Twitterific Writing Links

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by Elizabeth S. Craig, @elizabethscraig

A weekly roundup of the best writing links from around the web.

Twitterific writing links are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 30,000 free articles on writing related topics. It’s the search engine for writers.

The ethics of ghost-writing:  http://ow.ly/cq1c303iNu4 @Roz_Morris

Madeleine L’Engle on the 3 Most Important Things for Writers:  http://ow.ly/cu4W303iNxk @WriterJoMalby

Podcasting and Indie Authors: Is Podcasting Right for You? http://ow.ly/JjsO303iNEt @CaballoFrances

Creating Realistic Cultures in Worldbuilding:  http://ow.ly/BzLM303iNSy by Chris Winkle @mythcreants   Continue reading

8 Tips on Writing Dual-Time Mysteries

by M.K. Tod, @MKTodAuthorTodMK-TimeandRegret-22790-CV-FT

What do The Ashford Affair by Lauren Willig, The Labyrinth by Kate Mosse, The Light in the Ruins by Chris Bohjalian, The Muralist by B.A. Shapiro, and The Lost Sisterhood by Anne Fortier have in common? Answer: they are all dual-time mysteries. I love reading stories like these. But writing one proved to be a significant challenge and demanded a different approach from my previous historical novels.

So what did I learn? Below are eight tips for crafting this type of story.Continue reading

Linear Writing

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by Elizabeth S. Craig, @elizabethscraig

I mentioned last week that I enjoy hearing other writers’ book-writing processes.   I share a variety of writing-craft tips on Twitter because although something may not be useful for me, it might be useful for someone else.

But sometimes, I think, it’s helpful to hear how others write.  Although I’m pretty set in my ways with my process, sometimes I need to try something new.  And sometimes I think I need to try something new because I’m so set in my ways.  It helps to keep my writing fresh, even though I may be working on book ten in a series.

I read a post from writer B.E. Sanderson’s Outside the Box blog on linear writing … working straight through scenes to reach the end of the story.   Continue reading

Let’s Get Sensory: Powering Scenes Using The 5 Senses

by Angela Ackerman, @AngelaAckerman

There isn’t a writer alive who doesn’t believe description is important. We know that the key to pulling readers into our fictional world lies in how well we can describe each scene, giving it color and texture, and infusing it with emotion and substance. And one of the very best ways to achieve this is to use sensory detail: the sights, smells, tastes, textures, and sounds that our POV character or narrator experiences.

Emotion factors heavily in sensory description because the mindset of the POV character influences what they notice (which also determines what details the reader is privy to). A character sitting by a river to enjoy a happy, reflective moment after graduating university may be drawn to clusters of green shoots along the muddy bank that slant in the direction of the sun.  She might note the sharp, clean scent of pine needles and how each breath makes her feel renewed. The give of moss, the gentle breeze, and the sound of the water chuckling across stones…all of these details may lull her (and the reader) into a sleepy state of satisfied bliss.

However, a character dropping behind an uprooted tree along the riverbank to hide from her enemies would focus on different details: the poke and scrape of wood against her back and arms as she presses tight against the fan of roots. The cold river water seeping into her shoes as they sink in the mud which reeks of decay. The snap of branches, the shouts of her pursuers, the squeezing rush of her own shuddering breaths.Continue reading

Setting as a Vehicle for Conflict

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by Becca Puglisi, @BeccaPuglisi

I’m sure you’ve heard the saying that a good book should have conflict in every scene. This is wise advice, since well-written conflict begets tension for our characters, which can be passed on to readers, who will sense a rise in energy as they feel that nervous, jittery sensation signaling them that something is going on. We all want readers to have that heightened awareness and interest when they’re reading our stories, and a good way to bring that about is through conflict.

While the most obvious source of conflict is an antagonist who opposes our hero and his goal, it’s simply not reasonable (or sensible) to drag him into every chapter. As a result, we have to find other struggles that make sense for each scene. It may not seem like the most intuitive choice, but I’d like to propose that the setting is one of the handiest sources of conflict, for a number of reasons. First, every scene has a setting, so it’s already built into your story. And with the sources of conflict inherently included in each location, there’s no need to fabricate them—no lengthy set-up involved to put these difficulties into your protagonist’s path. If you’re wondering what sources of conflict I’m referring to, consider the following:Continue reading

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