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
So you want to write a story. First of all, congratulations! Great authors don’t wait for inspiration – they tackle the job, forcing themselves to write and create. Not only will this enhance your craft and make you more susceptible to the creative muse, but it also makes it statistically more likely that you’ll stumble
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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