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23 Awakened Object

About PiedPeterPiper

  • Rank
    Not a doctor.
  • Birthday April 29

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  • Gender
  • Location
    On the back of a Santhid
  • Interests
    Fabriology, Rosharan languages, classical music and swing jazz (and a little classic rock).

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  1. If Honor made the Oathpact, the Fused in Damnation with the Heralds, does that mean the Oathpact is a Sliver of Honor -- or maybe that the Heralds are Slivers of Honor?
  2. Thanks for the suggestion -- that sounds like it'd be a really interesting magic system! I'll definitely look into it.
  3. As long as we're identifying ourselves: I guess I'm a lesbian, although I've never really thought about labels. Also, I think it's really cool that there are threads like this one. I wanted to take a minute to talk LGBTQ+ representation in books, since this is a readers' forum: it's crappy and we have a long way to go. And I think it's a little sad that I consider Brandon's books better than most when, as of now, I believe he's got one gay character and one lesbian, and that's it. There are only two, and both are quaternary characters at best. I definitely blame Brandon, but I also blame the market. Why haven't agents, publishers, and authors started to include people of different sexual orientation and gender identity? Speaking of which, I don't think I've ever read a book with even a minor character who's transgender (or non-conforming, gender fluid, etc.). I think we need lots of new authors writing LGBTQ+ characters in addition to older authors to starting to include them. People like Brandon have a lot of influence in fantasy, and without them making the first steps, change will be very, very slow.
  4. Hi Mandamon, my name is Piper, I'm new to the writing group, and I don't want to accidentally offend you by not reading your writing. The reason I'm not critiquing your work is because I've been told you're almost done with your novel; at this point, I doubt I'd be helpful to you. If I started now, I would be confused while reading, and then you'd be confused because I offered confusing advice because I was confused, and now we're both confused and having a very unproductive conversation. Suffice it to say, I can't wait to read your work when I'm confident I can keep up with what's going on. Best of luck, - Piper
  5. When you see your dad reading a book and think "he's not supposed to do that!"
  6. Not quite so extreme, but thanks for the idea! Don't worry, I'm kidding. Right now, I'm wasting my time by annotating Oathbringer in the Alethi Women's Script. And on Orson Scott Card: Every conversation I have about him is bittersweet, because I'm like: "his character and relationship work is AMAZING!" and also "I hate his living guts!"
  7. 1) I'd expect a dark but somewhat humorous tone, with some kind of space adventure plot. 2) I'd expect to see a vast world (in the very loose sense of the term, not in reference to a planet), possibly cultural conflicts between alien races, and lots of flying around in spaceships. 3) My guess for a big climax would be the death of the narrator; maybe you're using the structure of "these are the events leading to my death, this how my death went, these are the effects of my death," and then all the characters have to pick up the pieces of a destroyed society afterward. I liked your human vs. alien physiology -- really interesting concepts based on different genesis. I was a little confused by the scene with the kids and thought that Sherlock, Watson, and Frankenstein's Monster were all going to play a part in the story.
  8. I have not read them yet, but I will have read them in -- let's give it two weeks. I'm pretty sure, at least, that he doesn't get royalties from the Ender's Game sales (although I don't know about the rest of the series), so I don't feel bad recommending it to people.
  9. My name is Piper, and I'm cat vacuuming at 1:00am. Meaning: I'm introducing myself to all of you so I can put off writing. I've always loved to read, and my dad introduced me to SF/F when I was young. Writing was a natural next step to take.The first book I wrote was a Bob Book. (For those of you who don't know what the heck I'm talking about: Bob Books are short picture books with extremely simple sentences, e.g. Mat sat on Pat.) I was five, and my little brother was learning to read. In case you're wondering, it was really bad. I wrote another book in third grade about Halloween; it was 12 chapters (I thought that was super long), and I made my dad illustrate it. That was also a really bad book. The next book I wrote was -- you guessed it -- very bad. I started it in fifth grade and finished it in sixth grade. It was about 50,000 words; a legitimate middle grade book. I am currently working on a book; I've written about 30,000 words out of an estimated 90-100,000, and all I can do is hope I've acquired the skills by now to write a decent piece of fiction for once. Favorite non-Sandersons: Ender's Game, Orson Scott Card (he would be my favorite author, but he turned out to be a bigot); Fuzzy Nation, John Scalzi; Neverwhere, Neil Gaiman; the Watchmen comic; and Sherlock Holmes, Sir Arthur Conan Doyle. Now that everyone who's made it to the end of this post knows of my infinite geekiness, I must kill you all. Expect assassins. Oh -- and I'm excited to be part of the community, yadda yadda yadda. (I get crabby late at night.)
  10. ketek

    No, there are no rules about how the segments need to be broken down. Thank you very much for your compliments!
  11. ketek

    Stories believed to imaginative extents Can all words bring to life such wonder? We know, we live; in life we know we wonder. Such life to bring! Words all can extend imagination to believe stories. Any feedback, anyone?
  12. I didn't realize this was a writing group! How can I apply? I understand, of course, that my odds are low, but I'm working on my second novel right now and this seems like a great opportunity to improve my writing and to learn from other authors.
  13. ketek

    I composed this Ketek. Let me know what you think; I'm open to critiques, suggestions, feedback, etc. Art of beauty and grace, the end-all, be-all. Conveys meaning without language. Different forms serve functions; different functions serve forms differently. Language without meaning conveyed: All be, all end the grace and beauty of art.
  14. On watching Brandon's lectures: I highly recommend watching the new series, even if you've watched all the ones on Camera Panda; there's a lot of new material, different takes on old material, etc. It's also fascinating to see how he as a writer has evolved and changed his opinions throughout the years. On balance between description and word count, we basically agree. It's important not to go overboard on the information you give to the reader, but the writer also needs to know everything going on, even if s/he doesn't share all their plans and backstory. (This was basically the iceberg concept, and the knowledge gap between the author and the reader generally depends on the depth of the his/her world; sometimes they don't have time to develop absolutely everything.) I also think that using different senses will bring a scene down on the Pyramid without pushing the prose toward a purple-y color (did that metaphor make sense? I doubt it, but I'll stick with it for lack of a better one). Adding variety to your description can ground the reader further while still keeping them hooked -- something I often forget to do in my first drafts but always try to work on when editing. However, I could see instances in which an author goes way overboard on something because they're writing from the perspective of a certain character who's really fascinated by (for example) abstract art. They may not want to give the full extent of the character's thought process, because the majority of the readership would be incredibly bored by this, but I think it would be beneficial to give a sample of the description of said art that would not come up if another narrator was in that place. The author can then just imply that the thought process continued -- or could cut the character off in their description by creating a disruption. I find this trick handy, but it's one that can't be used too often. Conversely, maybe an author is writing a head-in-the-clouds-type character who doesn't really notice what's going on around them; in this situation, maybe an author would hold back on details that should have been noted. S/he will have to find another way to convey the necessary information. I would just add a viewpoint, but that's a very SF/F type of thing. literary fiction does this less -- although, let's be real: almost no literary fiction buffs are on 17S. However, lit. fiction authors have to come up with other ways to do this, and that strengthens their writing, so maybe SF/F writers should explore different ways to do this as well. So while authors do need to find a general balance and stick to it consistently while finding ways to add variety to their prose, there are instances where one would stray from their formula and cut their description short or let it go on longer to help flesh out their characters more. (Side note: obviously this is not the end-all, be-all of character development; all authors need to find multiple ways of conveying their characters' personalities to their readers. To what extent do you use description as character development, and how do you use it in tangent with word choice in prose as well as dialogue beats and tags?
  15. I think it'd be great to have a space for writers! I actually have been thinking about the Pyramid of Abstraction of late (if you watch Brandon's lectures you'll know what I'm talking about), and I wanted to discuss the line a writer walks between word count and really grounding a reader in a scene -- at what point is it counterproductive? I personally think that it depends on the purpose of a scene: does the author want the reader to really feel like they're really in the room with the characters, or does s/he want a more fast-paced, probably action-packed scene? Conversation beats also fit into this; if you want the reader to be more aware of what's going on and more inside the head of the narrator, you probably want more description, whereas if the conversation is of import, you want to focus on the dialogue and take out as many tags as possible while still making clear who is saying what. What do you guys think? Where does your prose typically fall on the spectrum, and how do you incorporate concepts like the Pyramid of Abstraction into your everyday writing? I don't think that one type is necessarily better than the other in the grand scheme of things, but you have to be very intentional with your techniques and their different purposes for each scene/chapter/book.