Category: Writing Tips

Dec 02 2013

Do You Have "As You Know, Bob…" Syndrome?–How Writers Can Butcher Dialogue & How to Fix It

One of the best ways to move plot forward with increasing momentum and to create living, breathing characters is by harnessing the power of dialogue. As an editor for twelve years, I can tell you dialogue is one of the single largest components of writing great fiction, and it’s the part that’s most often butchered. The story can be great, the setting, the prose? And then comes this clunky dialogue with characters talking in ways only seen on bad soap operas or movies highlighted/slayed by “Rotten Tomatoes.”

Nov 29 2013

While You Were Sleeping—The Difference Between Narration & Internal Dialogue

Internal dialogue is the thoughts, dreams, stream-of-consciousness stuff inside a character’s mind only the reader is privy to. Most people talk to themselves, think in at least partial sentences, talk themselves into and out of all kinds of things, they weigh consequences, wrestle with past experiences all in their head in a split second. How many smart girls make bad decisions about men?

Oct 25 2013

Novels & The "Knockout" Ending

So your novel has thrust a likable, relatable protagonist into a collision course with the Big Boss Troublemaker. The Big Boss Battle must deliver all you (the writer) have been promising. Endings tie up all loose ends and sub-plots and, if we have done our job, will leave the reader a feeling of resonance.

Oct 23 2013

Conflict—Giving LIFE to Your Fiction

Bad decisions make GREAT fiction. I know it’s tough to not write about fully evolved/self-actualized characters, but those guys are B-O-R-I-N-G. We like to watch people grow, probably so we might glean some hint of how to grow, ourselves. The more messed up a character is? The more INTERESTING they become.

Oct 21 2013

The Heart of Great Stories—How to Create Clear, Interesting Character OBJECTIVES

As storytellers, we must create a sympathetic, compelling lead if we want readers to engage. This is especially critical for longer works like novels or series. The longer the work, the more readers must love the protagonist, because they’ll be spending a lot of time together.