In part 1 of this article, I talked about what an ensemble cast involves and the times that writing one might be the best fit for your story. If that convinced you to embrace the ensemble (or if that’s what you wanted to do anyway), welcome to part 2, in which I’ll be talking about
Writing an ensemble cast is harder than writing a single protagonist for the same reason that catching five cats is harder than catching one: you’re trying to do the same difficult thing multiple times, and the fact that you’ve already succeeded once doesn’t necessarily make the next step any easier – in fact, it could
Have you ever read a book where every character – from the six-year-old in pigtails to the wizened sea captain to the stripper – sounds the same? It’s easy for authors to stumble into this mono-tone pitfall. The task of writing a story is already monumental, and adopting a narrative voice appropriate to the story
Ernest Hemingway might just be the most imitated writer of the past hundred years. His signature bare-bones style has gone on to inform pretty much every aspect of what we consider best practice in modern writing, and he’s been explicitly cited by writers including Stephen King, Raymond Carver, Ray Bradbury, and dozens of others. Hell,
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