Several witticisms, one antique scribbler, an eternally superannuated vocabulary, and the complete works, of Anacostia Mirabow-Marignac's writing advice.

Doubtlessly my trademark lyricism and unending insight must cast it into question whether, indeed, the author of this so-called "blog" happens to be an author. I am. Being magnanimous as all-get-out, you may expect me to share sagacious pearls of wisdom, and perhaps a little less hyperbole than has hitherto been exhibited. How little you know me, Dear Reader, if you expect the latter to occur.

Fortunately, my munificence has no bounds. Or rather, I might counter the stemming tide of tips which I strongly disagree with, rather than simply whinging ineffectually.
(This is what is termed: "Stream of consciousness" or in other words endless blather. The egomania is merely a side-effect of typing quite rapidly.)
Before I embark on my as-promised tips for writing, I've decided to list a sample of my writing projects as follows.  Some have been swirling in the stormy depths of my head for some time (think seven years), some are nascent arrivals to my portfolio of stories.

•The Queen of Tyreusa. The eldest of my projects, it dates from seven years ago when, admittedly, I imagined scenes from it while trying to go to sleep. I neglected to think up any motivation, character building, description, or successive plots... In this installment the Queen of Tyreusa, Corinna, is the sovereign of the nation Tyreusa, having been in that capacity for eight years, and much has been placed on her adolescent shoulders. Including, but not limited to, raiders in the north, declarations of war from neighboring states, and nefarious advisers. When a plan from one state goes awry, and peace talks are called before it is too late, she recognizes one in the cadre of politicians sent. Who happens to be the king of that country, Hytermaire. Also, her former, vanished friend.

 •Wutherwell story. Set in, fine, I confess, what used to be my concept of A Tale of Two Cities (a parallel world with carriage overpasses, and flying somethings. No stonings! One city could be located in the parallel world, the other could be on Earth. Perfectly logical. Needless to say, I dissuaded myself of that notion) this stars a girl named Rhaedlwyn Dartmoor: nineteen years old, cloistered and introverted in a cathedral town called...yes...yes...Wutherwell!  Thereafter, her best friend deserts from the air force (named the Air Legions) and with a fair dose of emotional altercation, she ends up in the Air Legions herself. Sequel is set on the Orient Express, several months afterward. Originally a National Novel Writing Month (i.e. NaNoWriMo)  story.

•Robin Hood re-telling. A few scattered portions and an unclear plot are all there is of this story characterized by elements perhaps borrowed from "Robin of Sherwood" and cringe-inducingly similar to the BBC Robin Hood of 2010. Sans all magic and magical elements, mind. Note for the latter, that was entirely incidental, as my knowledge of that originates in pop culture references from the Internet and BBC previews.

•Cyberpunk. Inspired when I was perusing a tome of theoretical physics (I believe it was Physics of the Impossible, by Michio Kaku if you must know) and noted they explained if light was refracted via solar panels consistently over the Martian atmosphere, it would warm, melt the polar caps, and thus make it habitable in a while. Well, this is set after that while, in the dusty plains of Mars in a town called New Locktown. Trust me, all I'm missing is a plot for little miss Leigh Aubrey.


Synopsis, The Queen of Tyreusa, and names; everything relating to stories named is copyright of Anacostia Mirabow-Marignac. For reproduction or copy rights, contact her on Google+. I might not bite your head off.

Ah, yes. Notes, tips, and advice:

►Do nothing to your primary or auxiliary characters without the audience liking them first. And you, too, you're the book's primary audience.

►Do not enact what the audience wants, or what would perfect the character's lives, do instead what adds drama. Drama--DRAMA‼

►Basically that means write for yourself, not for an audience. Do add what makes drama, though.

►Don't be afraid of saccharine writing. If it is too emesis-inductive then you can change it, but often the best drama results from grandness, elegance, or sweetness.

►Stress not about characters. Write them, and characterization will come at last.      

►Use touching moments with care.      

►If writing a romantic or sentimental scene or work, make sure the characters involved are not defined solely by the romance. They shouldn't be handsome, kind, gallant, lovable, and complex just in time for the protagonist to meet them...they shouldn't be declaring their love and undying affection every three pages...they shouldn't always interact romantically, it needs to be subtle too, they need to be characters as well as love-interests.

►"Suddenly" is a delicate term. Abrupt may fit into some instances..."as abruptly they hit someone" but the "suddenly" adverb others, "suddenly their feet flew out from under them." Consider whether the abruptness or suddenness is apparent from the phrasing. The reader is viewing it as a sudden action, not always does it need to be named.

►You've gotta love writing to write. That is all.

Hopefully, Reader, the gems of wisdom gained are sufficient and prove emolument for the perusing of this article. Really, thanks for reading; thanks for writing. I hope that helps, and remember, the manner which you write and standard by which you write are your decisions‼

The Essence of Writing.

Yes, all writers do hope the elves will come in the night and finish their stories, all do just write, and they all paint their voices. Neil Gaiman, and Voltaire for ze quotes. The pen is also mightier than the sword; always, and you must write the story that wants to be written (Madeleine L'Engle). Castles in the air never exist in real life, but once you pick up the quill, the pen, the pencil...daydreamings are the limit.

-Anacostia.