Tag: Letter writing

Posted on 10-21-201612-10-2018

Letter writing in Madarasz Script

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衣服新的好，朋友旧的好

Random Quote

衣服新的好，朋友旧的好

Goodreads

omnibus

Don Camillo
Les Bienveillantes
runes
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scriptum
Jacques Brel - "Le Moribond"
roots of English
The Korean alphabet
IPA
Vedas

The stone labyrinth

Writing Academy

The Conversation Your Characters Won’t Have Is the Most Important One 08-03-2026
Two people sit at a dinner table. One says, “We need to talk about what happened Saturday.” The other picks up the salt shaker, examines it like evidence, and says, “Did you try the new restaurant on Maple?” And there it is. The conversation has started. Just not the one anyone announced. Writers treat topic... […]
steve
The Best Clues Are the Ones the Reader Already Saw 08-01-2026
The worst kind of mystery ending is the one that introduces new information in the final chapter. The detective reveals a letter nobody mentioned. A witness appears from nowhere. A clue the reader never saw is produced with a flourish. This isn’t a twist. It’s a cheat. The best mysteries hide clues in plain sight.... […]
steve
Your Character Is Defined by What They Want Now, Not What Happened to Them 07-31-2026
Backstory is seductive. It explains everything—why the character fears commitment, why they distrust authority, why they can’t enter small rooms. A rich backstory feels like character development. But here’s the problem: backstory explains motivation, it doesn’t create it. And readers care about what your character is doing now, not what was done to them. A... […]
steve
Your Ending Resolves the Plot but Not the Promise 07-30-2026
A satisfying ending does two things: it resolves the plot and it pays off the emotional promise. Most writers nail the first and miss the second. The mystery is solved, the battle is won, the couple gets together—but something feels hollow. The reader turns the last page and thinks: so what? The emotional promise is... […]
steve
Your First Chapter Is Starting in the Wrong Place 07-29-2026
Most first chapters contain thirty percent story and seventy percent preparation. The writer is warming up—establishing the world, introducing the characters, setting the mood, building context. It feels necessary. It reads like throat-clearing. The reader doesn’t need the preparation. They need the event. The thing that changes everything. The moment the protagonist’s ordinary world cracks... […]
steve
The Plotter vs. Pantser Debate Misses the Real Question 07-28-2026
Writers love to divide themselves into plotters and pantsers. Outliners versus discovery writers. Architects versus gardeners. The debate implies you must pick a side, but after twenty-five years of teaching, I can tell you the side doesn’t matter. What matters is whether you know your protagonist’s core want and core fear before you write page... […]
steve
Tension Lives in the Gap Between What the Reader Knows and What the Character Doesn’t 07-27-2026
Most writers think tension comes from danger. A character trapped in a basement with rising water. A bomb ticking under a table. These create suspense, but they’re the blunt instrument version. The sharper tool is information asymmetry—the gap between what the reader knows and what the character doesn’t. Hitchcock famously said the difference between suspense... […]
steve
The Midpoint Shift: Why Your Second Act Turns to Mush 07-26-2026
Somewhere around the middle of your novel, the protagonist needs to stop reacting and start acting. This is the midpoint shift, and without it, your second act becomes a swamp of passive response. Things happen to your character. Your character endures them. The reader loses interest. In the first half of a novel, the protagonist... […]
steve
The Two-Job Rule: Why Single-Purpose Scenes Get Cut 07-25-2026
Every scene in your novel costs the reader time and attention. If a scene does only one thing—advances the plot, or develops a character, or establishes setting—it becomes the kind of page readers skip. The best scenes do at least two jobs simultaneously. A scene that advances the plot while revealing character. A scene that... […]
steve
Every POV Character Needs a Scene Only They Can Narrate 07-24-2026
Multiple POV seems like a freedom upgrade. More perspectives, more access, more story. In practice, it’s the fastest way to dilute tension and confuse readers. The problem isn’t switching perspectives. The problem is switching before the reader is invested in the current one. Every time you jump to a new POV, you’re asking the reader... […]
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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