Editor Naomi Hughes is here with the second post in a series to share her writing craft and editing advice. Today, she’s highlighting the most common issues she sees at the scene level of editing—and giving tips on how to fix those issues!
A story’s stakes are one element that keeps readers turning pages because they want to see if our characters succeed. At first glance, we might think bigger stakes are better for sucking in readers, but not every story lends themselves to huge stakes. Are “quieter” stories doomed to fail the “page-turner” test?
Today, Janice Hardy shares her revision advice on how to include the right amount of backstory. Too much slows the pace, and too little can leave readers confused. Her tips help us avoid the issue of slow pacing, learn how to hide backstory, and identify when we need more.
Story beginnings are difficult to get right. We have to introduce the characters, the story, the setting, the protagonist’s longing, and show an immediate obstacle that creates a near-term goal. At the same time, we have to avoid confusing readers, and for that, we need context.
As authors, we need to be careful when dealing with shocking, horrifying, or potentially problematic story elements. Let’s explore the steps we can go through to figure out the right approach for our genre, story, and characters.
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.
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.
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.
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.