World building is a chore and a joy – all those intricate pieces to address, to fit into place and set going, and yet so much satisfaction when they all work together, giving your character somewhere amazing to explore. We’ve talked before about effective world building techniques, but there’s one area of this essential task
The victim of a murder mystery story is a unique breed of victim. Usually, the death of a character at the hands of another comes at the emotional climax of a story. Even some painfully misunderstood villains can choke us up a little when they finally meet their demise. A murder mystery victim’s death, however,
Writing isn’t always a smooth process. Whether you’re a sprinter like Anthony Burgess, who scribbled out A Clockwork Orange in just three weeks, or more of a marathon runner like Victor Hugo, who spent twelve long years gestating Les Miserables until it was just right (or “très bien”, as Hugo might have said), you’re always susceptible to
When it comes to choosing the point of view for your book, the second person is unlikely to get much consideration. Volumes have been written on the emotional impact of the first-person ‘I’, and on the scope and flexibility of the third-person ‘he/she/it’. In comparison, the second-person ‘you’ rarely merits more than a paragraph. Don’t
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