You’ve got a great idea—but how can you tell if it’s weighty enough for a novel, or would work best as a short story? Here are five key factors to consider.
by Elizabeth Sims
Writers who leverage their skills as copy editors can earn bigger paychecks, diversify their portfolios and spend more time doing what they love. Learn how you could be one of them.
by Rebecca Smith Hurd
At some point in writing your novel, you have to start thinking about “chaptering,” the process of deciding exactly when and where your chapter breaks will go. Here are three simple, essential techniques that can help you make effective chapter pauses.
by Aaron Elkins
Award-winning writing, quick-witted characters and the kind of suspense every reader craves—his books may be classified under mystery or thriller, but Harlan Coben seems to have it all. And he’s willing to share his secrets.
by Jessica Strawser
Announcing the Inspirational winners of the 18th Annual Writer's Digest International Self-Published Book Awards.
In this excerpt from Chapter 1: The Very Beginning: Your Opening Scene from Nancy Kress’s Elements of Fiction Writing: Beginnings, Middles, & Ends, you’ll learn:
- why it’s so important to establish your story’s promise
Find out more about Elements of Fiction Writing: Beginnings, Middles, & Ends by Nancy Kress.
- Hook readers, agents, and editors in the first three paragraphs.
- Make and keep your...
Read an exclusive Q&A with Nancy Kress, author of Elements of Fiction Writing: Beginnings, Middles, & Ends.
In this excerpt from Chapter 4: Writers, Take Back Your Lunch Hour from Áine Greaney’s Writer With a Day Job, you’ll learn:
- how to make your lunch hour work for you
- the ...
In Writer With a Day Job by Áine Greaney
- Learn how to balance a day job and a writing life
- Find exercises, inspiration, and techniques you need to build creative...
To make characters seem real, you need to tap into what drives them. Use this foolproof method to bring the emotion of your story to life.
by David Corbett
Literary agent Paula Balzer discussed finding your voice in this excerpt from her book WRITING & SELLING YOUR MEMOIR.
In this bonus online exclusive, Pat Conroy (The Prince of Tides, The Great Santini and other contemporary Southern classics) shares recollections and recommendations of some of his favorite bookstores, past and present, across his native South.
by Lynn Seldon
A good opening line is a powerful thing: It can grab an editor’s attention, set the tone for the rest of the piece, and make sure readers stay through The End. Here are 10 ways to steer your story toward success.
Dialogue benefits from variety. A good way to maintain your reader's interest is to insert a variety of beats into your dialogue. Beats are descriptions of physical action—minor or major—that fall between lines of speech. Try the following techniques to punch up your dialogue.
by Todd A. Stone
If you think you’ve heard all you need to know about what drives a plot, think again. Here’s the real stuff the best stories are made of.
by Steven James
Another month, another amazing premium collection offer. In both January and February, these limited edition kits sold out before their respective months were half over, and this month’s collection is sure to follow that trend: Make Money Freelancing. In less than 2 days, this kit is already more than a quarter of the way...
BY ELIZABETH SIMS Fiction, like food, is an art and a craft. Here’s how to blend inspiration with technique and serve up an irresistible Chapter One.
Be confident in your grammar with The Writer's Digest Grammar Desk Reference by Gary Lutz and Diane Steveson.
In this excerpt from chapter two: Modifiers and Other Parts of Speech from The Writer’s Digest Grammar Desk Reference, you’ll learn:
- How to properly use adjectives.
- Learn how to avoid...
Rules, as they say, are meant to be broken. But even groundbreakers learn by observing what has worked before. Let’s take a look at some examples that can help you break the rules in a meaningful and effective way.
by Dinty W. Moore
If dialogue wastes time and stops or delays your novel's progress toward resolving the conflict, it must be cut, pared down or rewritten. Look for these areas in your manuscript, and you'll find places where your dialogue should be revisited.
by Todd A. Stone