From the mailbag:: I know some people who feel quite strongly about keeping to the main character’s POV except when it’s absolutely necessary to go to someone else, but I’ve also seen that rule (like so many others!)broken successfully. It can be so useful to show someone
Read more →The second most common way of leading into and out of a flashback sequence is by shifting tenses. Most novels are told in what’s called the “historic present,” meaning that the “now” of the story is told in simple past tense (He slept in the library all afternoon rather than
Read more →There are two important things to know about flashbacks: how to do them, and when to do them. Both things can be trickier to figure out than they look. First, a definition: as far as I’m concerned, flashbacks are a way of conveying some background/backstory information as if it
Read more →The comments on the last post started getting into endings and the escalation of threat, particularly as related to series books, and I discovered I had quite a lot to say on the subject even though I haven’t written a long-running series myself. The first thing is
Read more →The “different panel” at 4th Street this year was on pacing and structure. I’ve been pondering it since then, and this is what I think (or part of it, anyway): Pacing is how fast it feels like things happen. Not how fast they actually do happen; what it feels like
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