Query letter bad examples

A quick recap from last time: the primary principles to apply when writing a query letter are that you keep it short and specific; that the story synopsis matches the book; and that you are not coy in the manner of back-blurbs. Just in case somebody isn’t

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Query letter principles

Lately I’ve been getting a lot of queries about, well, queries. So I figure that it’s probably time to do a post on them, even though I feel like I’ve been talking about the “boring business stuff” an awful lot lately. Anyway, the first thing I’m going

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Useful and unuseful lists

The other day I was browsing writing web sites and came across one that made me blink. Every post for months had a title like “Seven Dialog Mistakes” “Five ways to a Great Scene” “Ten Resolutions for Career Writers” “Twelve Dynamite Endings.” OK, I get that a

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The Question of Voice

Recently, I was approached by a budding author who, after the usual polite introductory remarks, said, “Ms. Wrede, I’ve been wondering – how did you develop your voice?” I muttered something relatively innocuous and vague, and stewed about it all the way home. Because while I’ve put

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Long-range thinking

Back when I was getting started, I had the privilege of talking to a number of long-established SF/F writers and writer/editors – Ben Bova, Gordon R. Dickson, L. Sprague de Camp, et al. One of the things I noticed sort of vaguely at the time, but really

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Estimated taxes

It’s June 13 and in the U.S., the first set of estimated tax payments for 2012 are due at the end of the week. And if you’re making money from your writing, and you have to pay U.S. income taxes, you need to be aware of this.

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Old ways of looking at viewpoint

One of the really interesting things about older how-to-write books is their take on viewpoint. Several don’t mention it at all; others give it barely a passing glance. When they do talk about it, it’s from a completely different angle from that taken by modern how-to-write authors.

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Old ways of looking at plot

Most experienced writers know in their bones that plot operates in far more directions and on far more levels than most modern how-to-write books acknowledge. It’s the folks who’re just getting started who get bogged down in strict adherence to the basic skeleton or act structure, or

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