In realist writing, villains need to be at least a little relatable (a little sympathetic) in order to be believable. Not all villains have to be sympathetic, of course. Uni-faceted villains can still fill a strong role in the more imaginative or allegorical genres. For instance, we wouldn’t enjoy Edmond Dantès’ epic revenge if Mondego
Kate Bernheimer is like fiction’s knight errant, on a mission to rescue fairy tales from the tall, dark tower where they’ve been locked away with other vestiges of childhood – like optimism and the color pink. Bernheimer’s writing style is magical and her modern fairy tales are understandably popular, but the average writer may think
Parallelism is a useful tool for enhancing syntax and even improving your story’s overall structure, but that doesn’t mean it’s always easy to use. In its most basic form, parallelism means using successive linguistic constructs that corresponded in terms of meter, meaning, grammatical structure, or sound. The intent is to add balance and rhythm to
Most of us are familiar with register, even if we haven’t called it by that name. It’s a term that refers to the formality of language, and it’s easily recognizable in the difference between a cover letter for a resume and the email you send your best friend. The ability to vary your register isn’t
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