I was watching Lady Bird recently. It’s summer in the beginning when the protagonist breaks her arm, and then a whole bunch of stuff happens, including Thanksgiving, and then cut to her cast being taken off, and I instantly had a sense of how much time has passed. Click the title above to continue reading.
At the beginning of this year, I was ready to write the last 60,000 words of a novel. Me, my laptop, and my research were tucked away in a tropical paradise, but the words I was writing, they were reading like they’d been spewed out of a meat grinder. I decided to take the day off and finish the book I was reading instead. A few pages in, I realized I had no interest in finishing the book in question. The prose was uninspired, as was I. Click the title above to continue reading.
Test screening is to films what beta reading is to books. In film, studies are being done on technology that can gauge a test screen audience’s neuro and biometric responses. Suffice it to say, when this technology proves viable, I will not be able to afford it. But that doesn’t mean that I don’t want a way to know which parts of my books make people laugh, cry, or want to throw their e-reader against the wall. Click the title above to continue reading.
There are no books traditionally published in the modern era without paragraph breaks or negative space. And so it follows, that if readers appreciate negative space in books, they appreciate it elsewhere, as in every representation of your author brand (with the exception of book covers and related print materials such as bookmarks.) Click the title above to continue reading.
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 or any other of my literary pet peeves happen in my own writing. Click the title above to continue reading.
As a frequenter of book readings and author workshops, I’ve sometimes noticed a moment when the author loses part of their audience, the part that cares about how the author is reacting to questions. Perhaps the author becomes dismissive, defensive, passive-aggressive, or skirts the question entirely. Below is a list of common question types with example answers that can leave an aftermath of negativity as well as alternatives to keep audience members in that book-buying zone. Click the title above to continue reading.