New Daily Writing Guides from The Write Practice

First Draft Definition: Key Differences Between First and Second Drafts

Have you ever wondered which draft you are working on? Do you wonder what the difference is between your first draft, your second draft, and editing your book? You can learn the first draft definition and the differences between drafts in this article.

When writing multiple drafts of a book, you may be halfway through your rough draft and decide to start over. Or you may have written the entire manuscript, but then wish to scrap it and start fresh.

And when considering this, you question: “Am I writing a first draft? Am I editing my novel?”

What does “first draft” mean—or “second draft,” for that matter?

Knowing the differences between first drafts, second drafts, and editing your book will elevate your ability to tackle the writing and editing process. It will help you understand what to focus on when you’re writing—and have fun while you do it!

Aaron Sorkin MasterClass Review: Will This Help You Master Screenwriting?

by Brendan Hufford | 0 Comments

I’m always looking for new opportunities to improve my writing. As an author and businessman, learning and improving the tools that keep me in business are a high priority on my daily list of to-dos. After all, if you’re not growing, you’re stagnating. And no one can afford to be stagnant in the business of writing.

MasterClass offers a cool opportunity to take online courses from masters in their fields. Is it worth it? Specifically, is Aaron Sorkin’s screenwriting class worth it? And will it help you?

The Secret to Creating Conflict

by Joe Bunting | 59 Comments

We often think that to create conflict we need to show spectacular events. For example, a car chase, an argument between lovers, a fistfight, or the threat of a nuclear explosion. Or we think of conflict as some kind of internal suffering: depression, longing, or pain.

But the truth is that if events and emotions were the only elements of conflict in our stories, we’d have some pretty flat stories.

Conflict, in good stories, is not about spectacular events or painful emotions. Good conflict is about values.

The Comedy Plot: More Than Laughs in Booker’s 7 Plots

by Liz Bureman and Sue Weems | 16 Comments

Comedy, as a plot, refers to a specific narrative structure characterized by misunderstandings, mistaken identities, and humorous situations that lead to a resolution and a happy ending.

In the context of storytelling, a comedy plot often begins with a scenario that creates conflict or confusion, particularly between characters who are romantically interested in one another but are kept apart by various comedic obstacles. These obstacles—often fueled by folly, deception, or societal norms—culminate in a series of humorous events that ultimately resolve the conflict, allowing the characters to unite or find happiness.

Tragedy Story Structure in the 7 Basic Plots

by Liz Bureman and Sue Weems | 13 Comments

The two best known of the basic plots outlined by Christopher Booker are comedy and tragedy, These two basic plot types make up the two halves of the drama masks that represent classic theatre, and you can categorize most of Shakespeare’s plays into one of the two. Today we look at tragedy story structure and examples.

What’s Characterization? What a Writer Really Needs to Know

by Joe Bunting and Abigail Perry | 474 Comments

How do you create memorable characters? What’s characterization, and how does a writer turn a name on a page into a person so vivid and compelling that you imagine they’re real?

In this article, you’ll learn what characterization is, when it matters, and how to apply it to your characters and stories. You’ll also see some examples of characterization, and explanations of when not to prioritize characterization over other story elements.

How to Identify Irony: Types and Examples to Delight Readers

by Robert Harrell | 0 Comments

Irony is one of those literary devices that you feel before you know how to talk about it. Irony is the difference between what you expect and what happens. But what does that mean and can you learn how to identify irony? Let’s learn about irony today.

Sympathetic Character: 10 Writing Techniques That Make Readers Care

by Joslyn Chase | 2 Comments

Recall a time you made an effort to get someone to like you. Did you try to get them to relate to you, or want to spend more time with you? It’s kind of the same way with the main character in your book. Readers finish books when they care about what happens to the protagonist. To accomplish this, you need to craft a sympathetic character.

When you write a book, you’re asking readers to invite your character into their homes, their hangouts, their lives. It’s important to create a protagonist your reader wants to spend time with and that they care about enough to stick around to find out what happens to them.

Without that vital concern, suspense cannot be sustained. And without suspense, the reader will lose interest in your story. I talked about this in depth in my post on suspense.

Today, let’s talk about how to make your readers like—if not love—your characters so that you can sustain suspense in your book.

Writing Prompt: How to Choose Your Own (Writing) Adventure

by Sue Weems | 0 Comments

When I was a kid, I loved reading Choose-Your-Own-Adventure novels that had alternate paths written into the story. If you aren’t familiar with them, they were elementary or middle grade chapter books that begin a story and at key moments, offer the reader a choice: “To go through the portal, turn to page 37. To run away, turn to page 45.”

I loved seeing the story change with the choices, and I reread the books making different choices each time to experience a new story. I’ve channeled my inner adventurer to put together a fun prompt.

Deep POV: 6 Ways to Master Character Voice

by Joslyn Chase | 3 Comments

So, you’ve got an intriguing story idea and you’re picturing some of the scenes in your mind, eager to get them down on paper and begin wowing readers. But unless you ground your reader with deep POV, you’ll have a hard time getting them to care or like your book.

There are specific techniques that master writers use to draw readers in and keep them engaged. In this article, I’ll be teaching you about the first and fundamental—absolutely indispensable—technique that pulls readers in and makes them forget they’re reading.

So get out your notebook and prepare to level up your writer’s toolbox. This will be a game changer!