“Weak” verbs aren’t

I thought the nonsense about “weak verbs” in fiction died some time during the pandemic. Apparently, I was wrong; somebody helpfully forwarded a list of “weak verbs you should never use in your writing” recently. Which inspired this post. The first problem with talking about “weak verbs”

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What’s good?

Probably the third or fourth thing I get asked by would-be writers—after “Where do you get your ideas?”, “Are you working on the next book? When will it be finished?”, and “I have this great idea; how about you write it and we split the money?”—is “How

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Other drivers

The character-driven story currently seems to be most people’s Platonic Ideal for fiction, especially when compared to the plot-driven story…and those are the only two options most writing advice and/or classes present to writers. It’s taken for granted that one of these things–characterization or plot–must inevitably take

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Stakes vs. consequences

Whether you’re struggling through a first draft, revising a completed manuscript, or composing a query letter, one of the more useful things you (or your prospective agent/editor) should probably know is what is at stake for the characters in your story. But what, exactly, does that mean?

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Audience, Pro and Con

One of the first things a lot of writers get told is to “think about your audience” or “imagine your ideal reader.” This is one of those balancing-act bits of advice. I personally think there are more down sides than up sides, but either way, the fact

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