Imperfect telepathy

Writing is not a visual medium, not in the way that photographs, paintings, or movies are visual. Yet there are readers and writers who think of it this way. It’s quite common for writers to describe “the movie in my head” or “seeing the scene and just

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Body language

Body language is one of those things that has to some extent become a code. “He shrugged” “She sighed” “I smiled” and so on have become almost like punctuation – nearly meaningless things inserted into a paragraph or a line of dialog to let the reader know

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It’s not the same

There are a number of bits of wisdom that nonwriters frequently impart to writers, usually with the best of intentions. Some of them are useful and very true, like “You need to send that out, you know.” Other times…not so much. One of the not-so-much categories comes

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Election year writing

It’s election year in the U.S. and there’s almost no getting away from it anywhere. One of the things I hear over and over is people complaining about the polarization, how nasty the ads are, and so on. All the drama is, of course, a gold mine of

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Idioms and catchphrases

One of the many areas that some writers find problematic about dialog is the use of idioms. This is especially tricky for SF and fantasy writers who are trying to create a realistic-sounding but still-comprehensible imaginary world. The first common mistake, especially for science fiction writers, is

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Plotting and planning

Plotting a story is one of those writing things where not only does every writer work differently, every book works differently. Oh, there are patterns – I’ve talked before about my write-a-plan-and-then-toss-it method – but they never seem to work one hundred percent consistently for even one

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Eight million or so

“There are eight million stories in the naked city. This has been one of them.” –The Naked City by Malvin Wald The thing about those eight million stories is, they’re all different from each other. And trying to make them be the same is a mistake. This

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Critique vs. Collaboration

One of the questions I’ve been fielding for years, usually from knowledgeable non-writers, has to do with the similarity between being in a critique group and doing a collaboration. Sometimes it’s buried in the assumptions behind the question (“In what ways do your critique group members influence

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