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Posted on 10-24-201612-10-2018

Copyright

Copyright Information for Writers

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The Middle Should Look Like a Sawtooth 10-23-2026
A middle where the hero wins every scene is a ramp. A middle where she loses every scene is a slide. Both are straight lines, and readers feel the flatness even when they can’t name it. In my classes I have students draw a picture of their novel instead of outlining it. One point per... […]
steve
If Your Narrator Is Older Than Your Protagonist 10-22-2026
Every coming-of-age story turns on a decision the writer makes before the outline: whether the kid runs from adulthood or at it. In The Catcher in the Rye, Holden Caulfield runs from it. He tells us his dream himself: “I have to catch everybody if they start to go over the cliff… I’d just be... […]
steve
The Choice Isn’t the Story. The Cost Is. 10-21-2026
Every love story eventually drives up to the same intersection: the person and the obligation, pointing in opposite directions. Readers don’t remember which road the writer picked. They remember the toll. In The Bridges of Madison County, Francesca stands in the rain with her hand on the door handle of her own car, watching Robert... […]
steve
A Subplot Is Not a Rest Stop 10-20-2026
A subplot is a second pressure on the story. When it isn’t pressing, it’s a detour with nicer furniture. You can spot the detour easily. The side romance that never interferes. The relative’s custody battle that resolves itself. The hobby the writer researched for a month. Each is pleasant. Each could be lifted out with... […]
steve
Don’t Write Worse to Avoid Looking Like AI 10-19-2026
A few weeks ago the internet decided curly quotation marks are a sign a robot wrote your book. Somebody posted a warning about it on Threads, screenshot and all, and the comments filled with writers promising to switch to straight quotes immediately. First they came for the em dashes. Then the Oxford comma. Now curly... […]
steve
One Honest Conversation Would End Your Plot 10-18-2026
Half the romances on the shelf run on a secret, a lie, or a crossed wire that one honest conversation would dissolve. Readers catch it around chapter three. They keep turning pages, but they stop worrying, because a worse question has moved in: why doesn’t she just ask him? A misunderstanding can carry a book... […]
steve
A Death Should Bend the Story 10-17-2026
Somewhere in your draft is a death that changes nothing. The characters grieve for a scene, the plot pauses to notice, and then it resumes exactly as it was. The test is direction. A working death bends the story somewhere it could not otherwise have gone. A survivor makes a choice she would never have... […]
steve
The Two Ways Pacing Breaks 10-16-2026
A slow manuscript and a fast one usually fail the same way. Whole stretches pass where nothing changes. Pacing is change per page. Every scene should alter something the reader can point to afterward: what somebody knows, what somebody wants, who can be trusted. When pages turn and the answer is “nothing,” readers call the... […]
steve
Your Cover Is a Thumbnail First 10-15-2026
Ask a hundred authors whether they need an editor, and ninety-nine say yes. Ask whether they need a cover designer, and half of them reach for a design app. While nobody was watching, the place readers meet your cover moved. It’s under an inch wide now, on a phone, mid-scroll. The cover’s job is to... […]
steve
The That Test 10-14-2026
“That”s are usually dead weight. In most drafts, most of them come out. “She said that she’d come” works as “She said she’d come.” “I knew that it would rain” doesn’t need the word either. The that is a hitch in the breath, a habit borrowed from speech, and it slows every sentence it sits... […]
steve

References

http://www.merriam-webster.com/ http://www.thesaurus.com/ http://www.apstylebook.com/ Guide to Grammar and Style http://labarker.com/sitemap.html#writing http://www.writersmarket.com/ scribendi ASJA Celtx

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Copyright Information for Writers

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