Tag Archives: write better

Reading for Writers: Input and Output

Reading, for a writer, is the primary method for staying on top of news in their profession. Others’ work provides an insight into competitors’ methods, a lesson in new skills, and an endless supply of raw material. Sometimes, however, reading doesn’t stay at the top of the priority list. There are excellent reasons for this, and asking “How much should a writer read?” can’t be answered with any single, universal number. First of all, input in this age can be

3 Reasons to Review Your Grammar Often

Writers take pride in their use of the written word. They playfully dig at one another’s grammar; it’s a favorite tease. Sometimes a correction can explode into a major fallout between long-time friends, as though grammar proficiency makes one person better than another. Really, all writers should be showing their love for their craft by continuously reviewing the tools of grammar and language use. Here are three reasons to review them, and review them often. Be Fluent in English: Fluency

Breaking the Script

People go through much of their lives on autopilot, and the programming for everyday life is in social scripts. These ever-present outlines for action are present in story too, though they make up the unwritten world between the lines of the narrative. These expected, and often overlooked, patterns of behavior enlighten creative work when this tool is explored and used to experiment. Consider the scripts observed by social scientists as the strongest weapon of subtle tone control. Definition/Theory Social scripts

Tracking Multiple Characters

Characters interact. This shows the reader the story, pushes forward the plot, and crafts the conflict. Some genres, like romance fiction, center on the interaction of two or more character arcs. Other types are supported by the interaction of characters, and internally shaped by the dynamics that are created. Combine character arcs to create unique, creative dynamics. Coordinating Two Characters This discussion will focus mainly on a two-character relationship, since this is the smallest unit. Even in that slip of

Character Arcs and Plotting

Authors and critical readers often refer to character-driven stories as better than a plot-driven story. Each has their value, but novels, movies, and stories in general grow strong when both character arcs and plot elements work in unison. An effective story should make audiences ask both “what will happen next?” one moment and “what will he/she do now?” in the next. Strong story structure combines plot devices and character growth, creating a current that carries the reader through to the

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