In the quest to come up with unique stories, we’ve probably all explored different situations, characters, and premises. Another way to add more layers of uniqueness to our stories is by exploring different cultures.
If you’re anything like me, and your English or grammar instruction was less than ideal, you might not be familiar with the term rhetorical devices. But once I did learn about them, I quickly became aware of how using rhetorical devices can strengthen our writing—even if we’re writing genre stories.
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.
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.
As writers, we do everything we can to make readers invested in our characters in some way. An invested reader is a happy reader, right?
Well, maybe not. Let’s take a look at the other side of character development.
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.
Aphantasia is the term for when someone can’t imagine something in their mind–“mind blindness” or not having a “mind’s eye.” As writers, this perspective not only gives us all sorts of story and character ideas, but it can also raise many questions about the concept of imagination itself.
I’ve written many times about how much I love subtext, the stuff that happens between the lines. Subtext lurks in many aspects of our stories and helps immerse readers and add realism and tension. In addition, subtext can help us build layered characters.
To create a great emotional story, we need to know not only the vocabulary of describing emotions, but also how we can evoke emotions in our readers. Marcy Kennedy’s here to show us how deep point of view can help us evoke those emotions we want within our readers.
From school, we’re probably all familiar with using topic sentences to break ideas into paragraphs in non-fiction, but the rules are different for fiction. Choosing where to put paragraph breaks is one of the most voice-dependent decisions we can make as writers.