Sometimes the most compelling elements of a story are the ideas and themes that are hinted at but aren't placed directly on the page.
The internet is a great resource--but it's not the best one. To really understand how the world works, you have to get out there and experience it for yourself. That's what produces good writing.
Where do you get your ideas? Turns out, you can get them just about anywhere. But the best stories tap into your personal experiences and emotional truths.
An understanding of how the human mind operates proves that a temporary lack of creative ideas is not the result of “writer's block,” but the result of something else entirely.
A continuation of last month's discussion of short sentence lengths. This month we'll explore the merits of the very long sentences.
A list of some of the most common grammatical errors that routinely make it into print.
You are a writer— an artiste! A creator of beauty and meaning. A cultural commentator. A revolutionary!
It's about damn time you wrote your manifesto!
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.”
It may not seem like much, but that diminutive punctuation symbol at the end of your sentence has a lot of power. This article will focus on how to use the period to create different effects.
An in-depth analysis of Duotrope.com, one of the best websites for submitting and tracking your writing.
Words are flexible and a writer can have a lot of fun using these devices.
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.
Writing authentic, compelling and engaging dialogue is one of the most vital yet misunderstood challenges of the writing process.
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?
Many authors will tell you that reading and writing is the key to improving your work and getting published. In this column we examine the merits of three mediums OTHER than books.
Why is live reading important and how do you do it? LitReactor tackles the subject.
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.
When narrators escape--a discussion of metafiction.
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.
Take a break from all that serious writing to play with a couple short forms--one old, one new.
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.
The journey of a single short story can be a difficult one. Track "Rudy" on his epic voyage.
Can your narrator be trusted?? Reliable narrators are the norm, but unreliable narrators are great to read and fun to write.
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?
Flexing your vocabulary muscle makes your writing better, stronger, and able to leap tall buildings in a single bound.