Story Problems: Four Major Issues Writers Face, Part III of III
The final story issue in our series concerns inconsistencies in your story, series, and world. In other words, contradicting facts in your story’s canon.
Three Big Plot Problems and How to Fix Them, Part II of II
There are many ways a plot can go astray, but plot armor, deus ex machina, and plot holes are the most common. So why would you ever want to use these devices? And if you do, how do you use them correctly?
Three Big Plot Problems and How to Fix Them, Part I of II
There are many ways a script or novel can go astray. Today, we’re going to review three big plotting issues that face writers: plot armor, deus ex machina, and plot holes. All three fall squarely in the writer’s hands.
Concept vs. Premise vs. Story, Part II of II
In the first part of this series, we looked at the definitions and purposes of concept, premise and story. Now let’s look at how to build a good premise and break down one of the previous examples to see how the author built a stronger story from her concept and premise.
Concept vs. Premise vs. Story, Part I of II
Concept, premise and story are not the same things. Confusing them or using them interchangeably is a common mistake, but one that weakens writing. In this two-part series, we’ll explore what each of these terms means and how to use each technique to build stronger stories.
Interrogating Your Characters: How Asking Questions Will Lead to Stronger Writing (Part 2 of 2)
In Part I of this series, we examined some ways to dig deeper into your characters’ motivation and figure out their stakes in the plot. Now let’s go even farther by asking your characters:
Interrogating Your Characters: How Asking Questions Will Lead to Stronger Stories (Part 1 of 2)
The only thing that matters in fiction is why. Why does what is happening matter to the protagonist and other characters? Why should we care? It’s not enough for things to happen to your characters. You have to know what it means to each of them and how it affects their lives. This means you need to know what makes your characters tick. Why they make the choices they do. Why they react the way they do. Why they don’t just walk away.
Adapting The Rule of Six for Novelists (Part 2 of 2)
In part one of this series, we talked about how and why film editor Walter Murch’s famous Rule of Six works equally well for novelists. Now let’s break down each of the six rules:
Adapting The Rule of Six for Novelists (Part 1 of 2)
The Rule of Six is a list of the six most important types of cuts a film editor should make, according to famed film editor Walter Murch in his book, In the Blink of an Eye. Though written for film editors, his suggestions make sense for novelists too.
Setting and Set Dressing (Part 3 of 3)
Setting is more than the broad location and time. It is everything contained within that space—the items and props that your characters handle and face.
Setting and Set Dressing (Part 2 of 3)
Setting is an essential element in any story. It provides context and a space for your characters. When wielded properly, it can do more than simply list what your characters can see. It can support every other aspect of your writing.
The last blog covered the basics of setting. Now it’s time to explore ways to use setting to its best advantage.
Setting and Set Dressing (Part 1 of 3)
Story requires place to make it come alive. Writing setting is much like the job of a set designer for the stage or screen. The trick is to discover ways to bring your setting to life. This may mean describing a building, a forest, a living room or some other place where your characters can move about their lives. This is setting. It includes everything from location to descriptions of the dishes on the kitchen table.