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?
How did finishing a project bring Alina to a realization about herself, and her life outside of her author career? What experiences did she undertake in order to refill her creative well? And how does working on a project outside of what you previously finished help broaden your artistic horizons? We finish with a poem from Alina’s new book, Fire by Night.
How is writing a female protagonist different from writing any protagonist? Are there genre pressures to what your female protagonist should be like, act like, or look like? How has television affected character driven fiction? And how does that effect the female protagonist? Finally, we give tips on how to address the female protagonist writing for today’s reader, no matter the genre.
What makes a female protagonist a strong female protagonist? And where does that strength come from? How aware of social and cultural norms should you be when developing a strong female protagonist? And is strength unique to genre?
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.
