Where Normal Need Not Apply
Many articles and infographics have tried to answer the question of what makes readers stop reading. They usually include a list of offenses like typos, too boring, confusing, etc. And those are all true. But a recent post took a more analytical approach to measuring problem areas. Jefferson Smith started […]
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Recently, an interesting article discussed research on the brains of writers. One important finding seemed to match research in other areas, namely that experienced people think differently from those just learning the ropes. Being an expert isn’t just about knowing more.
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When we first start seeking or giving beta reads, we might not know what kind of feedback is possible or appropriate. To help us, here’s a listing of ideas of the many aspects beta readers can use for evaluating a story.
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USA Today bestselling author Mary Buckham is back with Part Two of her guest post on writing active settings that keep our story flowing and connect readers to our characters. Today, she’s sharing the second biggest hurdle to writing great descriptions.
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The trick to sharing setting information (which our readers do need) without dragging down the pace is to write active descriptions. Active descriptions let the reader imagine the setting in their mind, keep them anchored in the story, and slip in information so seamlessly that they never realize they’re reading descriptions.
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As I mentioned with the worksheet I shared last week, it’s often easier to work backward when we’re framing our story. At the very least, knowing the ending often makes it easier to see our character’s arc.
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I can’t make everyone a winner in my Blogiversary contest, but I can give everyone a gift by releasing a new worksheet. Yay! A couple of my readers asked me to take a look a John Truby’s work and see if I could come up with a worksheet based on his teachings.
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A “numb” reaction isn’t unusual for dark or deep emotions. In fact, it’s probably fairly normal. But it makes writing the scene more difficult. How do we show numb and deep emotions at the same time? How can readers connect to an emotionless character?
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At their essence, most sports have a lot in common with storytelling. There are “good guys” (the home team) and “bad guys” (the visiting team), and they battle for who comes out on top. The audience becomes emotionally involved and roots for those they identify with to succeed, and we […]
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When starting a revision, we often struggle to see the underlying issue to know how to fix it. Do we need to change the plot? The characters? Both?
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