I’ve blogged about the craft of writing with other professional writers from Vermont College of Fine Arts and have gathered those posts for you below.
Think about all the things you don’t like in real life. Sharks. Spiders. Earthquakes. Bullies. Public speaking. Chances are, if you expose your characters to what you fear, your fiction will flourish because of it. Writers can’t afford to be nice. We’ve got to throw rocks at our characters, as Nabokov famously said. Get them
In the book The Velveteen Rabbit, the stuffed protagonist wants nothing more than to become a real, live bunny. The odds are stacked against him, of course, but in the end the toy bunny’s devotion to his beloved boy pays off, and miraculously his dream comes true. Fiction writers, like the Velveteen Rabbit, also want to
Like the apple that fell on Isaac Newton, a new insight smacked me over the head last week. It happened after I watched a Facebook video, “Real-Life Superheroes are among Us,” by photographer John Rossi. In it, Rossi and his team of professionals took six kids living with serious disabilities and dressed them up as
What would a mountain lion do with human remains? Is it possible to murder someone with a proton beam? How fast can a knife wound across the chest bleed out? If your phone’s been hacked and someone’s spying on you, how would you know? These are just a few of the miscellaneous topics that writer
C’mon, admit it. Don’t we all wonder sometimes about how well we’re liked and if people really listen to what we say? In real life, we may never know the answer. But in fiction, when it comes to creating characters, popularity is measurable and important. Writers must make readers care about their protagonist right from the
I was stuck. I’d been trying for months to finish my novel, but my output had dwindled from a torrent to a trickle. Even though I knew what happened in the end, I couldn’t find the words to write the last few chapters. Other writers complain about the muddle in the middle. Not me. My
We all know that setting is important. Of course, we do. However, are we really using the landscape of our work as deeply and as fully as possible? Join me to take a look at how the whole idea of place can serve your story.
As a child, I loved reading books about the Borrowers, a fictional family of tiny people who live secretly in the walls of an English house. To survive, they “borrow” items from the big people living there, who assume their things have been lost. Recently I’ve been wondering if the Borrowers have taken up residence
While visiting my eldest son in Oregon this month, I spent a morning picking peas on his farm. After showing me how to choose the plumpest pods that were ready for harvesting, my son handed me a bucket to fill. As I worked my way down the row of trellised vines, peering out from under
We writers love our tools. From software programs like Scrivener, Evernote, and Google docs to apps that block online distractions, we all swear by our systems. Some of us even write using treadmill desks and stability balls to keep our backs in shape. But have you ever considered adding a meditation practice to your writer’s
Think back on the books you love, and invariably it’s the protagonist who comes to mind. Characters are the heart and soul of our stories, and I’ve spent months and sometimes years getting to know mine. But in my systematic efforts to pin down their personalities, I sometimes sacrifice what’s most important: the element of
It’s just after 8:00 am. The kids have left for school, and you finally have the house for yourself. You pour yourself a second cup of coffee and open your laptop. Just as you’re about to click on your work-in-progress, the phone rings. Or a text pings. Or an email alert flickers from the corner