By Rob Hart
Expressive dialogue tags are the mark of lazy writing, because they break one of the cardinal rules--they tell instead of show. This is why 'said' and 'asked' are all you ever need.
A true rewrite is not just editing, proofing or copy-editing, but a complete re-imagining of the work. Here’s a four-part process to fortify writers with a successful re-writing plan that works.
Maintaining action is paramount in fiction, but sooner or later we’ll need to deliver expository details for our stories to make sense. So, how do writers engage while providing character depth?
In: Craft, Jennifer Egan, Literary Devices, Little Red Riding Hood, Memento, NaNoWriMo, Narrator, Non-linear, Structure
A Discussion of Non-linear Narrative Structure
The ending is the most important part, and as a writer you should want to write a spectacular ending because, hey, you did a heck-of-a-lot of work on the beginning and middle parts.
Take a look at your work. Are you writing a classic rebel-follower-witness story? If not, what kind of myth are you creating? This essay takes up the mythic patterns prominent in our culture and provides great examples.
Several methods exist in fiction for showing the passage of time--from subtle to not-so-subtle. Here, Chuck glosses various approaches while highlighting his preferred method.
In this essay, Chuck explores authority, specificity, pacing, and brevity as points of power in two classic shorts--one from E.B. White and one from Shirley Jackson. You'll be challenged to carry these principles into your own experiments.
In Act Three, Chuck demonstrates the importance of keeping established elements present to the story as it moves forward. He also brings in the "Buried Gun" and reveals strategies for building tension and maintaining character arc.