What did we find when we set out to find great sentences? Is it all about the grammar? We talk about the categories a sentence can fit into, and why looking at the paragraph and sentence level is so important in your writing. We look at a couple of sentences from The Passion and Unaccustomed Earth. FInally, we talk about long sentences, poetic sentences, and use of metaphorical sentences to spice up your writing!
Writing groups, are they helpful? If you are a part of a writing group, how do you give helpful feedback to your writing partners? We cover etiquette, how to mark manuscripts, and the time and effort you should put into being a good critique partner. Even as you critique you are learning as a writer, so have fun and grow together!
What details about our story do we miss in first draft? And what can we do to solve them? Is it possible to know everything before you start drafting? And what should your attitude be toward those missing pieces? We dive into how to revise those scenes that you love, and how to use rewriting in your revision process. In the end, it’s all writing! So be excited about making your story the best it can be.
Kathryn explains an exercise in pre-writing she has been using to deepen her character arcs and relationships within her novel. We explore how it would affect sub-plots, character relationships, and arcs. What problems could this help you avoid? And how could you use it to develop your antagonist as well? We talk about how Kathryn got into this kind of development, and whether or not it would work for every kind of story!
What do we mean by “do bad”? And when should you let your characters make these morally reprehensible decisions? We talk about how to use the emotional bank account, and the motivation of your character to keep readers from losing their sympathy for the protagonist. And what about those snapped moments? Or when your character is acting out of character? Ultimately we decide it’s a powerful tool, so use it wisely!
How do you craft a story where readers buy the implausible? Does every genre have to deal with this issue? What tools can you use in your character, plot, and world-building to keep your reader engaged in the story? When do your genre conventions help your plausibility? And when can they hurt it?
I'm Alida
I help people express their gifts to the world.
I do not believe in formulas. I believe that the stories we are compelled to tell the world make demands on us, and it is our privilege to meet those demands in order to reach the most people in the most authentic and compelling way possible.
