/lit/ - Literature

>>9180

>William Blake "right wing"

Blake was a nigger-lover

>Dostoevsky

"religious right" only

>Thomas Mann

Mann was a self-hating liberal coward

>Hayek

Market fundamentalist garbage

>>9169

"Fascism" is mostly a stupid buzzword. Are liberals any less "fascist" than white-nationalists? No, Liberals viciously oppress and propagandize as much as anyone else.

>>9169

but if you want some good reading, start with Nietzsche, he is the essence of "right-wing"

>>9175

>“God, you must think I'm some kind of whore.”

>“No,” said Orion, “No, I don't think that. I understand.”

Cut this exchange. Makes it sound too much like a stereotypical nice guy fantasy.

>>9072

>>9175

>>9177

Accidentally the wrong post

>>9177

fair enough.

>>9135

It's not meant to be a reward though. I'm trying to work it out as just being a sort of side thing but it's difficult to do. The point is that she's attracted to him anyway. Maybe I should change the dialogue a bit to be more of a "you're alive lets fuck and celebrate" rather than "lol u were nice to me so ill fuck u as reward"

>>9175

I try to write out the conversations as I imagine them in my head. They are already bone thin by this point… perhaps I should poitn that out in the writing.

>>9182

>Maybe I should change the dialogue a bit to be more of a "you're alive lets fuck and celebrate" rather than "lol u were nice to me so ill fuck u as reward"

I would delete the scene and rewrite it entirely. It's hard to change a general impression when you're still working with the same scene.

Orwell's 1984 and Animal Farm for general concepts of how politics evolves over time.

The Wikileaks book for a general overview of the US empire and their focus on market control through the planting of dictatorships open to the global market.

Ann Coulter's Adios America for a slightly pretentious but in-depth look at the immigration crisis currently occuring in Western Europe and America.

>For a New Liberty

It is obviously biased in favor of anarchocapitalism not that I mind it, because I'm an anarchocapitalist, but it does deal with a bunch of real political issues, instead of just being a purely theoretical work.

>>9149

Thanks, I'm a big Lasch fan, though "narcissism" is kinda over-rated compared to his other books.

>>9174

>Orwell's 1984 and Animal Farm for general concepts of how politics evolves over time.

wouldnt the republic do this better?

>>8573

>gross

they can even write on a smartassphone while on the train or anywhere. Rather than staring at the abyss of passing buildings/whatever, I would rather do something productive.

>>8458

FINISH THE FUCKING BOOOOOOOOOOOOOOOOOOOOOOOKKKKSSSS

I WANT THE FUCKING GODAMN BOOKS, FINISH THE FUCKING GODAMN FUCKING BOOKS YOU SON OF A BITCH, YOU FUCKING GODAMN LAZY ASSHOLE

Why don't you fags read actual history? It's more interesting than anything this fat cunt with a scat fetish can come up with.

>>8458

FUCKING FINISH IT GODAMIT

>>8458

YOU SON OF A BITCH, FINISH THE FUCKING BOOKS

>>9161

Thanks. your a magni viri

IV vos

I'm considering writing a scene from a war into my sci-fi book. Something to characterize my protagonist. I have his entire, considerable past of battles to choose from, which leaves me with a lot of options and unclarity as to which one to actually choose.

The deeper meaning of the scene is already settled. What I want to know is which enemy would be the most exciting to read about, from a purely plebeian perspective pretentiousness or not, I want my book to be fun, too. Giant, tank-sized insects? Burrowing snakes with acid-sprayers? Human insurgents? Lobotomized, genocidal cyborgs? All have their backgrounds. All have been mentioned in the story. I just want to know which one sounds most exciting. Can provide more info, if you ask.

Thanks on advance, guys!

>>9162

You're welcome. Good luck with your book!

>>9162

>IV vos

top kek

I'm writing a story that is told from the perspective of two different characters who have two different stories that only come together at the end. The problem I have is deciding how to split up the two stories in a way that is interesting for the reader. Do I use the first half of the book for one then switch to the other or do I do alternate chapters for each? I remember reading 'A study in scarlet' and that was half one story and half another. first half is Sherlock Holmes and the second half is about the Mormons in Utah and what motivated the cabbie to revenge. It was jarring to have a sudden change of place and characters for no reason half way through the story and I think Doyle released this because he never wrote like that again, I think. For that reason I'm leaning more towards the alternative chapters style but just wondering if there is another way I might do it.

>>8774

why don't you have the characters deciding that it would be best not to travel between worlds because maybe it causes more problems than it solves or whatever. However, this turns out to be a kind of 'tragedy' for the other worlds that no longer have people to save them. so copies of themselves from another world try and stop them.

>>9164

>And do you know of any writers to recommend who value that approach of "less is more"?

hemmmmmmmmmmmmmmmmmmmmingway?

for what it's worth i consider the epic of gilgamesh to be sort of a bildungsroman.

>>9157

Bildungsroman are slightly different from epics, less poetry, more prose, confined to the modern novel, but with remnants of the mythic structure. In English they are also called "novels of formation" or "coming-of-age stories". Sometimes Eastern European countries translate it as "initiation novels".

>>9158

yes, i know.

what i meant to say that the aspect of personal growth and the gaining of awareness being so strong a theme in the epic of gilgamesh i sort of consider it a bildungsroman.

feel free to disagree.

REPOST because tired as fuck and accidentally posted earlier copy.

The darkness of night blankets a monochromatic metropolis. Its architecture is abstract and modern. And its atmosphere is empty and cold.

The roads are barren, and street lights turn on and off in cycling effect. Alleyways are filled with transients, minds consumed by synthetic psychostimulants.

Highrise complexes are packed with worker drones that run on a fuel mix of left wing philosophy, and genetically modified food.

Concrete buildings stretch as far as the eye can see.

Welcome to hell.

Wanted by the federal police for thought crimes, you have been forced into hiding in a rundown apartment complex in the worst section of the metropolis.

Booming ghetto music shakes flaking paint from your dilapidated apartment walls and keeps you awake, while gunshots and blood curdling screams fill you with fear.

Lost in paranoia, you peer out your window at the street below like a schizophrenic.

Hours pass. Nothing happens. Eventually hunger pains drive you to a convenience store located on the ground floor of the complex, where you purchase a cheap, nasty meal.

You hurry back to your room as quickly as possible, darting through musty halls inhabited by scruffy criminals and rotting drug addicts.

Once inside, you take a seat and question your entire life. What you could have done differently?

Suddenly you are interrupted. Someone is knocking on your door. You freeze, careful not to utter a sound.

They knock again. You tiptoe to the door, and slowly bring your eye to the peephole. It's the federal police, and they're dressed in tactical assault uniform, brandishing automatic rifles.

>>9133

Where are your paragraphs, motherfucker?

>>9133

Way too descriptive. Too many inconsequential facts that have nothing to do with 'you' running away from thought police.

>>9132

> The darkness of night blankets a monochromatic metropolis. Its architecture is abstract and modern. And its atmosphere is empty and cold.

As an exercise, you should remove every adverb and adjective from your story.

>>9132

It's wordy. There's good vocabulary, but doesn't have any importance to what's going on half the time. Try removing those bulkier sentences, trim some of the fat to have leaner descriptions.

>>7885

>character likes to read, is a bookworm

Laziest characterization ever, look Im reading I relate to them!!! XD

I'd say it's more:

1st entry has a concise ending with closure.

2nd entry ends on a cliffhanger with a host of loose ends because the author knows he can write a 3rd book.

3rd entry simply picks up from the last and doesn't stand on its own due to being so closely tied to the 2nd.

>You are the chosen one, only you can save this city/country/planet/galaxy

>>8026

Enjoying reading is a trait ,and characterization is a process. I like to read. Does that mean my writer is lazy, or do you get a kick out of fabricating nonsense just to call a writer bad?

>>7943

>First book usually okay, series quickly degenerates into garbage

This is why a don't buy books that are part of a series.

>>7885

Main character is a young girl with vague talents, "a destiny", and gets caught in a war between rivaling factions and has enough impact to suddenly change the course of the war.

Also, love triangles.

>>9097

is he, though?

depending on who you ask, the reaction can be very negative.

>>9105

Maybe he isn't anymore, but like 2 or 3 years ago, he was everywhere in Europe

>>9111

i don't know. i read the alchemist some 15 years ago and i thought is was meh at the time, and looking back came to the realization that it's shit.

>>9138

Facebook was full of his quotes, and bookstores where flooded with his work

>>9140

>>9140

>Facebook was full of his quotes

i wouldn't know. i don't use it and i know only one person that sends "inspirational" phrases every now and then.

i guess somebody must be buying them books.

Also what's the process of finishing a story and getting it published? What're the steps in between that authors should know about?

>>8846

Just check Baen books for a general format. I think publishers have their own format that you need to follow. I didn't explore too much on trad pub because I'm testing the waters for self-pub. With that said, there might be some traditionally published anon that can give you insight.

>besides bad grammar and punctuation, what other mistakes do these people look for?

if it's going to sell. That's my two cents anyways.

>>8847

>Also what's the process of finishing a story and getting it published? What're the steps in between that authors should know about?

you can just search it on the internet.

Ask them for their format. They are all quite different. Some of them will send you a LaTeX file.

As a newbie writer writing a series and targetting traditional publishers – preferably the big six – should I make my first novel a standalone or should I have a cliffhanger?

Or should I just write both?

>>9117

nvm, I'm going for a standalone instead and focus on that one book until an agent bites.

>>8976

I thought the girl was time travelling. If not, it's easy to say she is hearing the loud truck behind her.

>>8962

Describing objects is not too hard, but in what position they are, or in what direction they are facing is to me.

>>8977

> I thought the girl was time travelling.

U wot?

>>8981

I figured it's a time travel story rather than you'd have difficulty using 7 o'clock instead of behind. I think you could also say the truck is a knight's move behind her if you would be imitating a tile-based game.

>>8986

Jesus, you are truly retarded. I want to write a story, not the rules to a fucking tabletop game.

>>9127

>referencing the nature of what you're basing the story on is retarded

>>9065

Not working for me either, sorry, m8.

>>8973

I have read that too. I believe Dutton does a better job of dis-mystifying the dark triad.

>>8997

>So I know that at least one of our regulars is a big Graham Greene fan.

Greene fanatics unite!

Sadly I've not read that one but it's going on my list. Thank you for the recommendation.

Gonna be a while though as I'm up to my eyeballs in a certain thousand-plus page novel, a grand geologic tour of the vagarities of Iceland spar. Stay tuned for my review …