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A great reveal can be sublime. Unfortunately, this has storytellers chasing after the perfect reveal even when their story would be better off without it. Reveals have to be set up just right to work, and some information is too critical to be withheld until … read more »
My main characters are part of secret government unit that goes after supernatural threats to America. Should I start the story with the new members being training? Or should I start with them being assigned to the unit and have flashbacks to the training to show how they’ve become friends, etc.? Read more »
I’m struggling a little bit when I want to add tension without drawing the character into it right then and there – for instance if my POV character was being stalked. I was wondering is there such a thing as adding “throwaway” POV’s. Read more »
Most storytellers know that the climax should be more exciting than the rest of the story. However, many don’t know that climaxes need a critical turning point. Neglecting this turning point is one of the most common mistakes that writers make, and without it, endings … read more »
I’ll admit it: my title is pretty sensationalist. But I can’t bring enough attention to this issue. When we’re hired to do content editing, 95% of the manuscripts we look at need significant work in this area. Before we look at their work, most writers have … read more »
A throughline is the core or central plot thread of your story, the problem introduced in the beginning and resolved in the climax. It’s what ties everything together and keeps the audience engaged. Novels without strong throughlines have a difficult time building tension or creating satisfaction, two … read more »
When done well, romance not only makes stories feel deeper and more meaningful but also gives the audience another reason to turn the page. Unfortunately, it’s easy to jump into writing a romance without thinking it through. And if the romance isn’t setup well, it … read more »
Even highly successful stories aren’t immune to plot holes. In Star Wars, Leia realizes the Millennium Falcon is bugged but doesn’t do anything about it. In Harry Potter, the Ministry knows what spells are cast in Harry’s house but can’t locate him when he goes … read more »
Gather round, ye speculative fiction fans. It is time for another critique post. Last time, I reached into spec fic’s distant past and dredged up A Spell for Chameleon, but today I take on a more modern offering: The Blade Itself by Joe Abercrombie. I … read more »
A throughline is a story’s core, the problem that’s introduced at the beginning and resolved at the end. It is the single most important element of a story. When you tell someone what a story is “about,” you’re usually describing the throughline. Read more »