Endearing Female Protagonists
Let’s compare the wildly popular Black Widow and the (unfairly in my view) not wildly popular Captain Marvel. Then look at who I have in my fantasy series.
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Posts on the craft of writing
Let’s compare the wildly popular Black Widow and the (unfairly in my view) not wildly popular Captain Marvel. Then look at who I have in my fantasy series.
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The ‘all-is-lost’ story beat is obligatory in just about every story structure from the Hero’s Journey to Save the Cat.
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This week I found the key in completing a character arc: misbelief. It followed two years of writing, ignoring that my protagonist wasn’t working.
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Posting a short story to my writers’ group this week, I’m exploring the art of the Long Con in Selling the King’s Bridge.
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Why do we so love the stories in which Everyman saves the day? Recalling a previous post, the Everyman – or in my stories, Everywoman – is a character who is ordinary enough to be relatable to the average reader.
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Forget my English degree, the last three years of webinars, classes and craft books have taught me about the rules of good dialogue in fiction. Of course, any ‘rules’ are like the Pirate Code, more like guidelines, really. Like the white lines on the highway. Ignore them at your own risk.
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“Drama is anticipation mingled with uncertainty.” So said British playwright William Archer back in the Edwardian era. A definition that gets to the core of fiction so succinctly, Disney/Pixar’s Andrew Stanton featured it in his TED Talk on story telling.
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Emmy-winning screenwriter, script doctor, and writing coach Glen Gers sums up twenty-five years experience with his six essential questions for writing. Don’t look away; Gers’ rules apply to any writing of fiction, documentary and even non-fiction not just to screenwriting.
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One of the key ingredients of successful novels is the relatability of the characters; it’s why stories need the Everyman, or Everywoman.
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Working through a reverse outline of Book One, I’m breaking down the action of the novel as part of the story edit. The revelation of this exercise is there are more scenes in each chapter than I thought.
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