Plotters might find any kind of pantsing hard to understand, but even pantsers can struggle with pantsing our characters’ development, as that process comes with a different set of problems from developing our plots.
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The processes and techniques that worked on our last story might not work on our next one. So the more tools at our fingertips, the better our chances of finding something that will work.
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Have you struggled with writing a synopsis, query, or Amazon book description? Romy Sommer shares her 10 step process for finding the core of our story and writing synopses.
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When faced with the many decisions of writing our story, the best choice is whatever tells the story we want to tell, but what does that mean? Let’s take a look at what storytelling really is and how we can improve our skills.
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Given reviews about too-abrupt endings, readers might want a sense of closure beyond what authors deliver. Should we use epilogues—or epilogue-like endings—to breach the gap?
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We often talk about the pros and cons of prologues, but epilogues can be good or bad as well. Let’s look at how epilogues differ from normal endings, what they can do, and what they shouldn’t do.
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Unless we’re only ever going to write just one book, we need to improve our ability to develop an idea into a story. That means we need to learn how to brainstorm in a productive way.
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To make NaNo work for us, we need to figure out our goals for the experience—and there’s no wrong answer. However, if our goal is to create a coherent story, we should try to understand story structure.
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A truly broken story is one where the pieces of the story don’t come together in a coherent whole. But if we’re willing to put in the work, virtually any story can be saved. Then question then is: What steps should we take to fix a broken story?
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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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