Every so often, I will be writing along on a tale (often with a new novel), and suddenly find myself “stuck.” I can’t seem to write another word. Most of you know what that’s like.
Whenever you express an idea, you can look at the poetry of your language, your use of diction, your originality, and compare it to other samples of the same idea.
Many times as an editor, I will look at a scene and ask myself: “Does this scene belong? Does it move the story along? Does it change the story in new and exciting ways?” Too often, the answer is, “No, it’s wasted text.”
In your rewrites, take the opportunity to add as many virtues to your work as possible.
National Novel Writing Month starts the first of November, and a couple of times in the past week I’ve had people ask, “How can I make the most of nanowrimo?”
Today I'm going to discuss a bit about what I call “grounding” the reader. Quite simply, grounding is the fine art of letting the reader know what is going on.
The truth is that most of us have some gifts, and we often tend to discount the ones that we do have. We’re so eager to improve that we don’t take into account what we’ve accomplished.
When you’re writing a tale, it almost always turns out better if you get deep into the head of your protagonist and tell the story from that person’s point of view. This is especially true if you have multiple protagonists.
I’ve read a lot of books on characterization, including some that have been excellent. Yet so often, I read these books and feel that the author has missed something. You see, the book often deals with how to create a character, and invites the author to think about characters in isolation.
When you’re describing a setting, it’s important to bring the scene to life. Part of bringing a scene to life, though, is to explore how your character feels about the setting.
For today's Kick, we have a guest, Doug Dandridge, who is here to tell us how he sold 100,000 books on Amazon.
Update on the plagiarist case.
I've read dozens of articles and books on characterization, all written by well-meaning people, and personally I found them befuddling.
Very often, I get asked, “What can I do to support my son/daughter/spouse as a writer?” Of course, each writer’s needs are different, but here are some things you might think about.
Your endorsement of a book is the only one that matters to your friends and acquaintances.
Many new writers struggle with characterization. If you’re trained in the literary mainstream, you’re taught that stories are about characters. In other words, the character is the “focus” of the story. That’s simply not true. Some stories do focus on characters, but many of the best tales don’t.
Over the last few days I’ve been talking about some of the tawdry practices that go on in our industry, and I’ve been wanting to talk about rules of conduct when giving reviews.
This past few weeks I’ve been looking at the business practices of many of our authors and felt pretty overwhelmed by just how nasty things have gotten. As a reader, I’ve always been careful about what I buy, but so many authors are misrepresenting their own works, that lately I’ve been considering whether I should stop reading or promoting indie works at all.
In perhaps the most shocking case of plagiarism I’ve ever heard of, an elementary school teacher in Utah has been named in a lawsuit for allegedly plagiarizing the work of other authors, adding porn to the stories, and then using false identities (called “sock puppets”) to threaten and attack those who uncovered her schemes.