Racial Diversity in Speculative Fiction

This article is by Anne Leonard.racial diversity

A current – and recurring – topic of conversation in the SFF writer/ blogger/ reader community is the lack of people of color (POC) writing and publishing in the field.  (This is also an issue in the literary community in general; here’s a recent post on the subject that appeared on the Book Riot website.)

People of color are underrepresented in SFF for a lot of reasons, but one which I see frequently mentioned is that books without diversity make POC feel excluded.  This creates a vicious circle – POC don’t read SFF, so they don’t write SFF, so there aren’t POC in SFF books, so POC don’t read SFF.  One way to break the cycle is for white writers to include more diversity in their own work.

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Making Romance Epic – 5 Tips for Writers

Romantic relationships are a part of being human.

Not every novel needs a romantic subplot. But given enough time and depth, most characters will develop that side of their lives. If we’re ignoring love, we aren’t writing fully realized characters.

If we as writers can tap into the allure and mystery of romance, we have the opportunity to evoke more powerful and compelling emotions through our stories.

Here are five tips for making this happen:

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Mastering Multiple POV in 6 Steps

Eddard Stark
Eddard Stark

Multiple POV storytelling has a bad rap.

Sure, the practice of splitting a single narrative across multiple characters’ perspectives has a long history. And its popularity continues to expand as our society grows ever more distrustful of singular truth, in favor of individual realities.

But multiple POV writing is not without its critics—and some of them are quite loud. Many writers and readers complain about poor or confusing execution. Others cite their traditional literary tastes. Why hop between multiple character’s minds, they argue, when you could tell a story more simply through one pair of eyes?

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Is Plot or Character More Important?

Structuring Your NovelThis article is by K.M. Weiland.

“Plot vs. character”—we hear it all the time, as if the two were mutually exclusive. Either your book is plot-driven or character-driven. Can’t possibly be both, right?

And anytime we run afoul of an either/or conundrum, you gotta know people are going to start believing one or the other is not only the best way, but even the only way to write a book.

Let’s consider this a little more microscopically. What would it take to make one or the other of these combatants “more important” than the other?

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