There’s never going to be a ‘one size fits all’ guideline for any aspect of writing. Every story is different, so some advice doesn’t apply to us. What’s right for one genre might not be right for another genre. Ditto for the point of view of the story. Or the characters. Or the plot.
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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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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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I’m a big fan of Michael Hauge’s approach to characters. His insights helped me figure out how to match a character’s internal journey to the external plot. This is often tricky, though, so let’s go deeper into how characters change.
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Today’s “Ask Jami” came from a comment on my Romance Beat Sheet post. Nick wanted to know how a story’s structure would change if the romance is forbidden. Ooo…
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If we write our story well, every aspect of the story will contribute to the overall picture and create an impression for the reader. There aren’t any unimportant details in a well-written story. And that means the careers for our characters shouldn’t be an afterthought either.
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We have a hard time defining literary fiction. Society gives us assumptions on the relative value of genre vs. literary fiction, but those assumptions miss the point. Assigning value judgments to the labels “literary” and “genre” doesn’t make sense because preferences are subjective opinions and there’s no “better” or “worse.”
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Reading is subjective. The stories some of us hate, others love. Personally, I have no interest in non-genre stories. This is not a sign of my inability to think deeply, but rather a personal preference. Mary Buckham’s ideas about the differences between literary and commercial fiction made me wonder about this preference.
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