Your Novel’s SWAG: MacGuffins
The Maltese Falcon. The plans for the Death Star. The money in Pulp Fiction and Psycho. The Ark of the Covenant, sought by Nazis...
Caitlin Starling: Listen to Your Critique Partners but Don’t Be Afraid...
Sometimes, the story in your head isn't what comes out on the page. That's what makes early readers and feedback so important, as Caitlin...
Andrew Martin on the Fine Line Between Autofiction and Autobiographical Fiction
During a conversation with Lit Hub Radio's Thresholds podcast, Jordan Kisner, author of the new essay collection Thin Places, discusses the difference between autobiographical...
The Secret of Creating a Strong, Passive Character
Writers are frequently advised to ensure their protagonists are active - driving the action, fighting to reach a goal, exercising their ability to choose....
Five Ways You Can Explore Your MC’s Inner Conflicts
Conflict drives every good story, but how can a writer create conflict when there is no clear villain in the narrative or when your...
In Praise of Unlikeable Characters
In an essay for CrimeReads, John Copenhaver writes in praise of unlikeable characters.
"As a writer and enthusiastic consumer of unlikable characters, I’m often puzzled...
Your Theme is Your Message
Many writers struggle to demonstrate it, some have trouble identifying one, and a few proudly disdain the very concept: Theme.
While studying literary themes in...
How to Create Multi-Layered Characters
In a guest post on C.S. Lakin's blog, Nina Schuyler examines a recent short story by ZZ Packer to show how to create nuanced...
The Best Characters are Problematic
One of the key tenets of fiction is that your characters must be well-rounded. Your protagonists must have strengths and flaws. Your villains should...
Let Your Story Tell You What It’s About
Many writers don't fret about theme. They might have a basic idea about moral, but rarely delve into the meatier element of theme, preferring...
