A brilliant little writer’s mantra from Neil Gaiman: “You can write, or you can do nothing. But you can’t do anything other than write.”
When you find yourself stuck in a scene in your first draft, don’t fear the filler.
We overuse the “to be” verb constantly. Finding ways to use it intentionally will sharpen our prose and add pleasing sentence variation.
A totally personal recap of National Novel Writing Month 2021. Did you participate in NaNoWriMo this year? How’d it go? What kind of lessons have you gained from arbitrary writing goals?
Before all the Scriptnotes adherents come and castigate me, let me say in a clear voice, I AM ONE OF YOU. I just have some thoughts about “We see.”
David Sims doesn’t like RED NOTICE. But I love THE ROCK.
Luis Alfaro took helm of the L.A. Writer’s Workshop in August, and he said something about whose voices are or aren’t present that I think we can all learn from.
Adding an external viewer to a scene’s emotional core can help root your audience in how they’re supposed to feel, providing a sometimes much-needed guide.
Intentionally adding friction to your writing environment can have revivifying effects on your prose, poetry, etc. We talk a little bit about why, and how to leverage this effect.
A short note on how Saint Maud (Rose Glass, 2019) employs perspective for its title character.