Tag: Robert Devereux

Posted on 10-21-201612-10-2018

Letter writing in Madarasz Script

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Random Quote

It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.

— Mark Twain

Random Quote

It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.

— Mark Twain

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

Every Romance Scene Has to Move the Dial 09-13-2026
The banter is charming. The chemistry works. And somewhere around chapter 12, the romance goes dead, because the couple keeps having scenes that change nothing. Every scene your couple shares has to move the dial. Closer, further, or closer in a way that creates a brand-new problem. Romance readers track this chart without knowing it;... […]
steve
Let Your World Work Offstage 09-12-2026
Your story stops existing the moment your protagonist looks away. That’s the quiet flaw in a lot of manuscripts: the world only exists inside the hero’s line of sight. Scene follows scene, nothing arrives from anywhere, and the villain does nothing until summoned. Readers feel it as flatness even when they can’t name it. The... […]
steve
The Wrong-Genre Check: Weakness or Mismatch? 09-11-2026
Dread is data. If you flinch every time a fight scene, a magic system, or a big emotional confession comes due, the usual advice is to grit your teeth and push through. Run one check first. Every genre is a bundle of required chores. Romance pays its way in interiority and confession; thrillers in threat... […]
steve
The Best Secrets Arrive Sideways 09-10-2026
Confession scenes are where secrets go to die. The character sits down, takes a breath, and hands the reader a neatly wrapped explanation. Discovery works harder. A man reaches into his brother’s glovebox for the registration and comes out holding a pawn ticket for their mother’s ring. The one that was “stolen” last spring. Now... […]
steve
A Weakness Is a Pattern, Not an Incident 09-09-2026
One clumsy scene is a bad day. The same flaw in three different manuscripts is you. Most writers diagnose themselves from incidents: a scene that fell flat, a critique that stung, a chapter that fought back. Incidents lie. You were tired. You were rushing. You were writing a scene type you’d never attempted before. Patterns... […]
steve
Let the Reader Know More Than Your Protagonist 09-08-2026
Most writers guard the reader’s ignorance like treasure. Nothing gets revealed until the hero discovers it. The result: a story that can surprise, but never dread. Hitchcock explained the difference with a bomb under a table. Four people sit talking; a bomb goes off. That’s surprise: a few seconds of shock. Now tell the audience... […]
steve
The Sense a Camera Can’t Record 09-07-2026
Most drafts read like screenplays. Every description is something a camera could film: faces, rooms, weather. That’s the visual default, and it flattens prose. Here’s what film can’t do. Smell hooks straight into memory; the brain runs it on a private line, no switchboard. One sentence of scent can do more work than a paragraph... […]
steve
Give Your Allies Secrets, Not Fights 09-06-2026
Two characters want the same thing and get along. In life, that’s a friendship. On the page, it’s dead air. The usual fix is a fight. It works once. By the third argument between people who are supposedly on the same side, readers start wondering why they don’t just split up. Here’s what allies actually... […]
steve
That Nagging Feeling Knows Something You Don’t 09-05-2026
Every writer knows the moment. You’re rereading a chapter, everything is going fine, and then you stop. A paragraph sits there being wrong. You read it twice, fix a comma, and move on. That squint is the most valuable data your draft will ever hand you. Most writers waste it, because they hand it to... […]
steve
What You Avoid Is Where You’re Weak 09-04-2026
Every writer has a chore they quietly route around. Setting description gets three brushstrokes and a lamp. Transitions get “The next morning.” Whole characters move through rooms the reader can’t see. Writers file this under preference. “I’m a dialogue person.” But the thing you skip is usually the thing you’re worst at, and you’re worst... […]
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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