Write it. Figure it out later. Start the book with a war scene that you say you can't do, because there are no rules, and when you finish the book go back and take a look. Most likely, the question will answer itself (or at least make suggestions) if the story is well constructed.
I'm also sick of super heroes. Have been for years. Over a decade at least, and I didn't like that many to begin with. They simply don't entertain me.
One trouble with CGI is that is reaches a level of "perfection" that becomes imperfect—too clean maybe—and the brain doesn't accept it. Or at...
I'm used to reading present tense—or I was—from screenwriting, so it doesn't phase me. I'll have to post a bit of a chapter sometime and see what people think. On the one hand, I want it to be "jarring" or I wouldn't do it, heh heh, but I don't want it to be SO jarring that people stop reading...
I'm writing part of The War of Seven Lies—certain chapters—hopping from tense to tense and 1st, 2nd, 3rd Limited, and 3rd Omniscient Narrator POVs in irregularly alternating paragraphs, but as you might imagine, there's a particular reasoning behind this.
What's (sort of) surprising is how...
If I find a book that hooks me, I can read it. The trouble is, that doesn't happen much.
I'm also a bit of a mimic; if I'm reading an author, I will start sounding a bit like them. Or at least I was when young. Now? Probably not. My voice is set. But honestly, I never read fiction to learn how...
I have odd sensibilities to prose, but it's rarely the only issue in my inability to read something. The funny part is I read more history and other nonfiction, and for some damn reason, I give those writers a pass. Perhaps it's that I seek learning rather than entertainment, so bad prose with a...
I have zero problems with Tolkien's pacing, and LoTR is one of the only books I'd ever read again that was not written by me, heh heh.
Brooks, on the other hand, is unreadable as an adult. I can't do it. Trying destroyed all my youthful memories of SoS. Now that I think about it, even when...
Here are some (maybe) common sense notions:
If you know the "inciting incident" of the primary plot, start with the character most influenced by that incident.
If two characters are present at the InIn, start with the one most intimately affected by the InIn.
If the story doesn't jump around...