Where Normal Need Not Apply
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.
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Should we refer to the real world in our fictional story? Let’s take a look at the pros and cons and why we might want to include those references, as well as why we might not.
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Newsletters are an important tool for holding onto our readers from book to book, but how do we want to grow our list? Do we want to go for quantity or quality? Let’s explore the pros and cons of those two philosophies.
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What makes a story *not* frivolous? If it’s gritty and dark? Has emotional depth? Or does it need to be “serious literature”? Can a story be light and yet weighty at the same time? Today, Kassandra Lamb shares her insights on how we can add meaning to our stories.
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While I’m still slowly recovering from my latest surgery, Jenny Hansen is here to fill in for me. Most of us suffer from self-doubt, and today Jenny’s sharing her insights about hanging on to our writing dream through all the doubts and fears.
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The stereotype of a writer pounding away in isolation ignores how the online writing community gives us more options. We can work in secrecy or involve others by sharing our work in progress. There’s no right or wrong answer, but we should figure out which approach works better for us.
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There are almost an infinite number of ways we can develop our story. As long as we end up with a finished book, our process works. And just like the variety found in the overall writing processes we might use, we have many options for how to come up with our protagonist’s arc as well.
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Over the years, a sharp division has split the writing community into two camps: traditional publishing and self-publishing. However, the current us-vs.-them attitude doesn’t seem nearly as bad as it used to be. When writers research their options for which path they should take, what advice do they encounter now?
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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.
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Today, Janice Hardy shares her tip for getting unstuck with our plot. Whether we’re plotters or pantsers, working backward from the end can help us figure out our story’s plot. Sometimes we need to shake up how we do things to get the creative juices flowing again, and working backward can be the key we need.
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