Think of the start of a story as a dating profile. The opening often determines whether a reader or editor swipes left and moves on to something else or swipes right and keeps reading. Context, commitment, characters, conflict, and clarity can make an opening awesome. CONTEXT Context involves grounding the reader by establishing the setting […]
Constructing Awesome Openings Read More »
During a recent museum trip, I discovered how dazzling details make Takashi Murakami’s artwork magical. But you don’t have to incorporate a tiny self-portrait and a prized pet, like Murakami did in his painting Tan Tan Bo, aka Gerotan: Scorched by the Blaze in the Purgatory of Knowledge, into your own work to make it
The Dazzle Is In the Details Read More »
A “darling” is any part of a piece that isn’t essential. Darlings have the potential to steal the focus away from the heart of a story. Darlings can waste word count and break the special spell superb stories cast. Featuring, moving, or killing these beloved bits can free up word count, improve pacing, and keep
Focus Your Flash: Feature, Move, or Kill Your Darlings Read More »
They say there are rules for a reason. But who is this mysterious they, and do we really have to listen to them? Yes, and no. Helpful, right? When approaching writing conventions, there’s a complementary duality worth exploring. There are valid reasons we should adhere to established standards. There’s also a compelling argument for shaking
Breaking the Rules: Doing It With Intention and Style Read More »
There’s an odd phenomenon in literature: when presented with dragons and wizards in a mystical kingdom, the reader automatically accepts the fantastic elements. We understand the world offered is born wholly from imagination, and though we may not initially grasp the rules of this outlandish environment, we trust the author to show us how it
Metaphor or Magic: How to Get the Reader to Accept the Absurd Read More »
We’ve all seen it – a strong voice has a character leaping off the page, and a weak one can make them disappear. The concept of character voice sounds simple; it’s how the characters speak, right? That’s accurate, to a point. The problem is when the voice ends with the dialogue. THERE’S MORE TO IT
Character Voice: It’s Not Just What They Say Read More »
Writers generally detest absence. Thus, we rush to explain what we believe readers need to know. But what if we give our audience just the right information and trust them to infer meaning? Worldbuilding through subtext offers a solution for immersive storytelling without spoon-feeding readers. Let’s analyze the mechanics and explore why this approach is
Worldbuilding Through Subtext Read More »
We resist real-world conflict, with good reason: it’s distressing at least and harmful at most. Ironically, conflict is the author’s essential writing tool. Authors pull the pin and toss the conflict grenade into the middle of scenes; we can’t run from the blast or fallout. Yet, many stories lack conflict, hurting overall storytelling. Here, we
Conflict: The Author’s Essential Tool Read More »
Essay #3 of 3 Every writer knows the frustration of a great idea that fizzles out–stories stalling without clear progression, stakes, or emotional depth. However, with intentional structure and development, even the simplest concept can grow into something powerful. FROM CONCEPT TO CAPTIVATING NARRATIVE “Not Drowning but Waving” by Sam F. Hutchins, published on June
Avoiding Stories That Go Nowhere Read More »
Essay #2 of 3 Flash fiction isn’t just about brevity; it’s about delivering a complete, impactful experience in a small space. Many writers confuse slice-of-life vignettes with flash fiction, but the key difference lies in their intentional focus. While slice-of-life lingers on a moment or mood, flash fiction presents a narrative arc: a story that
The Art of Focus: Slice-of-Life V. Narrative Arc Read More »
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