If you feel stuck, it’s time to return to the goal, motivation, conflict, and need of your story. Find out how with Kat Caldwell.
Three dimensional characters make better stories, here are three steps authors can use to help readers connect to their characters.
When you wait for inspiration, sometimes it never shows up. Kim Lozano shares her list of thoughts (literally!) for getting into the right mindset to write, strategically influencing our own emotions.
Welcome to Tinthia Clemant’s third post in her three-part series on Goal, Motivation, , and Conflict — The ABCs of Writing. This one focuses on your character’s and story’s conflict.
On Your Character’s Motivation (GMC: Goal, Motivation, and Conflict, The ABCs of Writing) by Tinthia Clemant
Welcome to Tinthia Clemant’s second post in her three-part series on Goal, Motivation, and Conflict — The ABCs of Writing. This one focuses on your character’s motivation.
Goals versus Desires – Wanting something is a desire; working to obtain that something is the goal.
When you develop your characters, you want them to be consistent so that readers can understand and perhaps identify with them. Your characters’ actions don’t have to be smart, but they must be done for a reason.
Let’s welcome back monthly columnist Raina Schell as she shares with us “Getting into the Head of Your Antagonists.”
It is my belief that every writer should go to a writer’s conference at least once, whether it’s in your genre or not. There are plenty of people who go to the RWA Conference who are not “romance writers” per say.
My #amwalking #amwriting Video How do you notice your longing, desire, or motivation? Please share in the comments below. Thanks! What counts is that you show up and do the work, whether it be...
“Trevor’s only wanted to raise her girls and fight for her community nursing program. She didn’t have time to be distracted by the hot fireman she burned years ago by refusing his marriage proposal. If she could just remind herself of her desires each day, it wouldn’t be so hard working closely with him to help his father recover from a stroke.” Take Harte a novel by Carol Malone.
You have a great story with wonderful characters who overcame grievous wounds—abused childhoods, broken marriages, or alcoholic parents. How do you handle the task of explaining these life-defining experiences? In prologue, dialogue, monologue, exposition, flashback?