While we need to learn grammar rules for our writing, if we follow the rules too strictly, we can strangle our voice,. Today, Julie Glover shares her tips on four steps to break grammar rules in a good way.
A recent article about unlikable heroines pointed out that likability is often more of a problem for female characters than for male characters. While I’ve learned how to minimize those issues with my characters, the problem still rankles me.
We’ve probably all heard (or thought!) that description is boring or the part readers skip. Yet our stories need description or else be confusing. Marcy Kennedy joins us today to share 5 tips to empower and add interest to our description by using contrast.
The Thesaurus books by Angela Ackerman and Becca Puglisi are a must-have for every fiction author, and they now have two new Thesauri books: Urban Setting and Rural Setting. Becca’s here today to talk about how setting is important for more than just describing the time and place of our scene.
The learning curve we face when deciding to become a writer is always longer than we think because we don’t know what all we don’t know. So how can we track our progress? How can we tell whether we’re improving? How can we feel good about our writing?
Ashley asked a question in the comments last week that gets at the heart of strong, proactive characters. Even in literary fiction, characters are usually faced with making choices, and whatever triggers those choices is where we’ll find plot and character agency.
Our characters have to overcome many problems throughout our plot, but changing the obstacles doesn’t always fix story problems. Sure, sometimes an obstacle doesn’t fit the story, but too often, the obstacle itself isn’t broken—but the storytelling around the obstacle.
Whenever we send our work out into the world for feedback, we’re taking a risk. Depending on our levels of self-doubt, the feedback might roll off our back, inspire us to work harder and fix issues, or convince us that we should quit writing. How can we avoid destructive feedback and the temptation to quit?
When we first start off as writers, if someone asks us about our story, we might launch into an overview of our story’s plot. It’s easy to think the plot is what our story is about. But with few exceptions, story isn’t the same as plot.
Sometimes as authors, we struggle to create a well-rounded world or characters that feel so real to readers that they experience a movie in their mind. Stories that feel like we can crawl in and inhabit them are often lauded as special, but why is it so hard to succeed in that goal?