>too much dialogue >too quick-paced >not enough imagery

>>9134578
>Too epic
>Too good, I am just so impressed and bewildered at my staggering genius I continually have to wipe tears from my eyes, and fret them naught to hit mine leaflet
>having to use a thesaurus... to dumb down my language
>deciding which of my 7 magnum opui, I feel like working on first in the morning, which is only a problem on the rare nights when I do not write about 30 pages in my dream, which I then photographically recite into my alarm clock/tape recorder upon awakening

>>9134578
>not enough chit chat
>plods along for eternity
>vast paintings
>the entire story is one or two scenes

>>9134578
>this would work in another language
>wibble wobbling TIE fighters make me overestimate myself

I hate everything i write upon re-reads

File: 1485807042304.jpg (93KB, 890x378px) Image search: [Google]

93KB, 890x378px

NAMES!

I cannot write sudden actions for the life of me
It always feels so awkward to say, describe a character getting punched in the face. Feels so abrupt and poorly made a sentence.
How do you even add urgency to a sentence that boils down into "a fist flew towards anon's face"
Maybe that has more to my perceived limits of written story

>>9135179
Have you tried a good *SCHWACK* *KABLAM* *KABLOW* *OOOF!*

You can try metaphor/simile descriptions.

A fist flew towards anons face like a hypersonic jet piloted by a kamikaze pilot who had duct taped a nuke to the nose

Too many gimmicky narratorial voices which are unsustainable over lengthy pieces and wouldn't fit well together. I think I'm getting there.

>>9135179
Short, strong, vigorous sentences.
"X hit Anon and he fell to the ground."
"X tried to hit Anon but he ducked."
"X hit Anon but he didn't flinch."

Write exactly what you want the reader to picture in his head. Don't slow it down by being descriptive. Don't break the pace by long sentences. Generally speaking, when you want the reader to think "Wow this is fast/sudden", you use less adjectives and more verbs than usual. The verbs should describe something sudden also. Flew, hit, smashed, fell, not reached, connected, slumped. They should be associated with quickness. Make the reader imagine fast and constant movement.

I usually feel that I have nothing else to say after a while. It happens when I write more than 10k and it feels like I depleted all the words I knew and I get paranoid about it becoming repetitive and dull. I don't know how to deal with this. I keep working on it but it always comes back.

>>9134578
I mainly write short stories:


-Know what I want to say, but don't know what situation and characters to use
-Have characters and situations but have nothing to say through them
-Conversations too short
-Sentences too short
-Can tell the story in 400 words, 800 tops by being overly descriptive
-I set my standard as 1000-1100 words/short story, I need fillers

>>9135179
>>9135179
"A fist flew towards anon's face". The urgency is already there. If it's abrupt and sudden, make it abrupt and sudden. Something abrupt would break the flow in that sort of situation, so have it break the flow in the prose. Of course, you run the risk of it coming across as quite humour however, because someone suddenly being punched in the face will naturally just seem funny to most people. It's a pretty typical structure for a punch-line.

>>9138501
*humorous

>>9135149
>opui
>pretends to be a genius but doesn't even know latin

>>9138626
>What is a meta-joke as a part of the meta-joke for $1.99 Alec?

>>9138626
>thinks a genius would waste their time and memory learning a dead (or any other) language

>>9138626
I know you know this, but:

The most common plural of opus in English is opuses. Some people use the Latin plural, opera. Opi is fairly common in the field of classical music, though mostly in informal contexts.


Plural
opera
operum
operibus
opera
operibus
opera

Which is the correct use?

I was originally going to go with opussi

>>9134578
>write encounter
>think it's the best thing in the whole novel
>come back
>realize it has no narrative function and should be cut

>mc is literally me but perfect
>Self insert as him and live through him vicariously
>He always does what I would do or say in any situation, but much wittier
>Women crave his dick, he has to turn sluts down left and right
Anyone else have this problem in their work?

>>9138851
Opussi sounds like the best option.