The Benefits of Free Indirect Discourse
Writers who find themselves wrestling with point-of-view problems may want to consider a technique that combines the best of two narrative modes.
Storyville: Endings, Twisted and Otherwise
A beginning, a middle, and an end. Let's talk about the end. Make it resonate.
Overcoming “Voice Anxiety”
In:
Voice
Writers stress themselves out over the idea of devising a unique, compelling voice in their writing. Here's why a lot of that anxiety is underserved.
Transition As Metaphor
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.
Some Practical Writing Advice From Douglas Coupland
The Bestselling author of "Generation X" and "Girlfriend In A Coma" gives some simple advice picked up during his 25 years as a writer.
Look Like A Genius Without Actually Being One: Eight Formatting Tips And Tricks
By Dave Reuss
In:
Grammar
Give your baby the best possible chance out there in the world of publishing: here's an inside look at formatting issues that drive editors crazy.
Storyville: Promotion
In:
Research
In this column, we talk about some of the ways you can promote your writing, for little or no money.
Two More Comma Rules You Oughta Know!
In:
Grammar
Two more comma rules that every writer should learn.
Acting on the Fictional Stage: The Dramatic Method in Fiction
Harness The Dramatic Method For Character Action
Narrative and the Moving Image: What Film Can Teach Us About Fiction Writing
In:
Literary Devices
Fiction writers can learn a great deal about craft by examining some of the common storytelling techniques used in modern film.
Writing In Parallel
In:
Phrases
One of the biggest mistakes committed by both beginning and experienced writers is a failure to craft sentences that transmit information clearly, evenly, and with an emphasis on what’s important.
An Unreliably Narrated Essay
By Joshua Mohr
In the reviews of my first two novels, the issue of the unreliable narrator has been mentioned often. Whether this is meant as criticism, compliment, or some tangle of the two, the following problem remains whenever this point is raised: I don’t believe in the unreliable narrator.
Is This Your Card? How Michael Chabon Uses Suspense in Literary Fiction
A study of how Michael Chabon uses Suspense in literary fiction to keep the reader reading and to move the story forward.
Book Readings: Bar vs. Bookstore
In:
Live Reading
Two readings: one book store, one bar. Which was better? Well, it depends on if you prefer alcohol or silence more.
The Escaping Character
In:
Character
A unique, compelling character must always possess the ability to confront — and ultimately confuse — readers’ expectations at every turn.
Storyville: Writing Horror Stories
What does it take to write a terrifying story? Every tool in your writer's toolbelt.
Ten Authors Who Write Great Dialogue
In:
Dialogue
A list of some of the best conversation-creating writers out there.
Writing with Authority: A Primer
In:
Narrator
A few simple tips to bolster narrative authority in your writing.
Keeping it Real: A Rough Guide to Using Real People As Fictional Characters
By Cath Murphy
In:
Character
Ebeneezer Scrooge, Tintin and Alice in Wonderland are all said to be based on real people. Is using your boss or neighbor as a ready made character a stroke of genius, or a fast route to a lawsuit?
The Third Character: A (Very) Rough Guide to Settings
By Cath Murphy
In:
Character
Choosing the right setting for your fiction can be as tricky as giving a turtle a haircut. Here's my Rough Guide to what I think of as the 'third character'.
The Heavy Hand of Didacticism
In:
Literary Devices
Why overwriting and needless instruction have a habit of killing a story every time.
Figurative Language, and Stuff Like That
Add depth to your writing with a Figurative Language Well.
Splat Goes the Hero: Visceral Horror
By Jack Ketchum
Jack Ketchum on violence, pain, and the importance of not looking away.
The Spiraling Narrative
In:
Theme
Plots shouldn't unfold with cause-and-effect insomuch as careful repetitions of symbolism and theme. Here's one way you can do this without forcing the story to wear symbolism on it sleeve.
The First Draft
By Max Barry
In:
Rewriting
Max Barry shares his love/hate relationship with re-writing, and the importance of getting feedback on your initial drafts.
