by Joslyn Chase |
What do readers demand from the stories they read? They expect to be entertained, to learn something, to be intellectually challenged, charmed, or tickled. Readers want to have questions raised and answered and they love action, chases, and puzzles. But above all, readers read to feel something, to be stirred emotionally.
That’s why learning to craft an emotion-baited hook can be one of the most powerful tools in your toolbox. So let’s take a look at how to do that.
by Joslyn Chase |
If your aim is to write engaging fiction—stories that people will read and clamor for, even shell out their hard-earned cash to acquire—there is something very important you need to understand. You are an entertainer. And that means you need to know how to write a hook that will capture your reader and keep her turning the pages.
by Joslyn Chase |
You’ve put a lot of time, effort, research, planning, blood, sweat, and tears into finishing your book—and you’re almost there! And then you’re not. You’ve suddenly lost the thread, wandering off into strange paths, with no idea how to end a story, wrap it up and call it done.
If this has ever happened to you, you’re in good company. It’s a common issue among writers. Try these techniques to solve it.
by Joslyn Chase |
Has this happened to you? You finish a story and polish it to a shine, compose your cover letter, send the package off to an editor, and wait through an agonizing time period, only to get that form letter saying thanks, but we’ll pass. Your book was rejected.
It’s happened to me. More times than I care to think about. One thing writers who want to publish learn right off is the pain of rejection, and my best piece of advice is to get used to it. There is life after rejection, and you’ve got to be willing to jump up and go at it again. And again.
by Joslyn Chase |
Have you ever written a scene that didn’t feel authentic or sit right with you? One very possible reason for such a scene is that your character did not act in accordance with their nature. As writers, we sometimes hit a fallback position where we have our character do what we would do rather than acting … in character. We have to remember to write from the character’s personality rather than our own.
I am not a proponent of detailed character sketches—believing, instead, that the character reveals herself to the writer as the story unfolds. However, as we get to know the character we’re writing, it’s important to understand the essentials of her personality. By doing so, we make it easier to understand and portray the shifts that make up the character arc.
