Aspie authors writing social interaction

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Jack94
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06 Sep 2017, 9:29 pm

I've written quite a lot of poems and lyrics/songs about social interactions and observations
(also some weird ass music)

https://telyscopes.bandcamp.com



EscapingTheCrowd
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13 Oct 2017, 11:57 pm

Well, I tried to solve the problem by writing a sci-fi where my characters are part robot! I hoped that could excuse any of the awkwardness in social interaction. I was also thinking that in the future people could have different social norms and ways of acting, so it's a sort of create your own phenomenon!



Kraichgauer
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14 Oct 2017, 1:36 am

EscapingTheCrowd wrote:
Well, I tried to solve the problem by writing a sci-fi where my characters are part robot! I hoped that could excuse any of the awkwardness in social interaction. I was also thinking that in the future people could have different social norms and ways of acting, so it's a sort of create your own phenomenon!


Sounds like a great idea!


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EscapingTheCrowd
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25 Oct 2017, 3:19 am

Kraichgauer wrote:
EscapingTheCrowd wrote:
Well, I tried to solve the problem by writing a sci-fi where my characters are part robot! I hoped that could excuse any of the awkwardness in social interaction. I was also thinking that in the future people could have different social norms and ways of acting, so it's a sort of create your own phenomenon!


Sounds like a great idea!


Thanks!



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18 Dec 2017, 12:48 am

EscapingTheCrowd wrote:
Kraichgauer wrote:
EscapingTheCrowd wrote:
Well, I tried to solve the problem by writing a sci-fi where my characters are part robot! I hoped that could excuse any of the awkwardness in social interaction. I was also thinking that in the future people could have different social norms and ways of acting, so it's a sort of create your own phenomenon!


Sounds like a great idea!


Thanks!


You're more than welcome.
I'm sure you know this already, but a part organic, part robot individual is called a cyborg.


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AnonymousAnonymous
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18 Dec 2017, 9:26 pm

Title: Pieces of Truth

Genre: Thriller

Logline: Alice and Brian were childhood lovers who drift apart after witnessing the murder of two friends. Ten years later, they unexpectedly reunite in college only to have their new romance interrupted when they begin receiving messages from two people claiming to be their murdered childhood friends.


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akrumm
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19 Dec 2017, 3:39 pm

This is a fascinating topic.

My sister is diagnosed with Asperger’s and is currently working on a novel. Each month she sends me a new chapter and I am continually struck by the subtle social details included in her dialogue and about her characters. I suspect any reader would be very surprised to hear she’s on the spectrum (and thus, “bad” at understanding social interaction).

I also happen to be a clinical psychology PhD student with an interest in the inner world (and subsequently, treatment and well-being) of individuals with Asperger’s or high-functioning ASD.

I would love to conduct a qualitative research study looking at social and mentalizing abilities within creative works by Aspies. I wonder if any of you would ever be interested in sharing your creative works for such a project.

I hate that this sounds solicitous...I hope for it to be a collaborative interest.



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24 Dec 2017, 9:28 am

Hello fellow writers. :D

I'm a writer. Murder mystery set in England 1920 told in the first person. I finished my novel, the first in a series, two years ago, no bites from the agents, so I sent it for a professional review (writer's Workshop). It said it wasn't bad for a first draft :( followed by 22 pages of what was wrong with my novel :cry:

Eventually I picked myself up of the floor and went through all of the comments one by one. Some I thought were wrong, but most I addressed (though not in the ways suggested). Then I had to work out how to make those changes ie not enough sub-plot.

I worked it out over a couple of months then got on with the rewriting stage :) and then got my diagnosis and found out I don't register eg body language. Went home looked over novel and 8O NO NON-VERBAL COMMUNICATION. :cry:

In my review it had said I told when I should have shown but didn't give examples so I did not realise this was what she was getting at. So now I am rewriting with this in mind with the help of an 'emotion thesaurus' writer's guide to character expression. This is really helpful :D Thanks for reading.



Veggie Farmer
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15 Jan 2018, 12:42 am

After reading through prior comments, I think maybe some of my learning experiences can be helpful for fellow writers. I’m going to display my Aspie tendency towards painful truthiness, so either skip me or gird your loins! I really wish I would have listened to the brutally honest people from the start and avoided some of the painful bits I encountered. I claim wisdom from earning respectable royalty checks from the Zon as a ‘bestselling author’. That sure as heck doesn’t mean I’m a better writer than anyone of you! Again, I’m Aspie, I never intend to be rude, and apologize if I come across badly. I want all of you to be happily selling right along with me.

Hint 1: Master all of the skills: characters, plot, pacing, descriptions, dialog, etc. The best place to practice these, believe it or not, is fan fiction. Its easier to practice with characters whose quirks are already familiar to you, and you’ll have an easily accessible audience. Write in a fandom with mostly adult readers. Try adding in your own character (no Mary Sues!) Try releasing a multi-chapter fic with a complicated plot a chapter at a time, and see if you can pick up a following.

Hint 2: This is the hard one. Don’t rely on people who know you for feedback. They pull their punches because they don’t want to hurt your feelings, so you don’t get the honest feedback you need. (Amazon gets complaints daily from authors with zero sales who claim ‘my three uncles said they bought copies and read it and loved it’.) Strangers on the internet don’t care about your feelings, so study the feedback on your fics. When you are regularly getting positive comments from strangers with requests for more works, then you’re ready to start tackling a novel.

Hint 3: if you can’t take criticism, run. Seriously. The more attention you earn, the more you’ll be attacked. You have to be able to smile through an editor or reader trouncing all your favorite scenes, or even better, see their complaints as intriguing new challenges to overcome. Don’t argue, don’t explain, just listen and learn. Learn to analyze your own writing objectively, and know what to cut and what to keep long before you send it to the editor.

Hint 4: There’s a special place for the dude who invented that one-month book-writing thing, and that place ain’t the Zon. Write a first draft, then hide it away somewhere for two months while you work on other projects. You’ll gain a fresh perspective and spot more of the changes it will need. Keep repeating this process until you think you’re ready to publish. Then get a real, professional editor. You have to make your manuscript perfect if you want to be competitive.

Hint 5: If you’re aiming for the Zon, sign up on their author site and read everything there before publishing. Follow their advice to the letter! These people know what they’re doing and they honestly want to help you!!

Hint 6: Read your first 30 reviews and look for common feedback. Even the trolls are right sometimes. Then stop reading reviews until your next release.

Hint 7: Don’t try to evaluate how your career is going until your tenth book. At that point the trends will become pretty clear.

Hint 8: Treat writing like a real, professional job. Write daily no matter what, always strive for improvement, buy quality covers and use an editor. It certainly won’t always be fun. You’ll know you’re meant to be a writer if you can keep going even when it feels sucky and unrewarding and boring.

Hint 9: Be realistic about the financial rewards. An author at the top 2% author rank earns on average $10 to $14 dollars a day. The bottom 50% or so sell a book a year. Have a secondary career doing something else you love.

If this is what you want, don’t give up. Any mistakes you make can be fixed and new chances earned if you persevere.


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Veggie Farmer
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15 Jan 2018, 1:41 am

heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


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Kraichgauer
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15 Jan 2018, 1:55 am

Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.


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Veggie Farmer
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15 Jan 2018, 2:53 am

Kraichgauer wrote:
Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.



I believe your point is true for more than just conversation, you never want to include any superfluous actions/words that bog down the story. No one should describe the main character taking a potty break! My interest is how to give enough detail for a viewer to understand the characters inner thoughts without relying solely on dialogue (show, don’t tell) Incorporating small movements can give a reader useful additonal hints to the character’s emotions: the way he tilts his head, if she drops eye contact, or crosses her arms when he approaches...


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Kraichgauer
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15 Jan 2018, 3:31 am

Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.



I believe your point is true for more than just conversation, you never want to include any superfluous actions/words that bog down the story. No one should describe the main character taking a potty break! My interest is how to give enough detail for a viewer to understand the characters inner thoughts without relying solely on dialogue (show, don’t tell) Incorporating small movements can give a reader useful additonal hints to the character’s emotions: the way he tilts his head, if she drops eye contact, or crosses her arms when he approaches...


Absolutely.


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Veggie Farmer
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15 Jan 2018, 3:41 am

Kraichgauer wrote:
Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.



I believe your point is true for more than just conversation, you never want to include any superfluous actions/words that bog down the story. No one should describe the main character taking a potty break! My interest is how to give enough detail for a viewer to understand the characters inner thoughts without relying solely on dialogue (show, don’t tell) Incorporating small movements can give a reader useful additonal hints to the character’s emotions: the way he tilts his head, if she drops eye contact, or crosses her arms when he approaches...


Absolutely.


The non-verbal stuff is such a NT thing to do, but I struggle with it. I have about a dozen go-to moves I’ve been using, but I’m afraid I’m getting repetitive. I worry my readers might be tempted to start a drinking game and do shots whenever a character shrugs.


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fluffysaurus
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15 Jan 2018, 8:11 am

Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.



I believe your point is true for more than just conversation, you never want to include any superfluous actions/words that bog down the story. No one should describe the main character taking a potty break! My interest is how to give enough detail for a viewer to understand the characters inner thoughts without relying solely on dialogue (show, don’t tell) Incorporating small movements can give a reader useful additonal hints to the character’s emotions: the way he tilts his head, if she drops eye contact, or crosses her arms when he approaches...


Absolutely.


The non-verbal stuff is such a NT thing to do, but I struggle with it. I have about a dozen go-to moves I’ve been using, but I’m afraid I’m getting repetitive. I worry my readers might be tempted to start a drinking game and do shots whenever a character shrugs.


I am using 'The Emotion Thesaurus: A Writer's Guide To Character Expressions' by Angela Ackerman & Becca Puglisi.
I find it really helpful particularly as an Aspie. It's not written for Aspies but it's well laid out. It starts with a list of emotions eg DENIAL page 42.
At page 42 is

DENIAL.
PHYSICAL SIGNS OF DENIAL (there are 28); Backing away, going quiet and unresponsive.
INTERNAL SENSATIONS (10); a lack of energy, limbs that feel heavy.
MENTAL RESPONSES (4); shame
CUES OF ACUTE OR LONG-TERM DEFEAT (5); self-loathing.
CUES OF SUPPRESSED DEFEAT (11); Shaking the head.

I find that it's good to start me off so I often don't actually use the example as given but vary it to it makes it much easier to distinguish between similar emotional reactions eg dread/doubt or excitement/happiness.

I just realised this sounds like an advert. I really don't know either author, they're on the other side of the pond, but while I think this would be useful for someone who's Autistic or a writer, I think it's priceless for those of us who are both.



Veggie Farmer
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15 Jan 2018, 9:23 am

fluffysaurus wrote:
Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
Kraichgauer wrote:
Veggie Farmer wrote:
heh, heh... now I’ll add something actually on topic! Observing social interaction is very different than experiencing it. We’re probably in better shape than most NT extroverts on this matter, because we’ve spent more time on the outside watching other humans interact, when they only have their limited view from the inside. I think of Jane Austen, who was brilliant at detailing human foibles but spent very little time with strangers.

Lately I’ve been studying how to better convey character’s emotions through their physical actions within conversations. I’ve been trying to closely observe actors on TV and movies to see what moves they incorporate and, of course, what real people do during my infrequent ventures into the public sphere.


With human interaction in fiction - in particular dialogue - the whole point is to convey information in order to kepp the story flowing, rather than to explicitly imitate true life. Especially as most human interaction consists of the likes of:
"How are you doing?"
"Okay. Nice weather."
Human interaction in fiction is always more interesting than in real life.



I believe your point is true for more than just conversation, you never want to include any superfluous actions/words that bog down the story. No one should describe the main character taking a potty break! My interest is how to give enough detail for a viewer to understand the characters inner thoughts without relying solely on dialogue (show, don’t tell) Incorporating small movements can give a reader useful additonal hints to the character’s emotions: the way he tilts his head, if she drops eye contact, or crosses her arms when he approaches...


Absolutely.


The non-verbal stuff is such a NT thing to do, but I struggle with it. I have about a dozen go-to moves I’ve been using, but I’m afraid I’m getting repetitive. I worry my readers might be tempted to start a drinking game and do shots whenever a character shrugs.


I am using 'The Emotion Thesaurus: A Writer's Guide To Character Expressions' by Angela Ackerman & Becca Puglisi.
I find it really helpful particularly as an Aspie. It's not written for Aspies but it's well laid out. It starts with a list of emotions eg DENIAL page 42.
At page 42 is

DENIAL.
PHYSICAL SIGNS OF DENIAL (there are 28); Backing away, going quiet and unresponsive.
INTERNAL SENSATIONS (10); a lack of energy, limbs that feel heavy.
MENTAL RESPONSES (4); shame
CUES OF ACUTE OR LONG-TERM DEFEAT (5); self-loathing.
CUES OF SUPPRESSED DEFEAT (11); Shaking the head.

I find that it's good to start me off so I often don't actually use the example as given but vary it to it makes it much easier to distinguish between similar emotional reactions eg dread/doubt or excitement/happiness.

I just realised this sounds like an advert. I really don't know either author, they're on the other side of the pond, but while I think this would be useful for someone who's Autistic or a writer, I think it's priceless for those of us who are both.


Thank you so much for the suggestion! Wow, I can’t believe something so unusual and useful exists!


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