Writing a griping page-turner—a novel the readers just can’t put down—requires quite a few elements to fall perfectly into place. One of those happens to be the tightness and effectiveness of your scenes. That means each scene has to serve a purpose, and all “fluff” scenes gotta go.
Read MoreI’ve already touted the importance of beta readers—and I truly hope each and every one of you utilize these invaluable resources—but the purpose of this blog is to discuss a very specific beta reader niche: sensitivity readers.
Read MoreI decided to do a post on this occasionally “controversial” topic because I’ve read a few books lately where it’s painfully obvious no one ever taught the poor soul either the difference between these two, or tips on how best to use them.
Read MoreIn discussing the subject of my guest blog, Evie gave me one goal. Help Writers. And I want you all to know I am so, so, so about that. As is she. That’s why I love my Evie. I dipped into my relevant pool and came up with, dun dun dun…
Self-editing. Because I just edited the heck out of my next book.
Read MoreWe’ve all heard the adage that your first five pages can make or break you, which I have always agreed with to some extent, but my understanding had always been along the lines of, “Make sure your writing sparkles and shines at the beginning so agents/editors/readers get hooked by your brilliance and keep reading.”
I mean, duh. That’s also important, but I was missing the “big picture” boat with that thought process. Hardcore.
Read MoreAll right, folks, the topic I’m tackling this week is one that’s near and dear to my heart. I promise you, that is not because I’m a fan of it. *cringes, shudders, and generally attempts not to turn green at the writerly gills* The reason I hold it so bizarrely dear is because I used to be an offender of the utmost caliber. I’m talking epically impressive levels. (A little later in this post, I’ll even share a few shining examples. Prepare yourself, it’s ugly.)
Read MoreI have a current work-in-progress (WIP) that I can quite honestly say might not have a single sentence left from its original version. And, yes, I exaggerate on occasion—what writer doesn’t?—but, no, I’m not in this instance.
So, how the heck is that even possible, you ask? Quite easy: it’s seen four—count ‘em, four—major re-writes. I’m not talking simple edits where a scene is removed here, another added over there. I’m talking axing over half the content and starting from the ground up. Over and over and over again.
Read More