We’ve talked before about the benefits multiple antagonists can bring to a story – and how to give each a unique purpose in the narrative – but what are authors supposed to do when those antagonists are on different sides and, like any interesting characters, have specific, often contradictory, goals? Antagonistic forces have natural potential to not
Sometimes, the most effective villain is the one you didn’t see coming. It’s the helpful friend who turns out to be the villain’s stooge, the kindly inn-keeper hiding cannibalistic intent, or the sage master whose long-game is to tempt you to the dark side. Of course, for these villains to work, you have to trust
Writing children’s literature is kind of like comedy. Everyone thinks it’s easy when, in reality, it’s actually much harder than it looks. Perhaps it’s the lower page count or the simplified language, or the popular belief that kids will be satisfied with any form of entertainment – no matter how superficial. Waggle some bright objects
Seeing, hearing, touching, tasting and smelling. They’re the senses everyone knows – the way we interact with and understand the world around us – and yet so often, authors forget them when writing a story. That’s a shame, because sense writing is one of the surest ways to enliven a scene and fix your reader
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