Dissecting the difficulties of writing a sequel
A writer’s mind can be a dangerous thing. Perhaps the most notorious forms of self-sabotage are writer’s block and a related syndrome: the sophomore slump.
A writer’s mind can be a dangerous thing. Perhaps the most notorious forms of self-sabotage are writer’s block and a related syndrome: the sophomore slump.
In this third installment of a series exploring the anatomy of a well-adjusted writer, the focus falls on another overlooked—and arguably undervalued—trait...
At first glance, the picture I painted of the well-adjusted writer might resemble some spineless creature. But even if writers tend to absorb ideas from the world around them like a sponge, that doesn’t mean they should lack backbones.
Nothing is certain except death and taxes, according to Benjamin Franklin. But if you’re a writer, you can add rejection to that list.
I know I’m not the first to tackle this topic, but there seems to be a dearth in articles pertaining to some of the more intangible qualities that, in my experience, benefit someone who wants to succeed—or simply survive—the sometimes schizophrenic lifestyle of an artist.
Titles represent anywhere from a few hundred to hundreds of thousands of words. They have to be worthy of all that hard work you put into your short story, novella or novel. And they must be marketable.
On a very basic level, the creation of a story can be divided into two parts: concept and composition. Without a command of both sides, a writer is bound to fall short of greatness.
When a fledgling writer first takes a stab at the craft, he or she is apt to make a few fundamental mistakes. One such error is assuming that the more words one uses, the better.
For anyone writing fiction: under what name have you/will you publish your work?
One of my earliest college writing assignments involved a little espionage.