

Rolly-chan wrote:Passive voice is perfectly fine where it fits, but if you want to really draw your readers into the story and engage their senses, you'll use active voice. Passive voice is just that - passive; and it creates distance. While active voice is more "energetic" and engaging, it draws readers in, reduces distance. So if you're writing a suspenseful scene, I'd recommend active, not passive. I'd actually recommend active before passive in general (it's simply more interesting), though a few instances of passive sprinkled here and there would be fine. Especially nowadays, it's better to start with active, engaging language, since we're living in a quick world and people likely won't linger and keep reading if you don't hook them right from the start. This has a lot to do with "show, don't tell". Passive voice is telling. Active voice is showing.
Also keep in mind that English teachers teach academic writing, usually, and often use the same rules for fictional writing. And in academic writing, I assure you, I hate passive voice with all the passion too, because it makes studies and other academic texts so incredibly tedious and boring. Passive voice in academic texts is the worst.
I do make that differentiation, though. The "rules" for fictional writing are completely different from those for academic writing. But if you want to use language effectively and consciously, you will need to know the rules first. Otherwise you won't be able to break them for effect when you want to. And I, for one, don't want to depend on luck or coincidence.
I don't really like Tolkien's style, btw (it's so exhausting at times), but Tolkien is really a MASTER of language in general and of grammar. It's fascinating, at least for some linguistics enthusiasts (which I consider myself to be).













Sleipnir wrote:On a completely unrelated note, plot ideas:
A small island in a lake, in a magical world. On this island lives a community of fauns - NOT satyrs, and they could greatly dislike being called thus - lives in peace. The thing about fauns is that the does have innate magical abilities, each it's own sort - one such faun, a relatively (but not so happily) androgynous looking doe named Harlow. She practices herbs and healing magic, but when the plants begin dying and animals grow sick, a small group of men visit the island and warn the fauns of a dragon who's breath is what harms them and ask if any might join them in a quest to kill it.
Fauns are not naturally aggressive creatures though and when left to their own devices, generally seek out peace. Harlow, knowing that fact, knows that none will step forward to help though these men require a faun to lead them in the forests. She disguises herself as a buck and joins them in an attempt to spare the others the task.
Along the way she should face trial after trial encouraging her to abandon her nature in faun hood, being told time and again it will only cause her suffering, until she begins to act more like a human than a faun, and hate every second. In the end, though, the nature of man won't help them against a dragon.
Thoughts?

undecidedTechnopath wrote:Dear Lynette,
I cherish Japan, where we first met. The moment I clapped eyes on you, I knew you were going to be a crumpled Welshman. Recently, I have began to regard you as much more than a crumpled Welshman.
My feelings for you intensified when I saw you munching in the moonlight. I was further wowed by your tremendous spinning skills.
You have toes like broken peas and the most fake elbow I've ever seen. When I look at you, I just want to eat those broken pea toes and shoot that fake elbow.
You're so special with your false ways. The way you handle your polka-dot half-brother shows great humility and kindness.
I know that to you I'm just a smooth Irishman but I think we could be happy together, sailing like two sharp kittens.
Please, say you'll be mine Lynette!
All my love
Doodle Boop
...I love this thing.



Users browsing this forum: No registered users and 0 guests