A while back, I came across the following question:
How do you write so much dialogue without it getting boring?
Conversations and dialogue are perhaps the biggest parts of my stories. It’s where things happen – in the interaction between the characters. I write a lot of conversations, and I’ve put a fair bit of thought into how I do it and how to make them work.
This article is split into three parts. First, I’ll mention some general advice that I’ve found to be helpful. Next, I’ll explain the method I’m using. Finally, I’ll go through an example of a conversation I created using this method.
After a recent break from writing, I’m back in the chair and am assessing my unfinished stories and the world I’ve forged around them.
Developing one’s confidence as a writer isn’t easy. I can’t speak for anyone else, but I know my own path has been an arduous one, and confidence waxed and waned along the way.
If you’re reading this article you might be thinking two things:
I recently attended WisCon, a feminist SFF convention in Madison Wisconsin. I saw and heard a lot of great things, but one of the panels I keep thinking about is the one about policing and how we can use fiction, particularly science fiction and fantasy fiction, to help imagine solutions to a very real world problem.
This is Father’s Day weekend, and I am a stay-at-home dad with three young sons and a daughter who will be born sometime next week.
This article is by Sara C. Snider.
The Hydra is a many-headed creature, fierce and dangerous. If a head is cut off, two more will grow in its place, making it a difficult monster to defeat.