Skip to content

Technology, systems, analytics, training

Tag: Pilot

Posted on 10-21-201612-10-2018

Pilot parallel

Español
English
Français

Random Quote

ing-ens telutm necessitas.

— SENECA

Random Quote

ing-ens telutm necessitas.

— SENECA

Goodreads

omnibus

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

The stone labyrinth

Writing Academy

If Your Last Line Explains the Theme, Cut It 07-14-2026
Most writers try to land their ending with a thematic statement. “And that was when she understood that home wasn’t a place, it was a choice.” The reader closes the book and the sentence evaporates. It sounded profound for half a second, and then it was gone. Great last lines don’t explain. They show you... […]
steve
Your Adverbs Are Doing Your Verbs’ Job 07-13-2026
“She walked quickly across the room.” Seven words, and three are working harder than they need to. “Quickly” is telling you what “walked” failed to show. The sentence has a good verb, but it is asleep on the job, so an adverb got hired to compensate. “She strode.” One word. The verb does everything “walked... […]
steve
Every Scene Needs a Clock 07-12-2026
Most flat scenes share the same structural problem: unlimited time. Two characters talking in a kitchen with nowhere to be and nothing ending. The conversation expands to fill whatever space you give it, and the reader feels the stretch. Add a clock. Not a bomb timer or a literal countdown. A natural deadline. Someone’s flight... […]
steve
The Most Loaded Moment in Fiction Is the Line Nobody Says 07-11-2026
Most writers load their tension scenes with more dialogue. The argument heats up, characters talk faster, pages fill with exchanges. The strongest move is the opposite. Take the line away. When a character should respond and doesn’t, the reader leans in. Every parent knows the weight of a teenager who goes quiet when asked a... […]
steve
Chapter Length Controls Reading Speed 07-10-2026
Most writers treat chapter breaks as breathing room. Natural pauses where the reader sets a bookmark. That’s backwards. Chapter breaks are pace controls. Short chapters accelerate. Each new chapter’s white space creates a micro-reset pushing the reader forward. Dan Brown’s chapters run 3-5 pages because the format creates urgency. You read faster because the pages... […]
steve
Your Character Should Go Back to the Same Place Twice 07-09-2026
The most powerful setting in your novel is a place the reader has already been. Most writers treat returning to a location as a budget-saving move. Same set, fewer builds. The character walks back into the diner, the childhood kitchen, the hotel room where everything fell apart. The writer gives a quick “nothing had changed”... […]
steve
Your Mirror Character Is Your Most Dangerous Weapon 07-08-2026
The mirror character is the most wasted weapon in fiction. Most writers create a foil without knowing it. The best friend who’s everything the protagonist isn’t. Calm where she’s reactive. Risk-averse where she’s reckless. The writer uses this character for contrast and moves on. But the mirror character isn’t just contrast. She’s a preview. She’s... […]
steve
Your Characters Use Too Many Names in Dialogue 07-07-2026
Most writers sprinkle character names into dialogue like salt. Automatically, without thinking, usually too much. “Martin, I told you not to come here.” “Why would you say that, Diane?” “Because, Martin, you always do this.” Nobody talks like that. Real people almost never use the other person’s name mid-conversation. They already know who they’re talking... […]
steve
Your Scenes Start Three Paragraphs Too Early 07-06-2026
Most scenes in your novel start three paragraphs too early. Characters walk in. They sit down. Someone pours coffee. A line of small talk, a bit of weather, maybe a thought about what happened earlier. Then the scene actually starts. The reader doesn’t need any of it. Film editors figured this out a hundred years... […]
steve
Your Characters Keep Walking Through Doors Without Thinking 07-05-2026
The door is the most underused tool in fiction. A character enters a room. The writer describes the room. The scene begins. But the threshold, the moment of crossing, is where the tension lives. At a doorway your character is between two states. Their body has to commit to a direction. And for two seconds,... […]
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

Proudly powered by WordPress

%d