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<blockquote data-quote="Autumnal" data-source="post: 9184093" data-attributes="member: 6671663">But if you make your own and then complain about the results, you open up the possibilities of far more focused artisanal, locally sourced complaints. More seriously, I’m looking through my notes on writing and will put in some of the ones that may be useful. Here’s one that will seem strange but comes enforced by Richard Kadrey, S. M. Stirling, and many others. Choose a work you really like, one that you think “I wanna do it like that” about. Fire up your usual writing tool - notebook, word processor, clay tablet, whatever. Now copy the work. Yes, seriously. In whole or part, as you wish.&nbsp; The reason for this is to teach yourself what work you like feels like in your hands and arms, and your whole body, sitting where you sit, writing as you write. How much of a page as you write them does a good encounter look like! A good plot overview? A climactic scene? The nuts and bolts that turn a good idea into something well executed?As you do that, you build up combined physical and mental expectations you can apply to your own work. It’s surprisingly helpful. Try it out, please! It’s something you can do at times that your own creativity is taking a nap. Life done oth with two different authors this year myself, despite the troubles I ranted about in an earlier post.</blockquote>

[QUOTE="Autumnal, post: 9184093, member: 6671663"] But if you make your own and then complain about the results, you open up the possibilities of far more focused artisanal, locally sourced complaints. More seriously, I’m looking through my notes on writing and will put in some of the ones that may be useful. Here’s one that will seem strange but comes enforced by Richard Kadrey, S. M. Stirling, and many others. Choose a work you really like, one that you think “I wanna do it like that” about. Fire up your usual writing tool - notebook, word processor, clay tablet, whatever. Now copy the work. Yes, seriously. In whole or part, as you wish. The reason for this is to teach yourself what work you like feels like in your hands and arms, and your whole body, sitting where you sit, writing as you write. How much of a page as you write them does a good encounter look like! A good plot overview? A climactic scene? The nuts and bolts that turn a good idea into something well executed? As you do that, you build up combined physical and mental expectations you can apply to your own work. It’s surprisingly helpful. Try it out, please! It’s something you can do at times that your own creativity is taking a nap. Life done oth with two different authors this year myself, despite the troubles I ranted about in an earlier post. [/QUOTE]

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