I’ve read a fair few books on writing. Some books are really interesting theory; some books are really useful instruction on how writing mechanics work. Some are utter balderdash. This book takes another tack. While it has some really good
Authors have Opinions on symbolism. Some of us hate it, call it useless frippery. Some of us love it, call it the lifeblood of the story, the path to true depth. Some of us think its nice but can’t figure
Tension has a mortal enemy: the answer. Tension abhors the answer. Unfortunately for us, readers sometimes learn the answer too early. There are all sorts of ways to learn. Genre savvy, for instance, could inform them that the story almost
Tension is an essential element of most stories. Tension is an unanswered question, and the reader wants the answer to that question, wants to see not only the answer but how the answer comes about. The story, “Lily went to
Description is a fundamental part of the art of writing. Characters, items, landscapes, sounds, smells, emotions, actions, they all need to be described for the reader to apprehend their existence. Each one has its own set of possible characteristics. Each
The Holy Grail of characters, according to the internet, is the ‘rounded character’. We, as authors, must strive for a thoroughly realistic person, somebody complex and flawed and capable of surprising the reader at every turn. Sometimes, the demand is
Classifying stuff is a classic pass-time for scientists, critics, and the parents of young children who want to decide whether the brown goo on the floor is baby food or something… more odiferous. Unfortunately, unlike brown-goo-on-the-floor, characters have more than
As one of the big three of writing (whichever big three you subscribe to, mine or the conventional grade school model or something else1), the character-aspect of your story obviously deserves a lot of thought and care. The number of
Efficiency. It means that every word that isn’t doing something good is doing something bad. Every sentence that doesn’t need to be there is a sentence that shouldn’t be there. Every paragraph that could be safely skipped is a paragraph
Third person near is the closest-to-standard perspective there is. Among the big three- first person, third person omniscient, and third person near- it’s a slightly-more-removed version of the first, the common default of the second (I’ll explain this in a