New Page_Writing Sample: WAITING for YOU

 http://www.writing-naked.com/W4Y.html

 

WAITING for YOU

-a dating sim

(work in progress)

        A struggling author meets a sweet girl, a wild girl, and a tough guy husband.

        What could go very right or very wrong in the game of love, lust, and making a living?

_dialog / narration / characterizations built upon from client outline

 

MEET Angelica

ANGELICA WORK, ABRAMO CASUAL

P ANG smiles to the COTS

P ANG looks at COTS - she isn't satisfied

 

INTRO CONVERSATION

 ABR visits the office building for the first time and he needs to meet his publisher. ANG guides him.

 After clicking on Angelica

P ANG stands behind the reception counter smiling

        ANG: Good afternoon, how may I help you?

        ABR: I'm Abramo Tutti. I have an appointment with Stephen More at “Black letters” publishing house's new offices.

        ANG: All right, Mr. Tutti, just let me check his schedule. Oh. Here it is. Yes, your meeting is on the twenty-third floor and ... you're already five minutes late.

        ABR: I know. Sorry. All these towers are confusing, I wasn't able to find your building, without stopping twice and asking for help. I don't come downtown too often.

        ANG: Don't look so worried. I work on Stephen's desk a lot, he nearly always runs late; so you have a good chance to beat him to his office. Here's your guest pass and take that bank of elevators over there. I'll call ahead to let his assistant know you're on your way up, Mr. Tutti.

        ABR: Thanks. What is your name, good lady?

        ANG: "Good lady"? Well, good sir, my name is Angelica. Don't be nervous, you'll do fine, Mr. Tutti.

        ABR: Thanks for all your kind help, Angelica. I need all the prayer and well wishes I can get.

P ANG has her hands on the counter and smiles to the COTS (CENTER OF THE SCREEN)

        NARRATOR: I'd entered the forbidding office tower feeling harried and afraid I was about to lose everything. If I'm not a published writer, then I'm an unemployed writer. But, now I truly feel more confident and less like I'm dragging a burden. Maybe there really is a God, or whoever who sent the kind angel, Angelica to bless my day. Well, everyone's day, she's not just here for me. Or is she?

        NARRATOR: Hm, good story point. Whatever, if this publishing goes bust, maybe I'll try for a regular day job in this building so I can see and speak with Angelica every day.

http://www.writing-naked.com/W4Y.html

New Page_Writing Sample: Flirting With Yasmine

http://www.writing-naked.com/FWY.html  

 

FLIRTING WITH YASMINE

-a dating sim

(work in progress)

        A guy crashes at his married best friends' apartment, where he gets to meet some new friends, and gets better reacquainted with his close besties, while getting his life and loves back on track.

        Who and what would be your choice?

_dialog / narration / characterizations built upon from client outline

 

Day 1

S_0001 LOG in CASUAL clothes with luggage standing in front of a building

        NARRATOR: Fuck! I don't want to do this! But, here I am, anyway, standing in front of my best friend's place, ready to move in 'cause, currently, I don't have a place to live. I was evicted from my apartment … for not paying my rent, which wasn't.... Fuck it, that's an unpleasant story I'm just too disgusted to talk about, right now.

        NARRATOR: I know you're thinking I'm a fortunate guy to have a friend like Nathan ready to provide me shelter, meals, and WiFi for 30 whole days; but, well.... I'm more lucky than you know. Kind of. You see, Nathan may be my best bud; but, he married THE girl of all girls for me; my high school crush - Yasmine.

        NARRATOR: Oh, yes, Yasmine, the one girl, who could lift my mood with just the mischievous quirk of her shapely lips; my partner-in-crime, who would laugh until she'd nearly faint whenever I got away with something; the girl, who bested all of my stupidest jokes with even sillier ones of her own.

        NARRATOR: Yasmine was my confidante, the only one who ever lent an attentive ear to any and all of my problems and secrets; except one. 'Cause, I kinda, well, never told Yasmine my most important secret; that I'd fallen, completely and undyingly, for her. I never told her that every time she had spoken to me of another latest crush on some lucky, stupid guy ... I would grimace a brittle smile, while feeling my soul shatter to shards, taking my broken heart with it.

        NARRATOR: I do know why she never thought of me like that, except because my fat ass then could never, would never number among any of her crushes, or desires. Why would I want to see lovely and perfect Yasmine, again, knowing she would NEVER see me as more than a friend? An asexual … friend.

        NARRATOR: That is Yasmine for me: Heaven and Hell in one gorgeous package. Honestly, parting ways with her after high school graduation was the most bittersweet and painfully difficult experience of my younger life. Meeting her again may top that long ago childish history. Married to my best friend, while I've avoided her, until now.... I'm not quite sure what this will be like.

(more...)

http://www.writing-naked.com/FWY.html

NaNoWriMo Forum question answer on: Sex scene? [writing them]

Great advice here. I had two sex scenes in a screenplay a long while back where one flowed nearly perfectly with few changes between bad girl and our hero and the other between him and the literal girl of  his dreams was completely redone about three to four times.

I knew exactly what the motivations, emotions, and character issues were for the bad girl and hero with bad girl.

But with the love interest, it took me a while to whittle it down to the right emotions, motivations, and character issues for a relationship that needed to be more than a bewitched booty call for the bad girl / bad witch trying to hook her guy magically while reenforcing it with sex. When love and a long-term commitment was on the line and the "good girl" / good witch, I found I had hangups I had to get out of the way.

Write. Then edit.

Rewrite. Edit.

Keep whittling and feeling or sensing your way through the who these people are and why they are having sex. The bad girl was entrapping him and he couldn't stop it then; but with the "good girl" [I make quotes because it is a loaded concept still in this culture] and the hero had a tender minefield of their own individual issues, goals, hopes and each touch, each kiss, each sigh, and choice of what they actually do comes from character and personal goals and writer complications as their ubergod.

CHARACTER WRITING, consider these: 10 Surprising Things All Wives Should Know About Their Husbands By Woman s Day | Love + Sex – Thu, Aug 22, 2013

http://shine.yahoo.com/love-sex/10-surprising-things-wives-know-husbands-175700556.html


By Lauren Ramakrishna

 Whether you recently said "I do" or just celebrated a double-digit anniversary, you can probably spout off a lot of info about your husband-his middle name, where he was born, his favorite food. But knowing these 10 other things can bring you closer than ever. Find out why, and try these relationship strategies to ensure your husband is anything but a mystery. Photo by Getty Images

1. When He Needs Space
 Sharing office news, the kids' schedules and the latest neighborhood drama as soon as your husband walks in the door each night can backfire. "Most women want to immediately connect at the end of the day. For a lot of guys, they need their space more than ever then," says Les Parrott III, PhD, a psychology professor and co-author (with wife and marriage therapist Leslie Parrott, EdD) of The Good Fight: How Conflict Can Bring You Closer. Give your hubby a few minutes to unwind when he comes home. You're more likely to get his undivided attention if you wait.

Related: 10 Things You Should Never Say To Your Mother-In-Law
2. When He's Really Listening
 If it seems like your husband constantly tunes you out, consider this: Men may look at other areas of the room while still paying attention, according to Deborah Tannen, author of You Just Don't Understand: Women and Men in Conversation, who reviewed videotapes of same-sex best friends talking. Rather than focus on where your husband's gaze lands during conversations, note how he responds to you. If your words are truly falling on deaf ears, Rachel A. Sussman, a relationship specialist and author of The Breakup Bible, suggests gently telling him you feel he isn't listening; then, let him respond. "Don't accuse or blame him," she advises.

3. The Most Productive Way to Fight…
Arguments happen in any good marriage. But there's a wrong and right way to fight. Through a study conducted to predict how long couples would stay married, researchers discovered, not surprisingly, that yelling during fights often led to divorce-but so did approaching arguments differently from one's spouse (say, one spoke calmly and the other avoided the conversation). "Ask yourself, 'When would I want to have this conversation?'" suggests Sussman. "Then, think about what might work best for your husband." Assessing both your moods can help you pinpoint the best time for a constructive argument.

Related: 10 Sexy Tricks That Actually Turn Men Off
4. …And When an Argument is Going Nowhere
For some disagreements, there's just no productive way to fight it out. To find out if you're gearing up for a purposeful fight, rate the importance of the topic. If it's a core value-like how to raise your children or which city to live in-rank it highly. If it's not-like the color of a new bedspread or what to have for dinner-it may not be worth an argument. Next, determine if you and your husband are ready for the discussion. If either of you are "tired, hungry or distracted, don't get into a conversation about something important," Dr. Leslie Parrott advises.

5. Which Topics Set Him Off
 Maybe it's talking about his mom's flavorless cooking-or his late nights at work. Dr. Les Parrott says it's important to "know where the emotional landmines are. If you step on one, you can expect an explosion," he says. But you can't avoid all "hot topics." "Find the right space and time to talk about these issues," he suggests. Plus, try to understand your husband's side, and then approach him in a non-threatening way. You might say, "I'm not looking to upset you; I'm just looking for a solution to an issue that's causing me a lot of pain," Sussman offers.

Related: 12 Biggest Lies Men Tell Before Sex
6. How (and When) to Be His Support System
Couples who say they have strong spousal support and face daily stress have 50% higher rates of marriage satisfaction, according to a 2012 study. While wives equate affection and warmth with support, husbands feel supported when they're appreciated, needed and receiving offers to help with errands. Not sure if your hubby needs you? Ask him. "Mindreading is outlawed," says Jackie Black, PhD, a board-certified couples' coach and author of Meeting Your Match: Cracking the Code to Successful Relationships. Volunteer to tackle some tasks on his list so he can recharge. And tell him how much you appreciate him as a partner to give him a boost.

7. When He's Not Loving Your Love Life
If your man isn't showing signs he wants to have sex-perhaps he usually kisses your neck or gives you a telltale look-then it's time to rekindle the fire. Dr. Leslie Parrott says couples reconnect when they try out-of-the-box activities together. "Women experience intimacy through communication, so we often underplay sharing something novel," she says. Plan a date that'll get you both in the mood. Some ideas: Sign up for a race, head to the museum or take a cooking class to, ahem, turn up the heat.

8. How He Views His Role as Husband and Father
 Whether it's just you two or you plus kids, you and your husband have equally important family roles. And it's vital that you recognize how he views his part and respect it. "Of course that's a two-way street, but it's even more important for men," says Dr. Les Parrott, who adds that respecting his role helps him feel close to you. Fight the urge to cast your husband into specific parts without his input. And keep in mind that you don't always have to be in sync with parenting. "Differences in temperament and style are key to parents' success and the enjoyment of parenting," Dr. Black says.

9. What His Dream Job (or Vacation or Car) Is
It's easy to get caught up in the hustle and bustle of day-to-day life, but happy couples discuss "each other's hopes and dreams to build and sustain intimacy," says Dr. Black. Make it a point to regularly talk to your husband about, well, him. Find out his career goals for the next few years-or just hear about his favorite book, TV show or food of the moment. Then, reciprocate by telling him more about you. Communication helps you grow with each other instead of apart.

10. That You Don't Know Everything About Him
No matter how much you communicate with your husband, you can never completely know him, and that's OK. "It's never good to believe you know anything about your partner for sure and therefore not ask," says Dr. Black. "It's vital that you and your husband continually get to know each other," adds Sussman. "If you're growing, you have to continue to catch up with each other." That means there's at least one enjoyable thing you can do each week: get to know-and fall in love with-your husband all over again.

You Might Also Like:
10 Compliments Men Hate Getting
8 Secrets of Sexually Satisfied Couples
The Number One Reason Men Cheat On Thier Wives
8 Sneaky Ways To Tell That He's Lying

Character studies: Male Depression_The Surprising Truth About Men and Depression By Elise Solé, Shine Staff | Healthy Living

http://shine.yahoo.com/healthy-living/the-surprising-truth-about-men-and-depression--165535021.html

 

ThinkStockFact: Women are diagnosed with depression at twice the rate that men are. But a surprising study of 5,692 people that was published this week in the medical journal JAMA Psychiatry shows that men actually suffer from depression nearly as often as women do. So how have doctors and therapists been missing the signs?

“The term ‘depression,’ conjures images of a sad, teary person who stays in bed all day, unable to eat or otherwise function — these traditional symptoms are what we’ve used to diagnose depression,” Lisa Martin, PhD, an assistant professor of women's and gender studies and health policy studies at the University of Michigan-Dearborn, told Yahoo Shine. “However, since men are socialized to toughen up and be stoic during hard times, when a man becomes depressed, we wouldn't necessarily know it.”

Past research has identified distinct characteristics of male depression (aggression, anger, and other destructive behaviors, for example). So when Martin and her team analyzed depression symptoms common among men, they found that 26 percent of men and 22 percent of women met the criteria for depression. “This wasn’t surprising because depressed women don’t typically walk around throwing things or exhibiting other types of aggressive behavior,” said Martin. However, when she used a scale that included both traditional symptoms and those male-specific symptoms, the rates for depression were similar among men and women: 31 percent and 33 percent, respectively.

“The results are significant because now, clinicians can spot more symptoms in men struggling with this illness,” said Martin. So what signs should women look for that might indicate the men in their lives are depressed?

Hyperactivity: Having difficulty sitting still and focusing on one task, or being fidgety or jumpy.

Aggression: Overreacting to minor annoyances and experiencing sudden spells of anger and/or violence with his physical features mirroring panic attacks (sweaty, difficulty breathing, chest pain, a loss of control, and more).

Over-extension: Has he taken on an unrealistic workload? Is he voluntarily working late hours? He could be that he's trying to blunt his emotions by staying busy.

Risky behavior: Gambling, smoking, excessive drinking or any other type of risk-taking behavior.

“It’s important to note that not all men who exhibit these symptoms are depressed. After all, some of this is normal male behavior,” Martin explained. “However, if a man who has never behaved like this suddenly shifts his behavior, it’s worth exploring whether he could be depressed. He may not realize it himself or know how to seek help.” What’s more, there are plenty of depressed men who display traditional signs of depression. According to Martin, “The new data just helps us understand more symptoms of male depression."

But should you be concerned if your partner has always been a high-energy, risk-taking dude who works hard? “It’s tricky because he may also be experiencing chronic, undiagnosed depression," said Martin. "You may suggest that he visit a clinician or therapist."

Video: Player-driven stories - how do we get there?

http://www.gamasutra.com/view/news/192932/Video_Playerdriven_stories__how_do_we_get_there.php

From Gamasutra: Narrative design that tells the player's story

http://www.gamasutra.com/view/news/193422/Narrative_design_that_tells_the_players_story.php

Narrative design that tells the player's story
June 3, 2013   |   By John Polson Kent Hudson, an indie developer who previously worked on Deus Ex: Invisible War and BioShock 2, says games spend too much time talking at him, instead of involving him in the story. He aims to address this issue along with other design pitfalls in his upcoming game, The Novelist, which combines stealth gameplay with interactive narrative. Hudson offered a first look at The Novelist's gameplay last week (in the trailer above), showing how players control a ghost who can help shape the future of a vacationing family. However, many details have yet to be uncovered for this mysterious and clever game. Here, Hudson opens the book wider on his project, touching on his use of text clues as rewarding and not hand-holding, his making a game's story more immersive without too much text, more details on stealth gameplay and memory exploration, and Kent's own mental and emotional challenges of being indie. What important gameplay elements are not conveyed in the trailer? There's more to the stealth gameplay than is shown in the trailer, both in terms of player abilities and AI behaviors (especially when the player is spotted). There's also more gameplay related to memory exploration that isn't shown (and that I want to keep under wraps for a little while longer). The trailer doesn't touch at all on who the player actually is, which is revealed in gameplay sequences not shown in the trailer, and the player also has ways to make smaller adjustments to the character relationships outside of the major chapter decisions. How will you know when you are too close to humans? The game has a traditional stealth model based on line of sight, so if you've played Thief or Deus Ex or Splinter Cell you'll have an idea what it's like. If you're spotted by a character they'll stop what they're doing and start searching for you as you try to get away (though unlike most stealth games they're not trying to kill you). This is accompanied by voice acting and search behaviors, which will make it familiar to anyone who's played a game with a stealth component. There are also visual effects that let you know you've been spotted, but the voice acting is probably the biggest clue. What do you think is the biggest hurdle for getting people into narrative-heavy games? How have you overcome that? I can really only speak to my own perspective here, but for me the biggest hurdle is that I feel like narrative-heavy games spend too much time talking at me and telling me someone else's story. That's what books and movies are for. If a game throws an unskippable cutscene at me, my instinct is to put the controller down and go make a sandwich or take a bathroom break. It's a game! I want to play! That's why The Novelist involves the player in the story. I'm trying to turn that scenario around and ask the player to drive the story forward. That's also one of the reasons I made it a stealth game; I wanted the player to inhabit the same space as the characters and have to get close to them and be active to learn about them (as opposed to sitting back and being told about them). And finally, I should point out that I think of The Novelist less as a narrative game and more as a relationship game. The narrative choices you make are really just an avenue for shaping the relationships between the characters. My hope is that players will care deeply about their choices from a character perspective, which is why I made the game about real-life situations that most people can relate to. Can a game be immersive with its story without having to hear or read a lot of text? I definitely think so, although as you move away from text you start to rapidly increase your content needs. One of the reasons you see so much text in indie games is that it's relatively inexpensive from a content perspective. That said, when you rely more heavily on text it falls on you to try and make it as engaging as possible. One way to do this is to avoid spelling everything out for players; if you trust players to imagine scenarios and fill in the blanks, you can draw them in and play out some of the story in the theater of the mind. Some of the biggest moments of character feedback in The Novelist are written as off-screen action in different locations so that the player becomes part of setting the scene. The blue text: was it really necessary to cue players into the two or three words that they need to act upon? How was the gameplay before the blue text, if it wasn't always there? The blue text was definitely a response to playtest feedback. Over the course of a chapter the player spends a good amount of time reading characters' thoughts, which are in all-white text. These thoughts provide information about the current chapter and keep the player up to date on the various relationships in the game, so it's in the player's interest to check them out frequently. I've done three rounds of playtests, and in the first playtest people missed the final clues because they used the same all-white text and were thus visually indistinguishable from the thoughts players had previously seen. Players knew what they wanted to do at a high level but didn't know how to do it mechanically, which was a big issue. I needed a way to make that "Aha!" moment stand out more, and the blue text was a response to that problem. I was hesitant at first to draw attention to clues by using colored text, but you have to listen to your playtesters. There's a fine line between trusting your players to fill in the blanks and frustrating them by withholding critical information. As a designer, you have to create a fair playing field and let players know what their choices are so they're empowered to drive the game forward. To me, the colored text in most games is just to make it blatantly obvious, or for those who want to skip thinking about what the text is saying, and want to get back into "the game". I can see how it may come off that way in the trailer, but it doesn't happen that way during the course of a normal playthrough for two reasons: 1. Clues are only unlocked after you've fully investigated a specific character's situation in the chapter. There's no way to skip ahead to them, so you'll never see them without lots of context. To use an example from the trailer, you would never get to the point of Linda thinking that she'd like to put on a record and relax with Dan without having spent time learning about her by reading letters she's written to other characters, reading her thoughts, reading her diary, and exploring her memories for clues. So when you see the actual clue you'll have spent enough time with Linda to understand why she wants to spend time with Dan. 2. Clues only explain the specific action the player needs to take to pick a path in each chapter, but the player's decision is based on his broader investigation and the emotional choice he or she wants to make. To use Linda's clue from the trailer as an example again, the fact that she wants to put on a record with Dan isn't a huge revelation or twist; they could just as easily go on a date or watch a TV show together or share a bottle of wine. The important thing is that after learning how Dan and Linda are doing, you as a player have decided that their relationship is worth sacrificing other things for. Having them put on a record is just the specific way you enact that choice. So I don't think of the blue text clues as a cheat or a skip-ahead opportunity. Clues are a reward, so that when the player has learned about a character, developed sympathy for them, and decided to choose them in a chapter, they know specifically what to do to make it happen. But the actual experience you have with a character is deeper, as you're exposed to their personal thoughts and desires. Why is The Novelist's main character a male? Could you easily swap out gender-related words and his artwork to allow the main character also be a woman? That's a good question! The key word there is "easily," and unfortunately it wouldn't be as easy as it seems on the surface. I gave a lot of consideration to letting the player choose the gender of the protagonist, but when I dug into what it would take I found that it was unfortunately out of scope for a small-budget game like mine. I realized that I would have to: * Rewrite most of the text. Simply doing a he/she swap wouldn't work; there's a lot of context that would also have to be updated to keep the writing from sounding like a Frankenstein construction. * Write and record almost twice as much VO. * Nearly double the animation budget. I'd have to have typing animations for Linda, painting animations for Dan, and so on. Those are just a few examples. I was excited about making the gender swappable at a high level, but the low level impact proved to be too expensive. This is one of the areas where having a larger budget and less constrained resources would have opened up more possibilities, but when you're indie you sometimes have to make difficult choices in the interest of building something you can finish. You left the world of triple-A development behind to work on The Novelist. What were the biggest challenges of independent development for you, and how did you overcome them? I'd have to say that almost all of the challenges are mental and emotional. I spent 10-and-a-half years working with teams of different sizes in the mainstream industry, and there are a lot of assumptions and processes from large-team development that simply don't apply to independent development. One of the best things about working with a team is that other people are always adding new things to the game. Every now and then you'll grab the latest build and see that the game is suddenly better because a cool new feature's been checked in. Seeing other people's contributions is a constant source of inspiration. It's a completely different situation, though, when you're making a game yourself. This sounds stupidly obvious to say, but if I'm not working on the game then no one is. If I take a week off, when I come back the game will be exactly how I left it. This change in pace can be really challenging mentally because you might have 3 different features you want to implement, but you can only do one at a time so you just have to be patient and trust that you'll eventually get to everything. You end up taking big leaps of faith, putting in features that you won't be able to evaluate for a month because they rely on other features that you haven't implemented yet. In general, making an indie game takes an incredible amount of persistence and mental stamina. I wasn't prepared for how hard it would be to sit in a room by myself for over a year and work on a game that no one knew about, without the camaraderie of a team or constant encouragement from coworkers. It can be really hard to stay focused every day and maintain the enthusiasm you had at the start of the project. Over the course of working on the game I've printed out a number of motivational messages and reminders to myself and hung them above my monitor so that I can always look up and get a boost. The biggest challenge, though, has been emotional. When you're part of a team, nothing is ever completely up to one person. It's a collective effort, and while people are hopefully invested in the project you never have a sense of complete personal accountability and identification. With The Novelist, it's all on me. If the game is bad, or if people think the concept is a waste of time, that's entirely my fault. If people reject the game, they're rejecting the best work I know how to do. It's impossible to separate the game from my own creative ability and self-confidence. When I started out I wasn't prepared at all for such an incredible amount of emotional risk. My sense of personal accountability is total. It's the biggest emotional roller coaster I've ever been on, and there's no way to get off now; the lap belt is locked down and all I can do is stay on til the end of the ride. Here's hoping it stays on the tracks. [The Novelist is due for Windows and Mac this summer and is currently on Steam Greenlight. To hear more from Kent Hudson about player-driven stories, check out this free GDC 2011 talk.]

Sci Fi Circuit: The Magic of World Building, April 12, 2013

What does it take to make a sci fi world real?

 

As a science fiction fan, I love to be transported into new and fantastical worlds. As a sci fi screenwriter, I’m fascinated by understanding what it takes to make that happen, and happen well?

It’s not just a pretty gadget

Part of the appeal as fans, I think, is that just like in James Bond movies, we sci-fi geeks love to see new and clever ideas and how they work. It seems to be something of a thing, to have at least one super cool new piece of technology per sci fi film, like the hand-embedded phones in the re-release of Total Recall (2012).

But clearly a little fancy new technology isn’t the only thing it takes to make a futuristic world seem real.

What else is it?

The kind of world-building I deeply admire is what I’ve seen Joss Whedon doing with his sci fi masterpiece series Firefly and even with The Avengers. The world-building is all part of the background. It makes sense. We get it. When it comes to our attention, it’s part of the story but doesn’t overwhelm it. Everything serves a purpose. He does a masterful job of showing and not telling.

And that IS an issue with sci fi.

As Carson Reeves puts it in his excellent book Scriptshadow Secrets, “Science fiction is a memory hog.” 

He goes on to say, “You know that WHIRRRRR noise your laptop makes when Firefox starts sucking up your memory? That’s the exact same effect sci-fi has on a screenplay. 20-25% of your screenplay will be dedicated to exposition when you write sci-fi. This is due to all the rules and backstory and futuristic shit that needs to be explained… 

So make sure if you’re tackling this genre, you’re willing to put in the extra effort to minimize and hide all that exposition…”

So how do we build convincing and beautiful worlds while reining in the exposition?

First let’s start with the science, context, and backstory. To answer this question, I dragged out my early version of  The Writer’s Digest Guide to Science Fiction & Fantasy by Orson Scott Card for a look at the ingredients that go into building a world.

Setting the rules

Card lists first coming up with the “rules” for space travel, time travel, and magic.

For instance, pretty much at the outset of Star Wars and Star Trek we see that lightspeed and warp speed work in these universes. Even though the technology for traveling faster than the speed of light is currently seen as highly unlikely if not impossible in the scientific world (classified by Michio Kaku in Physics of the Impossible as a “class II impossibility”, meaning that it “sits on the very edge of our current understanding of the physical world”), we take it as a given that we can whip across the universe at enormous speeds without any time dilation effect.

In other universes, however, like those depicted in Aliens and Prometheus, cryo travel is required to traverse any kind of long distance, the impact of which is clearly seen when Ripley in Aliens asks, “How long was I out there?” and the answer, “Fifty-seven years,” produces a real shock for her character.

Similarly we must convey the rules of time travel — and as the writers of these tales, we get to decide on the rules.

For instance, think of the various ways time travel plays out in movies like The Butterfly Effect, the Back To The Future trilogy, and Déjà Vu. In each of these, we quickly learn the time travel rules for the particular story, such as, do people travel back through time into their own minds? Can they observe their earlier selves from the outside? Affect the past and alter the future? Or does time remain elastic and resilient, regardless of the changes we might try to make?

And even though we usually think of “magic” relative to fantasy stories, many of the sci fi worlds we see encompass some kind of magic, whether with technology or something like the Force in Star Wars.

Regardless of whether it’s magic or science, from the outset, we have to know the rules.

Detailing the past

We also need to understanding the past, including for example how a particular alien race has evolved to appear the way it has, and how it communicates — at least as the writers of the script. I love how Card describes understanding the backstory for a particular town with a mob led by a demogogic preacher and deeply understanding the kind of people that follow him. 

He says, “Now, maybe you won’t even use an incident like that in the story. But you know it, and because it’s in there in the history of that town, the people in that mob are no longer strangers to you, no longer puppets to make go through the actions you want them to perform. They’ve come alive, they have souls — and your story will be richer and more truthful because of it.” (Emphasis added.)

In my own work and reading on this subject, even while I am at times tempted to throw up my hands and say, “It doesn’t matter, I don’t care about that!” I find that my work deepens the more care I put into thinking about the world and story behind what we’re seeing.

Understanding language

Joss Whedon’s brilliance shines when it comes to language, which is the next of Card’s world building items. Ever the erudite communicator, not only has Whedon thought through a likely political and cultural evolution for the future of the human race in Firefly, he has extrapolated slang words like “ruttin’” and “gorram” along with the notion that characters will swear in Chinese. Along with subtle Asian cues in clothing, lettering, and set design, we quickly grok that China’s culture has become an integral part of these new worlds.

There’s nothing like a good delivery of language, whether we’re talking Aliens or Much Ado About Nothing to get us well-immersed in the tone and spirit of a particular world.

Designing scenery

According to Card, designing the scenery “… is the part that most people think of when they talk about world creation: coming up with a star system and a planet and an alien landscape.”

Carolyn See writes convincingly about the importance of “geography, time, and space” in her Making A Literary Life. Although I’ve been tempted to ignore such specifics along these lines at times since I’m writing “in the future,” I can see the validity of her point that we can become boring when we try for “universal” by neglecting the details.

I’m again reminded of the beauty of the ship “Serenity” in Firefly, and the careful thought that went into creating it, down to the flowers painted on the dining area walls. If we’re paying attention, we surmise they were added by one of the characters on the ship.

But here’s a question I wonder about: How much of this happens on the set, and how much happens in the writing stage?

As I contemplated that question, I remembered hearing Jane Espenson talk about writing the episode “Shindig” for Firefly. She described coming up with the idea for transportable door knobs that function as futuristic hotel room keys. And guess what? It’s in the script. So the writer does and can play a role at this level too.

And what about exposition?

Carson Reeves suggests that most sci fi projects need some kind of backstory introduction to help avoid overly expository dialogue. He points out the well-known use of the title card in the Star Wars franchise, but also references voice-overs in Avatar (and the video journaling did an admirable job there too, in my opinion), and the documentary-style footage in District 9.

I love this point from Michael A. Banks from his chapter, “Science Fiction: Hard Science and Hard Conflict” from How To Write Tales of Horror, Fantasy, & Science Fiction (from Writer’s Digest) about the degree of attention one must give to the science behind the fiction: 

“More detail is necessary, because you are frequently showing the reader things that don’t exist. 

You’ll have to depend on intuition to tell you just how far you can go without being a bore. … If the science is to be part of the conflict, you’ll have to take it quite a bit further. Because conflict is so closely tied to characterization, motivation, and the overall success of plot, you will have to give the science behind a conflict as much attention as you would any of the other basic story elements.”

He also says, “The ground rules are simple: Don’t tell the reader everything you know, and don’t dump the information you do use on the reader all at once. … Use only detail that adds necessary color, moves the plot, or helps the reader understand events, characters, or background.

I know that as I’m writing, I’m constantly asking myself, how can I convey this more concisely? How can I show it? How can we feel it? Can I make it tighter or clearer? If it means my reader “gets” my story more clearly, it’ll be worth the effort.

Lest we forget

Last, here’s a point I think is worth remembering, again from Orson Scott Card, about the value and importance of sci fi in our own world today: “Indeed, one of the greatest values of speculative fiction is that creating a strange imaginary world is often the best way to help readers see the real world through fresh eyes and notice things that would otherwise remain unnoticed.”
Related Articles:

• What Makes It Sci Fi? by Jenna Avery
• Alt Script: Tell the Story, Tell the Story, TELL THE STORY
• Structure and Breaking In: An Interview with Syd Field

Tools to Help:

• The Writer’s Digest Guide to Science Fiction & Fantasy by Orson Scott Card
• The Writer’s Digest Guide to Science Fiction & Fantasy eBook by Orson Scott Card
• The Writers Store resources

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Damsel in Distress: Part 1 - Tropes vs Women in Video Games

The Telegraph: Game of Thrones's George RR Martin: 'I'm a feminist at heart' By Jessica Salter

Game of Thrones's creator George RR Martin explains to Jessica Salter why his epic fantasy, which features boobs, swords and dragons, surprisingly appeals to women.

Brienne of Tarth in Game of Thrones, played by the actress Gwendoline Christie Photo: HBO

By Jessica Salter

01 Apr 2013

I am sitting on a leather chair in the middle of a very manly den – walls decorated with giant swords, model soldiers in mid-battle in glass cabinets – talking to George R. R. Martin about why women love him. What is the secret to his appeal? His fantasy series A Song of Ice and Fire, which has been adapted into the hit television show Game of Thrones, has an army of female fans clamouring for his next instalment. 

^{The writer George RR Martin at home in Santa Fe PHOTO: Nancy Newberry}
 

‘It is one of the things that pleases me most,’ Martin told me when I went to interview him at his home last month in Santa Fe, New Mexico. ‘The fact that women love my characters.’ He is playing it down – more than half of his fans are women.

Typically fantasy writers paint women either as angels or demons. But Martin’s women are more three dimensional - part of his creative appeal.

They include the beautiful and manipulative Cersei Lannister (played by Lena Headey), who would defend her children and family to the death; Lady Catelyn Stark (Michelle Fairley), a strong mother, devoted wife and a shrewd political strategist not afraid of a 300 mile trek on a horse to join her son in battle; Arya Stark (Maisie Williams), a nine-year-old tomboy who wants her own sword and Daenerys Targaryen (Emilia Clarke), who wants to cross the narrow sea to win back her father’s throne.

Oh and not forgetting the most awesome Brienne of Tarth, a female knight played by the 6’ 3’’ actress Gwendoline Christie.

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So how does he get inside the head of, say, his teenage characters? 'Yes, you're right I've never been an eight year old girl,' he says, 'but I've also never been an exiled princess, or a dwarf or bastard. What I have been is human. I just write human characters.' 


^{The sexy high priestess Melisandre, played by actress Carice van Houten PHOTO: HBO}
 
He gets plenty of feedback from his fans. ‘Some women hate the female characters,' he says. 'But importantly they hate them as people, because of things that they've done, not because the character is underdeveloped.' 

The pitfalls of lots of other fantasy texts, he says is when writers stray into writing in stereotypes. 

But because Martin has a sprawling world with thousands of characters (and five books to do it in), he has the luxury of developing each one fully. 'Male or female, I believe in painting in shades of grey,' he says. 'All of the characters should be flawed; they should all have good and bad, because that's what I see. Yes, it’s fantasy, but the characters still need to be real.’
 
Martin should be used to female adoration by now. Although he has only hit mainstream consciousness in the last few years (his books have sold more than 20m worldwide), he has been a minor celebrity on the science fiction circuit for years. His wife’s first words to him, when she met him at a science fiction conference in 1975 were that his first novel, A Song for Lya, ‘made her cry’. 

Now he is mobbed wherever he goes - his trademark fisherman's cap an instant giveaway that he is the man behind the globally successful franchise. 


^{Arya Stark, a nine-year-old tomboy played by Maisie Williams PHOTO: HBO}
 
His books feature sex pretty heavily (to say the least) but it is something that has been ramped up even further for the television show, which is back on Sky Atlantic tonight. Often crucial conversations between characters happen while one of them is having sex (not always mentioned in the book) - something that has the American academic Myles McNutt to term them ‘sexposition’.
 
‘Is it simply because we couldn’t be trusted to pay attention otherwise?’ McNutt asked on his blog. ‘It’s as though they think having a prostitute appear and only talking, without actually having sex, would be some sort of cop-out. In my view, at least, it’s the other way around: it just feels lazy.’ 


^{Daenerys Targaryen, the would-be queen, played by actress, Emilia Clarke PHOTO: HBO}
 
Gina Bellafonte in The New York Times went further. Last year she wrote: ‘all of this illicitness has been tossed in as a little something for the ladies, out of a justifiable fear, perhaps, that no woman alive would watch otherwise.’ The truth was, she sniffed, ‘Game of Thrones is boy fiction patronizingly turned out to reach the population’s other half.’ 

Female GOT fans lept to Martin's defence, including Emily Nussbaum from the New Yorker who wrote that the strength of the series was ‘its insight into what it means to be excluded from power: to be a woman, or a bastard, or a ‘half man’ [dwarf].’
 
But Bellafonte's comments still rankle with Martin a year later because he is, at heart, a feminist, despite being cautious about admitting it.
 
‘There was a period in my life when I would have called myself a feminist, back in the seventies, when the feminist movement was really getting going and growing out of the counter culture of the sixties,’ he says. 

‘But the feminist movement has changed. Sometime in the 80s and 90s I read some pieces by women saying that no man can ever be a feminist and you shouldn't call yourself that because it's hypocritical, so I backed off. I thought if the current crop of feminists believes that no man can be a feminist, then I guess I’m not one.’ 


^{Cersei Lannister, mother of King Joffrey Baratheon, played by Lena Headey PHOTO: HBO}
 
I tell him men are allowed to be feminists again – that he can have Ryan Gosling, the 21st century’s thinking woman’s crumpet, as his mentor. He chuckles behind his candyfloss beard. ‘To me being a feminist is about treating men and women the same,’ he said. 

‘I regard men and women as all human - yes there are differences, but many of those differences are created by the culture that we live in, whether it's the medieval culture of Westeros, or 21st century western culture.’

Characters Always Afraid and Left in the Dark: To all my friends at Horseshoe Casino Cleveland, you know...

To all my friends at Horseshoe Casino Cleveland, you know this fits:

"Whenever we're afraid, it's because we don't know enough. If we understood enough, we would never be afraid."

— Earl Nightingale: was an American motivational speaker and author

Writing Character: 5 unexpected female turn-ons

5 unexpected female turn-ons

By Bob Strauss

Perhaps you studied him in school, and perhaps you didn’t — but in either case, allow me to introduce you to (or refresh your memory about) the French existentialist philosopher Jean-Paul Sartre. In intellectual circles, Sartre is best known for suavely documenting the rootless disaffection of post-war bourgeois society, and in political circles, he’s famous (or infamous) for staunchly defending Communism against the cold-war jingoists of the 1950s. 

For the purposes of this article, though, the important thing about Jean-Paul Sartre is that he was spectacularly ugly — even his friends described him as looking like a squat, bug-eyed, bespectacled frog — as well as short (just a shade over five feet tall). And wouldn’t you know it? Women fell all over the guy; Sartre had more torrid love affairs than most university professors have had hot meals.

What’s going on with him that makes him so attractive, then? According to Eric Weisholtz, cofounder of GetOnTheCouch.com, it’s not unusual for women to date guys on the “low end of the hot scale,” saying: “It’s interesting, it gets people talking, it makes the woman feel extremely good-looking by comparison and sometimes having a sexual relationship with an ugly person can feel naughty, taboo or perverse. 

[Actor] Willem Dafoe is a good example. It’s not because he’s rich and famous; it’s because his variety of unattractiveness is, for some reason, quite attractive.” Sure, it’d be nice to think all those French mademoiselles were attracted to Sartre for his high IQ, but you have to admit that Weisholtz has a point.

The reason I’ve gone into this whole Jean-Paul Sartre thing in such depth is to show that attractiveness is, really, subjective — and it might cheer you up to know that what you consider to be a tragic, insurmountable physical or behavioral flaw can actually be catnip to the right woman. 

Here are five unexpected things women are turned on by in men:

1. Body odor. “Double pits to chesty” (the worst slogan in advertising history) aside, not all women appreciate guys who mask their natural scent. Jolene Hanson, the curator of Venice, CA’s G2 Gallery, is one such example, saying, “What turns me on? Natural body odor — I love a guy who smells like a guy should smell.” Perhaps not coincidentally, Hanson says she also likes men who pick up other peoples’ discarded trash on the street: “This is something I do myself, and I love it when a guy shares my passion for the environment.” 

If you decide to stop covering up your natural musk, though, bathe often, especially before a date. (Your smell shouldn’t overwhelm strangers at the next table or distract your date from getting to know you better.)

2. Scars and blemishes. You don’t need to procure a genuine, aristocratic Heidelberg dueling scar to win the hearts of ladies; rather, any “interesting” blemish will do the trick — an oddly shaped birthmark, a distinctive mole on your neck, or that gouge on your cheek from when you fell on your toy fire truck as a toddler. Says Lisa Steadman, author of If He’s Not the One, Who Is?, “Many women are attracted to a man who has scars — partly because scars give the illusion of a dark past, and partly because scars tell a story, and women love a good story about their guy.” 

That said, active, festering wounds still going through the healing process should be kept under wraps until you’re well on your way to a committed relationship.

3. Stereotypically “feminine” traits. For every woman who demands tough, manly, roughly callused hands (and equally firm handshakes), there’s another who prefers the long, slender, lovingly delicate hands of an artiste who’s never so much as twisted a Phillips-head screwdriver — and so on down the list of “feminine” traits, like shy smiles, long eyelashes and piercing giggles. 

Oh, yes, and a fondness for cats. Helen, 52, from Australia, says, “What really gets me is a guy who loves cats. If he’ll sit for an hour on the sofa in an awkward position so as not to disturb the cat, it’s the cutest thing — a tough guy with a soft heart.” 

You don’t have to be the Brawny man to win over a lady, it seems.

4. Vulnerability. Sometimes, being a man’s man can actually turn women off. An increasing number of women appreciate a guy who will cop to his limitations instead of blustering, bluffing and bullying his way through something he knows absolutely nothing about. Says Carrie, 39, from Ontario: “Personally, I find it attractive for a guy to not get all upset if I do something better than he does — for example, if I’m a better shot at pool, faster at rappelling up a cliff, more knowledgeable about trivia, etc. 

I’m not saying he should be an underachiever, just someone who can accept he isn’t ‘the best’ at everything.” So men, know when to say when and ask for help if you need it; it doesn’t make you look weak, it makes you look human.

5. Awkwardness. A woman posting to the About.com dating site shares this story: “I met a man years ago at a radio station where I worked. He was a small, nebbishy guy, kinda nerdy and very awkward. He had these big, soulful eyes and a sad, twisted face. The moment I met him, my heart leapt!” Vanessa, 28, from Iowa, also testifies to the “Woody Allen” effect: “My best guy friend (OK, I’m madly in love with him, too) is a paleontologist, and it makes me melt just to listen to him talk about dinosaurs and rocks. I don’t always understand exactly what he’s even talking about, of course, but I love the passion he has for it and I always get him to explain it to me.” 

So, men, if your guy friends tease you mercilessly about something they’d consider to be a weakness, don’t assume women feel the same way. You might be surprised at how charming your meek, unassuming nature is to ladies!

Women, get the men’s perspective on this issue by reading Five unusual turn-ons for men.

Bob Strauss is a freelance writer and children’s book author who lives in New York City. He’s also written the Dinosaur guide on About.com, the online information network owned by the New York Times.

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Article courtesy of Happen magazine, www.happenmag.com.

Writing Character: Five unusual turn-ons for men

Five unusual turn-ons for men

By Bob Strauss

Marcel Proust wrote, “Let us leave the beautiful women to men with no imagination” — and if you’re loath to take dating advice from a French author who wrote a 10,000-page novel about a guy eating a cookie, well, you’ve clearly been brainwashed by decades of movies, TV shows and magazine ads. Me? I empathize more with all those less-than-perfect single women out there. I’m talking about those ladies who may not know that most ordinary guys are attracted to the quirks and so-called “flaws” they’re terrified will doom them to a lifetime of singlehood.

Now that I’ve opened that door, there’s no way to avoid the one supposed “imperfection” that keeps women awake at night above all others — their weight. Allow yourselves to be reassured by Dr. Judy Kuriansky, author of The Complete Idiot’s Guide to Dating, who says that “many men like plus-sized women with soft bellies. This often happens when they had a mother or nanny who had that kind of body and they felt comforted and enveloped by the mother figure — protected from the world or the insults of other children. Also, men like women with large hips for anthropological reasons — it used to mean that the woman was fertile.” 

And in my own experience, the vast majority of guys (at least, the ones who aren’t on TV shows or in movies) don’t care much about a few — or even 20 or 30 — extra pounds.

1. Glasses. Says Jeff, posting on the Yelp.com message boards: “Every guy loves a girl in glasses, but women never seem to know that. It’s not like we’re keeping it a secret — why would we? It’d mean fewer girls in glasses! Some glasses-lover needs to infiltrate Cosmopolitan magazine and get the word out!” For some guys (mostly the lazy ones who grew up watching teen gross-out comedies), glasses connote a nerdy personality and a high IQ, which can have their own intrinsic appeal; others appreciate them as fashion accessories, while still others have a natural affinity for them because spectacle-wearing women remind them of their mothers or early childhood crushes.

2. Freckles. Just as the deodorant-producing industrial complex has created legions of denatured, pheromone-free men (it turns out that plenty of women like guys with an earthy, musky scent), the powers-that-be in the cosmetics industry have convinced women that their natural freckles need to be buried under thick slabs of spackle and bronzer. Tonja Weimer, writer of the syndicated “Savvy Dating” column, says this is all based on a huge misunderstanding: “Freckles represent being unaffected, natural and relaxed. To some men, they also make a woman appear somewhat ‘innocent’ and less jaded.” 

If you don’t have freckles, try wearing less makeup, which many men also appreciate.

3. An independent streak. In my own experience, the worst thing a woman can do — whether it’s on a first date or after 20 years of marriage — is subsume her naturally ebullient personality in an effort to be more “accommodating” to her partner and avoid making waves. Most guys like a brisk, good-natured argument, and if you nip this possibility in the bud by constantly replying “I agree” or “Yes, you’re right,” the relationship (not to mention the conversation) will go absolutely nowhere. 

On the other hand, though, playing devil’s advocate in every conversation just makes you seem combative. So if you find yourself disagreeing more than not with your date, maybe it’s time to look for someone that’s a better fit for you, personality-wise.

4. Plain Janes. Standards of beauty in today’s media-saturated world have become so artificially elevated that many otherwise attractive women are convinced they’re “homely” because of a slightly bigger nose or a crooked smile. The good news is that most guys don’t care about this stuff; the bad news is that a small minority of men have self-esteem issues of their own and will take advantage of yours when given the opportunity. Eric Weisholtz, cofounder of GetOnTheCouch.com, says that “a man may see a woman who is kind of attractive, a bit awkward, unrefined and — whether she knows it or not — in dire need of someone to coach her toward virtue. It’s like finding a ‘make your own girlfriend’ kit.” 

Don’t feel like being part of a science experiment? Find a guy who likes you for who you are, not what he can make you change about yourself.

5. Assorted quirks. Fran Drescher, star of The Nanny, had a piercing, snorting, abrasive laugh — and all it did was send the ratings of her show through the roof and make her a millionaire many times over. That laugh also unmasked a secret crush that most guys didn’t even know they had: the hot girl with an unexpected quirk. Says Lisa Steadman, author of If He’s Not the One, Who Is?: “You know you’ve met someone who’s a keeper when he or she compliments your quirks. Whether it’s the snort in your laugh or the way you twirl your hair when you’re thinking about something — or the fact that you have to double-check that you hit the alarm button on the car when you get home at night — the right person will think your quirks are adorable.” 

Remember this the next time you’re feeling self-conscious about slurping your straw three times as you finish your iced latte. You might just have the guy next to you entranced instead of annoyed!

Men, get the women’s perspective on this issue by reading 5 unexpected female turn-ons.

Bob Strauss is a freelance writer and children’s book author who lives in New York City. He’s also written the Dinosaur guide on About.com, the online information network owned by the New York Times.

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Article courtesy of Happen magazine, www.happenmag.com.

Real Info for "More Real" Characters: What men and women notice on dates By Kimberly Dawn Neumann

Dating costs plenty of dough, no doubt about it. But when it comes to spending your hard-earned cash, where should you invest it in order to get the most mileage when it comes to dating? In other words, before hitting the meet-and-greet scene next weekend, what’s really going to make you more attractive to the opposite sex — and what’s a waste of your dating dollars?

Before you max out a credit card trying to win your date’s affections (or convince someone you’re hot), check out these interesting tidbits we dug up for more budget-conscious men and women. Because when it comes to putting your best flirting foot forward, it doesn’t always have to be about your shoes!

1. Men say that having gorgeous hair trumps a curvy figure. Trying to decide between a pre-date trip to the salon or Victoria’s Secret, ladies? Go for the fab hair option. According to a recent survey conducted by Pantene, 60% of men surveyed would rather date a woman with great hair than noticeable curves — and 74% of them said they notice a woman because of her hair.

In fact, a full 44% of male respondents said that hair was the first thing they notice about a woman… even before her clothes (26%), legs (25%) and makeup (4%). Most of the men who took Pantene’s poll also said they’d be more likely to approach a woman at a bar with great hair than one who was wearing a low-cut shirt.

This is great news, since monthly hair upkeep is more of a necessity than sexy lingerie if you’re a woman who’s on a budget. Of course, that doesn’t mean you can’t wear sassy underwear if you’ve got it — but when change is tight (like in this tanked economy), it’s good to know that a well-timed mane flip can still make you a main attraction.

2. Guys find pink or red lips more alluring than the sexiest pair of stilettos. Should you invest in a pair of high heels, or that new Chanel red lipstick? If you’re forced to choose just one of these items, research shows that rouged lips are a better bet. In a recent Match.com survey of over 24,000 men and women, 88% of respondents said their date’s laugh made a bigger impression on a first date; only 12% picked shoes (there goes that perfect excuse for buying a new pair of Manolo Blahniks, right?).

Add a pop of red to that smiling and laughing mouth, and your attractiveness spikes even more, according to a study from the University of Manchester published in the UK’s Daily Mail.

Researchers tracked the eye movements of 50 men and discovered that that in the 10 seconds after meeting a woman for the first time, the average guy will spend more than half of his time gazing at her mouth. If she’s applied lipstick, he’ll find it even more difficult to look away: a dash of pink can hold his attention for 6.7 seconds, while red keeps him fixated for 7.3 seconds.

According to the study, fuller pouts were the overall preference, though the appeal of thin-lipped women increased by 40% when lipstick was applied — but when the ladies went completely bare, men tired of looking at their mouths after only 2.2 seconds. So regardless of your lip type, it pays to paint your pucker on date night.

3. Women looking for real relationships are more impressed by traditional love tokens than an expensive ride. Guys like cars, sure — but are women equally impressed by them? It seems that if you’re a man who’s looking for the real thing, then you’re ultimately better off sinking your cash into thoughtful gestures (i.e., dinners, flowers, etc.) than those flashy wheels to get the girl of your dreams.

A study of over 1,000 men conducted by researchers from Rice University, the University of Texas-San Antonio (UTSA), and the University of Minnesota revealed that being in possession of a Porsche did make a man more desirable to women than owning a non-luxury car, such as a Honda Civic. However, the attraction ended there.

While women found men showing off a flashy product (like a brightly colored sports car) to be more attractive when it came to dating, that same trait didn’t make men more desirable as marriage partners or for long-term committed relationships, the study’s authors explained.

In fact, they found that women inferred from men’s flashy spending that they were only interested in having casual hook-ups with their dates. So if you’re looking for something more than a fling, don’t worry what you’re chauffeuring your cutie around in — focus on making her feel special instead.

4. Men and women agree: being physically fit makes someone more attractive and relationship-worthy to them. If you’re looking to up your sex appeal on you next date, what will serve you better: looking hot, or getting the two of you intoxicated? This may be a no-brainer, but if you’re thinking of having something more than just a fling, spend your dollars getting rid of your doughy middle and strive for six-pack abs instead.

According to the 2011 Great Male Survey by AskMen.com, 38% of men think that great abs are appreciated the most by women (and most of us gals would agree).

This gym expenditure goes for women, too: having a fit figure is definitely going to get you more long-term action than a martini ever could. In fact, 47% of men surveyed by AskMen.com said they’d dump their girlfriend for getting fat (OK, to give some men credit, 53% said they wouldn’t), and that’s some good motivation to hit the cardio circuit.

If that’s still not enough to convince you, keep in mind that working out will also increase your prowess in the bedroom. In fact, a study published in the American Journal of Cardiology indicated that treadmill exercise duration predicted sexual activity duration (specifically, a 2.3-minute increase in sexual activity duration for each minute of treadmill time).

So the next time you’re tempted by the hottie who’s running on the gym treadmill next to you, why not ask that person out?

5. Bad hygiene is a universal turn-off, regardless of what you’re wearing. While Mark Twain famously said that “clothes make the man” (or woman, as the case may be), all the designer duds in the world won’t impress your date if you haven’t had a shower first. In fact, a recent Match.com poll asked nearly 35,000 men and women to name their biggest turn-off on a date. The responses included bad breath (11%), dirty fingernails (1%), body odor (16%) or all of the above (72%). Not surprisingly, bad hygiene is a mood killer for romance.

In terms of dating economics, it doesn’t matter if you’re dressed in Prada, Armani or something from Old Navy (just make sure to wear whatever fits well and makes you feel confident).

What absolutely, unequivocally matters is that you’re clean and smell good before you arrive. Brush your teeth, wash your hands, and use deodorant; for maximum marketability, always put your money where your mouth is!

Kimberly Dawn Neumann (www.KDNeumann.com) is a popular New York City-based freelance writer whose work has appeared in such publications as Cosmopolitan, Marie Claire, Redbook, Maxim and frequently online. A certified dating/relationship coach, she’s published two books: The Real Reasons Men Commit and Sex Comes First and is the founder of www.DatingDivaDaily.com.

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Article courtesy of Happen magazine, www.happenmag.com.

The Ten Most Common Fiction-Writing Errors and How to Avoid Them by Sol Stein

Error #1: Having a Hero or Heroine Who is Totally "Nice."

For reader acceptance, your main character has to come alive, seem real, and be vulnerable in some respect. What is difficult for new fiction writers is to give their main players negative characteristics such as aggression, impatience, selfish or rude behavior, being bossy, and so on. You can still give them an important positive characteristic such as intelligence, politeness, kindness, etc.

Error #2: Coming Up With a Plot and Then Putting in the Characters
[A MAJOR game story creation error, sometimes done as create visual characters with no insides who must go to this locale we drew and use these weapons we made or find stuff we lumped together. Oh, really, why...? _NS]

Your plot should come out of some deep thought about what your main character wants badly. Every distinguished creative writing teacher in the country will tell you that characters come first and plots should be derived from what your main character wants.

Error #3: Telling the Reader What Happened Off Stage

We call that "narrative summary." In the 19th century, fiction was full of narrative summary. What changed everything was the advent of movies and television early in the 20th century. Readers are now used to seeing what's happening in front of their eyes. We call that "immediate scene." The ideal novel today has immediate scenes and little else.

Error #4: Avoiding Scenes of Conflict

Most writers are nice people who avoid conflict in their private lives. But conflict is the essence of drama in every medium. Readers become involved in personal conflict and rivalry more than in the melodrama that infects action movies.

Error #5: Using Flashbacks

Barnaby Conrad, the one-time director of the Santa Barbara Writer's Conference and the author of many books including the three-million-copy novel Matador, worked for Sinclair Lewis as a young man. He once asked Lewis about the use of flashbacks. Lewis answered, "Don't." Techniques have been developed over the years for bringing flashback material into the present.

Living Character, choices: Janitor Turned Owner Rescues Failing Ohio Factory

When writing character or needing a plot, how about this one from "real" life?_Neale Sourna
==========
By Aaron Task | Driven – [video]

Tony Lee always dreamed of owning his own business and sending his kids to college. Today, he's co-owner of Ring Masters, a company that makes engine rings for industrial use, and his daughter is heading to college next fall. Tony is hoping she'll be the first college graduate in the family.

Tony has achieved some of the biggest goals he set out for himself and his family, which are impressive, given he grew up in a low-income neighborhood with limited opportunities and never went to college. But what's even more inspiring is Tony Lee's journey to get there.

After leaving the Army in 1997, and a short stint at American Steel, Tony took the only decent job he could find. Tony accepted a janitorial job at an Eaton Corp. factory in Massillon, Ohio in the heart of the rust belt. Like a lot of U.S. manufacturing centers, Massillon has suffered from closed factories and thousands of lost jobs. Tony was grateful for the opportunity and made the most of it, rising from janitor to foreman in four years.

But Tony was just getting started.

In 2002, Eaton started shutting down divisions of the factory, one by one. Soon over 1000 workers were down to just 35 in Tony's division, which was slated to be closed at the end of 2002.

But Tony refused to let the factory die. He spent hours at night in the local public library studying. Despite never going to college, much less business school, Tony wrote a business plan detailing how his factory could survive and prosper.

Against all odds, he convinced a group of investors to buy the factory and keep it running. Members of the investor group and Tony's co-workers all say they were inspired by Tony's leadership, passion for the business and drive to keep it alive. Everyone, it seemed, was rooting for Tony to succeed.

But there was one big catch: The investors wanted Tony to have some "skin in the game," so he had to raise $25,000 to purchase a stake in the factory.

For Tony, this was just one more obstacle to overcome. After taking a second mortgage on his house, selling his motorcycle and literally scrounging for loose change, Tony had the money and was in on the deal. Actually he was "all in;" failure was not an option for Tony.

Now, 9 years later, Ring Masters is a thriving business with over $4 million in annual sales. From 15 workers at the start, the company now has over 20 employees, a growing list of clients and plans for further expansion.

Tony says he's recouped his $25,000 investment "several times over" and is now a co-owner of a growing business. For anyone who's ever thought 'I can run the company better than my boss', Tony Lee is an inspiration. And he's still inspiring his co-workers and employees by working side-by-side with them on the factory floor. Tony says he "leads by example" and would never ask an employee to do a job he wasn't willing to do.

Tony has already beaten the odds and accomplished more than most people would even dare to attempt. Yet Tony is still driven to reach his ultimate goal of owning several businesses.

RingMasters is a "stepping stone", Tony says. Given his track record so far, there's no reach to doubt he'll reach his ultimate goal.

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The Driven Team is on a nationwide search for the next entrepreneur to be featured in an upcoming episode! Share your story with us at Driven@yahoo-inc.com or follow us on twitter @aarontask #drivenstories.

Real Character for Your Characters: Woman Dancing on a Treadmill, Yes, Really

http://comedy.video.yahoo.com/?lid=24038709&vid=27470019

Woman Dancing on a Fitness Center Gym Treadmill

Character REAL Traits: 9 Tricky Marriage Transitions—Mastered

[Real character traits to influence your character's realistic traits. Real people not flat, paper people._Neale Sourna]

By Denise Schipani

For richer or poorer, in sickness and in health-your marriage vows hinted that you'd face hurdles along the way, but successfully navigating them as a couple can be harder than it seems. Whether it's because one of you becomes the caretaker of an aging parent, or because you have to uproot your family and move cross-country, major life transitions can put a strain on any relationship.

But whatever stressor or life upheaval you're going through, "It matters less what the problem actually is, and more [always about] how you deal with it," says Samantha Litzinger, PhD, clinical program director of the Supporting Healthy Relationships program at Montefiore Medical Center in the Bronx, New York.

With this in mind, we spoke with experts to discover ways to navigate nine common life transitions together-and come out as a stronger couple on the other side.

1. You have your first child. [Or more children than you can bear as a couple together.]

Anyone with kids can tell you that having a baby changes everything. But couples continue to be blindsided by the transition.

"A new baby shifts the dynamic of the family," says Dr. Litzinger. "While you once focused solely on each other, now it's all about the baby." To avoid losing sight of your one-on-one relationship, don't wait until you feel like you have time to focus on each other, she says, because that time will never come on its own.

Instead, you have to create time.

You don't need to schedule weekend jaunts or even weekly dates if you're too tired or cash-strapped.

"Even spending 10 minutes together after dinner or when the [baby] is asleep can help you connect," Dr. Litzinger says.

Even if you barely speak and just cuddle on the couch for that 10 minutes, you'll get in the habit of connecting and will avoid losing sight of your relationship. Photo: Thinkstock

2. One of you loses your job.

The shock of losing a job can be immediate and disrupting.

"Your equilibrium is punctured," says James Cordova, PhD, of the Center for Couples and Family Research at Clark University, and author of The Marriage Checkup. "Your predictability and stability is now missing."

The unemployed spouse may feel a blow to his ego and worry about his ability to support the family[, or maintain her independence].

Meanwhile, says Dr. Cordova, "the other spouse, while trying to be supportive, may have a hard time expressing feelings of fear and worry." The result can be both partners hiding their true feelings and withdrawing from each other. Here, Dr. Cordova stresses the importance of keeping the lines of communication open. "Couples who fare best are those who emphasize the 'we-ness' of their relationship."

But, he adds, try to avoid giving job-search advice unless the unemployed partner is asking for it--emotional support is much more helpful than practical advice, which can come across as badgering.

When you talk about your changed circumstances, Dr. Litzinger recommends discussing expectations and working out a new household budget together. Sharing your thoughts as well as addressing the reality of the situation is what will get you through. Photo: Shutterstock

3. You become a caretaker for an elderly parent.

If you're squeezed in a generational sandwich, with kids still at home and parents getting older (and possibly sicker), you may find yourself in the role of caretaker. "The problem that can arise is that with so much on your plate, it's too easy to put your partner last in terms of attention," says Dr. Litzinger.

If you're the main caretaker for a parent--whether that means shuttling your folks to medical appointments, taking over their finances or even finding room in your home for them--be sure you also take care of yourself, too. The best way to be attentive to your spouse is to make yourself a priority.

"If you put your spouse on a list of things and people to take care of, you'll only end up resenting him or her, too," says Dr. Litzinger.

If you are depleted, you can't pay attention to anyone--but if you're practicing self-care, you're less likely to feel resentful. Once you've spent some time caring for yourself, sit down with your partner and discuss how you both feel about your changed circumstances. Photo: Thinkstock

4. You lose a parent.

When there's a death in the family, be sure to give your spouse time and freedom to grieve.

"Often, not enough attention is given to the grieving process," notes Dr. Litzinger. Even if your husband[/wife] is back at work and dealing with regular life, know that [she/]he may still need some TLC.

"Ask [them] what [they] needs[s]," suggests Dr. Cordova, "which will depend on how [they] deal[ing] with the [intense and extremely personally intimate] loss."

For some, extra help around the house is useful; others may welcome distraction, while some people want opportunities to talk about the parent they lost.

[Some will need more physical attention and affection, others will want none. This will also be true for those caught in the throes of Alzheimer's/Dementia, who relive their emotions of deaths perhaps long past.]

Giving your spouse expectation-free support is the key to working through a tough time like this together, says Dr. Cordova. Photo: Thinkstock

5. One of you gets sick.

When one spouse becomes seriously ill, both suffer, says Dr. Cordova. The healthy partner is obviously worried about the other, and is likely dealing with practical issues such as insurance and medical bills. But there's also the fact that he or she is missing out on the intimacy and support they once got from their spouse.

"If that person falls too far into the caretaker role, the dynamic between the couple shifts, which can be dangerous," says Dr. Cordova. If you're in the caretaker role, don't hide your feelings. "If one of you is suffering, the other likely is, too," he says.

You'll probably find that even though your spouse is sick, he or she is worried about you and your relationship as well; being mutually supportive will help you pull through. Photo: Thinkstock

6. One of you seeks a big life change.

When one of you decides to shift careers or go back to school, it can disrupt the balance of your life together. You think that you've figured out your life-long plans, but suddenly they're upended, and worries begin to trickle in about what these changes mean for your finances, future plans and children.

If you're the one who wants to make a change, it's important to talk about your proposed plans in advance; it's never a good idea to spring a big decision on your partner.

And if you're on the other side of the conversation, it can be all too easy to feel resentment. Avoid conflict by using the speaker-listener technique, suggests Dr. Litzinger.

"It's important that you each express what you're feeling, thinking and planning; actually listen to what your partner is saying," she says. You'll need to negotiate a lot of changes, which you can't do without understanding each other's point of view first.

Instead of leaping to conclusions--"This will never work"; "We can't afford it"; "It's selfish and unfair"--listen to what your partner's plans actually are, and work together on the logistics. For example, you can make lists of pros and cons and creatively re-organize your budget jointly, so both partners feel like they're embarking on the journey together. Photo: iStock

7. Your living situation changes.

Whether you're moving into your first home together or transitioning your whole family to another city, state or country, relocating is a major stressor. On top of financial worries and packing, you also have the potential loss of your old community to deal with, says Dr. Litzinger.

In order to get through these major changes, she stresses the importance of talking about your feelings and approaching everything as a team. Humor can be particularly useful.

"Instead of using your spouse as a dumping ground for all your shared stress, try to laugh at it together." she says.

While you're in the process of moving, stay on the same page with each other regarding your budget. And once you have moved, seek out new connections as soon as you can, to avoid relying solely on each other for support and companionship, which can lead to resentments-especially if one of you moved because of the other's job, for example, says Dr. Litzinger. Photo: Thinkstock

8. One of you has an affair.

"Infidelity represents a breach of trust," says Dr. Cordova. "You enter into a relationship having given each other the gift of your trust, so when an affair is discovered it's usually the lying and deceit that is most damaging to the relationship."

If you choose to stay together, know that the road to recovery will be long, and that you can't expect a quick repair.

"Trust is very hard to rebuild; it can take years to get to the point where it feels easy," cautions Dr. Cordova. Enlist social support from family and friends who are sympathetic to both sides.

Counseling is also important.

"Good therapy can make a significant difference; the earlier you go, the better chance you have of working through early feelings of anger," he adds. A marriage therapist can help you sort through the issues that may have led to the affair, and move you slowly in the direction of forgiveness. Photo: iStock

9. Your children move out of the house.

Just as having children changes the dynamic of your marriage, when those kids finally leave home, your relationship will continue to evolve.

"Unless you've been nurturing your marriage all along, you may find you need to get to know each other all over again," says Dr. Litzinger. Don't assume you know your spouse as well as you did on your wedding day; people change, and what you enjoy individually and as a couple may be different now.

"Talk to each other about what you like to do, and what you want to find time for separately, as well as together," says Dr. Litzinger.

Then make plans together, preferably a mix of couple-focused activities and separate pursuits that feed your individual interests.

"When you make time to find out what you like-together and apart-you may find you reconnect and rediscover why you got together in the first place," she says. Photo: Shutterstock

Article originally appeared on WomansDay.com.

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