I noticed recently that Sylvia Plath, in her novel The Bell Jar, favored verbs as delivery vehicles for metaphor. Don’t get me wrong. The woman could work a metaphor along the syntactic spectrum, but the verbs really stuck out for me, and it occurred to me that in my own work, which contains a fair amount of metaphorical language, I hadn’t yet mastered Plath’s skill with verbal metaphors. Hence, this post in which I workshop one metaphorical image using different parts of speech and different phrase types. Click the title above to continue reading.
Easily avoidable misunderstandings as a device to create conflict, whether reading or watching it, I dislike this so much, it elicits an eye roll from me every time. The conflict just doesn’t feel logical. And because I’m aware that I don’t like this, I’m (hopefully) careful not to let this and other of my literary pet peeves happen in my own writing. Click the title above to continue reading.
With only two characters, we can get away with less dialogue tags and cues—also referred to as character, emotion or action beats—because if we know who’s speaking first, we can intuit that the next pair of quotes encloses dialogue from the only other character in the scene. But with groups of more than two speakers, scenes can become cluttered with dialogue tags and cues, which can make a passage more stilted than it needs to be. Here are three techniques that can help. Click the title above to continue reading.
When on the lookout for critique partners, a genre match is important and you should have at least one, but it isn’t always the most important factor. Take a look at the nine criteria below, and the next time you’re scouting for a new CP, you may want to consider placing more emphasis on the eight that come after genre. Click the title above to continue reading.
You’re stuck on a question about how to use a writing device, and off to the Internet/library/bookstore you go. Perhaps you stop after article number one, thinking certainly this must be the definitive answer, because this publishing professional has game to spare. She may well, but still your search should continue. Why? Click the title above to continue reading.
Reading a book is like jumping on an exercise bike for the brain. The reason is because every sentence is a piece of information the reader needs to process. Some sentences are easier to absorb than others. For instance, a sentence that speaks about characters, themes, and plots the reader has already gotten to know doesn’t require as much processing as a sentence introducing new characters, sub-themes, or subplots. We want readers to keep pedaling and processing this new information, but as so often happens in books, there comes a point when the reader decides to take a break. Click the title above to continue reading.
Family and friends are great, but they don’t understand author milestones, nor do they understand what it takes to achieve them. And when we fall, they don’t have the first clue about how to help us up. This is why, authors, we need to stock our author communities. Because when it comes to being an author, family and friends a cheerleading section do not make. Click on the title above to continue reading.