . арогантен. ... И пак аз се връщам да чета творба на Стивън Кинг?"

September 8, 2017 – page 63 14.45% "21" September 8, 2017 – page 60 13.76% "Chapter 19 ... what's happening... FATTY!?"

September 7, 2017 – page 55 12.61% "Nothing against the author but the book as text sucks but the TV series look as very suprising but somehow... sadly they don't follow what's really the original story."

August 14, 2017 – page 55 12.61% "This douchebag started masturbating after his mother started touching him... Somehow it put him on!"

August 14, 2017 – page 55 12.61% "AS from my point ov view the book could create an image... but not as good as the TV Series" January 11, 2017 – page 55 12.61% "A work which I read with mixed feelings... once wanna leave it.... others wanna continue it."

January 8, 2017 – page 53 12.16% "53 page / Chapter 16nn....nnSome Chapters Long other short...."

January 7, 2017 – page 50 11.47% January 6, 2017 – page 46 10.55% "So after alll first a lot of cases are out.... Which need to be

solved.... nnAs second It could be written in a better this work."

January 6, 2017 – page 44 10.09% "Going kind of slow... but some kind of I am not impressed from Stephen King."

October 22, 2016 – page 43 9.86% "Going kind of slow... but some kind of I am not impressed from Stephen King."

October 21, 2016 – page 39 8.94% October 15, 2016 – page 22 5.05% October 15, 2016 – page 22 5.05% October 15, 2016 – page 22 5.05% July 20, 2016 – page 20 4.59% "So far it's going pretty interesting, mysteries a cop who wants to suicide and it's still in the beginning!"

July 13, 2016 – Started Reading" Review: Devil's Knot: The True Story of the West Memphis Three Devil's Knot: The True Story of the West Memphis Three by Mara Leveritt My rating: 4 of 5 stars "October 11, 2017 – 50.0% "In ths story there can be found liars and hoest people. - CAN YOU SPLIT IT UP ALL THAT?" October 11, 2017 – 50.0% "1:21:49" October 11, 2017 – 5.0% "38:35" October 11, 2017 – 5.0% "i AM HERE FOR THE DEAD" October 11, 2017 – 5.0% "30:18" October 11, 2017 –

1.0% "Ahhhh.... he is slow auctioneer!"

October 11, 2017 – 1.0% "Crime changed humanity... it shook once and forever the whole ground. ...

Jealousy, greed all that makes humans go beyond limits."

October 11, 2017 – Started Reading" P.S. - Did the people who had in their minds dark desires cause all what happen here? ...

Evidence lost, was on purpose? ...

Come on this there evidence - blood... in the lady WC it was hard evidence... and lost... come on... come on... it's done on purpose it can't happen like that. Wanting to find the guy who commited all that shit and now some evidence has been lost!?

This story will chill you up... first nice picture then after few minutes like 10-15... it gets horrible and horrible.... In the middle all is horrific.

Review: Night of the Hawk

Night of the Hawk by Dale Brown My rating: 5 of 5 stars "October 22, 2017 – page 256 44.44% October 22, 2017 – page 212 36.81% "Break doesn't exist... Just Conducting an Experiment!"

October 22, 2017 – page 212 36.81% "I FUCKED UP.. . ...

FOOLISHLY!" October 18, 2017 – page 90 15.63% October 17, 2017 – 2.0% "In this here book there is something which pulls the strings.

The author have got potential!"

October 17, 2017 – Started Reading"

Review: Planet of the Apes

Planet of the Apes by Pierre Boulle My rating: 4 of 5 stars "October 23, 2017 – 50.0% "Team Work ..."

October 23, 2017 – 50.0% "1:40:46 ... ...

I am very curious person and I am very curious as how one monkey perceive the whole world... this book has got the point so far from my opinion."

October 23, 2017 – 15.0% "With this monkey group there is a kiddo... what is it doing there? ...

Silent - ROLE!" October 23, 2017 – 15.0% "That's a strange battle... everything here is brutal....!"

October 23, 2017 – 15.0% "Monkeys against monkeys" October 23, 2017 – 15.0% "Hahahha" October 23, 2017 – Started Reading" P.S. - If you are searching for Monkey Intelligence... this book is the best choice inside this story there is mind blow theory.

Review: Darkness, Tell Us Darkness, Tell Us by Richard Laymon My rating: 2 of 5 stars Whatever you say... I am not anymore interested into Oija bords... ...

Well known story... you can't say something... DIFFERENT!?

Non-Relevant The Journal

By DeYtH Banger How many times have you hit bottom only to relapse and hit bottom all over again?

- Before it was something like every week few times, now is with a progress like few times in month. Which means from 3 up to 4-5 times max.

In my practice, men often call me only when they’re being charged with an illegal sexual offense. Could that happen to you?

Yeah it could happen, that's why I started reading this book right now at 4:00 A.M., before few hours I was a victim of a strong relapse.

Do you want a high bottom or a low bottom?

- A low bottom is signified by events such as being arrested when soliciting a prostitute and going to jail on porn charges.

- A high bottom is when you hit bottom without having major legal consequences.

I am in high bottom, I have not been arrested, No Prostitutes, whores. I am a student, I don't have job, wife and I am 18 Years old.

What would it take for you to hit bottom?

- Being in stressed, angry, ignored, alone. Having too much on me.

Watching how everything goes and I am still nowhere!

…

Oh god I fail, I don't know which time is it… but I fail and fail, I thought that I more powerful than my addiction but this addiction this time tried to trick me. First, making me look the erotic bar image… then more images from that type then it went further striptis pornstars.. and one moment it went FUCKING VERRY VERRRY SICK CONDOM WITH CUM… I am not sick, I have an addiction and it eating me inside it has' t been long since.

It has been a while it started this month around 13.12.2017 and now 20.12.2017 it came back… one thought drove one more and one more …

Thought + One more + One more + One More +

One More (…+….+….+…)

It's my sexual compulsion it's as bad as all other addiction…

Like Drugs Like Alcohol …

And All other bad habits which destroy my well being, I promised to stop but the compulsion aka Mr. Addiction got me once today in the morning, I had the power to stop it, but the second fight… I just could't stop it… It was FUCKING Damn good.

Mr. Addiction: You Need Me Mr. Addiction: You gonna like it Mr. Addiction: Give a try Mr. Addiction: After all you need something sex or jerking off?

Mr. Addiction: Haha haha you couldn't talk today with a girl… better take me… MY PILL - START JERKING OFF Mr. Addiction: She asked you about your age you said 18… then you asked her she said 16… you said "Wow "… she looked at you in a strange way and THE END - Hahahahahaha just TAKE THE PILL Mr. Addiction: It's dick… IT'S NEW … IT'S SPECIAL… IT'S ONE OF YOUR FAVOURITES Mr. Addiction: I know that you like asses… just relax.. go and touch your dick and start stroking it.

Mr. Addiction: You are like your fathere! WEAKKKK MINDED Mr. Addiction: Your addiction started in early age and it will continue.

Mr. Addiction: TO BE CONTINUED Mr. Addiction: You said that you won't leave a story with "To Be Continued" ever.

Mr. Addiction: YOU ALWAYS CHANGE DIRECTION Mr. Addiction: You are not serious Mr. Addiction: You don't have the guts to face the whole thing Mr. Addiction: You will be alone forever…

NO GIRLFRIEND NO FRIENDS ..

ALONE …

AT LEAST BE WITH ME… …

YOU WON'T LOSE ANYTHING. Mr. Addiction: You can't talk to the public, you get upset easy… you say one thing but you go other direction.

1. What would you say to it?

DeYtH: Fuck off leave me alone.. I want better life

2. What questions would you ask?

DeYtH: How can I remove you?

How to stop you?

Why I always I get to you?

…

DeYtH: Who are you?

Mr. Addiction: The bottom of all your failures, (when you fail… you get stressed you want to relax I am here.)

DeYtH: Why do you want me to act this particular way?”

Mr. Addiction: Because you fail again and again … you don't follow your goals.

…

It really sucks it sounds like I won't go very far. Another failure just follow me up, right in my home. …

I won't give up listen to my teacher failure is not easy to be avoided here. Addiction always finds way to trick you.

…

I won't lie: I have progress: …

I have made it too few before they were plenty. I mean in week I was jerking off like 3-4 times. ...

I didn't saw it as a damage, but something like mistake = That's what books of (Masturbating is Good For You) say.

Say: It happens, it's normal…

…

I really didn't found at that time solution.

…

But the truth is that in the end Mr. Addiction, found a way to trick me.

First , Mr.Addiction…made a dream fulfilled with prostitutes… and going all directions of making you on.

Mr. Addiction: You are weak Mr. Addiction: Do It Come on Mr. Addiction: Just do that

DeYtH: Noooooo Mr. Addiction: Just that DeYtH: Okay, but once Mr. Addiction:

….

The Story follows up to fighting to stop doing this sick things but Mr. Addiction, by using silence beats me up in his game he always knows the answers.

Mr. Addiction: Okay… now look at this video this people are having sex.

DeYtH: It's sick Mr. Addiction: It always has been difficult to adapt change and TO DON'T CARE WHAT ALL OTHERS PEOPLE ARE THINKING. Mr. Addiction: Two years have been you said when you grow other you won't stop masturbating you will even double and tripple the whole count.

Mr. Addiction: It have been 2 years since you removed your friends by reasons which were stupid.

DeYtH: So you are my friend?

Mr. Addiction: Yes DeYtH: BULLSHIT, bitch leave off

Mr. Addiction: What you need is desire and image that's what makes you on.

DeYtH: You are sick, because OF YOU I COULDN'T MEND MY FRIENDSHIPS I COULDN'T GET BETTER LIFE EVERYTHING SINCE YOU BECAME PART OF MY LIFE HAS WENT IN DIRECTION COUNTERPRODUCTIVE.

…

DeYtH: Every day with you living makes damages in my life.

DeYtH: BECAUUUSEEE OF YOU PEOPLE SEE ME AS SICK PERSON, BECAUSE YOU MY MIND IS LIKE ON DRUGS. Mr. Addiction: LOW YOUR VOICE! …

BUT YOU LIKE IT? Mr. Addiction: I am right!

Mr. Addiction: No Need to answer my question DeYtH: I feel like a JUNKIE, blur vision… …

Mr. Addiction: But you like it?

DeYtH: I like it and I hate it … liking sonethng like this will cost real damage, no need for such savage decision.

Mr. Addiction: No Need to fuck with me… don't listen to this professor dick. You can do it… as much as you want.

DeYtH: No Mr. Addiction: Why?… because of him? …

- He won't find as far as you do it private DeYtH: You are sick and you need medicine Mr. Addiction: No, you are sick.. I am a part of you.

DeYtH: NoooooooOOO… THAT'S LIE IF YOU WERE ME, THEN WHY YOU WANT TO DESTROY ME? Mr. Addiction: That's your true self- you are an addict and I can give you the supply.

DeYtH: I don't want your suply, I am me… and I will remove Mr. Addiction: You can't let's bet in that… mainly because you are weak… weakness can't destroy a virus.

Mr. Addiction: Even if you cut yourself… bash yourself… slap… kick yourself… I WILL BE THERE….

…

SLAYING YOURSELF IS THE ONLY DECISION.

…

DeYtH: I feel like slaying myself, mainly because of you… You made me to think about that… an addict can't see the right way.

Mr. Addiction: You are weak… and I am here to destroy you mentally.

DeYtH: Why you want me to do that.

Mr. Addiction: Lookacha you… you can't keep your promises, you are not sure, you are worried, no friends, YOU DON'T HAVE NOTHING WHICH COULD IMPROVE YOUR SOCIAL STYLE. Mr. Addiction: You see yourself as a genius, but you you ain't genius.

DeYtH: What can I do about that?

Mr. Addiction: Try random things, try something to keep you out of stress.

"Albert Einstein: in order to solve a problem, you can’t use the same thinking that got you into the problem."

….

1. How did your sexually compulsive behavior started?

- It started from my early age by playing a game on my father's laptop.

At first it was just normal looking game with a girl and man then after few rounds it was treasure… but with time it started making my mind weaker…

- Rejection is little depressive that's why if I do something with a girl ( I mean chat), it's rare + most cases I convince a friend to do it and I have fun in watching how he fails. But stIll getting rejected it's like Blip 20% …

When it get 100% '- I start jerking off …

You are kinda right, It started with my father's porn. He had on his laptop songs which were fulfilled with pornographic material - IT'S ONE REAL BIG DAMAGE How old are you now, and how long have you been doing the same or different sexually compulsive behaviors?

- Now I am 18 Years old, it has been since 10-11 years old kiddo.

Just made a mistake = finding this videos and it ruin all my conception of understanding normal life… IT FEELS GOOD THAT'S HOW ALL STARTED. When you were a child, did you play doctor? Did your compulsive behavior start with the girl next door? Or the boy next door?

- Yeah, it was some kinda game in which doctor or a plumber who is going to fix some kinda a problem which is having one woman aka girl. And then he falls … and then it comes choices, there are few scenes…

How did you learn about sex? That is, how was sex introduced to you? Did you have “the talk” (about sex) with your parents or with another authority figure - It happen at home, they started terrorizing me with shit few years it was like a chain… each year each mouth we talk about it, somewhere in the middle or probably before that came in place this game… it really made me on.. I was with a friend… and I felt like I wanted to push the button one more… time… one more time… then I started doing a research… and one moment I got the tools… but I wasn't really sure - Until it came the book about masturbating which really fuck my mind… - SUCH UGLY AWFUL CONCEPT WHICH DESTROY PERCEPTION AND EVERYTHING ALIVE.

MenDer Part 1 …

Me: I hate the whole thing of purpose FaS: Your question cannot be really defined in further do.

Me: Killing is what's going to safe me from becoming poor.

FaS: I am Wrong..! But by itself talking you are talking about suicide.

Me: I hear voices FaS: That's the define line which make you crazy from not being crazy. …

Part 2 Me: Self-reichesnest is what I really need FaS: You can't really define human needs Me: whatever FaS: No need to be so short, dead isn't comming to collect you.

Me: How do you see dead?

FaS: The Collector Me: Are you a robot?

FaS: Define the whole concept of being = robot (is it a demon ) Me: It's wires not flesh.

FaS: Whatever…!

Trying to communicate with you fails all Ends

…

Part 3 Van: What you wish is a desire?

Gong: Your whole POV is wrong

Van: NOT IT'S NOT DESIRE IS WHAT OVERTAKES REASON Gong: No Prosperity NORRR engagements

Jokes Note: Too Old! Why coke is near to joke?

Why eat is near to fat?

Is it a chapter about being eaten or somebody hasn't had his lunch?

Jokes we use them to laugh, which from one perspective is very strange…

Look it: laughing AT words???

Laugh at features….

It's long time since it was on the track.

(I MEAN THE WHOLE IDEA OF THIS SILLY CHAPTER) It's not: - Another Pornography thing (TYPICAL FOR MY STYLE) - It's not sonething to boost your mood (All my ideas have one in common a conflict is build within them and slowly ruins all the strong arguments, it's Word Battle) - Sex, Death WON'T BE INVOLVED (THIS STORY HAS BEEN STAYING ON MY TABLET FOR A VERY VERY LONG TIME, FIRST I HAVE LOST MY MEMORY, SECONDLY DUE TO REPEATION I AM GETTING DUMB) - NO GAMES

…

Do your own research try to find one of those movies jokes which really really hurt people's feelings.

For example M.D. House is hyprocite (A book how to be hyprocritical like him, I haven't found such novel from so much deep seeking‌ - Yeah I have found books about him, but not books about: How does he feel when he is hyprocite Why does he do it?

(In the beginning he was typical usual American, what happen with him in 4 or 5 season to get the place in which he is like in season 7 and 8?)

How can we be like him, I mean such ironical?

How can we get so high self-esteem?

- So many questions which aren't still answered, What does he have to do with the topic Jokes?

It's because I put him in a possition - the beginning of our topic = JOKES There isn't a book full of good jokes!

There is a book full of: - Deep Shit - Dumb

- Boring There isn't a book which explains how to be - Ironic - Getting Punches ...

Jokes ARE the thing which helps us to go throw the day. That's the definITION! …

JOKES HAVE NO PURPOSE AT ALL …

SILLYNESS IS WHAT'S GOING TO BE THE CONCLUSION. In my story race doesn't matter, what matter is that all cool well made M.D. House TV Series… I mean such series like this one… are just shows in which you watch whats on the surface, but you never get into it.

Non-Relevant The Journal 2

By DeYtH Did the other kids talk about sex? What did they say to you? Did it frighten or arouse you?

- Yes they did, about type of porn, preferences…

They were asking me about do I watch porn open and how much times do I masturbate? …

Naah, not such thing as arouse… or getting frightened, just feeling strange.

Was there anything good about how you learned about sex?

- That both ways are good, masturbating or having sex with your Partner, but in my rough opinion it's bad shit. - The way I see it now Did you masturbate when you were young? How young were you?

- The question has been answered already!

Did anything change after you’d had sex? Did it affect your experience of touching yourself? Of orgasm? What changed in how you felt about yourself before and after you had sex?

- I have never been so far… always being on the surface… More likely masturbating than having sex.

Were you lonely as an adolescent? Hurt by girls?

- There were moments of rejections which were going in the most horrific ways.

Do you feel that you have to continue to use prostitutes, masturbation, or pornography to achieve sexual satisfaction?

‌.

- I have been around pornography and masturbation, I have wanted to be around prostitutes and to give a try, but I have never extended it in action, It just has been a thought which never got the chance to be bring to life.

Does Your Occupation Have Anything to Do with Your Addiction?

Not really a occupation, but Studying and going out with my friends creates stress, which makes me anxious.

Do you smile and are you pleased to be there when you walk into your workplace? Or do you wish it were already 5 p.m.?

- I ain't working .. I study at school but sucks‌ I wish as fast as it starts and to end.

Some people have sales jobs so they will have unstructured time out on the road to stop in to strip clubs and porn shops. What part has your addiction played in your choice of jobs?

- It started from stress and wanting to push the button again and again with the videos, however everything which has happen.

- Books - Films

- Pornography - Strip Bar - Once …

- Stress Everything has played a role in my life.

What Is Your Past and Present Relationship Status - Zero Relationships Present/Past When you were in high school, did you date? Were you a jock or a geek?

- No Past RLW relationships - I have been a geek.

Or were you so isolated that you didn’t identify with any group?

- I found friends which were near to the way I behav Were you terrified to talk to girls? Or were you sociable? Did you go to the prom, or were you reclusive?

I have always felt like a obstacle ha been talking with girls. ….

Mr. Addiction: Your addiction is real… you are getting sicker.

DeYtH: Yay, another debate with you.

DeYtH: You act and try to be my friend… but You ain't my friend.

Mr. Addiction: If I make you trust me gives .e chance.. . - To pull the strings, of this whole game.

Mr. Addiction: Your problem too much you: - Give a thought - You deepen it - You put it always all things for later Over and over and over Mr. Addiction: Hasshhhh, you say tomorrow, tomorrow moves for the other one… and so on and so on.

Mr. Addiction: You put in yourself diagnoses which aren't really anything doing with all what's happening.

What the fuck should be Mr. Addiction, if not an enemy? …

No answer for that question or we could be - I don't remember and - I don't know Typical non-productive speech. From one point of view the pRoblem could be hiding within too much material, stress, not sleeping enough…

…

I even now don't know… JUST LATER IT. It's getting late and another jerk off just follow me up home, probably being on your own on such task is hard to solve the problem. No one is near you to help you.. . You are on your own, thinking of making some kinda progress, but the truth is that there isn't any type of progress… it happens over and over and over it has thousand ways to happen. First the mind should experience something. Then thoughts start comming one after another.

- Sexual - Stress - Depression - Suicide - Killing somebody (Homicide) - This are the topics which all is about.

It's like a system of self-destruction, slowly but effective. Everything affects you and you are alone… come on… if this isn't stressful… what is It? First it hurts… it ruins everything mind and all kinds of things and it happens over and over and over and over. It makes you think that you are safe and aftee few more porn videos… your protection is oOVEEEEEEEEEEEEER ORRRRR GODDD… I AM MASSIVE SELFDESTRUCTION WEAPON.

…

You talk about that and that… do that… - Yeah I am doing it… but it creates inner stress

…..

Can you imagine having the feelings you have when you’re by yourself being replaced by intimacy with someone you share your whole life with?

Yeah it's possible that's what all people say: "It can happen." …

But in real not sure …

Probably a thought to make you feel better, but nothing for real happen = action.

Do You Have Nonaddictive Hobbies?

- Reading books as for this year around 297 Books read.

- Watching movies Like: Docs, crime, true crime, horror, comedy (Sometimes), drama (Rare) What do you read? Do you read for pleasure or only for information - For getting info and pleasure.

Are you physically active? Do you exercise - As for now rarely, but before it was more often.

What kind of movies do you like?

- Already Answered!

If you don’t have any nonsexual hobbies, can you think of some that might appeal to you?

- Improving Myself - Reading Books - Hang out with Friends - Playing Games - Watching Movies What Is the Financial Impact of Your Compulsive Behavior?

- Zero, I am a student How much time do you spend thinking about sex?

- In a week in about 2 times in a month in about 5-6 times it… or it could be more. It depends from a trigger if there is a trigger… it could be more than 6 times.

How much time do you spend engaging in sexually compulsive behavior?

- 30 Minutes up to an hour max How much money do you spend on sexually compulsive behavior?

- Everything I get free… No Money at all.

Does the time you spend thinking about or engaging in sexually

compulsive behavior cut into the time you could be working productively and earning money or engaging in an enjoyable hobby or an intimate relationship?

- I am not working… as for hobby it's possible as for the relationship thing…. - NoooooooOooo

Did your mother and father have an active social life?

- It a middle class family so do and social life.

…

Did your father have male friends? Was your mother upset with him because he wanted to go to baseball games or play cards with his friends?

- Yes he have male friends, but he isn't a sporty kind he is a drinker.

He likes to go to parties…

And do crazy things!

Did your mother have women friends?

- She have plenty of them, before she was on the phone for hours.

Now zero hours on the phone + She rarely goes out with female friends, most times stays home and terrorises ove and over and over, if she doesn't have work… (which means 2-3 days stays home all the time.. and it's one fucking he'll.. . Because in the same time there is a dog, me… grand-parents.)

Did your family move a lot? If so, how did that impact you?

- No… They don't move a lot… they have been living in one place since my whole life…. + If they move … it's more likely for holidays or for few months or few weeks.

Were Traumatic Events in Your History?

- It started at home = Stress, Disappointments, anger, Agression, holidays not being celebrated as all people do, feeling miserable.

- School - Stress, shouting, summing (all tests are the worst ever have been seen… - Ohh come on… my test has good result so what type of fuck… do I give for the others?)

- Friends ------♤♤♤♤♤----- ( The Same here) Was there ever sexual contact with anyone in your family? If so, were there any consequences?

- Yes… my father was FUCKING my mother… but when other people started comming coming to start replacing my father - It was traumatic… - COME ON… IT'S NOT COOL TO WATCH SOMEBODY WHO I KNOW AND IS AN ADULT WITH A ROLE - PARENT to do such mistakes = dissapointment. Reasons- NOT GOOD AT ALL.

DeYtH: You are a parent… adult… you should have limits in what to do and what not to do.

Did you have brothers or sisters? Was there abuse? If there was, was it emotional, physical, or sexual—or a combination?

- First I don't have sister/s or brother/s. Second no abuse at all.

Was there violence? When? With whom? Did you get yelled at a lot?

Were you hit or in any other way physically abused Yes, it has been since 7-8 years old probably and little more younger up to the age 16-17 Years old. With all … my grand-mother and my other grand mother, at school I was bullied, at home father… mother and grand-father. Also and other people out of school facilities and out of home strangers and enemies and "Friends."

Yeah… since 4-5 years old up to these days… which make it arou d 16-17 years fulfilled with telling, my mEmory starts to weaking from high levels getting into the most weaker levels. ..

I have been physically abused - Under The "Violence" Term.

DeYtH: I just saw my mom naked…

Mr. Addictiin: Celebrate it with a promise "That you won't anymore masturbate."

Mr. Addiction: The fun thing about this promise it will be broken as fast as rather way.

DeYtH: I kinda feel sick off seeing my mother naked.

DeYtH: It's one of those porn magazines of pornstars.

Mr. Addiction: You should fulfill desire, that's why desire cradle it's own way out.

Mr. Addiction: Einsten having sex with his cousin, as for you… with your mother.

Mr. Addiction: Hahahahaha

Was there any sexual abuse from a parent or another family member?

- No such type of abuse!

Were you angry or upset about treatment you received from your primary caregiver or parent, who was supposed to be a person you trusted more than anyone else in the world?

- I am always upset from my parents and… I always feel sorry for being closed in a trap… out of this circle.. I can't survive so do and in this circle (Home).

DeYtH: It's very traumatic looking back of what really happen to me.

Mr. Addiction: You need to get rid of me… if want really that… YOU WILL SUFFER, along the road but for the greater good.

Need What we really need to do the writting part is just to say

"FUCK IT" - To homework - To Housework

"FUCK IT" - To problems - To money

"FUCK IT" - To yoga - To Pressure

"FUCK IT" - Food - Life Problems

JUST SAY IT

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

"FUCK IT"

Recommend I Suggest you now to read book like

1. Eddie the Eagle: My Story by Eddie Edwards

- 5 Stars Out Of 5

Opinion:

This book is a story which is easy to follow and what moves all the lines is the ambition of the character. For him there isn't any stop he will continue over and over and over... tripping and falling over and over and what really for little moment stops the line is the moment when he needs arm (in other words it means that he needs somebody to tell him that "he can").

2. Kill the Messenger: How the CIA's Crack-Cocaine Controversy Destroyed Journalist Gary Webb by Nick Schou, Charles Bowden (Preface)

- 4 Stars Out of 5

Opinion:

"December 14, 2017 – 50.0% "1:21:54" December 13, 2017 – 50.0% "Is a lie or moment of truth? ...

1:08:42" December 9, 2017 – 15.0% "45:15" December 9, 2017 –

5.0% "30:51" December 9, 2017 – 5.0% "This book is going to reveal a secret which makes you to ask yourself how much people do know about what's really happening behind the big walls of the goverment."

December 9, 2017 – 5.0% "24:15" December 9, 2017 – Shelved December 9, 2017 – Started Reading" P.S. - The book deservs 5 stars out of 5 from the main reason Garry Webb was on this story up to end of his life. Which is crazy!

It sounds like typical "DON"T CARE ABOUT MY LIFE", we all knew that he was going to die all such world big deals die, nothing should make him think that he won't die.

It was revealed which means "Congrats " to Garry Webb, but after few days the whole thing was been declassified.

3. The Hot Zone: The Terrifying True Story of the Origins of the Ebola Virus by Richard Preston

- 5 Stars Out Of 5

Opinion:

"December 15, 2017 – 50.0% "How far will they get? ...

That's the question which bothers my mind!"

December 15, 2017 – 50.0% "1:54:16" December 15, 2017 – 25.0% "46:44" December 9, 2017 – 20.0% "36:29

...

This story is like virus closed in room and you examine what's going to happen when you put one person inside this room ...> It could be something much bigger than this thought."

December 8, 2017 – Shelved December 8, 2017 – Started Reading" P.S. - The author is doing an experiment, how far will it get? ...

It depends how much you want to know?

Important But what's more important is to keep RELAX STATE!

...

Without calm and relax state you ain't going anywhere.

Here is a list with comedians:

Billy Crystal Bill Burr Tom Papa Jim Carr Gabriel Iglesias Robert Schimmel Louie Anderson Dave Attell

- This here are people who can boost your mood if you want to write or to do something you need calmness within your mind.

Tips For Writers Chapter 3

How to write a short story: 10 steps to a great read

Writing a short story differs from writing a novel in several key ways: There is less space to develop characters, less room for lengthy dialogue, and often a greater emphasis on a twist or an ‘a-ha’ realization. How to write a short story in ten steps: Step 1: Devise an intriguing scenario.

Step 2: Plan what publications you will submit your final story to.

Step 3: Find the story’s focus before you start.

Step 4: Outline character and setting details.

Step 5: Choose a point of view for the story.

Step 6: Write the story as a one-page synopsis.

Step 7: Write a strong first paragraph.

Step 8: Write a satisfying climax and conclusion.

Step 9: Rewrite for clarity, concision and structure.

Step 10: Pick an intriguing story title and submit to short fiction publishers.

1: Find the scenario for your story Writing a novel gives you more elbow room to develop characters and story arcs and symbols at a leisurely pace. Writing a short story differs in that often there is a single image, symbol, idea or concept underlying the story. Some examples of original story scenarios: In Roald Dahl’s famous short story ‘Lamb to the Slaughter’, a woman murders her husband with a frozen leg of lamb and serves the cooked evidence to the investigating officers In William Faulkner’s ‘A Rose for Emily‘, a notorious town recluse dies, leaving the town to discover her grisly secret In Gabriel Garcia Marquez’s ‘The Handsomest Drowned Man in the World’, the way of life of an entire village is changed by the discovery of a mysterious, handsome drowned man who washes up on the beachfront Find a scenario you can write down in a sentence or two. An interesting or novel scenario that sets the story in motion has multiple benefits: It sets up a range of possible developments and symbols (for

example, in the Garcia Marquez, the plans the village makes for the man’s burial and the processes and emotions that follow the discovery of a body) It gives you something to pitch to publications when submitting your story On the topic of publishers: 2: Plan structure and themes around the publications you’ll submit to One of the benefits of writing short stories either as preparation for writing a novel or for their own sake is that there are many publishing opportunities for short fiction. You can get your story published in: Literary journals and magazines Writing contest anthologies Anthologies curated around specific topics or themes Online publications (digital journals, writing websites and e-zines) Make a list of possible publications, once you have decided on your core story scenario. Note: Minimum and maximum submission word counts Any specified formatting requirements The contact details for the person in charge of submissions The themes and topics most frequently featured by the publication It’s wise to have these guidelines for formatting, word count and areas of interest worked out before you start, because this will enable you to make your story meet requirements for acceptance.

This will save time later when it comes to revising.

So you have the story idea worked out and a list of publications and their requirements to guide your creative decisions? Now it’s time to find your short story’s focus: 3: Find the focus of your story The scenario of your short story is the idea or image that sets the story in motion and opens narrative possibilities. The focus is the communicative aspect: What do you want to say? Why write a short story on this subject in particular? The first step of Now Novel’s stepby-step story building process, ‘Central Idea’, will help you find your idea and express it as a single paragraph you can grow into a fullfledged novel. Try it now.

Finding the focus of your short story before you start is explained

by Writer’s Relief via the Huffington Post thus: ‘Explore your motivations, determine what you want your story to do, then stick to your core message. Considering that the most marketable short stories tend to be 3,500 words or less, you’ll need to make every sentence count’.

If you were Gabriel Garcia Marquez, for example, and you had decided on the scenario for your short story, ‘The Handsomest Drowned Man in the World’ (‘Dead man washes up on beach and his appearance causes momentous changes in a nearby village’s way of life’), then you might describe the focus of your story thus: ‘The story’s focus: Rural life and the way the introduction of new, unfamiliar things changes it. Also: Death and how people respond to and make sense of it.’

Once you have an idea of the topic, themes and focus of your short story, it’ll be easier to outline characters who are consistent with these elements: 4: Outline your characters and setting(s) Writing a book makes outlining essential, given the complexity of long-form fiction. When writing short fiction, you might think ‘Why should I bother with outlining?’ The truth is that it is useful for similar reasons: It gives you creative direction and helps to make your writing structured and internally consistent.

Once you have the scenario, topics and themes for your story, make a list for each character you want to cast. Make notes on character elements such as: Physical appearance (face, posture and mannerisms) Personality Occupation Backstory Preoccupations and interests Role in the story [Get our guide ‘How to Write Real Characters’ for extra help crafting unique, believable characters.]

Similarly, for setting, write down:

Where the story will take place What is significant about the setting for the story (does it underscore specific themes or foreshadow a particular climax?)

Have an idea before you start writing a short story as to who will star in it and where it will take place. This will give direction and a sense of purpose to your writing.

5: Choose a point of view for the story Point of view (or POV) can create subtle shifts in characterisation. For example, a character who narrates the story in the first-person may seem strong and self-possessed. You could make the same character seem much less powerful by using the second person instead.

An example of this is James Joyce’s use of the second person in his story ‘Clay’ from the collection Dubliners. The focal character is a cook named Maria. Joyce uses second-person throughout to describe Maria and her daily life, even though she is the focal character of the story. Maria’s own story not being told through the first person conveys a sense of her social position – she is a ‘she’ who is likely marshalled around by wealthy employers. The story simply wouldn’t achieve the same sense of Maria’s marginal status were it written in first person.

Dennis Jerz and Kathy Kennedy share useful tips on choosing 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.’

They go on to describe the pros and cons of each point of view: First person: The story is narrated by a character using the pronoun ‘I’. Pros: One of the easiest POVs for beginners; it allows readers to enter a single character’s mind and experience their perceptions. Cons: The reader doesn’t connect as strongly to other characters in the story.

Second person: Much less common, this addresses the reader as a character in the story, using the pronoun ‘You’. Pros: Novel and uncommon; the reader becomes an active story participant. Cons: The environment of the story can feel intangible as the reader has to imagine the story setting as her immediate surroundings.

Third person omniscient: The story is told using he/she/it. In omniscient POV, the narrative is told from multiple characters’ perspectives, though indirectly. Pros: Allows you to explore multiple characters’ thoughts and motivations. Cons: transitioning between different characters’ perspectives must be handled with care or the reader could lose track of who is the viewpoint character.

Third person limited:The story is told using he/she but from one character’s perspective. Pros: The reader enjoys the intimacy of a single character’s perspective. Cons: Other characters’ views and actions are only understood through the perceptions of the viewpoint character.

As you can see, choosing POV requires thinking about both who you want to tell your story and what this decision will exclude. Think about the scenario of your story and what would fit best. Virginia Woolf, writing a dinner party scene, alternates between diners’ perspectives using third person omniscient. This creates a strong sense of a group of very different people coming together and bringing contrasting desires, opinions and impressions to the table.

6: Write your story as a one page synopsis This might seem like a dubious idea. After all, how will you know where the story will take you once you start writing? The truth is that even just attempting this as an exercise will give you an idea of the strong and weak points of your story idea: Will there be sufficient climax? Is there an intriguing story that the initial premise makes possible?

You should at least try to write your short story in condensed form first for other reasons, too: You’ll begin with the bare essentials – having the most important elements at the centre of your process will stop you from writing boring filler You’ll be better able to work out the number and sequence of scenes you’ll need to do your topic and themes justice Joe Bunting advocates breaking your story into a scene list so that you have a clear overview of the structure of your story and the parts that require additional work. If you don’t have a clear outline of your story to begin with and prefer to start writing immediately, you can do this at a later stage too.

7: Write a strong first paragraph Joe Bunting quote on how to write a short storyYou don’t necessarily need to begin writing your story from the first paragraph. The chances are that you will need to go back and revise it substantially so that it matches with the rest of the story when you are finished.

Bunting actually advises against starting a short story with the first paragraph because the pressure to create a great hook can inhibit you from making headway. Says Bunting: ‘Instead, just write. Just put pen to paper. Don’t worry about what comes out. It’s not important. You just need to get your short story started.’

Whether you are intent on starting with the beginning or prefer to follow Bunting’s advice, here are important things to remember about your opening paragraph: It should foreshadow the events of the story by introducing core subjects and themes (Garcia Marquez’s story begins with the discovery of the drowned man’s body).

It should pique the reader’s interest and elicit questions (in the unsettling discovery of Marquez’s drowned man two immediate questions arise: ‘Who is he? What does the discovery portend?’)

It should not waste time – the limited word count of a short story requires you to get to the meat of the story faster Discussing writing catchy first paragraphs, Jerz and Kennedy suggest: ‘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.’

8: Create a strong climax and resolution for a satisfying story arc The climax of a story is crucial in long as well as short fiction. In short stories in particular, the climax helps to give the story a purpose and shape – a novel can meander more. Many short story writers have favoured a ‘twist in the tale’ ending (the American short story author O. Henry is famous for these).

The climax could be dramatically compelling. It could be the reader’s sudden realisation that a character was lying, for example, or an explosive conflict that seemed inevitable from the first page.

Writing a good short story ending can be achieved many ways.

Besides using an element of surprise you can have an ending that:

Is open: The reader must piece together the final pages’ implications Is resolved: The meaning of the outcome is clear and fits the preceding events’ pattern of cause and effect Returns to the beginning: An opening image or action returns and the story is given a circular structure These are just three possible types of short story resolution. After the final full stop the crucial revision process begins: 9: How to write a short story that gets published: Rewrite for clarity and structure Revising is just as important when writing short stories as it is when writing novels. A polished story greatly increases your chance of publication. While revising your short story, see to it that: The expectations set up on the first page are dealt with subsequently (see ‘Chekhov’s Gun’) All information, characters and scenes that don’t contribute to the main story focus are cut Each line adds something significant to the overarching effect of the story See further pointers on editing your own writing.

10: Pick a great story title and submit your revised story to contests and publishers Choosing a title for your short story should come last because you will have the entire narrative to draw on. A great title achieves at least two things: It creates intrigue (Faulkner’s ‘A Rose for Emily’ makes the reader ask ‘Who is Emily and what occasions this gift of a single rose?’)

It establishes the key characters, subjects, symbols or objects of the short story (such as ‘The Handsomest Drowned Man in the World’) Once you have created an alluring title, you can set about submitting your story to publications. If you are not yet an established author, it may be easier to get published on a digital platform such as an online creative writing journal. Spread the net wide, however, and submit wherever your short story meets guidelines and topical preferences. This will maximize the chance your short story will be published.

How to find time to write this year

Casual readers and signed up members alike on Now Novel share a common struggle: Finding time to write. Or, rather, making time to write, since that’s what it boils down to. Between simple life hacks and prioritizing your writing, you can finish your story. Here are several tips for how to find time to write: 1. Create distraction-free writing sessions Award-winning science fiction writer John Scalzi offers the following writing advice: Turn off the TV if it tempts you Write after the children are in bed if you have a family or get up early to write before work If you aren’t a morning person, use weekends instead (this is how Scalzi was able to write his debut) If you want to write, you will find the time. Even if it is only 250 words per day you jot down on the bus. Try work your way up to 800 words per day – the length of a critique submission on Now Novel. Although this might not seem much, you’ll have over 4000 words written within a month.

2. Keep your writing appointments The late poet and civil rights activist Maya Angelou was strict about showing up for writing appointments with herself. In an interview for the book Writers Dreaming, she said: ‘I may write for two weeks ‘the cat sat on the mat, that is that, not a rat,’ you know. And it might be just the most boring and awful stuff. But I try. When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.’

What Angelou describes is the simple art of showing up, despite passing internal or external discouragements. It might feel like a waste of time when you’re not churning out sentences you think will make your final edit. Yet even ‘blocked’ days are important groundwork, as your mind is sifting through ideas and impressions to find the story’s thread.

3. Learn the art of ‘snap writing’ Science fiction author Danie Ware recommends what she calls ‘snap writing.’ Much writing advice advocates sticking to a relentless routine. There’s good reason for this. Chunking up a project into manageable tasks ensures you chip away at it consistently, whether fast or slow.

Ware’s view, though, is that this is damaging to productivity when you become obsessed with making every writing session meet your ideal conditions.

Instead, Ware says, grab twenty minutes here, a half hour there — a full hour somewhere if you are particularly lucky.

In order to ‘snap write’ effectively, Ware suggests doing this at least once a day. That way you can always leap right back into your story and pick up where you left off.

Get the most out of snap writing and combine it with Earnest Hemingway’s approach to picking up where you left off. Stop midsentence at the end of a snap writing session so that you have an urgent desire to continue and finish when you resume.

4. Get help Ursula Le Guin shares that between herself and her husband, they had three jobs. Her husband was a professor, she was a novelist, and between the two of them they shared the third – raising a family.

Though neither of them would have coped well with two jobs alone, according to Le Guin, they could and did split three jobs between them.

Find ways to share chores and duties between immediate family members so there are more pockets of time that are purely yours to use. Find other ways to streamline daily non-negotiable responsibilities. Time management is key to making good progress on longer fiction. Delegate when time is tight.

5. Just do it A lot of advice about finding time to write boils down to simply doing it. You have to turn off the TV, turn down the occasional lunch date or sacrifice that extra half-hour of sleep. Children’s writer Allison Tait points out a simple truth: Writing is not convenience. It’s something of a luxury, even though for committed writers it is also a necessity.

As writers struggling to find time to write, we might feel as though other writers have some sort of ‘secret formula’; access to hours that we do not. The truth is, as Tait says, starting something and making it a habit isn’t easy. It can take anywhere from a few weeks to months to make it an everyday part of your life, so the sooner you start, the closer you are to achieving your goal.

Points of view: 8 tips for using multiple POVs expertly

Writing a novel using multiple points of view (POVs) requires juggling different narrators’ voices. Here are 8 tips for using multiple viewpoint characters in your book: 1. What is point of view? Understand different types of POV 2. Use changes in POV to make characters real and more complex 3. Use other POVs to broaden your novel’s voices and ideas 4. Make each viewpoint character reveal key story details 5. Give each viewpoint character their own narrating voice 6. Keep a list of each viewpoint character’s beliefs, goals, desires and fears 7. Rewrite scenes from different characters’ points of view for insights 8. Use multiple viewpoint characters to drive your plot Let’s examine each of these suggestions in detail: 1: What is point of view? Understand different types of POV The Oxford Dictionary defines ‘point of view’ in literature as ‘the narrator’s position in relation to a story being told’. A secondary definition is ‘The position from which something or someone is observed.’

In other words, a narrator, whether they’re a character directly

involved in the action (or they’re an observing, omniscient narrator) has a viewpoint, a perspective, in relation to the story.

Point of view (or POV for short) requires making choices, such as whether to use ‘I’, ‘you’, ‘he’, ‘she’, or ‘we’ as the main narrator(s) of the story. To clarify (with examples): 1. First person points of view: ‘I’ and ‘We’ First person POV is when the narrator tells the story as they themselves experience or observe it: Example: ‘I was startled by the telephone’s ring.’

Or a plural first person narrator, speaking for a group: Example: ‘We went into that summer without a single care, having no idea of the trials that awaited us.’

The advantage of this POV is that the reader can identify immediately with the character because the reader is given access to their immediate thoughts, feelings and observations.

The downside of telling an entire story from a fixed, first person perspective is that we only have access, as readers, to what the narrator observes, believes and feels.

This is why using multiple viewpoint characters is useful. You can have multiple ‘I’s’ who each give their own unique understanding of events.

2. Second person point of view: ‘You’ This is a far less common POV. Here, the reader is (or rather, becomes) the narrator. The effect is something like a ‘Choose your Own Adventure’ novel: Example: ‘You hear the telephone ring with a start. Hesitant, you lift the receiver.’

The strength of this point of view is that it actively involves the reader as a participant not only in reading the story but as an actor within it.

Italo Calvino uses this to great effect in his famous novel If on a winter’s night a traveller. In this story, you (the second person narrator) sit down to read Italo Calvino’s latest novel, only to discover there are missing pages. Hunting for the correct book sends you on a wild goose chase.

This differs from second person in a section or chapter written as a letter. Here, even if the narrator is addressing a ‘you’, there is still

an implied ‘I’ who is the character sending the letter. For example: Dear Gary, [I thought] Your last letter was a hoot…

In other words, the reader doesn’t ‘become’ Gary, the way the reader becomes the flummoxed protagonist of Calvino’s book.

3. Third person: ‘He’, ‘She’, ‘They’ Third person POV is perhaps the most common type. There are subcategories of third person: Third person omniscient: This is where the narrator is God-like in that they know what individual characters are thinking and feeling and can switch between their private thoughts.

Example: ‘He thought she looked beautiful as she glided across the room in her embroidered gown. But to her he looked ridiculous standing there agog.

Third person limited: Here, the grammar used is still ‘he’, ‘she’, a gender neutral or non-binary pronoun or ‘they’. But the viewpoint is limited (hence the name) to what a single character knows and experiences.

Rewriting the above example as limited third person: Example: ‘He thought she looked beautiful as she glided across the room in her embroidered gown. A fleeting frown crossed her face.’

Here we can see the physical indicators of her judging him (the frown). Yet we only can know what he thinks and interprets based on this. The viewpoint is limited to his perspective.

The drawbacks of third person POV are: We don’t get quite as much immediacy. With first person, we know exactly what a character’s private thoughts are, in their voice The reader has to gain character motivations from interpreting actions and reactions or through narration. This is a minefield for telling instead of showing.

Now that we’ve covered different types of POV, let’s explore tips for using multiple points of view:

2: Use changes in POV to make characters real and more complex Changing the viewpoint character, whether within a scene or between chapters, can make each character more vivid. This is because: Characters can contradict each other’s versions of events. One character might say ‘The party was a great success.’ Another might say ‘The party was a total disaster.’

Characters can voice their own hidden feelings, motivations, fears and goals. This way, your reader sees both how characters interpret each other’s deeds and motives, and what they see from their own limited viewpoints.

Barbara Kingsolver’s novel The Poisonwood Bible uses POV shifts this way. Her characters are complex and clearly defined. Each chapter is

told by a different woman in a family of missionaries living in Central Africa. One daughter, Rachel, focuses initially on how different everything is back home. Another, Adah, is more cynical about her family and their mission. By showing us these different viewpoints, Kingsolver creates a world that is complex and full of contrasting voices. [Get help making your characters feel real in our character workbook, How to Write Real Characters: Creating your story’s cast.]

3: Use other POVs to broaden your novel’s voices and ideas Why would we want to tell a story using multiple points of view in the first place? As Donald Maass says: ‘Multiple viewpoints provide diversion from, and contrast to, the protagonist’s perspective. They can deepen conflict, enlarge a story’s scope and add to a novel the rich texture of real life… Our lives intersect, collide and overlap. Subplots lend the same sense of connectivity to a novel. They remind us of our mutual need, our inescapable conflicts and our intertwined destinies.’

The modernist writer Virginia Woolf does exactly this, recording the impressions of multiple characters as they interact.

In Woolf’s novel To the Lighthouse, for example, she shows the complex relationships between a group of people sitting down to dinner, shifting viewpoints during the course of the scene.

This technique allows Woolf to show the private opinions characters hold alongside the ones they voice out loud. It creates a strong sense of the diversity of characters sharing the Ramseys’ vacation home.

Woolf contrasts a simple question Mrs Ramsey asks Charles Tansley with how Tansley and another guest, Lily, interpret it: ‘Do you write many letters, Mr. Tansley?’ asked Mrs. Ramsay, pitying him too, Lily supposed; for that was true of Mrs. Ramsey – she pitied men always as if they lacked something – women never, as if they had something’.

Woolf, in the next paragraph shifts from Lily’s POV to Tansley’s: ‘…he wrote one letter a month, said Mr. Tansley, shortly… He was not going to be condescended to by these silly women. He had been reading in his room, and now he came down and it all seemed to him silly, superficial, flimsy.’

The smooth switches between viewpoints enable us to see how

different characters view each other’s behaviour. We get a sense of Lily’s observant nature and Tansley’s misogynistic, pompous personality. Thus we also get a sense of their personal biases and world views.

There are crucial lessons in how Woolf uses multiple points of view in a scene like this: The change in POV should be clear to the reader. (Woolf uses reported speech ‘…he did not suppose he wrote one letter a month, said Mr. Tansley, shortly’.)

There should be a reason for changing points of view. (Woolf’s use underscores running themes of expectations and judgments between the sexes.)

The change in view should serve the story and its key events. (Here we see important differences between characters thoughts and respect for one another.)

4: Make each viewpoint character reveal key story details Author Tara Harper offers good advice on writing novels that use multiple points of view. Says Harper: ‘If you feel you must write from more than one POV, you should ask yourself these two questions: Are you writing a single story that has elements which really must be presented through different eyes/views? How many stories are you trying to tell?’

Know your reasons for including each viewpoint character in the story. Does each character’s perspective explain something crucial to characterization or plot in your story?

For example, in To the Lighthouse, the male chauvinist Tansley’s viewpoint adds to Woolf’s characterization of Mrs Ramsey. It gives fullness to her portrait as a woman who is kind to and indulges (but is also stifled in some ways by) the men in her life.

5: Give each viewpoint character their own narrating voice To give your multiple POV novel complexity, make sure each viewpoint character has a distinctive voice. In real life, builders and academics tend not to sound the same (although a builder who looks like or sounds like an academic, or vice versa, could be interesting).

To give each viewpoint character a distinctive voice, make sure that: Each viewpoint character uses language reflective of their background, social position or personality. A character who grew up

reading everything they could at their local library would naturally have a larger vocabulary, for example Each character has words or themes they return to more frequently than others. (For example an economist might talk about business or money while an artist might talk about colours, shapes, visual sense impressions.)

You vary the descriptive details of characters’ voices. (For example, whether they tend to speak in a monotone or an animated, musical way 6: Keep a list of each viewpoint character’s beliefs, goals, desires and fears Keep your viewpoint characters’ beliefs, goals, desires and fears distinctive. As you write, keep a document containing a list for each character. For characters whose points of view feature, list: The character’s backstory (who they are, where they are from and what happened before the time frame of the story to make them who they are becoming) The character’s primary objectives within the story (what do they want?)

Desires and fears (these might only emerge as you go, but note them down whenever they occur in your story) Descriptive details (how characters talk, walk; their likes and dislikes)

7: Rewrite scenes from different characters’ points of view for insights Using multiple points of view lets you rework scenes from different perspectives. Different characters in your novel could interpret the same scene (for example, a dinner party) in very contrasting ways.

David Swinford describes the value of rewriting scenes from multiple characters’ perspectives: ‘When writing from multiple points of view (POV), the writer must decide which POV works best for each scene…Might the scene work better from a different character’s POV? Might it create more tension to shift POV within a scene?’

If, for example, you are describing your detective and the forensics team arriving on the scene of a murder, consider your options. What would the lead detective notice versus a recently-qualified, apprehensive forensics specialist? How can you use these different points of view to make the situation more suspenseful or mysterious?

Perhaps the latter’s perspective would bring home the horror or uneasiness of the scene stronger?

Just make sure that whichever POV you choose, it serves the purpose of your scene (e.g. to show the ruthlessness of the killer) first.

8: Use multiple viewpoint characters to drive your plot Make sure each character’s arc adds to an approaching end-point in a meaningful way.

To make the individual points of view in your novel all drive the plot, remember to: Leave off each character’s section at a place of high interest: There could be an impending discovery or confrontation, an important date or meeting, or some other momentous event that the reader wants to see unfold Keep subplots relevant: Don’t weaken narrative drive with irrelevant subplots that ‘stall the story’ (as Sarah Cradit advises here). Plan what consequences each subplot will have for other viewpoint characters and their goals before you spend time drafting the meat of the scene Plan how viewpoint characters’ paths cross: As Janice Hardy says, ask yourself ‘What is the purpose of the other POVs? What do they bring to the main storyline or conflict?…Who is responsible for resolving the core conflict? How do the other POVs help? (or hinder)?’

Writing a novel using multiple points of view is complex. Using the tips above should help you to create characters who add richness and extra perspectives to your fictional world.

PLOT TWISTS: PRACTICAL STEPS TO PULLING THE RUG OUT

PLOT TWISTS: PRACTICAL STEPS TO PULLING THE RUG OUT 1. Eliminate the obvious When coming up with the climax to your story, discard every possible solution you can think of for your protagonist to succeed.

Then think of some more.

And discard those, too.

You’re trying to create an ending that’s so unforeseen that if a million people read your book, not one of them would guess how it ends (or how it will get to the end), but when they finally come to it, every one of those people would think, Yes! That makes perfect sense! Why didn’t I see that coming?

The more impossible the climax is for your protagonist to overcome, the more believable and inevitable the escape or solution needs to be. No reader should anticipate it, but everyone should nod and smile when it happens. No one guesses, everyone nods. That’s what you’re shooting for.

While writing, ask yourself: What do I need to change to create a more believable world for each separate twist I’m including?

How can I drop the gimmicks and depend more on the strength of the narrative to build my twist?

Will readers have to “put up with” the story that’s being told in anticipation of a twist ending, or will they enjoy it even more because of the twist? How can I improve the pretwist story?

How can I make better use of the clues that prove the logic of the surface story to create the twist and bring more continuity to the story—but only after the twist is revealed?

2. Redirect suspicion When you work on your narrative, constantly ask yourself what readers are expecting and hoping for at this moment in the story.

Then keep twisting the story into new directions that both shock and delight them.

To keep readers from noticing clues, bury them in the emotion or

action of another section. For example, in an adventure novel, offhandedly mention something during a chase scene, while readers’ attention is on the action, not the revelation. Use red herrings, dead ends, and foils. Bury clues in discussions of something else.

While writing, ask yourself: How can I do a better job of burying the clues readers need to have in order to accept the ending? Where do I need to bring those clues to the surface?

How can I play expectations based on genre conventions against readers to get them to suspect the wrong person as the villain or antagonist?

3. Avoid gimmicks Readers want their emotional investment to pay off. The twist should never occur in a way that makes them feel tricked, deceived, or insulted. Great twists always deepen, never cheapen, readers’ investment in the story.

This is why dream sequences typically don’t work—the protagonist thinks she’s in a terrible mess, then wakes up and realizes it was all just a dream. These aren’t twists because they almost never escalate the story but often do the very opposite, revealing to readers that things weren’t really that bad after all (de-escalation). Showing a character experiencing a harrowing or frightening experience and then having him wake up from a dream is not a twist; it’s a tired cliché.

How do you solve this? Simply tell the reader it’s a dream beforehand. It can be just as frightening without de-escalating the story’s tension, and it can also end in a way that’s not predictable.

While writing, ask yourself: Will readers feel tricked, deceived, or insulted by this twist? If so, how can I better respect their ability to guess the ending of my story?

Have I inadvertently relied on clichés or on any plot turning points that have appeared in other books or movies? How can I recast the story so it’s fresh and original?

4. Write toward your readers’ reaction.

The way you want your readers to respond will determine the way you set up your twist. Three different types of twists all result in different reactions by readers: (1) “No way!” (2) “Huh. Nice!” and (3)

“Oh, yeah!”

When aiming for the “No way!” response, you’ll want to lead readers into certainty. You want them to think that there’s only one possible solution to the story.

The more you can convince them that the story world you’ve portrayed is exactly as it appears to be—that only one outcome to the novel is possible—the more you’ll make their jaws drop when you show them that things were not as they appeared to be at all. If the twist is satisfying, credible, and inevitable based on what has preceded it, readers will gasp and exclaim, “No way! That’s awesome! I can’t believe he got that one past me.”

With the “Huh. Nice!” ending, you want to lead readers into uncertainty. Basically, they’ll be thinking, “Man, I have no idea where this is going.” When writing for this response, you’ll create an unbalanced, uncertain world. You don’t want readers to suspect only one person as the villain but many people. Only when the true villain is revealed will readers see that everything was pointing in that direction all along.

Finally, if you’re shooting for the “Oh, yeah!” reaction, you’ll want to emphasize the cleverness with which the main character gets out of the seemingly impossible-to-escape-from climax. Often we do that by allowing him to use a special gift, skill, or emblem that has been shown to readers earlier but that they aren’t thinking about when they reach the climax. Then, when the protagonist pulls it out, readers remember: “Yes! That’s right! He carries a can of shark repellent in his wetsuit! I forgot all about that!”

Relentlessly escalate your story while keeping it believable, surprising, and deeper than it appears.

While writing, ask yourself: If I want to shock readers with the twist, have I led them into certainty as they try to predict the ending?

If I want readers to suspect a number of different endings, have I satisfactorily built up all the potential outcomes?

If I want readers to cheer at the ending, have I (1) created a seemingly impossible situation for the protagonist to escape from or conquer or (2) allowed the protagonist to persevere through wit or grit rather than with the help of someone else (that is, deus ex

machina)?

How to Write a Mind-Blowing Plot Twist Plot twists change how your audience thinks about your story by blowing their minds. They become feverish, glued to the page with anticipation, waiting to see how the narrative changes because of the twist. The absolute best plot twists stick with your readers for years.

Every author wants to have their audience feel this way about their writing. Yet, many times their plot twists fall flat. Instead of igniting passion, their plot twists have people yawn. The question is: how do you write awe-inspiring plot twists? First, we must look at the different types. (Warning: Spoiler alert for Primal Fear, The Fault in Our Stars, and The Hound of Baskervilles!)

Types of Plot Twists In general, there are three types of plot twists.

"Revealing" plot twists lead to an answer muddled in uncertainty in the story.

"Shocking" plot twists completely reverse the truth mentioned in the story.

"Clever" plot twists use the constraints of the story to extract an interesting twist.

Each plot twist has a different effect on your audience. Yet, there is only one true difference in each type of plot twist.

It is how you twist your reader's expectations.

Your readers expect certain things to happen in your narrative.

Like, your readers assume a certain level of honesty. But this will almost never be true. Will everything said in your story be true? Will everyone in your story have good intentions? Will everyone meet their goals?

Of course not. If you did, you'd have a boring story.

As a writer, you must take advantage of these assumptions.

You can do one of two things with these expectations: You can prove the assumption to be false and introduce the actual reality. William Diehl demonstrates this concept in his novel Primal Fear. In Primal Fear, a mentally unstable boy named Aaron

Stampler manages to avoid getting jail time for murder on the grounds of being insane. Yet, in the last scene of the book, it is revealed that Stampler lied about his mental condition to avoid being jailed. Since he cannot be tried for the same crime twice, he will escape with no penalties.

You can also prove the assumptions to be true, but in a different way.

These types of plot twists are more subtle, but can still blow your reader's mind. For example, in John Green's best-selling novel The Fault in Our Stars, people know that the romance between the two cancer-survivors cannot last. Green spends the majority of the novel foreshadowing the main character's death, when it was her love interest that would pass.

Twisting your reader's expectations hooks them to your writing. Here are five different ways to produce this effect: 1. Think of the Obvious When drafting out your narrative, think of everything that jumps out at you. This includes any lies, betrayals, secret lovers or twin brothers that come to mind. There's no wrong ideas in this stage; the goal is to get your ideas on paper.

Once you compile your list, there are three things you can do.

Throw them out. Some of your ideas will be cliched, too vague, make no sense, or are too obvious. They will make your reader groan in agony with your inability to shock them. Get rid of these ideas while they are undeveloped, and you will save yourself time later.

File them for later. These twists are unique, but they don't fit the pacing of your story. You could use these ideas for later, though.

Keep them. Sometimes, you can create great and surprising plot twists during this stage. When you see a juicy idea, keep it and try to expand on the thought.

Once you've separated your ideas, you can begin to develop these ideas further.

2. Foreshadowing Is Key Foreshadowing directly coincides with the "revealing" type of plot twist. The greatest plot twists are hard to guess the first time, but make perfect sense the second time. This requires a great deal of cleverly placed hints placed in your story though foreshadowing.

The great thing about foreshadowing is that it only takes a few simple steps.

1. Plant the idea that something strange is happening.

Have your characters familiarize themselves with concepts that will be important in the future. This may include interacting with important objects, mentioning certain topics, or reacting to certain things.

2. Increase tensions around your idea, leaving clues muddled in them.

The easiest way to increase tensions is to have your characters fail because of their ignorance. Let your characters fumble around, messing up because they are missing one, important fact.

You can also increase tensions by shifting the tone. A sudden tone shift indicates a sudden change. This is also followed by some sort of

symbolism, like a shift in weather.

While your reader is focused on the tone shift or failure, you can begin placing clues on why the event took place. These clues must be subtle and must not distract from the tone shift. Your reader won't even notice.

3. Make your reveal. Show the hidden piece of information as interestingly as possible. Also, be sure to mention your character's reactions to the information. Try to explore what they must overcome with this new knowledge.

Foreshadowing doesn't have to span the entire novel. In fact, you can reveal the event you foreshadowed in as little as a few paragraphs. As long as you obey the basic formula, you can experiment with its effects.

3. Red Herrings Red herrings cause your audience to make false assumptions about your story. Then, once you make your reveal, the "shocking" plot twist hooks the reader to your words.

For this reason, red herrings are powerful. The best part is that they are incredibly easy to use.

All you need to do is follow a false chain of thought that someone may conclude.

This is often done in crime novels to distract the reader. For example, in Sir Arthur Conan Doyle’s Sherlock Holmes: Hound of the Baskervilles, the initial suspect for the murder of Charles Baskervilles is an escaped convict. Because he fit the profile for a murderer, he was falsely accused. Yet, there was little evidence other than past history to suspect him. The real culprit was much more clever.

Where does this apply to you, as a writer? You must write two plot twists: one that is false, and another that is true.

Take out the potential plot twist list you made. Pick one of the items on this list and make it false.

Now, write this plot twist as you would any other. Have your story and characters operate as if it were true. While doing this, also begin to foreshadow the plot twist may be false.

Then, make your reveal, and keep the tensions high. Note any potential feelings your characters can feel during this moment. Make sure your story takes into account any feelings of anger, depression,

and betrayal that could occur. Reflect this in the tone of your novel.

Take advantage of your ability to twist your reader's expectations.

Your story becomes even more interesting in this way.

4. Tell Your Reader Everything Showing everything upfront is the complete opposite of foreshadowing. But, it happens more often than you think. Telling your reader everything is the key to a "clever" plot twist.

To use this type of plot twist, you must: Show your reader all of the information they need for a scene to occur. Keep in mind, this is not revealing the entire novel (giving too much information is counterproductive), so you need to have your desired "scene" in mind.

Use only a fraction of this information. As you repeat certain themes in your story, the "less" important information will be forgotten.

Making sure your reader has enough time to forget this information is key to a "clever" ending.

When it comes time for your desired scene, show your readers the "secret weapon". Quickly remind your reader of the information they had forgotten, and use it in such a way that drives your narrative forward.

This is done in action narratives all the time. The reader is bombarded with so much tension and drama that they can't help but forget some information. Take advantage of this fact, and you will blow your reader's mind.

Mistakes to Avoid While writing your plot twist, there are many writing pitfalls you need to avoid. The worst offenders are obvious plot twists and plot twists that make no sense.

Obvious plot twists are just that: obvious. The plot twist is so obvious that either your readers don't recognize it as a plot twist, or are disappointed by your attempt.

The solution to obvious plot twists is simple: If the idea itself is predictable, go through another list of plot twist ideas. It's not the execution of the idea that is flawed, but the idea itself.

If you foreshadowed too much, get rid of some of the "clues" in your

narrative. Too many hints from you can give your plot twist away.

If you want show your readers everything, add more red herrings to distract the them. Also, this type of plot twist is also best if it spans the whole novel. Overload them with other information so they have to forget the most important points. If the idea is too fresh in their minds, it isn't surprising at all.

Another fatal mistakes writers make is writing plot twists that make no sense. This means your foreshadowing is too vague which makes it feel out of place. Because of this problems vague nature, it requires more work to fix. This is because you can easily give your reader too much information.

Here's some advice: The idea itself may be too far of a stretch for the premise of your story. Consider filing it away for another day.

If the idea has little in the way of explanation, provide more context for the situation to occur. This may involve the major reconstruction of the story itself. It might be easier to scrap the idea altogether.

If the idea is too vague, improve foreshadowing by providing more clues and hints. Adding more information will help justify your plot twist.

Do you want to know if your twist is flawed? Write a small synopsis of plot and your plot twist, and have another honest person to read it. When you ask, "is this idea surprising?", they will give you an honest answer. While you can do this step yourself, your friend's unbiased feedback is more effective.

An excellent plot twist adds complexity to your narrative and drives your plot forward. Best of all, a good plot twist can cure any sort of monotony inside your story and picks up the pace. Your audience will thank you for that.

All it takes is a little planning.

Tip So the most important thing is - Change Direction - Don't Make It Obvious - Make traps and Suprises in your stories - If everything fails start with new characters... and destroy the old ones (It creates mystery)

25 THINGS YOU NEED TO KNOW ABOUT WRITING MYSTERIES

BY SUSAN SPANN

Mystery novels work a lot like any other genre, except that mystery writers murder their imaginary friends. To paraphrase the Hoover campaign promise, a mystery novel will deliver “a corpse in every pot.” (Mystery authors are twisted. We might as well get that straight from the outset.)

Mystery offers plenty of room for variation, too. Murder is universal—it can happen in any setting and any time. A sleuth can be a professional, an amateur, or a NINJA (though I’ve already done that last one), and your victim and method can vary just as widely.

One warning, however: killing your imaginary friends is a lot like eating potato chips. Nobody I know can stop with one.

Sound like fun? Awesome. Let’s get going: 1. DEATH: IT’S WHAT’S FOR DINNER Occasionally, a mystery succeeds with a central crime other than murder, but generally speaking purloined papers, missing mutts, and the seizure of family jewels doesn’t get you very far in the mystery world. (However, properly handled, the family jewels have great potential in other genres.)

On the positive side, if your imaginary friends are at all like mine, they’re better off dead.

2. PUT THE HATCHET DOWN AND FIND A SLEUTH It’s easy to rush prematurely into the process of fitting imaginary friends for cement waders. When real killers rush the process, they end up in jail (or dead). The best way to keep your novel (and your career) off the writers’ version of death row? Plan it thoroughly. Plan it well. And plan to start with an interesting sleuth. Readers don’t turn the pages because they care about fictitious corpses. Readers want to help the cool kids solve a crime.

3. KNEE THE DICK IN THE GROIN What’s better than an intriguing sleuth? A BROKEN ONE! Hooray! Is your detective emotionally damaged? Physically impaired? Addicted to Hostess Fruit Pies? Excellent: good times lie ahead.

If not, stop now and take a hammer to your sleuth’s emotional kneecaps. Bust those suckers good—and be creative. Divorces, tragic accidents, and dead relatives are dime-a-dozen. You can do better.

Make your detective allergic to coffee, or phobic of houseplants.

Squash her beloved iguana beneath a Zamboni and then force her to solve a murder at an ice rink.

You get the idea.

3. MUMBLE, MUMBLE, BACKSTORY … OR, EVERY ZAMBONI-HATING SOCIOPATH HAS A MOTHER Your detective needs a reason to solve the crime you’re about to commit. Faced with a choice between tracking a killer and going out for Mexican food, every normal human picks the churro. Something (aside from your need to MAKE A MILLION DOLLARS PUBLISHING, YO) makes your detective select “hunt killer” over “Tuesday Tacos,” and you have to know the reason before you write. Maybe the story prompts it. Maybe it’s something in the detective’s past. Best case scenario, past and story fuse in a giant quesadilla of motivation.

Mmmm…cheesy goodness….

4. THE FIRST RULE OF THE BACKSTORY IS DO NOT WRITE BACKSTORY No, seriously. Don’t. Not directly, anyway. Backstory is the cayenne pepper of the writer’s literary spice drawer. A little, added at the proper time, enhances the novel and gives it zing. Use too much and readers dump the entire thing in the garbage bin.

5. EVERY BODY NEEDS A COFFIN – BUILD YOUR WORLD But I thought this was about killing people! Patience, young Padawan. We’ll get there. First things first.

Your sleuth and your supporting cast live in a specific time and place. Construct and memorize that landscape. Novels set in the “real” world need just as much attention as the ones that live on fantasy and science fiction shelves. Maybe your victim lives alone in a fifteenth-story apartment carpeted with empty Reese’s wrappers.

Maybe the sleuth uses only one-ply toilet paper. I don’t know, but you have to, and you need to know before you write page one.

6. MURDER: IT’S DYING, WITH STYLE! In real life, people get run over with cars, shot with pistols, and decapitated with ancient swords. (THERE CAN BE ONLY ONE!!) In

fiction, anything is fair game if you can explain it. Take down your victim with all the creativity you can muster. Pufferfish poison?

Absolutely. Shuriken to the face? You’ll see it in one of my novels. I’ll show you mine if you show me yours!

One note: In my world, the method comes before the victim, but this is a chicken-and-egg kind of problem. Do it the other way ‘round if it works for you. Which brings us to: 7. SPIN THE WHEEL OF VICTIMS! As with the sleuth, choose wisely—and by “wisely” I mean with all the wicked, sadistic power within your twisted soul. You can kill ANYONE YOU WANT TO. Or more than one! The world’s your oyster…shiv—er, shuck—that baby and find some pearls.

8. WHODUNIT, WHY-HE-DUN-IT, DUN DUN DUN You know that big “reveal scene” where the sleuth explains who killed the victim and why? Surprise! The author had that plotted out 300 pages earlier. (My first novel has 288 pages. Do the math.) Figure out the killer’s method, opportunity and motives before you start writing. Mystery readers will burn you in effigy (and barbecue your book in reviews) if these elements fall flat.

9. ROUND UP THE (UN)USUAL SUSPECTS …

You’ll need at least three suspects (I prefer four), each of whom falls into one of two categories: people who wanted the victim dead and people who might have killed him. Sometimes they overlap.

Sometimes they don’t. Also? At least one should come from “outside the box” – the victim’s kindergarten teacher, for example. Don’t stretch belief, but don’t just fill your story with expected variations on the theme.

10. … AND LISTEN TO THEM LIE ABOUT KEYSER SÖZE. All suspects are liars. Let me repeat for emphasis: Every one of your suspects is a liar. The issue is that only one is lying about this murder.

The rest don’t want the sleuth finding out they were dressing in drag, having sex with a prostitute dressed as a purple dinosaur, or fertilizing the marijuana grove at the time of the killing. Figuring out what your suspects are hiding is just as important as figuring out “who-done-it” … and sometimes, a lot more fun.

11. OUTLINE, OUTLINE, OUTLINE Some writers pants their way through a novel, but how they do is a

mystery to me. My novels start with an outline, and that outline starts with the murder—even when the killing happens before the start of the book. The outline doesn’t need huge detail, but it should include every major scene (and major clue) in the novel. It gives you a road map and helps you keep your sleuth on course when everyone starts lying.

12. BUT WAIT! THERE’S ANOTHER OUTLINE! A secret outline, for your eyes alone. This one tracks the offstage action—what those lying suspects were really doing, and when, and why. The “secret outline” lets you know which clues to plant, and where, and keeps the lies from jamming up the story’s moving parts.

Mmm….jam….Back in a minute, I need some toast.

13. GET A CLUE. IN FACT, TAKE TWO, THEY’RE SMALL Mysteries have three kinds of clues. “Genuine clues” point to the killer and help the detective solve the crime. “Fake clues,” (also called “red herrings”) point to someone other than the killer. They serve to distract the reader (and, often, the detective too). “Pivotal clues” are the lynchpins upon which the solution turns—they give the final piece (or pieces) to the puzzle and, ultimately, solve the crime. You need all three types of clues, and you must insert them in a way that keeps the reader guessing which is which.

14. WAITER! THERE’S A DEAD GUY ON PAGE ONE! Mystery readers are like the crowds in the Roman Coliseum—they came for blood, and they want it NOW. Readers will not wait a hundred pages for a corpse. They want death by page 50 … if not, your book may well become the victim.

15. HERO, MEET QUEST Remember back around #3 where I made a big deal about the detective’s backstory? Without violating the First Rule of Fight Club Backstory, your mission—should you choose to accept it—is to persuade the reader that “hunting down a serial killer who wants to eat your eyeballs” is a viable alternative to churros and beer in your detective’s world. Extra points if you do this without internal monologues, flashbacks, dreams, or the Ghosts of Dead Ancestors.

And yes, the detective novel is the Momomyth (http://en.wikipedia.org/wiki/Monomyth) in murderous form.

However, the writer’s quest is to keep formula from becoming

formulaic.

16. STEP 1: STEAL UNDERPANTS. STEP 2: ????

Between Act One (the choice between death and churros) and the midpoint-ish AHA!, lies a quagmire where unwary authors get lost in the process. Write the early stages of the investigation quickly. Take the suspects out for a test drive. See what they have to say. Plan to fill in the details once you get a grip on what’s happening in the endgame.

17. AHA! THE FIRST SOLUTION! Your detective must identify the killer by the midpoint of the book.

The investigation then shifts to proving how and why (s)he did it.

Except that…

18. THE FIRST SOLUTION WAS WRONG At some point, your sleuth will discover that everything he knew was wrong, the killer is NOT the female Elvis impersonator from the planet Diva-9, and OMG WE ARE ALL HOPELESSLY SCREWED. Welcome to the long, dark, potty break of the soul—and every detective has to hit bottom (or at least wipe out) before he or she can find the killer. Let your detective dig a hole and fall through into a cesspool … and then collapse the ceiling on her head. Force her to dig her way out with a broken chopstick.

19. AHA, AGAIN, THIS TIME FOR REALS! The second time ‘round, your detective is stronger and more motivated (digging out of a cesspool with a chopstick can have that effect). The answer doesn’t come easily, but this time, when the sleuth reveals the killer, it’s the right one. Which leads to: 20. BOTTOM OF THE NINTH, TWO OUTS, AND BASES LOADED: TIME FOR A GRAND SLAM! This is the BIG REVEAL SCENE, in which the sleuth unmasks the killer, explains the motive, and gives free puppies to everyone. Hooray! The reveal is one of the two most important scenes in a mystery novel (the other being discovery of the corpse), and it has dual goals. The first is to explain (or explain away) every major clue and to expose the murderer’s identity. The second is more important: it can’t be boring. This is why your reader stuck with you for all those pages.

Strike out here, and all the free puppies die.

21. HOORAY! YOU WROTE A NOVEL! CELEBRATE!

Surprise – this is an actual step in the process. The hardest part of writing a novel starts after you type “the end” on that stinky cheese you call Draft One. But reaching the end of that draft deserves celebration.

I recommend beer and churros, or lemon cupcakes, or port and honey-barbecue Fritos. Whatever form of celebratory debauchery fits your style.

22. FEAR IS THE MINDKILLER, BUT REVISION KILLS EVERYTHING ELSE Revision doesn’t mean “polish out a few passive cases and send that baby off to win worldwide praise.” Revising a novel is like killing a hydra with a safety razor. When you’re deep in the process, you swear it will NEVER END, but no good comes of short-circuiting the work.

Not only must you fill the rotting, swampy holes you left in the early pages, you have to tighten the pacing, fix the plot, and make sure the clues hold up. The characters may need tweaking so they don’t all sound like Grandpa from The Muensters, and that’s just the tip of the iceberg where the edits are concerned.

Remember that celebratory bourbon? Keep some around, you’re going to need it here.

23. AND NOW, A LESSON FROM BILL AND TED: IT’S NOT A CRIME TO GO BACK AND HIDE THE KEYS (Yes, I’m about to quote Keanu Reeves for writing advice. Shut up or I’ll cut you with this safety razor.) Near the end of Bill & Ted’s Excellent Adventure, the guys are stuck outside the San Dimas jail with a real problem: they must free the imprisoned historical figures or fail their presentation and flunk out of school. They have to engineer a jailbreak NOW. So Ted turns to Bill and says, “When this is over, remind me to go back and hide the keys.” Moments later, Ted slips behind a bush and returns with the jail keys in his hand.

The lesson? When you have a time machine, getting the details right is not a problem.

Hey, writer? You have a time machine. Go back during the editing phase and drop the keys where you need them. Just, please, find a better explanation for how they got there.

24. WIRE CRITIQUE PARTNERS IN SERIES, NOT IN PARALLEL

Readers get only one virgin pass at a mystery (heh… I said “virgin”…). If all your critique partners read at once, you won’t have anyone left to tell you if your edits and adjustments wreck the story or ruin the surprise.

I run my novels through three sets of eyes: my alpha reader, peer editors, and my critique group, making edits and adjustments after each. You don’t necessarily need that many, but you need good ones and you should space them out.

25. PUT A SHIV THROUGH THE HEART OF ANY ADVICE THAT DOESN’T WORK FOR YOU What I’ve just shared is my method. (There are many like it, but this one is mine.) Some authors pants their way through a mystery, fueled by the tortured screams of their imaginary friends. Some of us find solace in chocolate waffles and naked shuffleboard. (Don’t judge…) The most important advice I can give is FIND WHAT WORKS FOR YOU AND DO IT EVERY DAY. Whatever you’re writing, write it until it’s finished. Then revise.

Then write something else. And something else again, until you run out of imaginary friends … and then create some new ones and kill them too.

Top Rules for Mystery Writing

1. In Mystery Writing, Plot is Everything Because readers are playing a kind of game when they read a detective novel, the plot has to come first, above all else. Make sure each plot point you write is plausible, and keep the action moving.

Don't get bogged down in backstory scenarios or go off on tangents.

2. Introduce the Detective and the Culprit Early On As the main character, your detective must obviously appear early in the book. As for the culprit, your reader will feel cheated if the antagonist, or villain, enters too late in the book to be thought of as a viable suspect.

3 Introduce the Crime in the First 3 Chapters The crime and the ensuing questions are the hooks that will engage the reader. As with any fiction, you want to introduce these as soon as possible.

4 The Crime Should be Violent, Preferably a Murder For many readers, only murder really justifies the effort of reading a 300-page book while suitably testing your detective's powers.

However, it's worth noting that other types of violence (such as rape, child molestation, and cruelty to animals) are taboo enough to warrant a mystery novel.

5 The Crime Should be Believable While the details of the murder (i.e., how, where, why, and how the crime is discovered) are your main opportunities to introduce variety, make sure the crime is plausible. Your reader will feel cheated if the crime is not something that could actually take place.

6 The Detective Should Solve the Case Using Only Rational and Scientific Methods Keep in mind this oath written by G.K. Chesterton for the British Detection Club, "Do you promise that your detectives shall well and truly detect the crimes presented to them using those wits which it may please you to bestow on them and not placing reliance on nor

making use of Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery-Pokery, Coincidence, or Act of God?" 7 The Culprit Must be Capable of the Crime It sounds like a no-brainer but keep in mind that your reader must believe your villain's motivation. And, the villain must be both physically and emotionally capable of the crime.

8 Don't try to Fool the Reader Again, being implausible takes all the fun out of it. Don't use improbable disguises, twins, accidental solutions, or supernatural solutions. The detective should not commit the crime. All clues should be revealed to the reader as the detective finds them.

9 Do your Research Mystery writer Margaret Murphy says, "Readers have to feel you know what you're talking about." Murphy has a good relationship with the police in her area and has spent time with the local police forensic team. Make sure you nail all the essential details.

10 Wait as Long as Possible to Reveal the Culprit People are reading to find out, or figure out, the whodunit. If you provide readers with the answer too early in the book, the reader will have no reason to continue reading.

What James Patterson Told Me About Writing

“Would you like to have lunch with James Patterson?”

I would.

So would many of you, I guess.

I’ve been a James Patterson fan for quite some time.

So when I had the opportunity to have lunch with the world’s bestselling author in Sydney, Australia in May this year, I immediately finalized my travel plans.

The lunch was organized by Dymocks Bookstore as part of their Literary Events at the luxury 5-star Shangri-La Hotel in the Sydney Rocks area, and was attended by 240 James Patterson fans.

Mr. Patterson was here to promote his latest venture into children’s books; a passion of his to get young people back into reading. As part of his visit he would also donate books worth $100,000 to local school libraries.

On the day, I flew in early from Brisbane, and checked into my hotel to relax and prepare for the event. I wanted to ensure I got the most from the lunch.

And I wanted to ask James Patterson a question.

At the venue, I was shown to my table, perfectly positioned in the front row right in front of the stage. I couldn’t have been happier.

Introductions were made—the 9 other guests at my table included the editor of a leading magazine, and an author of 6 novels.

Through the hour that lunch was served, James Patterson sat on stage being interviewed by a leading Australian radio personality.

Here’s what I gleaned from their conversation: It’s never too late to start writing. Just start!

Work hard—there is no shortcut. He might have up to 50 projects on the go, 13-15 of them being in active mode. You need to put in the hours to complete this workload.

Read, read, read. Reading helps improve your life and your writing.

Encourage young children to read.

Authors can ‘outdo’ actors. He told a funny story about having dinner with Clint Eastwood and a movie director in an Italian

restaurant in Washington one night. A lady came up to their table and asked him for his autograph. Clint Eastwood commented that he “really needed a hit movie quick” after being overlooked by the woman.

The conversation was light-hearted, fun and entertaining. James Patterson came across as both down-to-earth and engaging.

Then it was Question time.

Of the 6 questions taken, I got the first one in.

“As a newbie author, how can I get my books seen so that I can sell more books? What marketing tips can you give me?”

Here’s what James Patterson told me: Don’t worry about marketing. Leave that up to your publisher to figure out.

Learn how to plot and outline better. James Patterson told the audience that he writes outlines of around 80-90 pages and submits them to his co-author who then fleshes out his work. The co-author submits their progress work every week, which James Patterson edits and resubmits. This process continues until the whole book is complete.

Have a hook at the end of each chapter. It keeps the reader turning the page.

Write more. The more you write, the better you can potentially become. The more books you have out in the marketplace, the better the opportunity to make money.

Boom! Short and succinct.

Now while I did agree with the last two points, I was skeptical about ‘not worrying about marketing.’

As a newbie author trying to sell since February 2015, with no marketing muscle behind me, I was having very little sales success.

I also found myself being drawn into the marketing hype bombarding my email inbox on how ‘a particular software or a book promotion idea’ would solve all my sales dilemmas and catapult me to the top of the Amazon bestseller lists.

But I was willing to put his ideas into action.

After lunch, I thanked him for his advice, grabbed a signed copy of Truth or Die, and left.

When I headed home the next day, I was ready to act on his

words of wisdom.

To help improve my plotting and outlining skills, I bought James Patterson’s Masterclass on Writing.

The course consists of 22 videos, pdfs and an outline of his book Honeymoon. The videos are entertaining, but the real juice is in the PDFs, work assignments, and the outline. You can even submit your work for critiquing; if you are game.

At $90 it’s a very worthwhile investment in your writing career.

Grab it.

But the best advice I got from James Patterson was simply to work hard and write more.

After 5 months as a mystery, thriller and suspense author, my output has dramatically increased, with 4 novellas hitting the Top 10 in their respective categories, 2 of which hit #1 in both the US and UK. Thanks, James Patterson, for your great insight. I’m now chasing you!

What part of his advice resonates most strongly with you? Share in the comments and on social media, please.

Five things I learned about writing from Dean Koontz I actually read most of my generation's YA books back when I was MG, so by the time I hit middle school I was on to adult books. I read a handful of different mystery and suspense authors, but nobody quite held my attention like Dean Koontz. Here's what I learned from devouring the entire Koontz catalog:

1. Write what you love. Dean Koontz loves dogs, especially golden retrievers. Not all of his books contain canine companions, but many do, and his human-animal relationships live and breathe on the pages. They talk directly to your heart, not because he's manipulating you with cheap sentimental tactics, but because the dynamics feel real. It's a lot harder to craft emotional scenes and sincere character interactions when you as a writer aren't passionate about your own words.

2. Begin with a bang. The Vision begins with the line "Gloves of blood." Do you want to know more? I did. In chapter one of Velocity, the main character finds a note on his car that reads: If you don't take this note to the police and get them involved, I will kill a lovely blond schoolteacher somewhere in Napa County. If you do take this note to the police, I will instead kill an elderly woman active in charity work. You have six hours to decide. The choice is yours. Holy high-concept! What kind of crazy person would leave this note? And what will the main character do? I ripped through Velocity in record time to get the answers.

3. Writing is hard work. According to his website, Dean Koontz reads over 150 books a year. He writes ten to eleven hours a day and sometimes revises a page forty or fifty times before moving on. He's written over sixty books, and when he was starting out he wrote as

many as eight books in a single year. His first four books were never published. I know of a very few writers who managed to sell their first book for a giant pile of cash, but that is not the norm, and if you're an aspiring writer planning on hitting the big time with your first novel, you're probably setting yourself up for disappointment.

4. The execution matters more than the idea. I remember being skeptical when I heard the storyline for Odd Thomas, what is now my all-time favorite Koontz novel. Hmm. A guy who sees dead people. Didn't I see that in a movie not too long ago? Has Dean run out of ideas? Now that I have seen how slow publishing is, I know it's entirely possible that Dean had the idea for Odd Thomas before anyone saw The Sixth Sense. But who cares? Both works may use the same setup, but that's where the similarities end. Odd Thomas is a suspense novel, a horror story, and an epic love story all woven into one.

5. Don't forget to give something back. Dean Koontz and his wife, Gerda, have a charitable foundation that supports critically ill children and dogs. He also apparently finds time to answer occasional letters from mothers of debut authors such as myself. Yes, my mom actually put pen to paper and invited one of my writeridols, the uber-mega-bestseller Dean Koontz, to my Halloween launch event for Venom. Alas, he can't make it, but he did send my mom a personal note and me a box of Koontz-awesomeness including an autographed limited edition copy of Velocity. I was so surprised that I cried. I will never forget the fact that a workaholic, super-famous, bestselling author took time out of his schedule to autograph some books for me. I suspect I will never be quite as famous as Dean, but I will definitely do my best to pay this incredible act of kindness forward to other young authors.

Dean Koontz And 5 Things Every Genre Story Needs

Five Essential Elements Of Genre/Category Fiction Dean Koontz holds that there are five essential differences between genre and mainstream fiction.

1. A Strong Plot Here's the formula: [T]he hero (or heroine) has a serious problem; he attempts to solve it but plunges deeper into danger; his stumbling blocks, growing logically from his efforts to find a solution, become increasingly monumental; at last, forced by the harsh circumstances to learn something about himself or the world around him, to learn a Truth of which he was previously unaware, he solves his problem—or loses magnificently.

That more-or-less sums up the hero's journey.

I find it interesting that James Frey said more or less the same thing in his book, "How To Write A Damn Good Novel". He writes: [A dramatic novel] focuses on a central character, the protagonist, who is faced with a dilemma; the dilemma develops into a crisis; the crisis builds through a series of complications to a climax; in the climax the crisis is resolved. Novels such as Ernest Hemingway's The Old Man and the Sea, John Le Carre's The Spy Who Came in from the Cold . . . are all written in the dramatic form and are all damn good novels.

2. A Vivid Protagonist Readers Can Relate To Dean Kootz stresses that readers of genre fiction want to escape their lives, for a few hours they want to trade their existence for one that is more exciting. They don't want to read about someone trying and failing.

James Frey agrees and writes that "readers wish to read about the exceptional rather than the mundane". Your characters need to be "more handsome or ugly, ruthless or noble, vengeful or forgiving, brave or cowardly, and so on, than real people are."

A protagonist in a genre novel has ...

... hotter passions and colder anger; he travels more, fights more, loves more, changes more, has more sex. Lots more sex. Homo fictus has more of everything. Even if he is plain, dull, and boring, he'll be more extraordinary in his plainness, dullness, and boringness than his real-life counterparts.

3. Both Protagonist And Antagonist Must Have Clear, Believable, Motivations I've written quite a bit lately about this point so I won't belabor it here. Point of view (POV) characters need clear goals. And the stakes (what happens if the character achieves her goal or not) they are playing for have to be crystal clear as well.

But there's something else, there's the question of motivation.

Why does your character care about those goals? Why does he care about those stakes? Here we are talking about inner motivations.

Dean Koontz believes that all character motivation can be made to fit one of the following 7 categories: - Love - Curiosity - Self-preservation - Greed - Self-discovery - Duty - Revenge (I think one could also add: ambition and fear. I would slot 'conscience' in with Duty, above.)

Dean Kootz writes that two or more of these motivations must be present in any character for the result to be believable. For instance, Gothic heroines are often motivated by curiosity, love, and selfpreservation.

He also cautions that a character should not be motivated by anything at odds with his basic personality. For instance, it would be difficult to imagine any of Tom Hanks' characters being motivated by greed for power or greed for wealth.

4. Lots Of Action Whenever I think about an action movie I think of Indiana Jones in one of the first three movies of that series. Indie did a lot of running

from bad guys, a lot of chasing bad guys and a LOT of fighting bad guys--and it was great!--but, as Dean Koontz points out, that's not the only kind of action.

- Movement from place to place - Confrontations between characters - A conflict of inner motivations Dean Koontz writes: The hero and heroine must constantly be engaged in conquering some barrier that grows logically from their own actions in trying to solve their major predicament.

5. A Colorful Background Even if your characters aren't romping around the Bahamas, it's important you create a "stage on which hotels, houses, streets, and people are uniquely painted". This also helps create suspension of disbelief.

That's it! I think that sometime soonish I want to talk about James Frey's book, How To Write A Damn Good Novel. It has a lot of great advice in it.

How do you think genre novels differ from the mainstream? DO you think they differ? Ursula K. Le Guin doesn't feel there is a useful distinction to be made.

Stephen King’s Top 20 Rules for Writers

In one of my favorite Stephen King interviews, for The Atlantic, he talks at length about the vital importance of a good opening line.

“There are all sorts of theories,” he says, “it’s a tricky thing.” “But there’s one thing” he’s sure about: “An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.” King’s discussion of opening lines is compelling because of his dual focus as an avid reader and a prodigious writer of fiction---he doesn’t lose sight of either perspective: We’ve talked so much about the reader, but you can’t forget that the opening line is important to the writer, too. To the person who’s actually boots-on-the-ground. Because it’s not just the reader’s way in, it’s the writer’s way in also, and you’ve got to find a doorway that fits us both.

This is excellent advice. As you orient your reader, so you orient yourself, pointing your work in the direction it needs to go. Now King admits that he doesn’t think much about the opening line as he writes, in a first draft, at least. That perfectly crafted and inviting opening sentence is something that emerges in revision, which can be where the bulk of a writer’s work happens.

Revision in the second draft, “one of them, anyway,” may “necessitate some big changes” says King in his 2000 memoir slash writing guide On Writing. And yet, it is an essential process, and one that “hardly ever fails.” Below, we bring you King’s top twenty rules from On Writing. About half of these relate directly to revision. The other half cover the intangibles---attitude, discipline, work habits. A number of these suggestions reliably pop up in every writer’s guide.

But quite a few of them were born of Stephen King’s many decades of trial and error and---writes the Barnes & Noble book blog--“over 350 million copies” sold, “like them or loathe them."

1. First write for yourself, and then worry about the audience.

“When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story."

2. Don’t use passive voice. “Timid writers like passive verbs for the same reason that timid lovers like passive partners. The passive voice is safe.”

3. Avoid adverbs. “The adverb is not your friend.”

4. Avoid adverbs, especially after “he said” and “she said.”

5. But don’t obsess over perfect grammar. “The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story.”

6. The magic is in you. “I’m convinced that fear is at the root of most bad writing.”

7. Read, read, read. ”If you don’t have time to read, you don’t have the time (or the tools) to write.”

8. Don’t worry about making other people happy. “If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway."

9. Turn off the TV. “TV---while working out or anywhere else--really is about the last thing an aspiring writer needs.”

10. You have three months. “The first draft of a book---even a long one---should take no more than three months, the length of a season.”

11. There are two secrets to success. “I stayed physical healthy, and I stayed married.”

12. Write one word at a time. “Whether it’s a vignette of a single page or an epic trilogy like ‘The Lord of the Rings,’ the work is always accomplished one word at a time.”

13. Eliminate distraction. “There’s should be no telephone in your writing room, certainly no TV or videogames for you to fool around with.”

14. Stick to your own style. “One cannot imitate a writer’s approach to a particular genre, no matter how simple what that writer is doing may seem.”

15. Dig. “Stories are relics, part of an undiscovered pre-existing world. The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible.”

16. Take a break. “You’ll find reading your book over after a sixweek layoff to be a strange, often exhilarating experience.”

17. Leave out the boring parts and kill your darlings. “(kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.)”

18. The research shouldn’t overshadow the story. “Remember that word back. That’s where the research belongs: as far in the background and the back story as you can get it.”

19. You become a writer simply by reading and writing. “You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.”

20. Writing is about getting happy. “Writing isn’t about making money, getting famous, getting dates, getting laid or making friends.

Writing is magic, as much as the water of life as any other creative art. The water is free. So drink.”

The Lawnmower Man: Stories from Night Shift by Stephen King Rating: 3 Stars out of 5

Opinion: "January 2, 2018 – 100.0% January 2, 2018 – 70.0% "People like Stephen King Make my day in 2017 I read plenty books written by this well known author."

January 2, 2018 – 70.0% "54:43" January 2, 2018 – 70.0% "Oh god he is alive........."

January 2, 2018 – 70.0% "This is like A.I.... ...

MOre than VR" January 2, 2018 – 70.0% "Here the things just happen!"

January 2, 2018 – 70.0% "1:12:17" January 2, 2018 – 25.0% "lawn mower and virtual reality... the movie picture is quite damn good as for a movie out of 1992 also what happens in this movie in now in the future is quite possible."

January 2, 2018 – 25.0% "38:34" January 2, 2018 – page 0 0% "I enjoy being around works which are written by Stephen King, people like him have always what to say. Starting like one of those typical Star Trek TV Serives and movies but the plots moves around" January 2, 2018 – Shelved

January 2, 2018 – Started Reading"

Dirty Weather (Tim Rackley) by Greg Hurwitz Rating: 3 Stars Out of 5

Opinion:

It's Dwelish Work... It's like those very well predictable movies... we know that this is going to happen and it happens.

Dolores Claiborne by Stephen King Rating: 5 Stars Out of 5

Opinion: "January 3, 2018 – 50.0% "1:34:20" January 2, 2018 – 10.0% "What I like about this story is the way it moves... the way it creates pressure which in the near hour is going to make an explosion."

January 2, 2018 – 10.0% "43:22" January 2, 2018 – Shelved January 2, 2018 – Started Reading" P.S. - This story is build in a pressure it creates pressure and by creating problems the characters try to dump them. But sometimes they luck gets out of them.

Flash and Bones (Temperance Brennan #14) by Kathy Reichs Rating:

2 Stars Out of 5

Opinion:

"January 5, 2018 – page 137 47.57% "Oh god this book is waste of time."

December 2, 2017 – page 106 36.81% "I am expecting something more than TYPICal CLICHES is going the whole story."

December 1, 2017 – page 92 31.94% November 29, 2017 – page 89 30.9% November 28, 2017 – page 73 25.35% "Bones... and that's how everything is following up."

November 28, 2017 – page 55 19.1% November 7, 2017 – page 39 13.54% November 5, 2017 – page 35 12.15% "Read few pages and you can see it all. That's what I like about this author... a lot of victims, dead bodies that's juicy."

November 1, 2017 – page 35 12.15% October 31, 2017 – Shelved October 31, 2017 – Started Reading" P.S. - In other words it's not very well polished what's predictable should be changed, in this book isn't a lot of going on... I reached 20 Chapter nothing so interesting so far. The style isn't like Dean Koontz to grip you in suspense or Stephen King who plays with madness of Jeffery Deaver who as a writer makes the work from few POVS but well written and it doesn't make you to ask yourself - WHY THE

FUCK AM I READING THIS BOOK. Kathy Reichs writting it's similiar to Lee Child Style, but with differences that she is little beyond Lee Child Style.

The Journal 3

by DeYtH Banger

How Was Alcohol Used in Your Family?

- My father used too much alcohol which cost Agression, anger.. via violence.

How did your parents behave when they drank - My mom drink a little . So do grand mother and father‌ But my father from too much alcohol was with violent behavior.

How did that make you feel?

- Feeling miserable!

What did you do about it? (Maybe you left the house. Or you might have hidden yourself from them. You might have found some porn to occupy you) - I was keeping it in myself ‌ all the horror and when I found about jerk off that was the way of relaxing and calming.

Do you drink too much now?

- No But I still feel the - Trauma

- I am very stressed and depressed - And sometimes I get upset and angry - It gets on the extreme levels.

Does Your Social Networking Relate to Your Sex Addiction?

- Before 1-2 years I was around porn chat rooms, as for now .. Just being around pornographic material.

- Images/Pictures - Videos - Films DeYtH: Tip: When my clients hear about men imitating women online, it helps to break down their fantasy world. I’ve had clients tell me, “George, you’ve ruined it for me. Now every time I go to a chat room to talk sex with a woman, I wonder if I’m really talking to some screwed-up dude.” So the next time you’re on a chat line thinking you’re talk ing to a sexy woman, remember that it’s entirely possible that you’re engaging with a man.

DeYtH: So same logic applied… …

The porn is with two males… it's not really a hot woman… but a man in a green costume.

Do You Feel Guilty About Sex? - Yes, I feel guilty from doing it.

How was the topic of sexuality treated in your family?

- "One day your girlfriend is going to do you that favor."

- "You gonna return that favor."

- "One day you gonna have girlfriend… wife… children."

What role does guilt play in your life?

- I could be doing something better than self-destructing myself.

I’ve had gay clients who’ve internalized society’s homophobia. If you are gay, how long did you have to keep your sexuality a secret?

- No for that question Has your sexual orientation influenced your sexually compulsive behavior?

- Yes it has Did you internalize homophobia?

- No Did your parents tell you they loved you whether or not you were gay?

(Did you talk to them about it) - I have never talked with them about my compulsive addiction.

DeYtH: But my addiction makes me do things which aren't really desirable... and aren't in my best favor.

Do You Have Abnormal or Scary Thoughts?

- No Have you had any thoughts of harming yourself or others?

- Yes, but thoughts‌ like killing somebody and making the people who know him to feel the pain and even to kill myself and leave the note: - Life Sucks, -I want better life DeYtH: I am famous plenty people in the internet know me.

Compared to the people you know at work or in your social circle, how abnormal is your thinking?

- AVERAGE AS FOR ABNORMALITY Do you wish you were dead?

- Yes Do you have other addictions or behaviors that are self-destructive?

- No Are you overdoing drugs and alcohol to the point of blacking out?

- No Are you overeating to the point where you are morbidly obese?

- No Note: Hello George the thought about masturning doubles the count and the period in other words 2-3 times in a day… create something which to remove this fucked up curse.

Note: George the system has sonw kinda gay style protection…

DeYtH: Hello Addiction Mr. Addiction: Hello, Nice Jerk (Off) DeYtH: It Hurts. … it's like trigger_hurt brush entity. …

Mr. Addiction: You like it.. and it ain't hurts.

DeYtH: It hurts my penis doesn't work… pornography is a bitch… just "I CANNNNNNN MAKE IT" Mr. Addiction: So what, you like it.. don't YAAA DeYtH: Yhooo… cock sucker - It hurts - It's bad shit - It ruins life's - It creates self-depression.

Mr. Addiction: Yo man that's BULLSHIT.. .

DeYtH: No it's not.. you are sick bullshit fulfilled self doubt fucked up sucker with no other friends.

Mr. Addiction: That's BULLSHIT DeYtH: Naah, man… it's the truth. …

Broken penis.. . Diseases.. . Self-plagatory disease by self conscious.

Mr. Addiction: That's BULLSHIT man… … .what we are doing is replicating sex… so you are say ing that…

DeYtH: Yooooo Silence Mr. Addiction: That sex is bad thing DeYtH: Yeah sure… you use weak people + You hide behind masks … self-lavatory creature ravenous that's what you are Mr. Addiction.

It's time to end once and for all… bitch… bitch… …

Note: Put the gay shield…

DeYtH: But remember within you… you are a gay… not me… you ard not me… me is not a self-destruction.. . NON SLEEPING VAMPIRE… ZOMBIE RAVENOUS CREATURE. THAT'S WHAT YOU ARE..

Mr. Addiction: You like it… we all know about desires… publish it on internet to give powers.

DeYtH: Stop with the shit!

Mr. Addiction: LAAAAaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAH!?

SHIIIIITTTTT

DeYtH: You are angry… aren't ya?

- Keep silence join ravenous…

FUCK ravenous …

Oavendery… is your bitch and you ain't nice ouraaaaaa friendship is over… Don't shot me.. . Energy doesn't have within it a Addiction…

Mr. Addiction isn't there.

Mr. Addiction: Ohhh yeah I am there…

DeYtH: No you ars nothing… just ravenous air… air bitch.

Mr. Addiction: I am your friend.

DeYtH: Penises - Disease - Zombies - Aids And Vampires A ravenous lavenderorh creature fuck ravenous.. . Use gay shield

against ravenous.

Mr. Addiction: For god sake stop the shit.. man.. grow up.

DeYtH: You manipulating shitty fucked ruin my life … God has nothing to do with ya.

DeYtH: DIE DIE DIE… BITCH… AIN'T MY FRIEND. Mr. Addiction: But Xoca-Cola has me… and fireworks…. And so on and so on… I am everywhere.

DeYtH: Ravenous sticker…. RAvenous STICKER…

…

You are pressure and depressive little fucked.

Mr. Addiction: You can't destroy Me … you like that…

DeYtH: Not any more …

Broken penises KILLER SHOOTS PWN ISES ..

BLOODY ILLY… RHAT"A A ZOMBIE A STARVATION… A FISEASE A GREENISH EATER BRAIN MELTER.

DeYtH: Come on… sucker tell me what you offed me?

Mr. Adduction: Pleasure… better life DeYtH: Bullshit man (got chocolate spoils on the cock…mhm burning sensation…)))

1) Rule ♤1 Friends never lie 2) Rule ♤2 Pleasure is just spoiler Alert …

You are ravenous fucke r.. . Fucler you deserve to die.

Amx_slap Mr. ADDICTION 200000000000 (damage

Extra Books F**k It: The Ultimate Spiritual Way by John C. Parkin My rating: 4 of 5 stars ( "January 13, 2018 – page 170 75.89% January 13, 2018 – page 160 71.43% "Just Say Fuck It" January 13, 2018 – page 153 68.3% January 13, 2018 – page 148 66.07% January 13, 2018 – page 136 60.71% January 6, 2018 – page 129 57.59% January 6, 2018 – page 128 57.14% January 6, 2018 – page 123 54.91% January 6, 2018 – page 117 52.23% January 2, 2018 – page 113 50.45% January 2, 2018 – page 111 49.55% January 2, 2018 – page 102 45.54% January 2, 2018 – page 94 41.96% "Too Much values we have in our lifes."

January 2, 2018 – page 94 41.96% "What John C. Parkin does is he creates pressure... more and more and more and they he destroyes it with "FUCK IT"" January 2, 2018 – page 94

41.96% "Schhol is a pressure point "FUCK IT"" January 2, 2018 – page 94 41.96% "School in my opinion is a pretty stress ground..."

January 2, 2018 – page 94 41.96% "We need to be calm and peaceful... just don't bother anything from everything it's getting worst we continue coping with this problems they will come over and over and over.... with being silent and just "FUCK IT" we just lose the whole tense and pressure."

January 2, 2018 – page 94 41.96% January 2, 2018 – page 80 35.71% "The whole anwer in this book is

"FUCK IT"" January 2, 2018 – page 75 33.48% January 2, 2018 – page 67 29.91% January 2, 2018 – page 58 25.89% "This book improves life and makes you to leave your problems aside and to live your life the way it is. If you want to judge why not add some more details to your judging skills... until then in relaxing mod and probably one day you could try to use everything which you have learn for real."

August 30, 2017 – page 53 23.66% "AS for me it doesn't look like a POLITE MANNER... but who am I to judge?"

August 30, 2017 – page 53 23.66% "For me this is like the Devils work... the truth about this book is that

In 1991 Josha died from cancer he was one of the candinates for President in Canadata.

- FUCK IT

My Grandmother died in 2016... it was from natural causes.

- FUCKI IT" August 29, 2017 – page 53 23.66% "41" August 29, 2017 – page 51 22.77% "Everything is as it is ..."

August 29, 2017 – page 51 22.77% August 29, 2017 – page 42 18.75% "In the end you end up in a Illusion doesn't matter who you choose... you end up in their world, you think it's the best world. BUt it's not... it has never been and it will never be.

...

School SUcks ..>

Another GrandMaster Illusion" August 29, 2017 – page 42 18.75% "IF you have found the book by Mark Manson

"The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life"" August 29, 2017 – page 42 18.75% "Time to don't give a

F))))))))))))))))))))))UCK" August 29, 2017 – page 42

18.75% August 29, 2017 – page 35 15.63% August 29, 2017 – page 24 10.71% August 29, 2017 – page 18 8.04% "People are "REAL FUCKERS"" August 29, 2017 – Started Reading August 28, 2017 – Shelved as: to-read August 28, 2017 – Shelved"

P.S - Say Fuck it to all things... it will make you feel better.)

Fifty Fifty by James Patterson My rating: 2 of 5 stars ( "February 2, 2018 – page 50 12.5% "Always things happen like that... 11 Chapter... I am not fucking interested in going deeper... The Callaboration between the two authors is a big failure.

...

old school and new generation school scenario of story = already seen in the movies even much bettwe shown."

February 2, 2018 – page 32 8.0% "James likes to throw the dice.. . (details)... they just bump" February 2, 2018 – page 26 6.5% "The James Patterson trailer doesn't have anything doing with this work... the trailer says one thing and the book goes whole other level" February 1, 2018 – page 26 6.5% February 1, 2018 – page 16 4.0% ""The sickening rush of chemicals through his veins

threatened to knock him off balance."

- Sounds Wrong!"

February 1, 2018 – Shelved February 1, 2018 – Started Reading"

P.S. - = Time Lost)

House by Frank E. Peretti My rating: 3 of 5 stars ( "January 23, 2018 – page 0 0.0% "This work is makes you shiver, but sometimes..."

January 23, 2018 – Shelved January 23, 2018 – Started Reading"

- I choose The Movie, it shows the story in good perspective and when it's shown it's whole different thing than using your imagination. It has it's own limits, but movies they don't.... they have been before here and they will continue to be here and after we die...

...

So as for now watch as much movies as possible!

....

Sadly enough no future movies are comming soon which are going to be based upon novels written by Ted Dekker.)

Started

by DeYtH

It started in the middle of nowhere, build by dialogue, that's a story... the more lines the more dialogue.

- The whole thing is bullshit, but I am going to continue to type... let's see how far are we going to go.

DeYtH: Fuck you Criminal: That's the way... come on... come on... pull more DeYtH: You Suck Criminal: The fun thing about it, you can continue insult me... to offend me... but after all addiction puts on my track also and without it you are again here.

Criminal: Thoughts like

"He should die" "I am feeling bad... so should they feel bad."

- That's a criminal behavior... it's a signal that soon very soon you gonna make something very very BADDDDDDDDD.

DeYtH: LIE

Criminal: You know it's the truth... the thing which all it needs is somebody to push you out of your bounderies... once that done the second thing as a SELF-Protection rage is comming

DeYtH: FUll of shit

Crimminal: Once that... you are monster ready to push the trigger, without and giving a fuck

- A Race fuck - Pitty Fuck - White FUck - Black Fuck - Hate Fuck - Love fuck

...

Criminal: Put whatever name you want, but one day you gonna end up in jail... what happen here it will happen to you...

....

It shouldn't continue It should end ...

END ROAD

Forbidden Thoughts

by DeYtH

All thoughts are forbidden, if you ain't gettin it... it's forbidden this explains all of it.

Life started as innocent as you think it can be.

Going out and not giving shit about leature... now Wanting to go back the BACK PASS isn't allowing me to go back.

THe back has been locked.

It really did happen "again that shit" - I wented to church yesterday to clean up sins, but church it really doesn't cleans sins, it's the most sinful place.

If it's build by a human it's forbidden...

When it's forbidden it's sinful! ...

The world is greedful place it wan'ts slaves and not everyone can be a king not all people are ready for change. The world wants you to change but you always come back.

Going with the past really isn't the way people should go.

The story which you are reading it's non systematic.

As soon the lines end, your life is on the road to end.

Life is deadly choice!

The Same (Day)

by DeYtH

It really doesn't matter, the days are the same all day getting bored making promises which I won't execute.

LIFE CONTINUES LIFe CONTINUES (This will explain the empty space between all lines....) ...

People never see clear.... they always are getting blur visions, the problem is that they started with the thought (We have beginning)...

Me: No you don't, school won't prepare you for nowhere... it's Never Land. ...

But lets continue!

Leave that aside When I wake up I feel the absence of my father, the days are different, a life which is like a 3 one. First life was when everything was "Okay".... 2

drama came and 3 when all ended. ...

Always before I go home I see that I am imagining that I am going to go to whole lot better place, but when I get home... I see 0 Money in the pockey Watching crazy TV Reality shows which say that "We all could get better life" ...

Which is the biggest bullshit my years have ever heard. ....

I am putting and end...

IT'S NOT REALLY THE END

Say Fuck It

by DeYtH

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

- To all teachers - To the fucked up parents

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

- Noo good has ever parent brough on the board.

- People say that "I" am the big problem

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

- Horror has nothing to do with all problems - No Need of approval from people.... people are different everyone expects different things

- Become a driver at age 18 - You can't become a driver at age 18 it's too early... start somewhere around 27 or 28 years old.

- You could work in the police - You could get better in maths ...

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

To all this shit... it's meanigless

It's more likely a lost of time... thinking that you could fulfill the all people you know their wishes and desires, in the end all this junkies and they dissapoint plenty of people.

.....

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

Say Fuck It, Fuck It, Fuck It, Say Fuck It, Fuck It, Fuck It

Just said it... nobody is going to hear you

...

Pornography is going to ruin you

....

but to say to some problems like addiction ... first accept it then say fuck it

....

it makes it go out... fucking damn easy.

The 6 Unique Traits of All Remarkable Writers Written by DEMIAN FARNWORTH

I’ve spent the last four years mentoring about seven writers.

In that time I’ve also evaluated dozens of other writers, without choosing to mentor them. I saw something in those seven that I didn’t see in the rest.

That “something” I saw was a set of qualities that I think are unique to remarkable writers. And I wanted to start documenting those qualities — those things that make writers stand out from the rest of the population.

Now a typical list on writers usually revolves around habits common to a lot of professions (obsession, perseverance, getting up early, reading a ton, and so on).

That’s too easy.

What I’m looking for is a constellation of qualities that we can say a writer has that no other profession can claim.

This is not an easy task. But here’s my stab at it.

6. Remarkable writers swing the snow shovel That’s my metaphor for rewriting. Let me explain.

It begins with a foot of snow (you dump a rough draft on to the blank page). You start to shovel (edit) down the sidewalk (page). You reach the end of the sidewalk (page), wipe your brow with your cap and look behind you. My goodness, you didn’t realize it started snowing while you were still shoveling (it hardly looks like your editing job put a dent in your rough draft).

And boy, it sure is coming down fast.

You shrug, put your cap back on, lower the shovel and scoop. On and on. American novelist, critic and essayist Walter Kirn expressed it this way: At the beginning of a novel, a writer needs confidence, but after that what’s required is persistence. These traits sound similar. They

aren’t. Confidence is what politicians, seducers, and currency speculators have, but persistence is a quality found in termites. It’s the blind drive to keep on working that persists after confidence breaks down.

That ability to re-work a piece of copy ad nauseum is utterly unique to a writer. No other profession can claim that ability. And that, my friend, is what separates a remarkable writer from everyone else.

In closing, try this experiment …

So, did I do it? Did I describe traits that are utterly unique to writers?

To find out, let’s try this little experiment: remove the headline and evaluate the list based upon what I wrote. And then ask this question: is it unique to writers?

Well? I look forward to hearing your thoughts.

1. Remarkable writers have the ability to size up content A remarkable writer can: Scan a sales letter and immediately identify specific problems … and then articulate the solution to those problems.

Read a story and pinpoint where the story fails — and why.

Review a speech and offer advice on how to make a lecture open and close with a bang.

Other professions do the same thing in their fields — programmers with software code or military strategists with an enemy’s battle plan. What makes this unique to writers is that it lies in the mechanics of the language.

Misused words. Grammatical errors.

But also an instinct for the words that will get your email opened, methods to writing magnetic copy, and techniques for formatting irresistible content.

We might be able to make an argument that editors can size up content, but in the end I might argue they are good writers.

Let’s keep trying.

2. Remarkable writers are able to connect the dots A remarkable writer is a visionary of sorts.

Although you might find her with her nose in the spine of a book

(in a room strewn with scattered volumes), she’s actually 30,000 feet above, scanning her mental landscape, spotting potential material and logging these ideas away.

She’s doing this subconsciously, but it’s just a matter of time before something clicks, a web of associations light up — and she sees something she’s never seen before: How to bring that character to life.

How to close that blog post.

How to tap into an emotion.

In essence, she’s a problem solver.

But so are entrepreneurs. Electricians. College football coaches.

You could argue that exceptional problem-solving skills are one thing that separates the average from the remarkable in all these fields.

Fair enough.

So what do problem-solving writers do uniquely that no other profession does? Again, they do it with sentences. Paragraphs. The building blocks of their trade.

But still, nothing entirely original here. We need to move on to the next point.

3. Remarkable writers can express ideas clearly One of the reasons that I find new social situations awkward (and can come across as shy) is because I’m often reluctant to open my mouth and commit to a position until I’ve thought it through.

The last thing I want to do is sound dumb.

During a conversation I can have several responses to one question — but those responses are muddied with emotions and half-baked positions. What I long to do is sit down and sift through those thoughts on paper — after the conversation.

I’m not alone. This is how novelist and short story writer Mary Gaitskill expressed it: Writing is in some way being able to sit down the next day and go through everything you wanted to say, finding the right words, giving shape to the images, and linking them to feelings and thoughts. It isn’t exactly like a social conversation because you aren’t giving information in the usual sense of the word or flirting or persuading anyone of anything or proving a point; it’s more that you are

revealing something whole in the form of a character, a city, a moment, an image seen in a flash out of a character’s eyes.

This ability is unique to writers (especially of the introverted variety).

On a side note, I’ve learned how to inject my opinion in conversations without feeling dumb by saying “I’m thinking out loud here,” and then talk to them as if I was writing.

What they would hear is someone exploring one path, finding it unpleasant, turning back and heading down another. They might hear me go down three or four or five or six different paths.

I might seem lost. But I’m not. I’m actually exploring.

4. Remarkable writers can write in their head I keep a notebook. A journal of sorts. I try to record ideas as they come. But there are times when I have an idea, and I’m entirely too lazy to get up — or it’s just downright dangerous to write. This usually occurs in bed, the shower, or on a long drive.

Here’s what I do.

You’ve got your mind’s eye, right?

Write your headline on that screen using the principles behind persuasive headlines.

Work that headline twenty different ways until you can settle on something useable.

When you get a chance, write it down.

Move on to the first paragraph. And so on.

This is exactly how I wrote Sorry — Your Humdinger of Headline Won’t Save the Catastrophe that Is Your Blog Post. I worked that headline out in my head late one night as if I was talking to my wife (who was fast asleep beside me). Then I worked on the lead. All in my head. The following morning I wrote the post.

I don’t share that little story to brag as much as I share it to say that it works, which is why remarkable writers use it. Verilyn Klinkenborg, member of the New York Times Editorial Board, agrees: Before you learn to write well, to trust yourself as a writer, you will have to learn to be patient in the presence of your own thoughts.

And in response to the question about his “writing process,” Klinkenborg answers …

I think patiently, trying out sentences in my head.

Remarkable writers write in their head.

5. Remarkable writers read with a deep purpose There are three kinds of readers.

Libertarian — He is free to read whatever he wants. Whenever he wants. However he wants. Scan his reading history and you’ll see Mashable blog posts, Stieg Larsson novels, National Geographic magazines and bottles of shampoo. Think promiscuity.

Social conservatives — He is a little more purposeful in what he reads. He might grab the Atlantic Wire’s Beach Reads for Smart People or be a member of Oprah’s reading club. Either way he narrows his reading scope by taking cues from social authorities.

Extremists — This is the PhD preparing for her doctorate in medieval chemistry. The defense attorney hunkered in the library to bone up on local moonshine statutes. The writer working on a memoir of Hungarian-Jewish physician Joseph Goldberger. The writer is absorbed (and obsessed) with one topic — and one topic alone.

Remarkable writers absorb their books. For long stretches of time.

Clueless to the rest of the world. Of course, writers can’t exactly claim a monopoly on this trait. The next trait, however, they most definitely can.

6 Characteristics Every Great Writer Has in Common

By Kaleigh Moore

It's hard to know if you're a good writer--especially if no one has ever torn apart a piece you've written or "ooohed" and "ahhhed" over your work. But one of the easiest ways to spot a great writer is through the qualities he/she exhibits on a daily basis.

These qualities are essential for an effective writer because they spotlight a certain devotion and openness--both of which are necessary to achieve writing greatness. Read through this list and see if you line up with the 6 most important qualities of an effective writer.

1. Attention to Detail Great writers are observers, always taking mental notes and noting subtle changes around them. This attention to detail not only makes them fantastic editors who can spot the smallest grammatical error during a read-through, but it adds a special touch to their writing, too. No descriptive detail gets left behind.

2. Discipline Writers who excel are familiar with frustration because re-writes, edits, and improvements all come by maintaining a disciplined approach to writing. Great writers are devoted to constantly reevaluating their work, no matter how small the task may be. They focus on their craft and are constantly working to get better through intense discipline.

3. Clarity An effective writer is able to distill complex thoughts and ideas into simple, clear language that's quickly and easily understood by others. This valuable quality helps them tackle even the densest subject matter by breaking it down into uncomplicated pieces.

4. Strong Vocabulary No one likes to read the same words over and over again, so a strong, robust vocabulary is an asset to any good writer.

Incorporating interesting and unusual words into their writing, this

skill helps them maintain a reader's interest and allows them to communicate more effectively by accessing the perfect word for any situation.

5. Open to Changes Being open to external edits and suggestions is key for exceptional writers because it enables them to improve their writing, even though it might damage their ego in the meantime. Open-mindedness allows them to see their work through the eyes of others and improve weak points.

6. Passion for Reading Voracious readers often make great writers, because being immersed in a world of words helps one better understand the nuts and bolts of writing (like syntax, tone, framing, etc.) The more one reads, the more learned he/she becomes on all of the different writing tools and stylistic angles that exist.

Strive for These Qualities If you read through this list and felt like you could improve upon some of the qualities outlined here, start today. In no time, your writing skills will reap the benefits.

How to Be a Good Writer (If There Is Such a Thing)

by Jeff Goins

Too many writers are caught up with insecure thoughts of whether or not they are any good. It’s crazy. We are quite the neurotic bunch, aren’t we? But what if all this self-doubt was actually self-destructive? What if there was no such thing as a a “good writer”?

Most people’s definitions of “good” vary. What one person loves, another hates. For example, J.K. Rowling, one of the most popular and most successful writers alive today, is often criticized for her prose. Similarly, Ernest Hemingway and Stephen King and so many other “good writers” are not loved by all.

So what if there was no such thing as “good writing”? I’ve been coaching and teaching writers for over a decade, and I can tell you with complete certainty that good writing is a myth. There is no such thing.

What we often think of as good writing is merely effectively communicating a clear message to a particular audience. And the sooner we realize that, the sooner we can get on with our job. Please, writers, let’s stop obsessing over whether or not we are a good writer and instead start trying to be an effective writer.

Look. We all know there are some bad writers out there, so if

there is such a thing as a good writer, you want to be one. But in my mind, “good” is synonymous with “effective.” So let’s begin there. What does it take?

Tips for being a good writer There are six things you can do to be a better (ahem, more effective) writer. The following is what I recommend (click the links to read articles on each subject): 1. Read. Good writers read. It’s that simple. Words are the lifeblood of great writing. There’s no way to get good without lots of valuable input.

2. Get an editor. A good writer recognizes he needs help. He can’t do this on his own (neither can you). You need to get someone to critique your writing, someone you trust. I suggest a peer editor for starters.

3. Capture ideas. A good writer is constantly gathering creative input. Ideas are the inspiration for artists and writers. You need to have a system for collecting them. A great tool to help you do this is Evernote.

4. Write every day. This cannot be overlooked. It’s essential. You can’t get good without practice. Even if only for a few minutes, you need to write every single day.

5. Rewrite. An essential part of writing is rewriting, distilling the fluff down to some core content that will actually make a difference. This is hard, but important. Stephen King calls this “killing your darlings.” And for good reason. It ain’t pretty.

But it’s necessary.

6. Get inspired. Hard to explain, but there’s a part of the writing process that is mysterious. You can’t take full responsibility for what you create. A good writer knows how to avail herself to the Muse. She knows inspiration is like breathing for the creative spirit.

Good writing resources Speaking of reading, here are some books and resources that may help: On Writing by Stephen King

Walking on Water: Reflections on Faith and Art by Madeleine L’Engle The Artist’s Way by Julia Cameron The War of Art by Steven Pressfield Bird by Bird by Anne Lamott Eats, Shoots, & Leaves by Lynne Truss The Writer’s Manifesto by Jeff Goins The world needs better writers The bottom line is we need you, the writer, to be good. Really good. Especially at a time when more people have something to say. And with the Internet as a megaphone, sometimes the best voices don’t always get heard.

There’s a lot of noise and little clarity right now. I hope that you’ll take the time to hone your voice, craft your message, and write with excellence. Because this tool of writing can be squandered. Your message can fall on deaf ears and be ineffective.

And what a shame that would be.

What do you think it takes to be a good writer? Or is there even such a thing?Share in the comments.

What Copywriting Really Is: Interview with Ray Edwards

by Jeff Goins

Have you ever had an idea you wanted to share, a story you wanted the world to hear, or conviction you wanted other people to have, as well? Well, believe it or not, that makes you a copywriter.

Copywriting, it turns out, has nothing to do with trademarks. It is the art of effectively persuading your audience to take action through the written word. And today’s guest on the show is an expert at it.

Ray Edwards is an online marketing expert and copywriter extraordinaire who has worked with the likes of Tony Robbins, Jack Canfield, Michael Hyatt, and even yours truly.

But this episode is a bit different. Instead of interviewing Ray, who is a good friend of mine, I asked him to guest host the show, answering questions I sent him to dive into his deep knowledge of copywriting and online marketing. Ray spends the entire episode explaining how to get more people to buy more of your books, read

more of your blogs, listen to more episodes of your podcast and land bigger, better book deals.

We start the episode learning more about Ray’s background in eastern Kentucky, where he grew up. He started in the radio business at 14. He began helping advertisers come up with clever ways to get people to come in and put cash in the registers and soon found he loved it. He attributes this love to his entrepreneurial family: his mom, his aunts and his uncles all had their own businesses. From them he understood business owners (including artists) want to make sales.

Ray found that lesson to be true in radio, too. It was the salespeople who made the money – not the DJs – so he befriended them. He went on client calls, he studied Jay Abraham, David Ogilvy and John Caples who are the classic masters of direct response marketing.

All of that changed when the Internet came along. It effectively killed off radio so he began offering his services online and he has never looked back.

On this episode of The Portfolio Life, Ray shares tools that any of us can use regardless of our current skill level. He also shares the medium which has allowed him to sell an estimated $300 million worth of goods and services, as well as the next steps you can take to become a better copywriter.

A Six-Part Framework for Writing Better Sales Copy

by Ray Edwards

Editor’s note: This is a guest post by Ray Edwards, who is a world-renowned copywriter and communications strategist, writing for some of the most powerful voices in business. You can find him on his website, Twitter, and Facebook.

If you want to sell more of your products and services, or even simply sell more people on your ideas, you must learn the basics of the art of copywriting.

But what is copywriting, really? One of my favorite definitions was given by a man named John E. Kennedy, back in 1904. Kennedy defined advertising (and copywriting) as: “salesmanship in print.”

If you can write effective sales copy, you can literally write your own paycheck. There really should be no such thing as a “broke copywriter”. By definition, good copywriters can create money out of thin air. So why does copy so often fail?

Copywriting fails when you ignore the principles

There are universal psychological triggers that help you sell more effectively. The problem is, the field of copywriting is strewn with misleading, manipulative, and even in some cases malicious techniques.

You can hardly “swing a cat” without hitting a copywriter who has a “formula” for writing copy. Most of these formulas are actually quite good. Many however, are based on tricks of manipulation and psychology that are more than a bit morally wonky.

The framework I’m going to share with you today, though, is intentionally based on universal principles that are focused on doing good, and helping people make decisions that are in their own best interest.

To sell more, P.A.S.T.O.R. your customers Most people associate the term “pastor” with the preacher at church. While this is certainly true in most cases, the original meaning of the word “pastor” was actually “to shepherd.” And what does the shepherd do? He or she cares for, feeds, and protects the flock.

Now, before we go any further, I should address the habit that some marketers have of referring to their customers as their “herd.” It seems to paint an unflattering picture.

This kind of imagery is not what I am invoking here. The actual role of a shepherd is a loving, caring, and protective one. In fact, Jesus, who called himself the “good Shepherd” actually laid down his life for his flock.

I am not suggesting any religious overtones for your copy: what I am suggesting is that you adopt the same loving, caring, and protective role as you write copy for your prospects and customers.

And, as you might’ve guessed, P.A.S.T.O.R. is also an acronym for the major sections of your copy. Here is the explanation: “P” is for PROBLEM You must begin by identifying the problem that you are solving.

The simplest, most effective way to do this is to describe the problem in great detail.

It’s a psychological principle: the more accurately you can describe your reader’s problem in terms they relate to, the more they instinctively feel that you must have an answer to that problem. Use

the reader’s own language, the very words and phrases they use to describe the problem they want to solve.

For instance, if you are writing about fitness and weight loss, you might begin by describing their current situation this way: You’ve tried every fad diet that’s come along. You’ve started and stopped a dozen different exercise programs, perhaps joined several different gyms, but the truth is you just can’t seem to take the weight off (or keep it off.) Perhaps you’re even feeling a little disgusted with yourself and your inability to control your eating and your weight.

You feel like no matter what you try, it’s not going to work.

Remember, you’re not judging their behavior, rather you are describing their experience as it currently is. This means you have to understand their experience as it currently is. You have to know your audience and what they are thinking.

As the great copywriting legend Robert Collier said, you have to “join the conversation that is already taking place in the reader’s mind.”

“A” is for AMPLIFY The next step is to amplify the consequences of not solving the problem. This is really the key to making sales, and it is probably the most neglected step in the process.

What will motivate people to buy your product, invest in your service, or accept your idea is usually not the beautiful outcome framed in a positive light. It is rather, realizing the cost of not attaining that outcome. In other words: what is it costing them to not solve this problem?

When I’m writing copy about a business improvement program, for instance, I may have the reader walk through a simple exercise like this: Write down your average monthly income over the last 12 months. Then write down what you want your average monthly income to be. Let’s say that your average income is $5000 per month, and your goal is actually to make $15,000 per month in your business. That means the gap between where you are and where you want to be is $10,000 per month. You’re paying a cost of $10,000 every month you don’t solve this problem.

“S” is for STORY and SOLUTION

Once you have described the problem and amplified the consequences of not solving it, it’s time to share the story of how the problem can be solved.

This will be different depending on your situation. It might be the story of how you yourself finally solved this persistent problem. It might be the story of how you helped a client or customer discover the solution on their own.

It does need to be more than simply a description of what the solution is: telling the story of Bob, the frustrated business owner who was on the edge of bankruptcy, whose family had lost faith in him, and who, out of desperation tried one last idea that saved his business, is infinitely more powerful than simply saying, “One day, Bob figured out the answer.”

It should go without saying, but I will say it just in case: the story must absolutely be true. Don’t make these things up. And if you’re thinking, “But what if there is no story?” I would suggest you just haven’t looked closely enough.

There is always a story to tell.

“T” is for TRANSFORMATION and TESTIMONY The next key step in writing your copy is to remember that whatever you’re selling, whether it’s a home study program, a book, a seminar, your consulting services — anything at all — what people are buying is not the “stuff,” it’s the transformation.

When people buy the P90X workout program, they did not wake up one morning and say to themselves, “I sure hope today somebody tries to sell me a bunch of DVDs and a wall chart.”

Those things (the DVD’s, charts, etc) are the stuff. What buyers of P90X are actually purchasing is that lean, healthy, youthful physique they want for themselves. The transformation.

It’s also important that you offer testimony, real-life stories of people who have made the transformation that you are teaching, and who have done so successfully. Study the most successful infomercials, and you’ll discover that they consist of about 70% testimonials.

And while most of us will not be writing infomercials, it’s important to remember there are three questions people are asking when you sell them coaching, consulting, or instruction about

anything. The questions are: Has this person been able to do what they are describing for themselves?

Has this person been able to teach other people to achieve the results they are describing?

Will this person be able to teach me how to achieve these results?

“O” is for OFFER So far, you have defined the problem, clarified the cost of not solving it, told the story of the solution, and helped your reader visualize the transformation through testimonials from others just like themselves.

Now is the time to describe exactly what you are offering for sale.

This is the section of your copy where you lay out your offer. You can even create a subheading for the section called something clever like, “Here’s Exactly What You Get.” Make certain that you focus 80% of your copy on the transformation itself. You do have to talk about the deliverables (the class schedule, the DVDs, etc.), but that should only occupy about 20% of your copy in this section.

Just remember that as you describe the deliverables in the offer section, you must keep tying them back to the transformation and benefits your buyers will receive.

So instead of simply writing that the buyer will receive “8 DVDs, each containing a 45 minute workout session”, you might instead write that they will receive “8 DVDs that each contain a bodysculpting, fat-burning transformational work out that will help you craft the lean muscle you really want.”

“R” is for RESPONSE This is one of the areas where copy tends to often be the weakest: the response request. We are asking the customer to buy.

At this point, you should not be shy about making this request.

You should tell the customer exactly what to do in order to get your program, your consulting, your book, etc. You should remind them why it’s important o do so.

I often write copy similar to this: You’re at the point of decision. You can either continue down the path of least resistance, the path you have already been traveling, or you can choose the road less traveled. The path of least resistance will probably result in you getting the same outcomes you’ve always received. But if you want something different to happen, if you want to change the direction of your health (or your relationships, or your finances, etc.) you’re going to have to do something different. Make a new choice, and pursue your new outcome.

And then I will write very specific, directive copy telling them exactly what to do next: “Click the button below, fill out the order form, and we will immediately ship your entire package to you. It will contain everything you need to get started.”

Some people shy away from strong language like this, but the fact is, if you truly believe that you have a solution that will solve a problem for people, why on earth would you not be as direct as possible in telling them how to get that solution? In fact, aren’t you doing them a disservice by not making the strongest case possible?

What to do now My suggestion is that you use this framework to write or rewrite your sales copy. The key to making this approach to writing sales copy successful is the having the mindset of being a “pastor”.

If you apply the principles of being a shepherd to your readers, and you follow the sequence of the P.A.S.T.O.R formula, my prediction is you will experience more sales, more profits, and more happy customers… more often.

The Importance of Your Book Cover Design: An Interview with Pamela Webber

by Jeff Goins

Remember that old saying — “You can’t judge a book by its cover”? Well, it’s just not true. You can judge a book by its cover, and you should.

To get to the heart of why design plays such a big role in an author’s success, I invited the Chief Marketing Officer of 99designs, Pamela Webber, to join us.

99designs is an online community of hundreds of thousands of graphic designers who help small business owners and entrepreneurs get their design needs met for everything from logos to book covers to packaging.

It works through a contest model. To start, you submit a creative brief explaining what you envision for your project. Designers who want to participate then read your brief and create something for

you. Next you select which design you like best and agree to work with that designer exclusively as you finalize your project.

How to Really Get Your Writing Done

Everyone wants to write a book, but few people ever do. Why is this? Because we writers tend to focus on the wrong thing.

Most people who want to write a book start with goals, and that’s not how it works. If you want to write a book some day, you need to start writing today. In other words, don’t set out to write a book. Set out to become a regular writer.

"If you want to write a book some day, you need to start writing today."

That’s the secret. It’s not the goals that make us writers. It’s the habits. Anyone can say they want to write. It’s another thing to

actually be a writer. What’s the difference? Habits. An amateur talks about the work. A pro does the work.

I’ve written before about this, so I won’t belabor the point here, but you need to focus more on the process than the results. This is especially true when you’re getting started as a writer. Goals are good, but habits are better.

Don’t misunderstand me. I want you to achieve your goals and get the results you desire. But what gets you there is the process.

How you do this matters a lot.

So what does that mean for you, the aspiring author who said this year was going to be different, this time you were actually going to finish a book? There are three things you need.

1. Routines: When and where you write Routines are what make a writer a writer. A routine is the way you approach your work, and every successful writer has one. A routine includes when and where you write. It should be consistent and replicable so you can focus on the writing itself instead of finding a time and a place to write.

No two routines are alike. You have to find what works for you. Is it writing 10 minutes a day, like Shaunta Grimes does? Or 500 words a day as I do? Do you write best in the morning or at night?

Find something that works for you and do it over and over again.

"Don’t set out to write a book. Set out to become a regular writer."

To begin establishing a routine, ask yourself these two questions: Where will you write every day?

When will you write every day?

Imagine what it looks like for you to be sitting down, doing your writing. Where are you? What time is it? How do you feel? Then, do everything you can to actually create that scene on a daily basis.

2. Systems: How you get the writing done In addition to routines, you need a system. A system is simply the

way that you do the writing. Do you use MS Word, your phone, or some other tool — maybe a notebook? Do you light a candle? Drink a cup of coffee? This is all your system.

Again, every writer has a unique system; but the essentials of any good system is that it’s simple and effective.

I write in a distraction-free tool called Bear and follow a system I developed called The 3-Bucket System to break my writing time into ideas, drafts, and edits.

3. Deadlines: What it takes to finish on time The only thing that really gets the writing done is a deadline. A deadline includes a word count and an actual date when the writing will be due.

With a blog, that maybe once a day, or once a week. If weekly, it should be on the same day of the week at the same time. Make it something your readers can expect of you. If it’s a book, it needs to be delivered on time to the audience or publisher.

"The only thing that really gets the writing done is a deadline."

Think about your next writing project. What is the scope of it?

How long will it be? Whose it for? When will you know that you’re done?

Set a deadline, or series of deadlines for various drafts if it’s a more in-depth piece. Then decide on a word count, or at least a range, and get to writing.

If you don’t define the end ahead of time, you’ll never reach it.

Going deeper with writing routines, systems, and deadlines This is what it takes to become a regular writer, and eventually an author. Consistent routines, simple systems, and regular deadlines.

These are the tools you need to do your job.

And before you know it, you will have developed a regular writing habit that can then be applied to larger writing projects, like actually finishing a book.

If you’d like more help with this, I’d love to invite you to a masterclass where I’m teaching how to use routines, systems, and deadlines to get your writing done — and then how to turn that into a book.

Come with questions, and I’ll do everything I can to help you get unstuck and start writing more. It’s totally free, but you have to register to get access to the training.

7 Things You Must Give Up to Become a Successful Writer

Can you hear that?

Pop. It’s the sound of me bursting your bubble.

I started a blog to help other writers because I know it’s possible to succeed.

Encouragement helps, but sometimes a cold splash of truth is what it takes to get people in motion.

I’m going to tell you the truth today. Are you ready? Brace yourself.

You’re Full of Crap I get emails from aspiring writers from time to time. I’m more than happy to give out tips and see how I can help, but there are certain types of emails I get that automatically indicate the person on the other end is never going to succeed.

They read something like this: Dear Ayodeji, I want to become a writer and publish my own books, but I have no fans. Also, I’m having trouble figuring out what I want to write about. Oh, and I also don’t have any time to write with my current situation.

Can you help me become a successful writer?

I can tell this person will never succeed. Their excuses are woven into the message and I can tell they haven’t given writing a sincere shot before trying to “pick my brain.”

This is the way of the world. Most people are full of crap. They’re all talk.

They say they want to lose weight, but they won’t give up the cookies and chips.

They say they want to start a business, but pile up excuses one after another.

You say you want to become a great writer, publish books, and have your own fans, but you aren’t willing to make any sacrifices.

If you’re not willing to give anything up, how do you expect to be

blessed with the opportunity to put words on a page for a living?

Do you have to lock yourself in a room for hours a day and hustle til your eyes bleed to succeed? No. But you do have to be willing to give something up.

Here’s a list of things you need to give up to become a successful writer.

Your Sense of Entitlement Question: Why should anyone want to read your writing, visit your website, or buy your book?

Are you a diligent writer? Are you making an effort to connect with people who’d be interested in your writing?

No? Let me guess, you think people should read your writing because you wrote it. That’s a horrible answer.

You don’t buy an iPhone because you like Steve Jobs. You buy it because it’s a great product.

If you’re trying to make a living with your writing, your words are — by definition — a product. You have to create your best work and get it in front of the right eyeballs. It all starts with a personal responsibility.

Nobody owes you their attention. I put this point first because it’s the most pervasive problem aspiring writers have. I’ve seen it countless times — an aspiring writer putting in a relatively low amount of work then whining about their lack of success.

Less whining. More writing.

Your Romanticism Writing is artistic. You think of writing as a craft. You want to pen beautiful words and become the next Kafka.

Good luck with that.

The romantic writer is the type who uses a ton of flowery language, thinks their book is going to get picked up by Harper Collins and laments the lack of literary quality in today’s writing.

There is such a thing as a technically gifted yet boring and unsuccessful writer. Writing pretty words doesn’t make you a good writer. Moving peoplemakes you a good writer. Entertaining, educating, and inspiring people makes you a good writer.

The problem with the overly literary type is they often don’t pay

attention to the person on the other end of the page. They love the idea of being a writer but aren’t practical when it comes to the writing itself.

Your life might not be interesting enough to make a great memoir, especially if nobody knows who you are.

Maybe other people aren’t as interested in the war of 1812 as you are. Maybe you should write about something else.

Writing to meet a market need doesn’t make you a hack, it makes you a person who actually earns from their writing.

In 2017, art and business aren’t mutually exclusive. They’ve bled into one another and the line is blurred. A little pragmatism will give you an opportunity to succeed as a writer.

So, please, discard your rose colored glasses.

Your Fear of Marketing If any of the sentences below describe you, you have no right to complain about your writing career: You don’t have your own blog You’ve never guest posted or put your work on another platform You haven’t connected with one other person in your space with an email Another pervasive mindset among aspiring writers is the “build it and they will come” mentality.

Let’s say right now your writing isn’t getting much attention. I have a question for you: How in the hell are people supposed to find it? Dumb luck? Extrasensory perception?

The recipe for success as a writer is simple — find people who want to read your type of writing and get your writing in front of them.

This means finding websites who already have a built-in audience and publishing your work there. This means connecting with influential people online who can help promote your work.

Fear of marketing can also conflate with a sense of entitlement.

I get it. You just want to write. You think good writing should be enough on its own. It’s not.

Marketing isn’t a dirty word. It’s a prerequisite for success.

Your Time

What if you knew everything would work out? How much time would you devote to building your writing career if it was guaranteed?

A year, five, ten?

Building a writing career takes time. I read a post by blogging expert Jon Morrow that said you need to dedicate four to six years of your life to building a six-figure blog.

One of my favorite writers, James Altucher, says you need five years of experience before you make wealth in your field.

If you’ve been at it for less than 24 months, relax. You’re not supposed to be mega successful yet. You have to put in the work.

You have to wrap your head around the idea that it’s not going to happen right now, but it will happen eventually. Writing isn’t a linear practice. It’s exponential.

Let me explain.

You don’t improve your writing skills at an equal rate. When you write consistently, your skills will grow exponentially. The key is to make it past the initial phase of sucking at it.

I’ll use numbers to illustrate the example: Take the number .00002. If you double it becomes .00004. If you double it again it becomes .00008. These jumps don’t seem like much. Double it 36 times, however, and all the sudden the number is 1.3 million.

A party balloon requires a lot of air to fill it initially, but once it reaches a threshold the rest of the balloon fills up easily.

Your writing skills are like the small decimal number and the party balloon.

I promise you. If you put in the work consistently, you’ll get better.

Be honest with yourself — are you putting in the work or are you complaining too early?

Your Need for Approval If you have supportive friends and family, that’s great. Often, however, the people around you might not be receptive to the idea of you becoming a full-time writer.

They’ll tell you it’s impractical or “risky.” They’ll tell you not to get your hopes up.

It’s not because they don’t want you to succeed. They care about you and don’t want you to be disappointed.

It took a while for my fiancee to take my aspirations seriously.

Once I started making some money and gaining momentum, my progress opened her eyes to the possibilities. She never discouraged me, but deep down I knew she wasn’t sold yet, and that was okay with me.

You have to realize when you deviate outside the normal path, people aren’t always going to get it.

I didn’t announce my aspirations of becoming a writer to anyone.

I just started writing and kept writing.

It doesn’t matter what your friends and family think. It doesn’t matter what society thinks.

When it comes to writing, the only thing that matters is the page in front of you.

Now is the best time in human history to become a writer. You don’t need anyone’s permission to create and publish.

You don’t need a publisher to tell you whether or not you’re a good writer. Let your audience be the judge.

Your mission is to build a small empire around your words. To do that, you’ll need thick skin, because not only will your friends and family fail to see what you see. Sometimes you’ll get backlash for the things you publish in your comments from trolls or people who genuinely think your work is bad.

Don’t put your identity in someone else’s hands. Trust yourself and trust the process will work.

Your Laziness Certain aspiring writers are like patients who go to the doctor because they’re feeling fatigued or “off” in some way. Nine times out of ten, their “health issues” have a simple remedy — eat better, exercise, and sleep more. The doctor checks the patient out, and instead of feeding into his hypochondria, he suggests he take better care of himself.

Are you the patient wondering why he feels off?

Don’t look for elaborate answers to why your writing career isn’t taking off.

You don’t write enough. Period.

This is maybe my 500th blog post. One of my favorite writers, Seth Godin, has written 6,000.

How many blog posts have you written?

How many words do you have under your belt?

Do you write every day or just “once and a while?” Do you focus when you write or do you check the web and social media?

You know the answers and you know how to move forward.

I know sometimes the words don’t come out on the page the way you envisioned them in your mind. I know you sometimes feel like you’re not cut out to be a writer.

Suck it up.

If you want to learn how to build a writing habit that sticks, I have a guide for that.

If you want to write a book, I have a 5,000-word guide for that.

I have posted on starting a blog, finding a writing topic, developing a solid mindset, and getting your work in front of the right people.

I just listed out resources with step by step information to get you where you want to go.

Unfortunately, most of you will “x” out of this page and continue to get nothing done.

That’s okay. I wrote this post for the small handful of you who are sick of being stuck and want to get to work.

Your Excuses I just laid down the gauntlet.

It’s all on you now.

I sincerely believe everything you want in your writing career is possible. I want you to succeed, badly.

But I can’t want it more than you do.

Do me a favor, for the next week, 30, or 90 days — just shut up and write. No more putting off starting that blog, writing that post, or outlining that book.

No more excuses.

Go.

The 7 Habit of Highly Success Authors

by Kristen Kieffer

Habit 1: Highly successful authors almost always followthrough.

It sounds easy: do what you say you’ll do, when you say you’ll do it. But we all know how hard it can sometimes be to follow through.

Funnily enough, highly successful authors don’t have some superpower that allows them to get everything done on schedule.

Instead, they have one secret: they don’t overpromise.

Overpromising can lead even our best intentions astray, and it often results in not-great work. Bestselling authors have a strong understanding of the way they work, what they need to accomplish something, and what is (and isn’t) realistic for them. Agents watch for this from Day One of signing an author, because we know what lies ahead: an author who overpromises is setting herself up for failure and frustration, and those things can deflate even the most motivated person.

We also know that perpetually broken promises can be red flags for either fear (an author is procrastinating on a project because it feels scary to her) or lack of focus (an author is overextending herself and trying to do too many things at once). Either way, both things can eventually stunt an author’s success during the publishing process, as well as make it triply stressful.

Habit 2: Highly successful authors treat every single person they encounter with respect.

This is a big deal, and you’d be surprised how often the emotionally-charged process of publishing a book can send anyone on a finger-pointing spree.

But turning on your publishing team is the worst thing you can do when things get stressful—that’s when you most need your agent and

editor on your side, so that they can cheer you on, rather than duck for cover.

Unprofessional behavior can undermine and ultimately destroy the relationships authors most need in order to have long, happy careers. I’ve seen authors be dropped from their agencies, and even from their publishers, because they struggled to play nice.

So even when things go wrong (and they inevitably will!) remember that working with your team, rather than against them, is the best way to fix it.

Habit 3: Highly successful authors understand purpose-driven marketing.

What’s the most common cause for a book not succeeding? Not enough marketing behind it.

What’s the most common cause for an author not marketing enough? Fear. (And as Elizabeth Gilbert says, all procrastination is fear.) Deep down inside, many writers are scared to share their work with the world, and they’re uncomfortable with the entire idea of marketing.

But highly successful authors have made peace with these fear demons way before they enter the publishing process, because they’ve been spreading their work out into the world all along. They also understand that authentic marketing is not about selfpromotion—it’s about serving others.

Most bestselling authors believe, at their core, that their purpose in life is to improve readers’ lives through their work. Once you believe this, sharing your work becomes an effortless habit.

Habit 4: Highly successful authors love to wow people.

The most successful authors I’ve ever worked with make everyone around them say “wow” all the time.

You ask them to implement a new marketing tactic? They do it right away and go full force to support it. A magazine editor asks for an original article? They write an excellent piece and turn it in two days early. You introduce them to a connection? They are the

epitome of graciousness and gratitude.

This doesn’t mean the same thing as overachieving, which is dangerously close to over-promising. In fact, this habit is rooted in a deep sense of both quality and discernment—highly successful authors don’t do things half-heartedly, half-well, and half the time.

Instead, once they agree to something, they zero in on doing it at the highest level they possibly can.

To them, it’s all about saying a big, excited “Yes!” to the things that matter, and a polite “No” to everything else.

Habit 5: Highly successful authors are endlessly curious.

They want to know everything there is to know about writing and book publishing, and they get excited when they find a new source of information and insight. Bestselling authors have carefully studied their craft, and they understand that they need to approach both failures and successes with curiosity, rather than judgment.

If a book flops, they try to understand why. If a chapter isn’t working, they dig in deep to dissect what’s going on. If they launch a bestseller, they take time to look back and analyze what worked so well and what could work even better next time.

They also understand that, without time to reflect on their careers, they’ll miss the valuable lessons that every task can teach them. This means taking time to pause, rather than always running on the hamster wheel of a to-do list.

Habit 6: Highly successful authors are persistent.

We’ve all heard this a million times: never give up on your dream.

But we’ve heard it a million times because it is flat-out true. The only wait to fail, truly, is to give up. Highly successful authors have spent years and years building skills before they even get their first book out, much less reach the peak of their careers.

It may have started when they read their first book as a child, but it continued on, relentlessly, through every book-related thing they do today. They know that no word read, written, or contemplated is ever wasted—it’s all building their library of thought.

Often highly successful authors will say that they kept at it

because they didn’t know what else to do with themselves. That’s the fascinating thing about passion: when you can’t imagine doing anything else with your life, persistence becomes your only path.

And literary agents love to see that level of dedication!

Habit 7: Highly successful authors are people first, authors second.

That’s right, highly successful authors aren’t successful all the time, and they’re not even authors all the time. They’re just people: flawed, funny, willing to laugh at themselves, in love with their work, but just as much in love with family time and a good dinner.

The one thing that I believe most sets successful authors apart from struggling authors is that successful authors make room in their lives for the things that fuel their creativity. Without time to be just a person, or a parent, or a friend, creatives can burnout, lose focus, and even lose their love for their work. But most importantly, a life without balance isn’t a life worth living, and just like anyone, literary agents want to work with happy people.

So the best thing you can do to succeed as an author? Focus on becoming a happy person, one whose career fuels your purpose in life, but doesn’t define your existence. These are the authors who we agents feel honored to call clients, and those are the clients who become our friends.

Soon Bridge Of Writing (Domination #3)

As for now

1. Bridge Of Writing (Domination #1) 2. Bridge Of Writing (Domination #2)

(Is out)

Publication Date: March 6th 2018 https://www.bookrix.com/-amd935e35df1e85