You’ve bought an old chest of drawers and discover a piece of paper stuck inside. What is written on that piece of paper?
Suggested brainstorming:
• Where did these drawers come from? How old are they exactly? Is there something special about them, e.g. a hidden compartment where the paper was discovered?
• Who put the paper there? When? Why?
• What does it say on it? Does it look old or new? How is it written? Is the handwriting elegant or disjointed?
• Is it a generic letter or an extract from a diary? Or is it addressed specifically to its discoverer?
• How does the main character respond to what is said on the paper?
You could keep going with brainstorming questions here. And as mentioned earlier, this is exactly what you want to get started with writing: to be metaphorically asked “what do you think about this?” You’re invited to answer these questions in your own unique way and write a story in response.
@WritersCafe story #prompt
Suggested brainstorming:
• Where did these drawers come from? How old are they exactly? Is there something special about them, e.g. a hidden compartment where the paper was discovered?
• Who put the paper there? When? Why?
• What does it say on it? Does it look old or new? How is it written? Is the handwriting elegant or disjointed?
• Is it a generic letter or an extract from a diary? Or is it addressed specifically to its discoverer?
• How does the main character respond to what is said on the paper?
You could keep going with brainstorming questions here. And as mentioned earlier, this is exactly what you want to get started with writing: to be metaphorically asked “what do you think about this?” You’re invited to answer these questions in your own unique way and write a story in response.
@WritersCafe story #prompt
Which of these is an effective way of describing a character’s appearance?
1️⃣ Providing a description of each character at the start of the story.
2️⃣ Subtly referring to various features and mannerisms throughout the story.
3️⃣ Describing their appearance and demeanor when they first enter a scene.
4️⃣ Primarily using mirrors in a scene as a device for describing their appearance.
Choose the right one..
@WritersCafe #test
1️⃣ Providing a description of each character at the start of the story.
2️⃣ Subtly referring to various features and mannerisms throughout the story.
3️⃣ Describing their appearance and demeanor when they first enter a scene.
4️⃣ Primarily using mirrors in a scene as a device for describing their appearance.
Choose the right one..
@WritersCafe #test
Which of these will most effectively enhance your ability to write an engaging story?
1️⃣ Reading stories on a regular basis.
2️⃣Revising top tips about creative writing once a week.
3️⃣ Analysing how books are translated into films.
4️⃣ Emulating the style of a successful author.
@WritersCafe #test
1️⃣ Reading stories on a regular basis.
2️⃣Revising top tips about creative writing once a week.
3️⃣ Analysing how books are translated into films.
4️⃣ Emulating the style of a successful author.
@WritersCafe #test
Which of the following can have a negative affect on how engaged the reader is in your story?
1️⃣ Swapping tenses without any explainable reason
2️⃣ Inconsistent tone and style
3️⃣ Excessive use of cliches
4️⃣ All of these
@WritersCafe #test
1️⃣ Swapping tenses without any explainable reason
2️⃣ Inconsistent tone and style
3️⃣ Excessive use of cliches
4️⃣ All of these
@WritersCafe #test
What length of sentences should you ideally use when writing a story?
1️⃣ A mix of short, medium, and long to keep the story well-paced and flowing smoothly
2️⃣ Primarily short sentences to keep the reader engaged and the story suspenseful
3️⃣ Long sentences, especially to make ideas and themes sound deep and complex
4️⃣ Any length you choose, so long as you incorporate numerous commas and semi-colons
@WritersCafe #test
1️⃣ A mix of short, medium, and long to keep the story well-paced and flowing smoothly
2️⃣ Primarily short sentences to keep the reader engaged and the story suspenseful
3️⃣ Long sentences, especially to make ideas and themes sound deep and complex
4️⃣ Any length you choose, so long as you incorporate numerous commas and semi-colons
@WritersCafe #test
Adopting which of these thought processes when writing will make for more three-dimensional, engaging characters?
1️⃣ I should make all my characters behave like the protagonists from successful published stories.
2️⃣ I should only write characters other than the protagonist into a scene for the sole purpose of moving the plot forward.
3️⃣ Each character should only display one type of emotion which makes them more memorable and individualised.
4️⃣ Each character has a life of their own and their own motivations, which should drive and be reflected in their actions.
@WritersCafe #test
1️⃣ I should make all my characters behave like the protagonists from successful published stories.
2️⃣ I should only write characters other than the protagonist into a scene for the sole purpose of moving the plot forward.
3️⃣ Each character should only display one type of emotion which makes them more memorable and individualised.
4️⃣ Each character has a life of their own and their own motivations, which should drive and be reflected in their actions.
@WritersCafe #test
👍1
Writing Tool #1:
Branch to the Right
Begin sentences with subjects and verbs, letting subordinate elements branch to the right. Even a long, long sentence can be clear and powerful when the subject and verb make meaning early.
To use this tool, imagine each sentence you write printed on an infinitely wide piece of paper. In English, a sentence stretches from left to right. Now imagine this: A reporter writes a lead sentence with subject and verb at the beginning, followed by other subordinate elements, creating what scholars call a "right-branching sentence."
I just created one. Subject and verb of the main clause join on the left ("A reporter writes") while all other elements branch off to the right. Here's another right-branching sentence, written by Lydia Polgreen as the lead of a news story in The New York Times:
Rebels seized control of Cap Haitien, Haiti's second largest city, on Sunday, meeting little resistance as hundreds of residents cheered, burned the police station, plundered food from port warehouses and looted the airport, which was quickly closed. Police officers and armed supporters of President Jean-Bertrand Aristide fled.
That first sentence is 37 words long and rippling with action. The sentence is so full, in fact, that it threatens to fly apart like some overheated engine. But the writer keeps control by creating meaning in the first three words: "Rebels seized control..." Think of that main clause as the locomotive that pulls all the cars that follow.
Master writers can craft page after page of sentences written in this structure. Consider this passage by John Steinbeck from "Cannery Row," describing the routine of a marine scientist named Doc:
He didn't need a clock. He had been working in a tidal pattern so long that he could feel a tide change in his sleep. In the dawn he awakened, looked out through the windshield, and saw that the water was already retreating down the bouldery flat. He drank some hot coffee, ate three sandwiches, and had a quart of beer.
The tide goes out imperceptibly. The boulders show and seem to rise up and the ocean recedes leaving little pools, leaving wet weed and moss and sponge, iridescence and brown and blue and China red. On the bottoms lie the incredible refuse of the sea, shells broken and chipped and bits of skeleton, claws, the whole sea bottom a fantastic cemetery on which the living scamper and scramble.
In each sentence, Steinbeck places subject and verb at or near the beginning. Clarity and narrative energy flow through the passage, as one sentence builds upon another. And he avoids monotonous structure by varying the length of his sentences.
Subject and verb often get separated in prose, usually because we want to tell the reader something about the subject before we get to the verb. When we do this, even for good reasons, we risk confusing the reader:
A bill that would exclude tax income from the assessed value of new homes from the state education funding formula could mean a loss of revenue for Chesapeake County schools.
Eighteen words separate the subject "bill" from its weak verb "could mean," a fatal flaw that turns what could be an important civic story into gibberish.
If the writer wants to create suspense, or build tension, or make the reader wait and wonder, or join a journey of discovery, or hold on for dear life, she can save the verb until the end.
Workshop:
1. Read through an edition of The New York Times with a pencil. Mark the location of subjects and verbs.
2. Do the same with a collection of your own stories.
3. Do the same with a draft of a story you're working on now.
4. The next time you struggle with a sentence, see if you can rewrite it by placing subject and verb at the beginning.
« By Roy Peter Clark »
@WritersCafe
Branch to the Right
Begin sentences with subjects and verbs, letting subordinate elements branch to the right. Even a long, long sentence can be clear and powerful when the subject and verb make meaning early.
To use this tool, imagine each sentence you write printed on an infinitely wide piece of paper. In English, a sentence stretches from left to right. Now imagine this: A reporter writes a lead sentence with subject and verb at the beginning, followed by other subordinate elements, creating what scholars call a "right-branching sentence."
I just created one. Subject and verb of the main clause join on the left ("A reporter writes") while all other elements branch off to the right. Here's another right-branching sentence, written by Lydia Polgreen as the lead of a news story in The New York Times:
Rebels seized control of Cap Haitien, Haiti's second largest city, on Sunday, meeting little resistance as hundreds of residents cheered, burned the police station, plundered food from port warehouses and looted the airport, which was quickly closed. Police officers and armed supporters of President Jean-Bertrand Aristide fled.
That first sentence is 37 words long and rippling with action. The sentence is so full, in fact, that it threatens to fly apart like some overheated engine. But the writer keeps control by creating meaning in the first three words: "Rebels seized control..." Think of that main clause as the locomotive that pulls all the cars that follow.
Master writers can craft page after page of sentences written in this structure. Consider this passage by John Steinbeck from "Cannery Row," describing the routine of a marine scientist named Doc:
He didn't need a clock. He had been working in a tidal pattern so long that he could feel a tide change in his sleep. In the dawn he awakened, looked out through the windshield, and saw that the water was already retreating down the bouldery flat. He drank some hot coffee, ate three sandwiches, and had a quart of beer.
The tide goes out imperceptibly. The boulders show and seem to rise up and the ocean recedes leaving little pools, leaving wet weed and moss and sponge, iridescence and brown and blue and China red. On the bottoms lie the incredible refuse of the sea, shells broken and chipped and bits of skeleton, claws, the whole sea bottom a fantastic cemetery on which the living scamper and scramble.
In each sentence, Steinbeck places subject and verb at or near the beginning. Clarity and narrative energy flow through the passage, as one sentence builds upon another. And he avoids monotonous structure by varying the length of his sentences.
Subject and verb often get separated in prose, usually because we want to tell the reader something about the subject before we get to the verb. When we do this, even for good reasons, we risk confusing the reader:
A bill that would exclude tax income from the assessed value of new homes from the state education funding formula could mean a loss of revenue for Chesapeake County schools.
Eighteen words separate the subject "bill" from its weak verb "could mean," a fatal flaw that turns what could be an important civic story into gibberish.
If the writer wants to create suspense, or build tension, or make the reader wait and wonder, or join a journey of discovery, or hold on for dear life, she can save the verb until the end.
Workshop:
1. Read through an edition of The New York Times with a pencil. Mark the location of subjects and verbs.
2. Do the same with a collection of your own stories.
3. Do the same with a draft of a story you're working on now.
4. The next time you struggle with a sentence, see if you can rewrite it by placing subject and verb at the beginning.
« By Roy Peter Clark »
@WritersCafe
Writing Tool #2:
Use Strong Verbs
Use verbs in their strongest form, the simple present or past. Strong verbs create action, save words, and reveal the players.
President John F. Kennedy testified that his favorite book was "From Russia With Love," the 1957 James Bond adventure by Ian Fleming. This choice revealed more about JFK than we knew at the time and created a cult of 007 that persists to this day.
The power in Fleming's prose flows from the use of active verbs. In sentence after sentence, page after page, England's favorite secret agent, or his beautiful companion, or his villainous adversary performs the action of the verb.
Bond climbed the few stairs and unlocked his door and locked and bolted it behind him. Moonlight filtered through the curtains. He walked across and turned on the pink-shaded lights on the dressing-table. He stripped off his clothes and went into the bathroom and stood for a few minutes under the shower. … He cleaned his teeth and gargled with a sharp mouthwash to get rid of the taste of the day and turned off the bathroom light and went back into the bedroom.
In writing this passage, Fleming followed the advice of his countryman George Orwell, who wrote of verbs: "Never use the passive when you can use the active."
Never say never, Mr. Orwell, lest you turn one of the writer's most reliable tools into a rigid rule. But we honor you for describing the relationship between language abuse and political abuse, and for revealing how corrupt leaders use the passive voice to obscure unspeakable truths and shroud responsibility for their actions. They say:
"It must be admitted after the report is reviewed that mistakes were made," rather than, "I read the report, and I admit I made a mistake."
News writers reach often for the simple active verb. Consider this New York Times lead by Carlotta Gall on the suicidal desperation of Afghan women: "Waiflike, draped in a pale blue veil, Madina, 20, sits on her hospital bed, bandages covering the terrible, raw burns on her neck and chest. Her hands tremble. She picks nervously at the soles of her feet and confesses that three months earlier she set herself on fire with kerosene."
While Fleming used the past tense to narrate his adventure, Gall prefers verbs in the present tense. This strategy immerses the reader in the immediacy of experience, as if we were sitting – right now — beside the poor woman in her grief.
Both Fleming and Gall avoid the verb qualifiers that attach themselves to standard prose like barnacles to the hull of a ship:
• Sort of
• Tend to
• Kind of
• Must have
• Seemed to
• Could have
• Use to
Scrape away these crustaceans during revision, and the ship of your prose will glide toward meaning with efficient speed and grace.
Workshop:
1. Verbs fall into three categories: active, passive, and forms of the verb "to be." Review three of your stories and circle the verb forms with a pencil. In the margins, mark each verb by category.
2. Look for occasions to convert passive or "to be" verbs into the active. For example, "It was her observation that …" becomes "She observed …"
3. In your own work and in the newspaper, search for verb attachments and see what happens when you cut them from a story. 4. Read "Politics and the English Language," by George Orwell. As you listen to political speech, mark those occasions when politicians or other leaders use the passive voice to avoid responsibility for problems or mistakes.
« by Roy Peter Clark »
@WritersCafe
Use Strong Verbs
Use verbs in their strongest form, the simple present or past. Strong verbs create action, save words, and reveal the players.
President John F. Kennedy testified that his favorite book was "From Russia With Love," the 1957 James Bond adventure by Ian Fleming. This choice revealed more about JFK than we knew at the time and created a cult of 007 that persists to this day.
The power in Fleming's prose flows from the use of active verbs. In sentence after sentence, page after page, England's favorite secret agent, or his beautiful companion, or his villainous adversary performs the action of the verb.
Bond climbed the few stairs and unlocked his door and locked and bolted it behind him. Moonlight filtered through the curtains. He walked across and turned on the pink-shaded lights on the dressing-table. He stripped off his clothes and went into the bathroom and stood for a few minutes under the shower. … He cleaned his teeth and gargled with a sharp mouthwash to get rid of the taste of the day and turned off the bathroom light and went back into the bedroom.
In writing this passage, Fleming followed the advice of his countryman George Orwell, who wrote of verbs: "Never use the passive when you can use the active."
Never say never, Mr. Orwell, lest you turn one of the writer's most reliable tools into a rigid rule. But we honor you for describing the relationship between language abuse and political abuse, and for revealing how corrupt leaders use the passive voice to obscure unspeakable truths and shroud responsibility for their actions. They say:
"It must be admitted after the report is reviewed that mistakes were made," rather than, "I read the report, and I admit I made a mistake."
News writers reach often for the simple active verb. Consider this New York Times lead by Carlotta Gall on the suicidal desperation of Afghan women: "Waiflike, draped in a pale blue veil, Madina, 20, sits on her hospital bed, bandages covering the terrible, raw burns on her neck and chest. Her hands tremble. She picks nervously at the soles of her feet and confesses that three months earlier she set herself on fire with kerosene."
While Fleming used the past tense to narrate his adventure, Gall prefers verbs in the present tense. This strategy immerses the reader in the immediacy of experience, as if we were sitting – right now — beside the poor woman in her grief.
Both Fleming and Gall avoid the verb qualifiers that attach themselves to standard prose like barnacles to the hull of a ship:
• Sort of
• Tend to
• Kind of
• Must have
• Seemed to
• Could have
• Use to
Scrape away these crustaceans during revision, and the ship of your prose will glide toward meaning with efficient speed and grace.
Workshop:
1. Verbs fall into three categories: active, passive, and forms of the verb "to be." Review three of your stories and circle the verb forms with a pencil. In the margins, mark each verb by category.
2. Look for occasions to convert passive or "to be" verbs into the active. For example, "It was her observation that …" becomes "She observed …"
3. In your own work and in the newspaper, search for verb attachments and see what happens when you cut them from a story. 4. Read "Politics and the English Language," by George Orwell. As you listen to political speech, mark those occasions when politicians or other leaders use the passive voice to avoid responsibility for problems or mistakes.
« by Roy Peter Clark »
@WritersCafe
Writing Tool #3: Beware of Adverbs
Beware of adverbs. They can dilute the meaning of the verb or repeat it.
The authors of the classic "Tom Swift" adventures for boys loved the exclamation point and the adverb. Consider this brief passage from "Tom Swift and His Great Searchlight":
"Look!" suddenly exclaimed Ned. "There's the agent now! ... I'm going to speak to him!" impulsively declared Ned.
That exclamation point after "Look" should be enough to heat the prose for the young reader, but the author adds "suddenly" and "exclaimed" for good measure. Time and again, the writer uses the adverb, not to change our understanding of the verb, but to intensify it. The silliness of this style led to a form of pun called the "Tom Swiftie," where the adverb conveys the punch line:
"I'm an artist," he said easily.
"I need some pizza now," he said crustily.
"I'm the Venus de Milo," she said disarmingly.
At their best, adverbs spice up a verb or adjective. At their worst, they express a meaning already contained in it:
• "The blast completely destroyed the church office."
• "The cheerleader gyrated wildly before the screaming fans."
• "The accident totally severed the boy's arm."
• "The spy peered furtively through the bushes."
Consider the effect of deleting the adverbs:
• The blast destroyed the church office.
• The cheerleader gyrated before the screaming fans.
• The accident severed the boy's arm.
• The spy peered through the bushes.
In each case, the deletion shortens the sentence, sharpens the point, and creates elbow room for the verb.
A half-century after his death, Meyer Berger remains one of great stylists in the history of The New York Times. One of his last columns describes the care received in a Catholic hospital by an old blind violinist:
The staff talked with Sister Mary Fintan, who (in) charge of the hospital. With her consent, they brought the old violin to Room 203. It had not been played for years, but Laurence Stroetz groped for it. His long white fingers stroked it. He tuned it, with some effort, and tightened the old bow. He lifted it to his chin and the lion's mane came down.
The vigor of verbs and the absence of adverbs mark Berger's prose. As the old man plays "Ave Maria…"
Black-clad and white-clad nuns moved lips in silent prayer. They choked up. The long years on the Bowery had not stolen Laurence Stroetz's touch. Blindness made his fingers stumble down to the violin bridge, but they recovered. The music died and the audience pattered applause. The old violinist bowed and his sunken cheeks creased in a smile.
How much better that "the audience pattered applause" than that they "applauded politely."
Excess adverbiage reflects the style of an immature writer, but the masters can stumble as well. John Updike wrote a one-paragraph essay about the beauty of the beer can before the invention of the pop-top. He dreamed of how suds once "foamed eagerly in the exultation of release." As I've read that sentence over the years, I've grown more impatient with "eagerly." It clots the space between a great verb ("foamed") and a great noun ("exultation"), which personify the beer and tell us all we need to know about eagerness.
Adverbs have their place in effective prose. But use them sparingly.
Workshop
1. Look through the newspaper for any word that ends in –ly. If it is an adverb, delete it with your pencil and read the new sentence aloud.
2. Do the same for your last three essays, stories, or papers. Circle the adverbs, delete them, and decide if the new sentence is better or worse.
3. Read through your adverbs again and mark those that modify the verb or adjective as opposed to those that just intensify it.
4. Look for weak verb/adverb combinations that can be revised into strong verbs: "She went quickly down the stairs" can become "She dashed down the stairs."
«by Roy Peter Clark»
@WritersCafe
Beware of adverbs. They can dilute the meaning of the verb or repeat it.
The authors of the classic "Tom Swift" adventures for boys loved the exclamation point and the adverb. Consider this brief passage from "Tom Swift and His Great Searchlight":
"Look!" suddenly exclaimed Ned. "There's the agent now! ... I'm going to speak to him!" impulsively declared Ned.
That exclamation point after "Look" should be enough to heat the prose for the young reader, but the author adds "suddenly" and "exclaimed" for good measure. Time and again, the writer uses the adverb, not to change our understanding of the verb, but to intensify it. The silliness of this style led to a form of pun called the "Tom Swiftie," where the adverb conveys the punch line:
"I'm an artist," he said easily.
"I need some pizza now," he said crustily.
"I'm the Venus de Milo," she said disarmingly.
At their best, adverbs spice up a verb or adjective. At their worst, they express a meaning already contained in it:
• "The blast completely destroyed the church office."
• "The cheerleader gyrated wildly before the screaming fans."
• "The accident totally severed the boy's arm."
• "The spy peered furtively through the bushes."
Consider the effect of deleting the adverbs:
• The blast destroyed the church office.
• The cheerleader gyrated before the screaming fans.
• The accident severed the boy's arm.
• The spy peered through the bushes.
In each case, the deletion shortens the sentence, sharpens the point, and creates elbow room for the verb.
A half-century after his death, Meyer Berger remains one of great stylists in the history of The New York Times. One of his last columns describes the care received in a Catholic hospital by an old blind violinist:
The staff talked with Sister Mary Fintan, who (in) charge of the hospital. With her consent, they brought the old violin to Room 203. It had not been played for years, but Laurence Stroetz groped for it. His long white fingers stroked it. He tuned it, with some effort, and tightened the old bow. He lifted it to his chin and the lion's mane came down.
The vigor of verbs and the absence of adverbs mark Berger's prose. As the old man plays "Ave Maria…"
Black-clad and white-clad nuns moved lips in silent prayer. They choked up. The long years on the Bowery had not stolen Laurence Stroetz's touch. Blindness made his fingers stumble down to the violin bridge, but they recovered. The music died and the audience pattered applause. The old violinist bowed and his sunken cheeks creased in a smile.
How much better that "the audience pattered applause" than that they "applauded politely."
Excess adverbiage reflects the style of an immature writer, but the masters can stumble as well. John Updike wrote a one-paragraph essay about the beauty of the beer can before the invention of the pop-top. He dreamed of how suds once "foamed eagerly in the exultation of release." As I've read that sentence over the years, I've grown more impatient with "eagerly." It clots the space between a great verb ("foamed") and a great noun ("exultation"), which personify the beer and tell us all we need to know about eagerness.
Adverbs have their place in effective prose. But use them sparingly.
Workshop
1. Look through the newspaper for any word that ends in –ly. If it is an adverb, delete it with your pencil and read the new sentence aloud.
2. Do the same for your last three essays, stories, or papers. Circle the adverbs, delete them, and decide if the new sentence is better or worse.
3. Read through your adverbs again and mark those that modify the verb or adjective as opposed to those that just intensify it.
4. Look for weak verb/adverb combinations that can be revised into strong verbs: "She went quickly down the stairs" can become "She dashed down the stairs."
«by Roy Peter Clark»
@WritersCafe
Writing Tool #4: Period as a Stop Sign
How stop sign (and punctuations work) to give meaning to your write ups. Tap on INSTANT VIEW to Read Here
@WritersCafe
How stop sign (and punctuations work) to give meaning to your write ups. Tap on INSTANT VIEW to Read Here
@WritersCafe
Telegraph
Writing Tool #4: Period As a Stop Sign
Place strong words at the beginning of sentences and paragraphs, and at the end. The period acts as a stop sign. Any word next to the period says, "Look at me." Strunk & White's "The Elements of Style" advises the writer to "Place emphatic words in a sentence…
Writing Tool #5: Take it easy on the -ings.
What to prefer when writing, simple present or past? Tap on the instant view button below to read here.
Learn more @WritersCafe
Discuss @WritersClub
What to prefer when writing, simple present or past? Tap on the instant view button below to read here.
Learn more @WritersCafe
Discuss @WritersClub
Telegraph
Writing Tool #5: Take it easy on the -ings.
Prefer the simple present or past. An editor from Newsday told me the story of how he tried to help a reporter revise the top of a story. As often happens, the editor knew that the lead paragraph could be improved, but not how. As he walked down the hallway…
Internet Memes
..the idea and the impact behind explained for meme writing challenge!
It may seems nonsense and a complete waste of time to some but for a writer, it helps in unblocking your creative ideas. Not only it is an expression of common idea, concept, ideology but it also shape the popular culture of conveying our message.
There are a few popular brands that are now doing meme marketing for their products through hoardings and billboards. Memes are usually jokes, urban legends, funny pictures or anything that connects with maximum people to become viral on internet. Marketing, advertising and promotions professionals embrace memes, because it’s inexpensive and trendy; plus its unique characteristic is to spread like a virus.
Internet Memes may seem an idea of 21st century though it marks its origin from author Richard Dawkins’ book The Selfish Gene, published in 1976. Read more here
Here are some tips to help you write and create memes:
» Always be witty when making memes.
» Create memes off of established successes and existing trends.
If you dont want to use any app, go for these easy Websites to create quick memes:
Website 1
Website 2
Website 3
Website 4
We hope this post shall give you some idea about memes and writing memes. If you have the knack of making memes with your original idea, stay tuned for the upcoming Meme Challenge at Writers Club
» Start and Subscribe to our @WritersClubBot to stay tuned with important updates.
~ @WritersCafe
..the idea and the impact behind explained for meme writing challenge!
It may seems nonsense and a complete waste of time to some but for a writer, it helps in unblocking your creative ideas. Not only it is an expression of common idea, concept, ideology but it also shape the popular culture of conveying our message.
There are a few popular brands that are now doing meme marketing for their products through hoardings and billboards. Memes are usually jokes, urban legends, funny pictures or anything that connects with maximum people to become viral on internet. Marketing, advertising and promotions professionals embrace memes, because it’s inexpensive and trendy; plus its unique characteristic is to spread like a virus.
Internet Memes may seem an idea of 21st century though it marks its origin from author Richard Dawkins’ book The Selfish Gene, published in 1976. Read more here
Here are some tips to help you write and create memes:
» Always be witty when making memes.
» Create memes off of established successes and existing trends.
If you dont want to use any app, go for these easy Websites to create quick memes:
Website 1
Website 2
Website 3
Website 4
We hope this post shall give you some idea about memes and writing memes. If you have the knack of making memes with your original idea, stay tuned for the upcoming Meme Challenge at Writers Club
» Start and Subscribe to our @WritersClubBot to stay tuned with important updates.
~ @WritersCafe
Got a writing query?
You need writing skills for academics and even for your profession. That's why we are here to help you resolve your doubt related to writing. Hit on the button below and send your query/doubt with hashtag #query. If you have a genuine question, we will post it with its answer in @WritersCafe.
Start writing better..
You need writing skills for academics and even for your profession. That's why we are here to help you resolve your doubt related to writing. Hit on the button below and send your query/doubt with hashtag #query. If you have a genuine question, we will post it with its answer in @WritersCafe.
Start writing better..
Telegram's foremost group for people who has some extradordinary interest in literature!
Introducing #iam for @WritersClub to make your time valuable and full of learning. Please Read More
Introducing #iam for @WritersClub to make your time valuable and full of learning. Please Read More
Telegraph
#iam Verification Process
It's been a remarkable journey of learning and growth with @WritersClub while everyone here aspires to continue thriving. This group has been an umbrella to all kind of literature enthusiasts who have a knack of writing and reading. As we prosper, we must…
Mother's Day: A day to rejoice and cherish the motherhood. We must celebrate the bond mothers have towards their children, therefore we call it a surprise challenge for each one of you who love your mom!
It is the day to celebrate their presence and blessings in our lives. Let's write anything like a poetry/prose/short story or whatever you want (within 10 sentences) to express the love for Mom.
Note: The best three entries will be posted in @PensivePost with your names to credit.
“And all my mother came into mine eyes. And gave me up to tears.” - by William Shakespeare, Henry V (1599)
» please send: #entry and then your write-up to the bot using the button below
» Do not forget to mention your personal identifier like (#ws for William Shakespeare if your name is William Shakespeare)
» #mom for the challenge identifier
» This challenge ends in next 8 hours and the results will be posted today itself at the closing of this challenge.
It is the day to celebrate their presence and blessings in our lives. Let's write anything like a poetry/prose/short story or whatever you want (within 10 sentences) to express the love for Mom.
Note: The best three entries will be posted in @PensivePost with your names to credit.
“And all my mother came into mine eyes. And gave me up to tears.” - by William Shakespeare, Henry V (1599)
» please send: #entry and then your write-up to the bot using the button below
» Do not forget to mention your personal identifier like (#ws for William Shakespeare if your name is William Shakespeare)
» #mom for the challenge identifier
» This challenge ends in next 8 hours and the results will be posted today itself at the closing of this challenge.
The one who likes to write, please check the ongoing story/poetry writing activity here: https://t.me/WritersClub/120609
Join to participate!
Join to participate!
Irony: Do not let yourself be governed by it, especially not in uncreative moments. In creative moments try to make use of it as one more means of grasping life. Cleanly used, it too is clean, and one need not be ashamed of it; and if you feel you are getting too familiar with it, if you fear this growing intimacy with it, then turn to great and serious objects, before which it becomes small and helpless. Seek the depth of things: thither irony never descends—and when you come thus close to the edge of greatness, test out at the same time whether this ironic attitude springs from a necessity of your nature. For under the influence of serious things either it will fall from you (if it is something fortuitous), or else it will (if it really innately belongs to you) strengthen into a stern instrument and take its place in the series of tools with which you will have to shape your art.
from Letters to a Young Poet
@WritersCafe #poetry
from Letters to a Young Poet
@WritersCafe #poetry