In gearing up for the release of Pure Sacrifice, one frustrating experience was beyond my control. I’ve mentioned before that we should avoid assumptions about our characters, so I waited until I heard a voice that resonated and knew my paranormal character for this book wouldn’t be white skinned. Great! Except…
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We often talk about how reading is subjective. But we don’t usually talk about how writing is subjective as well. The genres I enjoy writing and the stories I like to tell aren’t the same that others enjoy or like to write. That’s a good thing. If everyone wrote the same genre, readers looking for something new and different would be left out.
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After we finish brainstorming and start trying to assemble our ideas into a story, that’s the perfect point in our writing process to avoid major problems by questioning what story issues we might run into before we write too many words.
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Last week, we talked about how we can add diversity to our stories in a respectful way, and no matter what kind of story we write, we’re probably going to need to research something. Whether we’re referring to an aspect of diversity, a setting, or a character’s job, we can’t know everything about everything.
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It’s time for another post as a Resident Writing Coach over at Writers Helping Writers, where we’re exploring our options for no/low conflict stories.
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How can we get to know our characters well enough that they take on a life of their own? Is it a good sign if we hear their voice?
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As authors and audiences have diversified, it might be time to look at the standards for formatting non-English words and explore some of our options.
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When learning something new, we’re often eager to find someone we trust to give us the lowdown. How can we make the most of a mentorship — real or virtual?
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What’s going on with RWA? Here’s why all writers—even those who don’t write romance—should care about a situation that’s far beyond “in-fighting.”
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At our lowest, we might question what makes dealing with all the struggles of writing worth it. How can we measure the value of fiction?
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