I’m fully immersed in my story. I’m in “the zone,” typing madly, but this story is practically writing itself. Then one of my characters hands another a cup of tea (insert sound of screeching brakes). Wait! Did they have tea in 13th century Scotland? Turns out they didn’t. Change tea to honeyed milk. As my writing brain is fully engulfed in the story, the researcher lobe is pulled from standby to high alert. I engage the “find and replace” function … Read More »

Agency is “the capacity, condition, or state of acting or of exerting power . . .” Agency is something adults have, usually. Some level of authority, capability, assertion, action, or overt influence. Traditionally, it has been male fictional characters who just naturally have agency. They make decisions that affect the plot and the lives of the other characters. They take independent action and accept the consequences. The writing world is in the process of normalizing agency in female characters. The traditional … Read More »

Occasionally, you’ll read a short story or novel in which the point of view is not that of the principal character. This might strike you as odd. If the story tells of Blustery Bob the Protagonist, why wouldn’t the author have us follow Blustery Bob in first person or his third person subjective viewpoint? Why do we get the story from the viewpoint of Sidekick Sam? If the writer knows her stuff, she made an intentional and correct choice. When … Read More »

We all have limitations in life, physical or mental or both, but most American fiction is written from the viewpoint of an average, or above average, able-bodied, mentally-stable perspective. Of the stories that aren’t, many of them are written about or for children and teens. By adding adult characters with disabilities to our stories, we can give adults living with life-long limitations characters they can relate to in stories that value those characters’ contribution to moving the story forward. Among … Read More »

Agents and editors (and RPLA) are likely to want a synopsis. But how can you condense a story from hundreds of pages to two or three pages? It seems impossible. Don’t worry, it is possible. Here are some ideas: Use only the main plotline. Yes, the subplots are fascinating, but they cannot be included in a synopsis. Use only the main one, two, or at most three characters by name. Anyone else that has to be mentioned can be described … Read More »

Writers need to read. Extensively. Across genres and styles, preferably, and absolutely within the genres in which they write. Each genre owns its identifiable classics. In mystery fiction, great examples abound. Let’s look at seven that should be on everyone’s reading list. 1. “The Murders in the Rue Morgue,” (1841) by Edgar Allan Poe This is the only short story in the list, but it rates at least as importantly as the novels, for the simple reason that it launched … Read More »