cleverhelp:

Someone asked me recently about how I motivate my characters.  The person told me that he’d read an article somewhere about writing biographies for your characters, or maybe interviewing them to find out why they do what they do.

Interviewing fictional beings that reside exclusively in my imagination. The question was a serious one from a man who is serious about his writing, but I had no idea what to say. 

Fact is, I’ve never thought of the process that way.  Interview my characters?  I can’t imagine doing that.  Truth be told, my characters are all pretty lazy.  They just sit there and do nothing unless I give very specific instructions.  Characters speaking out of turn without my bidding, is, I think, a pretty good working definition of psychosis. 

For me, plot equals character which equals motivation which equals drama.  The various elements of storytelling are so interwoven and interdependent that I don’t know how to break them into their component parts.  When a character’s child is stolen, the motivations are inevitably cast.  The kidnapped child is motivated to survive and/or get away.  The parent is motivated to get him back.  The kidnapper is motivated to see his plan through to the end.  Maybe it would be more nuanced for me if I wrote love stories; but as a thriller writer the whole motivation thing has never been a problem for me.

Sometimes I think the best advice we can give to struggling new writers is to think less and imagine more.  Given the set of circumstances you’ve conjured, put yourself in your character’s position and start pretending.  It was easy when we were kids, after all, before we attended creative writing classes and people started putting labels on the things that came naturally.  When I was a boy and I played with my friends, the non-sports games were always of the role play variety, and nearly always involved imagined gunplay.  (I cleared the neighborhood of marauding Apaches when I was very young, and then kept the Nazi threat at bay as I approached adolescence.)  But here’s the thing: I became the character I was pretending to be.  My bike was a motorcycle, and the pine cones were hand grenades.

When I started writing stories in elementary school, that reality transference continued.  The reality of the imagined world trumped the reality of my actual surroundings.  It still happens to me when I’m really in the zone—it’s the great thrill of writing.  I don’t have to think about motivating my characters because all I have to do is report on what I’m seeing, hearing and feeling through their senses.

Being a big fan of Inside the Actor’s Studio, I’ve often thought that the Method, as described by the guests on that show, has a lot in common with my writing process.  Once I create a premise that feels real, I don the emotional garb of the character from whose head I’m writing, and I embark on a great pretend.

elumish:

I have a homeless characters tag. You can also check out this post. I’m very far from being qualified to talk about it, so I would advise finding resources and personal testimonies.

referenceforwriters:

• World Building Series: Religion
• Tips for Creating a Religion In Your Story
• How to Create Your Own Religion
• Original Gods and Goddesses 

And that is on Tumblr alone. I bet you’d find x10 more resources across the web! 

-Alex

writeworld:

by Grammar.ccc

Avoid problems created by these words or phrases:

1. And also This is often redundant.
2. And/or Outside of the legal world, most of the time this construction is used, it is neither necessary nor logical. Try using one word or the other. 
3. As to whether The single word whether will suffice.
4. Basically, essentially, totally These words seldom add anything useful to a sentence. Try the sentence without them and, almost always, you will see the sentence improve.
5. Being that or being as These words are a non-standard substitute for because. Being that Because I was the youngest child, I always wore hand-me-downs.
6. Considered to be Eliminate the to be and, unless it’s important who’s doing the considering, try to eliminate the entire phrase.
7. Due to the fact that Using this phrase is a sure sign that your sentence is in trouble. Did you mean because? Due to is acceptable after a linking verb (The team’s failure was due to illness among the stars.); otherwise, avoid it. 
8. Each and every One or the other, but not both.
9. Equally as Something can be equally important or as important as, but not equally as important.
10. Etc. This abbreviation often suggests a kind of laziness. It might be better to provide one more example, thereby suggesting that you could have written more, but chose not to.
11. He/she is a convention created to avoid gender bias in writing, but it doesn’t work very well and it becomes downright obtrusive if it appears often. Use he or she or pluralize (where appropriate) so you can avoid the problem of the gender-specific pronoun altogether.
12. Firstly, secondly, thirdly, etc. Number things with first, second, third, etc. and not with these adverbial forms.
13. Got Many writers regard got as an ugly word, and they have a point. If you can avoid it in writing, do so. I have got to must begin studying right away. I have got two pairs of sneakers.
14. Had ought or hadn’t ought. Eliminate the auxiliary had. You hadn’t ought not to pester your sister that way.
15. Interesting One of the least interesting words in English, the word you use to describe an ugly baby. If you show us why something is interesting, you’re doing your job.
16. In terms of See if you can eliminate this phrase.
17. Irregardless No one word will get you in trouble with the boss faster than this one.
18. Kind of or sort of. These are OK in informal situations, but in formal academic prose, substitute somewhat, rather or slightly. We were kind of rather pleased with the results.
19. Literally This word might be confused with literarily, a seldom used adverb relating to authors or scholars and their various professions. Usually, though, if you say it’s “literally a jungle out there,” you probably mean figuratively, but you’re probably better off without either word.
20. Lots or lots of In academic prose, avoid these colloquialisms when you can use many or much. Remember, when you do use these words, that lots of something countable are plural. Remember, too, that a lot of requires three words: “He spent a lot of money” (not alot of).
21. Just Use only when you need it, as in just the right amount.
22. Nature See if you can get rid of this word. Movies of a violent nature are probably just violent movies.
23. Necessitate It’s hard to imagine a situation that would necessitate the use of this word.
24. Of Don’t write would of, should of, could of when you mean would have, should have, could have.
25. On account of Use because instead.
26. Only Look out for placement. Don’t write “He only kicked that ball ten yards” when you mean “He kicked that ball only ten yards.” 
27. Orientate The new students become oriented, not orientated. The same thing applies to administrate – we administer a project.
28. Per Use according to instead. We did it per your instructions? Naah. (This word is used frequently in legal language and in technical specifications, where it seems to be necessary and acceptable.)
29. Plus Don’t use this word as a conjunction. Use and instead.
30. Point in time Forget it! At this time or at this point or now will do the job.
31. Previous as in “our previous discussion.” Use earlier or nothing at all.
32. So as to Usually, a simple to will do.
33. Suppose to, use to. The hard “d” sound in supposed to and used to disappears in pronunciation, but it shouldn’t disappear in spelling. “We used to do that” or “We were supposed to do it this way.“ 
34. The reason why is because. Deja vu all over again!
35. Thru This nonstandard spelling of through should not be used in academic prose.
36. ‘Til Don’t use this word instead of until or till, even in bad poetry.
37. Try and Don’t try and do something. Try to do something.
38. Thusly Use thus or therefore instead.
39. Utilize Don’t use this word where use would suffice. (Same goes for utilization.)
40. Very, really, quite (and other intensifiers) Like basically, these words seldom add anything useful. Try the sentence without them and see if it improves.