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What are you writing about now?

You’re weighing some fascinating approaches, each with unique strengths. I certainly don’t envy you.
I would say trust your instincts. The "Character" approach seems to resonate with you, not only because it might draw a broader readership but also because it allows for accessibility while still honouring Tolkien’s depth. There’s something powerful in starting with a framework that invites more readers into Tolkien’s world and expanding in a second volume for those ready to dive deeper.
The idea of beginning with a foundational book that others may build upon is also inspiring. Even if time becomes a factor, the legacy of your effort could spark the kind of continuation or dialogue you’re imagining.
Of course, you know your strengths and passions, and I’m sure you will honour Tolkien’s stories in ways that will bring value to your readers.
 
Awhile back, I came up with a great idea for how to make a "dwarven book". Problem is, I didn't have any dwarven stories to put into it, or any ideas for one, either.

I came up with an idea after about 5 months but it just hasn't caught my interest. Turns out I have one started that's got a dwarf in it. He plays a minor but crucial role in a couple of scenes. I just figured out a way to turn that story into a "Dwarven edition" of the tale and a back story as to why it was gifted to a non-dwarf (and thus entered the world of men and elves to be found in modern times).

Such fun!
 
www.plotsummit.com is running a multi-day seminar on helping people with plotting stories and publishing them. It's pretty inexpensive (< $100) for 5 days worth of online sessions) and you can watch reruns of any session later. Or you can attend for free (but not watch re-runs unless you pay).

Ever been told a story should have a great hook to start it off with? What, exactly, does that mean. One session presenter said it's a sentence that puts questions in the reader's mind that the reader wants answered enough to read onwards. Given the examples he gives, I think he's on to something with that definition.
 
Forgot to mention, the presenter also suggested end-of chapter hooks and, frankly, lots of hooks. Just be sure you answer the questions in the hooks!

He noted that when you sit down to write and don't know what to write, those hook questions have to be answered! So he suggested making sure there's a hook whenever you get ready to quit writing for that session so you'll have one to prompt you when you start back up again.
 
Well done so far David. I hope you will find within your new found skills the inspiration to begin a wonderful tale or two in the TTF fanfic pages.
For me, I am much bereft of such wisdom and determination to contemplate the alluring world of learning to write properly.
Looking forward to what you come up with.
Best of luck.
 
Good morning (where I am) all - it's 4:45 a.m. so I'm a little late putting e-pen to e-paper here. (But I have been up since my usual 2:30.)

I've spent the last few minutes copying over my "verse and rhyme" from the thread of similar name here, so they are preserved and I can start re-working some of them (consistent with my desire to study and learn to deliver poetry in different and possibly even better ways.)

There are 12 pages.

I didn't copy over all the poems I wrote to 'new members' coming on board yet, though I may do that too so they're available for training and consideration.
There are quite a bunch of those.

Pushing 'writing' ahead on both the book and verse fronts at present.

"So much to do, and so little time." Spoken by Jack Nicholson as The Joker: Batman.1989.Warner Bros. / DC Comics
 
Indeed.
This is why I've chosen to do Characters first - it might generate an audience for Elements.

But I believe Elements is still quite viable. More directly a "how he did it" so "how you can do it" book for the researcher / student of Tolkien / student of writing than general information / entertainment. I see Elements as a book working on several different levels.

"Sneaky little Entses. Wicked, tricksy, false." (Except of course, the purposes will all be laid out in the Introduction. 😁)
 
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Thank you for the post @david_wendelken. Interesting words, having listened 3 times.
Certainly death IS the 'keyspring" of the Lord Of the Rings... and SIL and The Hobbit too..
It is due to death man yearns to be Elven, and due to a lack of death the Elven have a certain envy of man.

It is death resulting from Melkor's discord against the life offered by Eru, and consistently the result of the 'great conflict' of evil against the good - though of course even the good must die. The question is under what condition - under what control - will they die - and what is their future as a result.

I must say though, I am amused by the third paragraph in the writing below the picture above, and always find it intriguing how some fasten on his War experiences as "inspiring" his novels.

The whole beginning of his Middle-earth mythology came well before, for reasons he himself explains. And it's SIL he first, and most, always wanted to publish -with all its 'death' included. The works he actually DID publish could well be called 'concessions' to the publishers and the people.

I'm more than prepared to say his war experiences significantly "ionformed" his works. But his experiences of death far pareded his war experiences. His own father, for one example, in February 1896 on day the 15th.

And his extensive reading in mythology, fantasy and history, well demonstrated the pervasiveness of death in them - just as they did "moral and religious elements MUST be included in all myth and fantasy."

I tend to retain a broader view of the "inspirations" for his work than many - a much more expansive and comprehensive panoply - based on all I've been able to read.

Again, thank you for the post. I'd sure like to see the rest of the interview - just seeing that snippet, it could well have been taken 'out of context' and so leant a weight it does not necessarily entirely deserve.

Perhaps one day I can find it and hear it out.
 
Here is a slightly longer version.



I think these are clips taken from this BBC segment in 1968.


But even there, apparently some parts of the interview were cut. Maybe some of the cut parts can be heard here, but it's almost an hour long and I haven't listened to it myself: https://www.bbc.co.uk/sounds/play/b07mvd5z
 
Well. Last night, and this morning, I worked out the first 3 stanzas of my poetic treatise on Time.
At least, to an acceptable first working point.

Time has now been created, and we can move on to how it's designated for us, its purpose, then intended uses.

Soon we'll arrive at its corruption., the results of that corruption, and assignment of a task for mankind as a result.

Ultimately, we'll get to its final change, and elimination in eternity once again.

Quite a ways to go - but what a denouement it will be..!

This is of a very different nature than my usual stuff... I'm really enjoying the challenge.
 
Trusting we all progress with our writing, and whatever we do write, we consider well in its construction and delivery.

Refined the first the first 3 stanzas in my new poetic wor, currently titled just Time.

Time created, I've now moved into the next set of stanzas on Time's place and purpose.

As I did so, the final line of the next set of Stanzas, on Time's corruption came to me, so I jotted it down.

Coming yet: Time's current employment, followed by its need for redemption moment by momentin the "now."
To be followed by its ultimate elimination again, in the future awating the time.

Obviously, this version is entirely based on the Biblical presentation, and footnotes to Biblical verses and certain definitions needed to understand the context, will be given throughout.

I will be following it with a "revised version" dealing with Time as Tolkien shows it in his creation. Similarities and differences will be highighted in footnotes.

This could well be followed by a poem on the Creation itself, doing the same.

Perhaps useful for those who don't seem to feel Tolkien could "leave his background behind" in his work(s). An inkling of how very different they are, as well as how similar they are, shouild result.

Ultimately the titles will reflect Time's Biblical creation and Time's Tolkienian creation. But I've not settled on them yet.
The same will be true of the poetic Creation events in each case.

Such is my current work and objective. (amidst others, of course.)
 
Trusting we all progress with our writing, and whatever we do write, we consider well in its construction and delivery.
Glad to hear you're making good progress!

I think I've (finally!) solved the structural problem I was having with the prequel book. I've gone through several different titles and chapter outlines because I knew I didn't have the solution yet. Sometimes we can sense the absence of "right" even though we don't know what "right" looks like.

It finally came to me. I need to split it into 3 separate books. That gives me:

Book 1: Cold War in Arthedain. Covers the "early" years of the main character, an elven bard, as she fights against agents of Angmar from 3A 1389 to circa 3A 1970, and her life afterwards up to circa 2000.

Book 2: Shadow War in Middle-earth. Covers the great quest to recover Voronwe's wife and children, who were kidnapped by agents of her nemesis, and the revenge her nemesis exacts afterwards.

Book 3: A Lifetime of Scars. Focuses on the life of the elven bard's daughter, who was captured by Mûmakani raiders, and taken to their dark priests to be ritually scarred and magically bound into slavery. The scars were made by the ritual was interrupted partway through, so only part of the dark magic bound her. They cannot be healed.

Splitting the first book into the above 3 lets me fully focus on each of the three story lines rather than trying to compress the first and third to satisfy the middle one, which is what I've been doing.

Book 4: (Was book 2): The House of Finrod in the War of the Ring. Set in Lórien and focuses on the year surrounding the War of the Ring. This lets me streamline several key chapters in this book because the important details of the backstory will be properly covered in earlier books.

Book 5: A Long-expected Meeting. Set in modern times and completes the ages long battle between the elven bard and her nemesis.

And just as important, I figured out the "hook" to start off Cold War in Arthedain. Looks like that writer's conference did it's job!
 
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A five book series. Sounds like a lifetime of work. (to me at least - short remaining lifetime. )

Plans to release one at a time? Once they start being crafted into movies, we could have 5 years of movies to follow.
 
A five book series. Sounds like a lifetime of work. (to me at least - short remaining lifetime. )

Plans to release one at a time? Once they start being crafted into movies, we could have 5 years of movies to follow.
I'm no spring chicken! I'm 66. I won't release a book for sale until I either negotiate a license with the copyright holders or the copyrights expire in about 1/2 the world in 4-5 years. (But, of course, in that case, I'll only release it where the copyrights are expired.) Hopefully I'll have several of them ready by then. I'm certainly working hard enough at it.

By the way, there are a lot of good resources in print and online to help with one's writing. I've been learning a lot.
 
I have always wanted to change the title of my fanfic story, 'Elrond and the Blue Wizards,' to something else. I have a couple of new titles in mind, and I would appreciate it if anyone on the forum could choose one and tell me why.

a. The Forgotten Wanderers of the East.
b. The Shadowed Quests of the Istari.

Many thanks in advance.
 
Distill the essence of the story into one to four sentences for us, and then we can give useful advice!
 
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