Nothing gets a reader to love a book quite so much as getting them to engage with it. Passive readers experience a story and move on, but engaged readers mull over the plot, theorize about character motivations, and fantasize about paths not taken (sometimes enough to write them), all while the years go by and
Have you ever been pulled over by the grammar police for head-hopping? It’s one of the most common editor pet peeves, but a device many authors swear by, claiming that their readers certainly aren’t complaining. Maybe not, but I’d still advise against it, and in this article, I’ll be telling you why. First, though, we
In writing circles, it’s commonly accepted that one of the essentials of becoming a great writer is to read a lot, but reading widely is just as important. If you only read what you want to write, you limit your ability to bring new techniques and ideas to your work. In short, there’s a lot of great
This is a companion piece to How To Write A Damn Good Man, and takes a similar approach to considering gender in characterization. Perhaps the most succinct piece of advice I’ve ever heard for writing female characters came from comedy writer Erin Gibson. Just write a dude and slap a skirt on him. I’d love to just leave
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