Figures of speech enliven our poems and stories. My favorite is metaphor. There’s an old silly saying, “What’s a metaphor for?” I say metaphors are for doing life-enhancing jobs, like surgeons. Acting as a surgeon, a metaphor can inject life into a tired sentence, replace a worn-out cliché, and heal a broken story. Merriam-Webster tells us metaphor is “a figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place … Read More »

Not having come to fiction writing through an MFA program, I was never told up front, “This is what makes a novel good.” Exactly what constituted good writing was something my longtime reader’s head had to figure out for itself: if that’s what I like in a book, then that’s the way I want my books to sound. Now — having studied writing, attended conferences, gotten feedback from editors and beta-readers, etc., etc.—having done, in short all the things we … Read More »

Pacing is key in stories. If your pacing is off, an editor, agent, or reader will get bored with your book. One key element in getting your pacing just right is narrative balance. Narrative balance is the ratio of dialogue to narration in a text. Page after page of narration bogs down the pacing and becomes boring for the reader. Conversely, extended scenes of just dialogue reads too quickly, and the reader gets lost. The appropriate balance between dialogue and … Read More »

I love a story with details. I think they have the power to bring a story to life, make it believable, and put the reader right where you want them — hooked, immersed, and with the feeling that they are actually there with your characters. But I would caution against meaningless detail. You want those you choose to be accurate/believable, and you want them to fulfill their purpose. You must choose carefully — if you’re lucky, they’ll provide layers of … Read More »

We often write best about the times and places we inhabit, filling our prose with the little details of our existences. To get there, we sometimes sprinkle the work with brand names. Stephen King does this to good effect, giving the work real-world flavor. His rationale—and it’s a good one—is that a person buys a Pepsi, not a soft drink. However, King runs the risk of readers a hundred years from now having no idea what he’s talking about when … Read More »

It’s a dark and stormy night. The electricity is off, so, TV-less, you and your Significant Other are in bed reading by clip-on battery lights. After a brief while, he/she slams down the book and says, “This book stinks. I’m going to bed.” S.O. turns off the light, pulls up the covers, and before long, you hear snoring. You, on the other hand, have hit a Golden One. You can’t put it down! You devour that book, losing track of … Read More »