At The Write Practice, we publish a new article each day designed to help writers tackle one part of their writing journey, from generating ideas to grammar to writing and publishing your first book. Each article has a short practice exercise at the end to help you immediately put your learning to use.
Check out the latest articles below or find ones that match your interest in the sidebar.
And make sure to subscribe to get a weekly digest of our latest posts, along with our free guide, 10 Steps to Become a Writer.
One of the questions a new children’s picture book author often asks is, “What do I do about pictures? Do I have illustrate my children’s book myself? If not, how do I find someone to help?”
If you’re asking these questions, you aren’t alone! Today let’s look at what to do about illustration for your children’s book.
It doesn't take any research to know that historical fiction writers love spending time in history books, digital archives, museum exhibits, and library collections---and that's just in our spare time! But how do we keep that research from overshadowing the actual...
If the semicolon was just a little less top-heavy, then it would be a comma, and rightfully used and appreciated. Sadly, many writers have a confused relationship with the semicolon, not really sure how or when to use semicolons in their lovely sentences.
Don’t worry, little semicolon. Your virtues will not be lost on this audience as long as I have a say in it.
First-person perspective is kind of like cheese: some people love it, some people hate it, and when it’s poorly done, it grates.
Sorry for the pun.
I personally love first-person, and it is my joy to share one simple, quick writing tip that can help your first-person perspective writing shine: cut the filter words.
Out of curiosity, I recently Googled “how to write better.” You should try it. I got a list of great resources that would help any writer. However, as I read each of the articles, something began to gnaw at me. Something was missing in the excellent advice these well-respected writers were giving on how to write better. A core rule had been left out.
This article is about that missing rule.
As a writer, you’ve probably learned that story is not about what happens. Rather, it’s about how the events affect the protagonist. The plot points may appeal to the reader’s intellect, but you want to go deeper than that, reaching and stirring the coals of a reader’s emotions. That kind of emotional writing is when you make a real connection, establishing something meaningful between writer and reader.
But how is this done? How do you reach beyond the plot points and offer your reader something more? There are a number of ways to accomplish this, but I’m going to focus on one technique that might surprise you.
For a lot of us, this has been a rough year, a tiring year, a painful year.
Some years carry a heavier toll than others, and this is one of them. Yet in spite of that—or maybe because of it—there’s something you need to do: tell your story. I know how tired you are. I know some of you you don’t feel heard. I know some of you might fear you don’t matter.
You do.
Most of the fun of writing is using your words to tell a story. They course across the page, delighting in the joys of Maureen finally finding her Henry, shuddering as Ingrid uncovers her third dead body of the day, or mourning with Carlos for his lost mother. But I’m not here to talk about words. I’m here to sing the praises of punctuation; specifically, the Oxford comma.
Most people I’ve met have no idea what the Oxford comma is, but it’s probably something that you have used in the past. What is it?
There are lots of book lists for teachers and parents looking for fun rhyming books, but today I thought I’d share a few with clever rhymes that you can study as you decide whether or not your book needs to rhyme. One thing to note with all of these is how rhyme works for the story. Notice how rhyme in these books enhances the story. None of these rhymes feel forced.
The stereotypical writer used to be a silent, brooding genius who kept to himself and rarely ventured into the outside world, except to do “research” on how the subjects of his stories lived. People imagined an entire profession of Emily Dickinsons, pale and contemplative.
However, for nearly every famous writer—from Ernest Hemingway to Virginia Woolf, J.R.R. Tolkien to Mary Shelley—this stereotype couldn’t be further from the truth.
And the truth is that nearly every great writer had a Cartel.
