There are two breeds of dragons in Ilerinia, Firebreathers and Iceblowers. The two races typically breed together, and their offspring are either Firebreathers or Iceblowers. However, when the balance between good and evil shift, the dragons are called to fight on the side of good to return balance to the forces if the balance of evil overrides good. When this happens, a hatchling is born with the abilities of both breeds. This special hatchling along with a chosen human (my main character) have the duty of fighting on the side of good.

Another help would be if someone could help me think of a name for this said relationship.
When I started writing this story, what is now a main subplot was my main plot, and since adding this idea, my story has started to take on more the form I want it to. One of my editors says that the idea is too cliche, and my main character being female is just a very obvious way of differing the stories.

My main character is a princess whose life has been at stake since she were born. She is the only ligitimate child of the king and queen, and the king has an illegitimate older son whose mother wants the throne for her own son, so she has been trying to kill my main character since she was born. But she is not my main antagonist. My main antagonist is a king of another nation who is corrupted by evil, who is trying to stop a prophecy involving my main character from coming true. My main character is destined along with her dragon to restore the balance of good and evil, and some other ideas that are still in the works.
Actually, in response to number five, the son does join the evil king and takes a band of followers, a very large band of followers, with him.
- confusilated

When aiming to create very strong fiction writing, whether in the form of short stories or novels, most experts will agree that one of the most important parts of a successful equation is introducing strong, complex and believable characters. Even if the premise of a story is extremely original and captivating, including weak or underdeveloped characters with little motivation can lead to poor writing hat no one will want to read.

While readers may initially be attracted to a story by its premise, it is their relationship to the main characters that will hook them and give them the desire to keep reading. Without powerful characters that readers can relate to, your writing will inevitably be weak and receive a bad response from editors and publishers.

The first and best way of creating a strong character in your writing is to ensure that he or she is nuanced and someone your readers can relate to. Once you have identified your target audience, it is essential that you write a protagonist with whom they can relate one at least some small level. Your main character’s motivations, thoughts and actions must be both feasible and compelling for your readers.

That’s not to say any character should be written as all god or all bad; people are made up of good and bad aspects, regardless of who they are, and your readers are intelligent enough to realize this. Just make sure that you write abut your main character’s talents, flaws and attributes in ways that are understandable, and even allow them to relate, to your target audience.

One of the best ways to create an immediate sense of concern for your main character, and to make them truly relate to them, is to plunge them into a troubling problem as early in the story as possible. After all, when it comes to writing good fiction, trouble, conflict and eventual resolution are keys to success.

By writing your main characters into a problem, or series of problems, early on, you will create a sense of tension in your readers and make them desire to find out how the problem is eventually resolved (if it is even resolved at all).

And don’t fall into the trap of thinking that all of your main character’s problems need to come to a resolution that is favorable to the, either. Sometimes putting your characters into an impossible situation that lets them learn and strengthen themselves through failure is a very effective writing technique.

To recap, it can’t be stressed enough how important creating strong characters is to your writing. There is an endless amount of writers who may have had wonderful story ideas, but whose plots did not translate into success because of poorly written, unbelievable, unsympathetic main characters.

Ideas for character traits that can reinforce your lot-line and bolster your story abound all around you every day; just look to yourself, the people you interact with, and your own experiences for some great writing ideas to draw upon.


- Paul Turner

My boyfriend and I are about to go traveling together for two months.
We want to find a book we can both read while traveling.
We are looking for something about relationships, but my boyfriend does not want to read a self help book.

Any suggestions of a Fiction Novel that could be beneficial to our communication relationship?
- suedoe

In other words, what events in Wordsworth’s life influenced him to make this poem. I know in 1802, he was reunited with his daughter and wife.
- fc010

First please accept our heartfelt condolences to you during this very painful time. There is no greater loss than the loss of one whom you loved. Now you have been asked to write the eulogy speech for them, and you may find that you do not know if you can bring yourself to do that. That is all very normal. Perhaps the information in this article with help you write eulogy speech.

First understand that you may find that the writing process itself will give you some release from the pain and suffering that you feel. With this in mind, try to prepare yourself to write the speech by having a quiet and uninterrupted place where you can also have your own privacy. If you feel the need to cry while writing the eulogy speech, you will be able to do so without any worries. Writing can be a very emotional process.

Second use some of this quiet time to collect your own thoughts and gather information about the deceased that you may not already have. This may require a couple of phone calls. If you are the primary speaker, you’ll want all the pertinent information about the person’s life, where they were born, when they were born etc. Where they went to school, and college, where they worked, when they got married, who they are survived by. All of this information is very important in the main eulogy speech.

If you are not providing the main eulogy speech, then the information you want to gather will be more pertinent to the relationship that you shared with the deceased. Perhaps you were in the army together, or college, or you were business partners.

Next jot down all the special things about the deceased that you want to make sure you tell the audience about when you give the eulogy speech. What made them special, why did they always laugh about a particular event in their life? What kind of a parent were they? What kind of a business partner, or community member, or co-worker. These points help to make the life of the person more remembered by the audience.

That is your goal. In your eulogy speech, you want to do everything you can to help alleviate the pain and suffering of the audience, by helping them to remember and honor the life that the deceased lived.

Think about what the person wants to be remembered for. If there was any message that the deceased wanted to have delivered, make sure you have all this information. Then begin writing the eulogy speech. An introduction, followed by main events and specific stories, hopefully some that will help the audience to laugh as they remember. Then a good closing that honors and commemorates the life of the deceased.

Celebrate their life in the eulogy speech you write and deliver for them. Speak from the heart and help the members of the memorial service do the same.


- Gen Wright

The best novels you’ve ever read—the ones that stuck in your mind and kept you going back to re-read them, that made you think, that made you feel, maybe that scared your socks off—were not about what they were about.

Sound cryptic? It is, sort of. Novels that change the way you look at the world were written by novelists who had things going on underneath that they were working through on paper. Angry divorces, fights at work, health problems, fears for their kids, rage at politics and injustice, fear of war, loss of loved ones—the whole gamut of human trials and tribulations.

Some of these novelists knew they were burying their struggles in their books, some didn’t. But while they were writing about running into elves in the deep woods or opening a door to find themselves looking down the barrel of a gun, they were telling two stories. The one you read, and the one they lived. While you were reading, you felt the second, hidden story. That’s why you keep going back to the book, and why you can’t get it out of your head. Your gut knows there’s more in that book than meets the eye.

Do you want to write books that keep readers reading, that keep them thinking, that let them look at the world through different eyes? Do you want to find the stories beneath the stories in your own work, and make sure you put them in there on purpose, instead of accidentally hitting one just right, and never again knowing how you got there?

This is doable. It’s not comfortable—few things worth doing ever are. But it is a repeatable process. And here’s where you start. Read each step below, and write down your answers.

STEP ONE:

Plato had it right when he said, “Know thyself.” You don’t get to have a starry-eyed vision of yourself as this nearly-perfect person if you’re going to write meaningful books. You have to dig deep.

* You have to figure out what YOU did wrong in every relationship that went south on you. (Innocent victimhood is worthless as a novel-writing perspective. You end up with passive main characters who do nothing, and books that bore readers to death. So accept the truth that you have been and done wrong in your life, and buy your characters some credibility.)

* You have to admit to moments when you lied, and not make excuses about why you did it.

* You have to recall the people you hurt.

* And admit the things you did that you should not have done.

* And face the things you did not do that you should have.

This is a no-excuses zone. You did what you did, you meant to do it, consequences resulted and those were your fault.

Is this process all negative? No. But you’ll already remember all your greatest moments; saving a life, sacrificing to help someone else, opening doors for old ladies, teaching Seeing Eye dogs for the blind. Those are great. And your readers will believe your characters do those things when, and only when, you have first proved that your characters are human. Humans are not perfect. We all know this about each other, even if we don’t like to admit it about ourselves. But we know a real character when we read one, and this is where you find real characters.

STEP TWO:

You’ve admitted who you are. Now discover who you need to be, what you need to have, and what you dread. Again, skip the Miss America “I want world peace and free healthcare and kittens and puppies for all the children in the world” routine. What do YOU want…for YOU? What do you NEED? Do you need to be loved and admired? Do you need to be rich, powerful, famous? Do you need to be safe? What drives you? What eats at you at night? What haunts your nightmares? When you look in the mirror and see something wrong, what is the first thing you fear? When you hear a bump in the attic, a scrap at the front door, what do you dread?

STEP THREE:

Who you are and what you need and fear are part of why you write. But writing fiction itself is a strange process that involves baring bits of you that you may not even realize you’re baring to complete strangers. It involves creating characters who are the best of what you have in you, and it involves, if you’re doing it right, creating characters who are the worst of what you have in you.

You are, while you’re writing, your characters. You have to believe in them for readers to believe in them, and you have to find it in yourself to make them do evil as well as good—to do the things you would do IF YOU WERE THEM—knowing that if you make your characters real enough, you’ll hit nerves, you’ll hear from the readers you’ve shocked or scared as well as from the ones you’ve moved to joy and tears. So, why do you want to do that? What’s in in for you?

When you’ve answered these questions, if you’ve answered them honestly, you have your themes. The things you had the hardest time admitting to, the hardest time writing down, the hardest time facing—those will be your best themes. Because if you can take characters built from your deepest flaws and your worst fears and bring them to transcendence, then, my friend, you will have written a book with a pulse—and a story that matters.

In BRING YOUR NOVEL TO LIFE Part III: Burying Your Novel’s Message, you’ll learn how to use the themes you’ve discovered without being preachy or obvious, and without writing a Message Book.


- Holly Lisle

This article is devoted to the issue, which has been raised in a novel ‘Breath, Eyes, Memory’ written by Edwidge Danticat. The main character of the novel ‘Breath, Eyes, Memory’ written by Edwidge Danticatis Sophie, a young girl raised by her aunt and grandmother in Haiti. This is the first book of Danticat, in which she describes relationship between Sophie and women from her family.

The novel begins with Mother’s Day and the major character finds out that she will leave her home in Croix-des-Rosets and move to New York where her mother lives. The first chapters are devoted to Sophie’s life in Haiti, depicting her tender relationship with aunt. Sophie’s aunt does not have children and she loves Sophie’s very much. The author skillfully depicts their relationship. When a heroine congratulates her aunt on Mother’s Day, her aunt answers: ‘It is for a mother, your mother. When it is Aunt’s Day, you can make me one.’ (Danticat, p. 6) Sophie’s aunt loves her niece as her own daughter, but she does not pretend to a role of her mother knowing Sophie has had one.

In the first chapters the author portrays a calm and happy life in Haiti and the Haitian culture. Sophie’s life in New York, described in the last chapters is a direct opposite to Sophie’s life in Haiti. It is difficult for her to live there with her mother, whom she has never known and who left her. American culture is completely foreign to her. Edwidge Danticatmasterly represents Sophie’s confusion and her life in America. ‘Breath, Eyes, Memory’ is a beautifully crafted novel about family, culture, gender roles. It is a story of a young girl and her family – her aunt and grandmother, who surround her and play an important part in her life. It is a powerful novel about relationship between Sophie and her real mother.

The novel ‘Breath, Eyes, Memory’ depicts struggles and lives of women, their emotions and the violence of men. The story shows that real relatives who love Sophie are her aunt and grandmother. They raised her in spite of her origin and the reason she was born. This book shows that there is a bond between a mother and a daughter. However, this bond is strong if a mother raises her child.


- Olivia Hunt

What are some creative ways to ask a male over for dinner?
Been dating for a year. Now I want to find out more from him about our relationship. I thought inviting him to dinner. Any creative suggestions?
- lhg

I’m planning on breaking up with my boyfriend and i want to do it in a fun and creative way, and please don’t say anything about it being mean, only if you knew our relationship would you understand. Any ideas?
- Terry J