Color, like time, will be present in your fiction whether you want it to be or not. It’s one of the grand defaults of human life; unless you’re writing fiction from the point of view of a colorblind individual or your plot takes place purely on some kind of Noir planet, color will be something
Melodrama tends to get a bad rep these days, and not without good reason. Certainly, melodrama – that is, sensational drama; exaggerated, flat characters; farcically exciting events; and extreme responses and actions – can often come at the expense of those other aspects of fiction that make your book worth reading: deep characters, subtext, complex
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,
Editing your story is, if we’re honest, more than half the battle of completing it. The first draft is a rush of creativity, but it’s in the editing that you turn it into a well-oiled machine that (crucially) is more concerned with entertaining the reader than acting as an outlet for the author. The technical,
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