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?Pin It
To get from our opening pages to the rest of our story, can an Inciting Incident story beat help us? How is that beat different from the First Plot Point?Pin It
Of the many confusing words in the writing world, the worst might be the terms “scenes and sequels.” What’s the purpose of sequels and how do we write them?Pin It
The most important question we can ask to get in touch with every aspect of our story is “why”—even helping us escape generic or cliché storytelling.Pin It
Let’s talk unreliable narrators: What can they do for our story, how can we create them, and what are the pros and cons of using them?Pin It
Why is it important for characters to be active or proactive rather than reactive or passive? How can we fix a passive protagonist?Pin It
Our story’s opening is important for gaining readers, but our story’s ending is what sells readers on our next book. What makes a story resolution great?Pin It
We often learn how to develop our story’s plot separate from character arcs, but our story’s threads work in tandem. Here’s a way to ensure they intertwine.Pin It
If you’ve ever thought about writing a series but weren’t sure how to “evolve” the series from book to book, Kassandra Lamb is here to share her insights.Pin It
To discover the best drafting process for us, we might need to experiment.
Today, Marty C. Lee shares how she develops story beats into a chapter-by-chapter outline.