We can learn some valuable lessons about plotting, characters, and expectations from watching (or reading) 'Game of Thrones.'
In: Character, Craft, Dialogue, Jeff VanderMeer, Plot, Stephen King, Storyville, Structure, Theme, Voice
Three essential books on writing by Stephen King, Donald Maas and Jeff VanderMeer.
In: Character, Joyce Carol Oates, Literary Devices, Plot, POV, Research, Setting, Short Stories, Storyville, Structure
One of the most talked about, published and taught stories, I dissect "Where Are You Going, Where Have You Been?" by Joyce Carol Oates.
Here are 15 unconventional methods of telling a story. Why not stretch yourself?
Is your dramatic structure intact? Study Freytag's Triangle to see if it is.
By Erik Wecks
Young writers shouldn't be afraid to challenge the conventions of storytelling if they have a plot-driven reason for doing so.
Ten tips to avoid clichés and stereotypes in your fiction.
By Dana Fredsti
Author Dana Fredsti talks about the trials and tribulations of writing the sequel to her hit book, 'Plague Town,' and all the anxiety and lessons that came with it.
In: Analysis, Character, Dissection, Plot, POV, Research, Setting, Short Stories, Storyville, Structure
Dissecting my story, "Fireflies," I shine a light on my first attempt at magical realism — craft, process, and structure.
By Robbie Blair
Flash fiction can help writers answer vital questions: How can you identify which words to cut? How can you use subtlety to increase the power of your prose? And what's at the heart of a story?
By Rob Hart
The proofreading phase is when a book gets pretty--but the content edit is when you really bring the story home. Here's how to do it right.
In: Character, Craft, Dialogue, Literary Devices, Narrative Hooks, Plot, POV, Setting, Storyville, Structure
Writing a great narrative hook isn't easy, but it's one way to grab your audience and never let them go.
In: editing, fiction writing, Grammar, Plot, Revision, Rewriting, Storyville, Structure, Vocabulary, Workshop
It's been said that the difference between a good writer and a great writer is editing. So let's hop to it.
A beginning, a middle, and an end. Let's talk about the end. Make it resonate.
Incorporate these principles to not only transition smoothly from scene to scene, but to add a new layer of metaphor for the manipulation of meaning and theme.
A study of how Michael Chabon uses Suspense in literary fiction to keep the reader reading and to move the story forward.
What does it take to write a terrifying story? Every tool in your writer's toolbelt.
Know your weaknesses as a writer, and then cull them, fix them.
Just because it's popular for writers to create stories with non-linear narratives, it doesn't mean it's always a good idea. More often than not, in fact, it's a recipe for disaster.
Ten obvious truths about fiction and its relationship with your readers.
Of all the rules that apply to fiction writing, perhaps none is more misleading than the common, banal adage that you should “write what you know.”
By Rob Hart
Many of us were taught we should insert two spaces after a sentence, but it's the appendix of typography; it serves no purpose and we'd be better off without it. Here's how to break the habit.
Does a character have to “change” during the course of a story? Do they have to evolve? Or can they continue behaving the same as always, even at the end of the narrative?
Writers are often faced with the predicament of writing themselves into a plot corner. We know where our stories are supposed to go, but the plot becomes an impasse to resolution instead of a gateway.