If you think of the plotline of the novel as a geography, some of them are full of hills and dales and others are as flat as Florida. Lets call “hills” the moments of suspense, fear, or angry confrontation that spice up the horizon. “Flatlands” would be the emotionally level parts where the story chugs along. The best plots have both features, so we can’t call one better than the other—but if I only got one of them, I’d want … Read More »

We all love novels full of sensory detail—the rhythmic pulse of crickets. The opalescent colors of a summer twilight. Sight, in particular, is the chief organ we turn on the world, unless we’re unfortunate enough to have lost that faculty. We go through the world seeing things, noticing. From our primeval origins in the trees, it’s that ability that has made us safer and let us catch our prey. After that comes hearing. We get many of our signals from … Read More »

Fellow novelists out there, sweating away at your fictional plots and characters, have you ever stopped and asked yourself “Why bother?” The world is on fire. People are starving. Wars are ripping through whole countries. And we write stories that aren’t true, which large numbers of people read avidly. Are we helping at all—or are we downright hurting by distraacting from real life’s stakes? Considering that fiction has been around since the time of the Egyptians at least, I suspect … Read More »

Interviewers have frequently asked me, “Where do you get your ideas?” — as if there were some mysterious wellspring from which imagination bubbles that spews out a whole plotted book. We can call this inspiration. Where does it come from? In fact, in the deeper sense, that’s not an easy question to answer. I certainly don’t understand the workings of my own brain well enough to say what childhood encounter might have spawned a certain character. But since I write … Read More »

As my friends (and probably my readers) can tell you, I’m no enemy to baroque language. I do love me some rich descriptions! But that’s not the same as wasting words, throwing them away on redundancies. While not everybody needs to write like Ernest Hemingway, a certain frugality with those precious little words keeps the writing clean and comprehensible. Let’s consider a few examples. Stating the Obvious Take the adverb aloud. It’s useful to indicate that something is not silent. … Read More »

I recently decided to stop being so anthropocentric and incorporate a dog into the cast of my protagonists. This took a bit of courage, because a) animal characters can be cutesy and maudlin, and b) all the animals in books I read as a kid got killed in the course of the story, and I can’t take any more, OK? But, used correctly, the animal character can be just as powerful a presence as a human. If the temptation to … Read More »