This week at the Story Works Round Table, Alida and Kathryn talk transitions. What are the good, bad, and better ways to keep your readers reading past narrative breaks? We want to create bridges over that white space, whether it’s a scene, chapter, or part break, no matter who, when, or where shifts on the other side
Alida shares 6 personal writing tips she’s learned that will get you over the hurdles that make it hard to write your story on today’s Story Works Round Table.
What makes an ending dark? And what is the difference between a dark and a negative ending? How do you craft it so that your readers find it satisfying? We explore how some genres rely more heavily on dark endings, and what the difference is between a dark twist and a truly dark ending.
What is narrative? And why should we care about it? How should you approach your narrative, narrator, and narrative exposition? How does narrative help with mood? And how does voice fit into this conversation? We discuss how the depth of your narrative and voice changes your reader’s experience, no matter the genre!
Why should you think about clothing and fashion in your story? Is it just part of your world building and setting? How can you use it to illustrate your characters arc? Or your characters flaws and insecurities? What about when everyone is dressed in a uniform? We dig deep into the choices you can make about fashion and how it can affect every aspect of your story!
How should you mirror your Act one and Act three? And why should they be related? What tools does that help you access? Remember your inciting incident doesn’t have to be one climactic moment, but your protagonist must have a choice! How should you develop your character with plot in mind? And what if you are writing a very interior or quiet journey?
How do you keep your middle act functioning for your plot? How do you avoid ending your story too early? How should you effectively use subplots? And what about tools like the “try-fail” cycle or the hero’s journey? Alida walks us through how to give your characters the perfect level of problems, and the skills to solve them!
What caused Leeland’s break from writing? And what is the problem of the allure of the new and different? Why do we struggle to just write the next book in the series? What was the impetus behind Leeland’s return to writing? And what are some tips Leeland has for streamlining your marketing so you can have more time for your writing?
What is the Steampunk genre? How real does your science need to be? And does it have to be set in the Victorian era, and in Victorian society? What sort of plot goals should a Steampunk novel have? And what archetypes do you need in order for it to feel Steampunk? Leeland gives us his tips on the perfect mixture to make a Steampunk novel, and how to get started if you are interested in writing one!
What can workshopping your novel with an editor do for you as a writer? What are Kathryn’s issues with Act One? And what does your reader truly need to know about your world and characters? Make sure you zoom out and look at the big picture of what you are trying to achieve with Act One.
How is ad writing different from your book description? How do you avoid creating ad copy that is all the same? How do you get to a really good ad sentence? And how do you convey genre in one sentence?