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.
A guide to writing more active, more immediate, more powerful sentences that will grab your reader’s attention and make them remember what you’ve written.
Once you've got a story written, how do you send it out into the world?
Incorporating tone/mood into your settings for realistic descriptions that keep your reader hooked.
Many writers eschew compelling characters in favor of mannequin tropes that serve as props for preexisting social messages, or characters a reader can “relate to.” Here’s why it’s always bad writing.
A Discussion of Non-linear Narrative Structure
Embarking on the quest to find your very own literary voice
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.
How to Generate plot ideas for your NaNoWriMo novel.
A list of the different modes of point of view, with a breakdown of the advantages and disadvantages of each.
Stories start from a default position of cliché: readers go into stories with expectations, and if too many are fulfilled the spell is broken. So, how do writers engage when the odds are against them?
This Is Not Oklahoma: OK vs. Okay. In the Age of the Laze Abbreviation, can we all just agree that it looks stupid?