by Joe Bunting |
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.
by Ruthanne Reid |
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.
by Joslyn Chase |
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.
by J. D. Edwin |
You have created a character. You’ve named them and given them a colorful past, as well as lots of fun personality traits. Your character steps into your story . . . and suddenly you find that they’ve fallen flat. How can you fix them?
They’re boring. Those personality traits you meticulously picked out for them just aren’t showing up. Your character goes through the motions of the story and you wonder why this interesting, unique character you’ve worked so hard on is missing that luster you imagined.
Not to worry: there’s a simple, two-step fix to give your characters voice and personality.
by J. D. Edwin |
Finishing a first draft is a huge deal. If you just accomplished this, be proud of yourself! At the same time, you might be wondering how to revise a novel after that first draft is done. There’s a lot of advice out there. Which do you listen to?
The revision process doesn’t have to be complicated. However, you might feel—especially if this is your first completed draft ever—intimidated to edit your book. There’s a lot of words and scenes to review. Where do you begin?
In this article, I’d like to share how I took a daunting editing process and created a simplified, concise, and clear strategy to revising your first draft. I do this with what I call a Revision List—a table with five columns that can help you simplify big ideas.
If you’re like me, you won’t ever want to edit a first draft without it!
by David Safford |
One of the greatest challenges of writing better stories is knowing exactly which scenes to write. The best scenes focus on the core elements of conflict — which means before you can write amazing scenes, you have to find the conflict in a story.
Strong scenes come from strong plans. And visualizing the conflict between your characters is a great way to do just that.
