Writing Tips
Click on a Writing Tip title to go to that page.
The Downside of Destiny: why your fantasy hero shouldn’t have one —Spring 2016
Be the Bad Guy: don’t solve story problems too quickly —Winter 2015
Go for the Knockout: writing action and fight scenes —Fall 2015
Going for the Title: creating a good title for your story —Summer 2015
Camel vs. Motorcycle: the three beats of a good query letter —Spring 2015
When it’s Write to Murder Your Characters: and why you must never waste a death —Winter 2014
Writing for the Ages: writing for every age from picture books to YA —Fall 2014
Don’t Color Me Fuchsia: why you can’t use vivid words too often —Summer 2014
The Map is Not the Territory: the seven “shalt nots” of writing jacket copy —Spring 2014
And It Was Just Right: four lengths of pitch/synopsis —Winter 2013
Twisted Plots: the necessary change of direction —Fall 2013
One Perfect Rose: writing description —Summer 2013
Don’t Skin the Cat! : better ways to solve a story problem —Spring 2013
Coincidentally… : the uses and abuses of coincidence —Winter 2012
Becoming a Hero: story structure points 9 & 10 —Fall 2012
Climbing Up to Kaboom: story structure points 7 & 8 —Summer 2012
Rise Up & Commit: story structure points 5 & 6 —Spring 2012
Foiled Plans: story structure points 3 & 4 —Winter 2011
Lights, Camera, Kickoff: story structure points 1 & 2 —Fall 2011
Fixing the Most Common Intermediate Mistake: how Scene/Sequel structure forces your protagonist to become active —Summer 2011
The Most Common Intermediate Mistake: inactive protagonists —Spring 2011
The Art & Necessity of Critique, part 3: size matters —Winter 2010
Set up & Pay Off: creating more emotional impact in your story —Fall 2010
A POV Footnote: how many beginner mistakes can be avoided by writing in close 3rd person —Summer 2010
Single Spy to a Teeming Horde: point of view, part 2 —Spring 2010
Tense Persons: point of view, part 1 —Winter 2009
Villains: because a good bad guy is the author’s best friend —Fall 2009
High Concept: whether your plot or your premise is stronger, what that means, and why it matters —Summer 2009
Scoring in the Elevator: all I know about writing a good two sentence pitch —Spring 2009
Show and Tell: the proper uses of summary —Winter 2008
Taking Out the Trash: how to dig out your unique writer’s voice —Fall 2008
Tale of Two Synopses: more on writing a synopsis that works —Summer 2008
Rising to the Occasion: the climax of your novel —Spring 2008
Middle-of-the-Novel Mud: how to winch your way out and stay out —Winter 2007
Doghouse on Malibu Beach: what you should, and shouldn’t, put in the first five pages of your manuscript —Fall 2007
Taking away the “Easy” Button: Bell’s three rules for writing about magic —Summer 2007
Pitching to the Pros: what you can (and can’t) expect if you ask someone to evaluate your writing, and what kind of sample you should offer them —Spring 2007
Hunting for an Agent: shotgun or target pistol —Winter 2006
Playing for Higher Stakes: why your dog is more important than the universe —Fall 2006
Exploding Writing Myths: some things “they” say that might be true for them but not for you —Summer 2006
Are you the next American Idol?: some things to think about before you decide to self-publish your book —Spring 2006
A Time to Write: how to phrase your New Year’s resolution properly —Winter 2005
TV or Not TV isn’t the Question: why we don’t care what kids do instead of reading —Fall 2005
What Color Hat Does Your Universe Wear?: the role your setting plays —Summer 2005
How Big a Hammer? : is it important for the reader to understand your theme? —Spring 2005
The Irrational Optimism of Writers: why this particular form of insanity is a good thing —Winter 2004
The Pesky Typo Hunt: why you should take the trouble to track them down and eliminate them before they can breed —Fall 2004
A Point of E-tiquette: does your T-shirt have holes in it —Summer 2004
Making your Reader Believe: whether he wants to or not! —Spring 2004
The Art and Necessity of Critique, Part 2: how to give and take criticism without coming apart at the seams —Winter 2003
The Art and Necessity of Critique, Part 1: how to find (or create) a writers’ critique group —Fall 2003
Writing the Other: writing from the viewpoint of the opposite gender —Summer 2003
Beating the Evil TV: the most valuable tip I’ll ever give you—and it’s short too! —Spring 2003
Badge & Handcuffs: writing with authority —Winter 2002
The Editor is Never Wrong, Mostly: well, hardly ever —Fall 2002
Do You Want a Cookie?: the question of revising on spec —Summer 2002
But What do the Trees Say?: or, the unimportance of worldbuilding —Spring 2002
Writing the Dread Synopsis —Winter 2001
Writing Children’s Books vs. Adult Books —Fall 2001
