• Welcome to The Tolkien Forum! Connect with fellow Tolkien enthusiasts and join a community that is over two decades old, and still going strong. We look forward to meeting you.  Register

What are you writing about now?

Nah, I'm not gonna lecture a paid writing tutor about writing, lol. I just said okay and will not actually be incorporating the change into my paper.
Made me laugh a bit, that's my general attitude to so many things (or maybe everything...?).

In high school English Literature, most of my assessments were critical/analytical essays on different pieces of literature (prose, poems, plays). I tended to get C grades for those. There were two creative writing assessments per year (in which I got 'A's...).
I was told my essays were 'too entertaining' and didn't use enough 'critical language' (meaning specific terminology used in analysing literature). I was quite pleased by the teacher's criticisms, as 'entertaining' 100% meets my own criteria, even if it doesn't meet the marking criteria.
And it told me she was entertained while reading it, which I thought must have made a nice change from marking a bunch of dry analytical essays. Another desirable outcome!
At one point, I was also told my writing was 'very... distinct'. As in, the teacher didn't have to look at the name on the paper to know it was me 'speaking', lol.

I wasn't purposely writing in an 'entertaining' way, it just sort of came out like that. Before high school, my critical or persuasive writing pieces were basically humorous rants (e.g. "If handwriting wasn't taught anymore, you'd have a much better school report. Then, instead of fruitlessly wearing your brain down on handwriting properly, you'd be using your brilliant wits to plough through other less terrible subjects.").
Maybe this attitude showed through even though I was writing in a 'serious' manner. 😁
 
Last edited:
Middle-earth Books Status Report

The Secret History of the House of Finrod
Book 1 - Cold War in Gondor
Circa 3A 1944-2100, with occasional flashbacks as far back as the late 3A 1300s in Arthedain.
530 (was 507) pages (includes 2 page-sized place-holders for illustrations)
198740 (was 188,699) words
About 35% near ready material, 30% rough drafts, 35% very raw notes.)
(Was about 20% near ready material, 40% rough drafts, 40% very raw notes.)
Illustration pages will be chosen when the text nears completion.
25 chapters done. 15 chapters are rough drafts. 11+ (my guess is it will be 20) are unwritten or what notes there are exist only on very old paper copies). Still working on converting the paper to computer text so I can properly inventory it and decide where I want it to go (or if I want to discard it).

(unchanged) Book 2 - House of Finrod in the War of the Ring
One calendar year, from 3A 3018 to 3019, centered on the war in Lórien.
457 pages (includes 77 page-sized place-holders for illustrations)
153,230 words.
Fully edited text.
Illustration pages will be finalized based on input from the artist.

(unchanged) Book 3 - A Long-Expected Meeting
A culmination of the major threads in the story, "a very long, long, long time after" the War of the Ring.
77 pages (includes 1 page-sized place-holder for an illustration)
23,854 words.
90% fully edited text.
Illustration pages will be chosen when the text nears completion.

Plus my drawing is getting much better! I feel I could do a creditable job of landscape, architectural, or map illustrations. I'm not yet ready for animals and people. I started my drawing class at a local college in August. I was the 2nd worst in the class. (The worst was only worse because he's legally blind. And no, I'm neither joking nor exaggerating.) I had no natural talent for it AT ALL. It is a very learnable skill that only requires training and practice to do a creditable job. Talent is great to add to the mix, but it's not essential to do a decent job. I'll be starting on book illustrations after class is over in 2 weeks.

PS. The legally blind guy is getting better too. So, if you've ever wanted to be able to draw and think you can't, you're highly likely to be wrong in that belief.
 
Currently working on this:
Thread 'Hasty in guilt' https://thetolkien.forum/threads/hasty-in-guilt.31550/
And I've had a great time these last few months collaborating with @Maedhros_Nelyafinwë as we navigated through plots after plots in our RP.
I think we started writing it around late July and hopefully (if we can control ourselves!) we are drawing the first part of Twilight Amidst the Everlasting Darkness to an end!
 
OK so let's (briefly) talk "Reader Fuzzy Brain Syndrome" (using Ent's oh so scientific title for it).

There are a number of studies done speaking to why readers 'get tired, begin yawning, and lose interest' in their read.

What's actually happening in most cases is it's been found when the brain encounters something it can't process instantly, a little 'blank space' in the intake/memory synapse occurs. The eyes keep reading while the brain is struggling to 'catch up', and things can be missed, or lost. This particularly happens with these issues:

1. A "big or unusual word" not understood by the reader. (Use of big or unusual words adds to this.)
2. A word with ambiguous or multiple meaning forcing the reader's mind to select among alternative meanings if the specific one isn't very clear.
3. Too many 'new things' to intake too quickly, (names, places, unconnected events, foreign words, etc.)
4. Plain tiredness...which comes in two forms. 1) - physical and mental tiredness; 2) - simply having read for too long. (Brain tiredness.)

With regard to #4, reading puts the brain into a 'continuous processing' mode as it grapples with input, and how long that mode can be sustained is specific, particular to each individual reader.

This explains why at times we feel like (as Ent puts it) 'we just want to do something mindless'. Watch mindless movies, or even re-read something so no 'new challenge' remains, or just tackle something new but known to be a very simple read not requiring a lot of 'processing' for entertainment.

Solutions exist for all the steps above.
I encourage you all to consider them, think about your own writing, and how you can assist the reader in "getting in their read" in the best, most effective and enjoyable fashion.

Share your thoughts... I've a few I'll share later.

(By the way... this is part of why many find SIL a 'difficult read'. There are tons of new names, new races, intertwinings, odd words, and words essentially in 'other languages' needing to be known. It's a taxing read for the mind's processing power, and each mind holds a different level of power. Thus, lethargy sets in, yawning begins, many just abandon the process not understanding WHY they're having difficulty and what to do about it, etc.

It also explains why, frequently, if one has the fortitude to 'come back to a difficult read' at a later date rather than just dismiss it as not worth the time, they progress a little farther each time.)

Writers - think on these things. Remember... YOU are not the issue or the one needing to be considered. Your READER is.
Your wonderful story will always suck (to the reader) if delivered under a thoughtless pen(cil) or e-writer of any kind.

What are your solutions?
We'll chat later.
 
OK so let's (briefly) talk "Reader Fuzzy Brain Syndrome" (using Ent's oh so scientific title for it).
My brain went fuzzy suddenly.

All jesting aside, I totally agree with this:

When I read the Sil for the first time, I was a mere 14 year old. Probably not the ideal age to start at. But I didn't know what I was getting into. And quite frankly, I am thankful I didn't because I may have not gotten into it otherwise. I definitely experienced the RFBS (your oh-so-scientific title deserves an acronym!) when I read it. I remember constantly viewing everything in the Sil as if I was distinct and separate from the text, very detached because I was trying to understand what exactly in the world I was reading. This resulted in not fully engaging with the actual text because I was looking at the trees for the forest. This is why I was not able to recall a lot of details many years later. I would say #3 as the biggest deal when I was reading the Sil the first time. When I read the book again as a 20 year old, everything "synaptically connected" so much better this time around. For two reasons, I would say.

1. The first one is the obvious one. My brain has developed in many ways since 6 years ago. This involves my reading accessibility levels jumping to beyond the Sil in terms of literacy difficulty. If you start it too young when your brain is not developed enough *even though I was always an avid reader and tended to read beyond what I should at my ages*, this will undoubtedly hinder you no matter what you do. So waiting to jump into something or coming back to it when you are older and better able to tackle it is a wise idea.
2. I was very eager to read the Sil this time around not just as a work of Tolkien and extension of LOTR, but for what it was in and of itself. This is very important because if you don't appreciate the work for what it is and rather for what you want it to represent, it is very hard to swap that mindset, which will give you a hard time as you read.

Those are just my two cents!
 
My brain has developed in many ways since 6 years ago.
I would put this in the 'questionable' category, but well... 😁

So... maybe later you can add a couple more cents and discuss what you, as a writer, might seek to do to help the Reader with the problems in the various categories.

Of course... it's a bit situational, as sometimes there's a reason we go one way or another... and a reason we want to challenge.
the question for the writer is 'intentional' vs. 'unintentional'... as well as various 'tools' to aid along the way.

I'll shut up now...
 
I would put this in the 'questionable' category, but well... 😁
You are an Ent. Therefore what looks like development to me looks like a smidgen to you. 🤪

help the Reader with the problems in the various categories.
I answered as a Reader. Fair enough. Well, as a Writer, this would depend on the audience I write to. I would ask these questions: What is the purpose of my text? Who am I driving it towards? What language and properties of my writing contributing to this text will best help convey this message?

Note these are not answers, these are more introspection and halls-of-speculation type thoughts. But from them we get our answers. (At least, I hope.)
 
Meesa clumsy. (Jar-Jar-Binks).

Actually, I seem to have a habit of banging my head into things as I move around the house... and as most all of my top branches and twigs have fallen off now, it can really show..! No cabinet door, ceiling lamp, or even wall (if I bend over a little) is safe.
 
This is definitely the right thread. Sorry, I couldn't resist. 😂
 
4. Plain tiredness...which comes in two forms. 1) - physical and mental tiredness; 2) - simply having read for too long. (Brain tiredness.)
This is probably the reason why I loved reading as a kid, and then by the time I graduated college in 2020 I hated reading, and I've been slowly struggling to recover my reading abilities since then. My brain is very tired from work and school most of the time, and I'm so picky about what I like to read, that I find reading to be an exhausting mental effort most of the time.

Writing is much easier for me for some reason. I think it's because the nature of my work and school, being all about tax and accounting, requires a lot of data intake and logical sorting. And with me being much more inclined towards creative things, I'm desperate to fulfill my creative outlet somehow, even when I'm mentally exhausted. This is probably why I've written a long RP with @Tyelkormo the Fair these past few months but not read a single thing for pleasure.

Anyway, to answer @Ent 's question from the writer perspective, here's what I do to try to make things easy for readers:
  • I try to introduce no more than six characters/names/places at once. My dad is actually the one who gave me this advice when I was like 13 or so and writing short stories. He told me people can't remember more than 6 new things at a time, so I try to let the reader get used to the six things I've introduced before introducing anything more. I don't always abide by this rule perfectly, but it is helpful, I think, to consider what is really necessary for the readers to know about right now, and what can wait for later.
  • Short sentences. Short paragraphs. Personally, I will zone out if faced with a giant block of text, so I try not to inflict it on readers.
  • Using sentences of varying length. If I write a really long sentence, I like to follow it up with a very short one.
  • Keeping a mix of dialogue, action and description. This is a hard one for me because I'm a lover of dialogue and internal monologuing, and I will not even think about scene descriptions or action if left to my own devices. Usually, I write first drafts that are mostly just dialogue and characterization, and I add in descriptions of the environment later on, after I've done the hard work of figuring out the scene and the characters.
  • Trying to make sentences as clean and concise as possible. Overly long, wordy sentences make me zone out.
  • Including some sort of interesting conflict or dilemma in literally everything. Using suspense where possible to try to get the reader excited about what's happening next.
That's all I've got for now!
 
OK so adding just a couple 'solutions' to RFBS to consider, depending on your work(s), we can always consider these:

1) - Adding an Appendix of word definitions. Especially for 'other language' or 'invented language' words. The reader can refer to this to help with #s 1 and 2 above.
2) - Adding a brief 'Dictionary of Names, Places and Events' to reference and help with #3.
3) - On-page footnotes to help with #s 1 and 2.

Sadly, there's little help with #4 above. It's very 'individual' and 'situational'. The good news about #4 - it GENERALLY will not deter a reader from coming back to the work. It's not a case where the reader is being confused or 'left behind' through misunderstandings. It's just fatigue, so the result of the impact is diffferent.

There are other possible ways to help the reader.
Mostly though, as writers, wherever we go we can talk to people about reading and how things impact their ability to rightly approach and process a book.
i.e. 'training'.
"If you're getting fuzzy, go back and see what you don't quite understand/grasp, look up the words, get the situation resolved, etc. THEN move forward in your reading.'

I suspect most readers just 'plow forward' until ultimately they abandon the read, because they don't know WHY what's happening is happening.

There is little education in the world about how to receive, accept, process and proceed with 'words and information' any more.
Education, particularly early education, has deteriorated to the point where it's mostly a 'soak these dictates up, don't question them, and do be able to regurgitate them for tests' etc. forum. It's been a long time since we've taught 'how to think, process, and evaluate.'
And most of the education, again particularly early education, has a singular purpose...which I will refrain from discussing here.

We just need to work hard to overcome it, especially as the 'early years' when education is the most important and impactful, has been lost for most people.

You, as writers, can have a great impact on the world to overcome what's been done by 'education'.
 
I set up an AutoCrit account. I tested it out and I think it will be useful for me. Not something to blindly follow its advice, of course.

It has reports that catch a number of writing issues like the overly repetitive use of a weak verb and adverb pairing. Example, "She moved quickly ..." It might be more engaging to write "She rushed ..." or "She pounced ...", etc.

I've been working my way thru the overuse of the adverb "quickly" - 83 usages in book 2. I've chosen to keep 3 of them and swapped out another 40 so far. It's hard going and a thesaurus is rarely useful. My vocabulary is usually larger than it has! (If you know of a TRULY AWESOME thesaurus, let me know about it!)

I do, however, suspect that by the time I've done this on the 5 most frequently used adverbs, the process will have become second nature and I'll write better in earlier drafts, if not the first one. Or so I hope!
 
the process will have become second nature
Like all things worthy of learning, practice is essential. Indeed it will become 'second nature'... as easily as removing 'that' from our vocabulary is once we 'get it'.
Hard at first.. both in writing, and in speaking. (Writing comes more easily, as we can 'double check' as we go.)

Every verb, adverb, indeed adjective is a target for consideration when we're looking to 'add color' to the picture we develop on our canvas. (Note.. we don't just 'display' it... we 'develop it' on our canvas..!)

David, you sound genuinely excited about your work. thank you for sharing.
 
David, you sound genuinely excited about your work. thank you for sharing.

I am genuinely excited!!!!

I started Book 1 around 1990 and made sporadic and slow progress. In the last 13 months and 2 days, I've written Book 2, made a solid start on Book 3, and written new material or finished lots of old material for Book 1. You bet I'm excited!!!!
 
In the last 13 months and 2 days,
Dare I ask what has changed in this time, altering the level of involvement and rate of progress? Was there some spark igniting the fire?

You bet I'm excited!!!!
I'm thankful. Excitement is infectious - an infection of the kind we want an injection of, rather than an antidote for.
 
25 months ago I stumbled across a book called The Screenwriter's Bible by David Trottier in the free box at a local bookstore. I took it home and it made a lot of sense! I had an idea for a screenplay back in the mid 1990s, but the only thing I had been able to write was the first sentence. Had no idea how to turn this germ of an idea into a screenplay until I devoured this guide.

About the same time I ran across a very useful deck of cards from at www.FabulaDeck.com. Because the first book had been so helpful, I invested in this deck. I put 2-sided tape on them and affixed them to an empty wall. Think of the cards like a spreadsheet. The columns are the steps in Joseph Campbell's The Hero's Journey. The rows are either characters or key items or locations in the story. I used the sticky-notes to jot down key events or ideas and place them in that matrix. Part of what made it useful was the visual nature of the technique. I could see where I might have holes or maybe too much material. Part of its usefulness was I could see which characters were over/under represented in different parts of the story. And a big part of its usefulness was a set of questions that it provoked in my mind. As my mind found answers to them, I started filling in gaps. Over a 4 month period I sketched out a high level overview of the plot and got about 20 pages written in screenplay formatting. Things to keep in perspective - I learned two different tools, a new way of writing, and went from 1 sentence to 20 written pages. FYI, a two hour long movie needs a script that's about 120 pages long, so that's serious progress! Also found another highly useful book (out of many I discarded as not useful or too formulaic) called Screenwriting Unchained by Emmanuel Oberg. I'll note that other than the specifics of how to format a screenplay on the page, everything else in those books was just as useful for novels as it was for screenplays.

And then life thru us a detour. The Russians invaded Ukraine and millions of Ukrainians were now refugees. My wife and I decided we could help someone. But rather than get a random family who would move into our spare bedroom and wonder what to do with their lives, we decided to look for an artist who (a) already knew how to make a living selling their art on the internet or through galleries and (b) worked in one of the many art studios we have set up in our home. (Woodworking, woodturning, pottery, making jewelry, enamel art, or various textile arts. We're hobby and book sluts, don't judge us!)

We ended up with a world-class enamel artist moving in with us. (Enamel art takes finely ground up glass and heats it up until it melts and fuses to the metal it has been placed on.) Total blind luck enabled by dogged persistence to search thru the Facebook friends of friends of friends of friends of the one Ukrainian artist I already knew. (When I contacted her first, she said she was at a neighbor a a Molotov cocktail making party for the Russians headed towards her city. I figured she's an artist, she'll have artist friends.) So, when our guest arrived, I set aside my writing and focused on the enameling I could learn by working next to a world class artist. His name is Oleksii Koval, by the way. www.oleksiikoval.com In particular I like his Trees and Ukrainian Portrait series. But I digress (just a bit).

So, much of that year went by and on Halloween of 2022, I sent a write-up of what the main character in book 1 did a thousand years later during the war of the ring. I had them ride with the Dunedain who met up with Aragorn after Helm's Deep. It was a nice little two or three page entry written like the stories in the LOTR appendices. Pretty much just the facts of what happened to them and around them. Sent it to my son who observed that Middle-earth was a big place and there was lots more going on during the War of the Ring, the main character was an elf from Lorien, so why not write what they did in Lorien during the war?

So on 1 November, I set out to do just that along with one really important mental breakthrough! I realized I wasn't writing a "novel", which is a very modern way of telling a story. I was writing a biography whose source material was composed of diaries, letters, annal entries, interviews, tales and songs. Biographies don't have plots like novels do. Yet I've been fully enthralled by a good biography of a person who was involved in truly interesting situations - Churchill, Lincoln, Lawrence of Arabia, and Sydney Smith are great examples.

Plus, it was a story cycle in which a varying set of characters took part in different quests/tasks/events. Think the various tales of King Arthur and his knights. A common setting and some common characters, but in some tales they are just passing thru, in others they are the main protagonist (or antagonist). Rather than amalgamate these different tales into a traditional biographic text, I chose to present the translated source material directly to the reader and let them assess the raw (but translated) documents. It was very, very freeing!

I went back thru the LOTR timeline for everything that might have a bearing on Lorien. Galadriel and Celeborn knew who was in the fellowship and what they were up to BEFORE the fellowship arrived in Lorien. How did they know? I posited that someone carried a message from Elrond to Galadriel after the fellowship members were chosen but before the fellowship left Rivendell quite some time later. Had to be someone who could sneak or fight their way thru obstacles, possibly including the 9. They needed to already know what the fellowship was attempting because, otherwise, another person would need to be let in on what was the single most important secret of the Free Peoples - even more fraught with peril than letting the Germans know when and where D-Day would be in France. It needed to be a verbal message because a written one could go astray. And their courage and loyalty to the guidelines put forward by the Valar on Eru's behalf needed to be without doubt. Glorfindel seemed to be the obvious choice. So, the story in book 2 starts with his arrival in Lorien. I had plans but it turned out that some of the characters had their own plans, and one of them won out over mine.

Later, the fellowship arrived, Legolas and Gimli wandered about during the day, Legolas partied at night, and the fellowship left after awhile. Gandalf showed up quite the worse for wear, recovered quickly, and went off to Rohan on his own.

There were 4 military incursions into Lorien, 1 chasing the fellowship and three during the hostilities of open war. I had a lot of room for expanding on the info in the appendices!

And then, after the war, there's the trip to Edoras, Minas Tirith, back to Edoras, on into Hollin, and then back over Caradhras to Lorien. The story in Book 2 ends a year and a day after Glorfindel arrived in Lorien bearing tidings of hope and dread. The appendices have selected entries out of the Annals of Lorien covering the departure of Galadriel and then Celeborn, the depopulation of the land as many elves there cannot handle the passing of Time once Galadriel's ring loses its power, and the handing over of what remained to Thranduil's rule.

Book 3 takes up the lives of the few surviving characters many ages of the world later.

Book 1 predates the War of the RIng. It predominately covers circa 3A 1940 thru about 3A 2131 though flashbacks go back to the late 3A 1300s.

I guess that's a long way to go about saying, "I got some inspiration right after I found some very useful training, and since I could now make progress nearly on demand, that's what I chose to do!"
 
Last edited:
RFBS saw "blah blah blah... Glorfindel seemed to be the obvious choice... blah blah blah... Glorfindel... blah blah blah". Great thoughts!

Jesting aside, this all sounds really very interesting! It's always a wonderful feeling when the inspiration juices start flowing. Keep up your good research/writing, @david_wendelken! 😄
 
Cookies are required to use this site. You must accept them to continue using the site. Learn more…