TWELVE TOOLS (NOT RULES) OF WRITING : just what it says on the tin
THE THIRTY-THOUSAND DOLDRUMS : somewhere between 20k and 40k, and decided that the whole thing's a disaster? You are not alone.
SHOWING AND TELLING: the basics : how to use both to make your story do everything you want it to do.
HOW TO TELL, AND STILL SHOW : how to get on with the story without sacrificing vividness
SPEECH TAGS: how to use them best : why "he said" is often the answer but not always, and how to handle the latter
OVERWRITING: has someone told you your work is over-written? : here is what they might mean, and what you can do about it.
THE REAL SIXTH SENSE: writing uses all SIX of your senses - here's how.
DESCRIPTION : how to stop your descriptions being slabs of scene setting, and turn them into storytelling
6 QUESTIONS TO ASK YOUR DESCRIPTION : more on the how and why of evoking places, people and everything else.
PING-PONG DIALOGUE: a common habit and what to do about it.
HEARING VOICES : what is voice, and why does it matter so much?
STYLE AND VOICE : a post which explored the difference between the two, and why I think 'voice' is a much more useful thing to talk about.
19 QUESTIONS TO ASK (and ask again) ABOUT VOICE : whether you're having trouble finding the voice for a project, or had feedback that it's not distinctive enough.
LONG SENTENCES and why you should use them : there's a prevailing orthodoxy that short sentences are punchier and more pacy. Here's why I think it's largely not true, and certainly not that simple.
SENTENCE STRUCTURE : have you ever thought about the order in which you put the elements of a long sentence? An exploration of what's going on.
PSYCHIC DISTANCE: what it is and how to use it : a key technique, not much discussed and not hard to grasp.
FREE INDIRECT STYLE : what it is and how to use it : the huge advantage we have over the playwrights and scriptwriters, so why wouldn't you exploit all the things it can do?
PLOT vs. STORY: what's the difference and why does that mean for your writing?
CHARACTERISATION-IN-ACTION : how to develop your characters-in-action and make sure their journey is really compelling.
POINT OF VIEW & NARRATORS 1: the basics : what point of view is, what a narrator is, and why it matters
POINT OF VIEW & NARRATORS 2: internal narrators : character-narrators who narrate in first person
POINT OF VIEW & NARRATORS 3: external narrators : limited, switching and privileged point of view in narrators who narrate in third person
POINT OF VIEW & NARRATORS 4: moving point of view and other stories : how to work with a moving point of view, second-person narrators and other stuff
PAST AND PRESENT TENSE : the pros and cons of both : and why the new creative writing orthodoxy is wrong
PAST AND PRESENT TENSE: some thoughts : a post which explores this fundamental - and sometimes thorny - issue. The comments were very illuminating too.
HAVE YOU HEARD THE ONE ABOUT "WAS"OPHOBIA? : why cutting "was" from your writing isn't just a stupid idea, it's also a dangerous mis-taking.
MAKING A SCENE : what is a scene, should each chapter only have one, and other questions.
FLASHBACKS AND BACKSTORY : how to handle the stuff from Before The Story Starts.
THE WAKING-UP OPENING : why some editors don't like it, and what's really going on
ENDING THE NOVEL : how to make the quietest finish as big as it should be; how to end on a bang, not a whimper.
REVISIONS: Taking down the scaffolding: many writers find it hard to spot the things which needed to be in the first draft, but must be fished out in revision. Here's how to spot them
SEVENTEEN QUESTIONS TO ASK YOUR NOVEL : before, during or after you write it.
THE NOVEL-PLANNING GRID: one way (my way) of planning out your novel : a recent post, with a downloadable grid which you can then bend to your own purposes.
TRACK CHANGES : how using the Track Changes facility in your word processor can really help
SCRIVENER SOFTWARE : why I'm a complete convert to the only writing software real writers use, whether they're pantsers, planners, or imaginers-on-paper.
THE SYNOPSIS: Relax! : the synopsis won't make or break your novel's fate, but it can help to give it the best chance. Here's how.
CROSSING GENRES: The Perils and Pleasures : being rejected because your book is "neither one thing nor the other"? A exploration of the issues.
BOOKS FOR WRITERS: a partial view and a partial list : whether you're looking for help with writing sex, or for a present to give the peculiar creature called a writer who you seem to have spawned or made friends with, here are some of my favourites.
HOW TO GET THE BEST OUT OF AN EDITORIAL SERVICE : Does just what it says on the tin.
HOW TO GET THE BEST OUT OF A ONE-TO-ONE SLOT : Make the most of your ten minutes with an agent, an editor or a book doctor.
WRITING COURSES: the pros and cons : Should you do one? Which one? When?
CREATIVE WRITING COMMENTARIES: don't know where to start? : how to write a reflective, analytical or critical commentary on your creative writing.
ENTERING COMPETITIONS : The first person your writing has to delight is the First Filter Reader. Two posts by writer and veteran judge Susannah Rickards, from the coal-face of competitions.
CREATIVE WRITING PhDs : the paradoxical beast : Wondering whether to do a PhD? Wondering how anyone ever could? Some answers, lots of thoughts.
ACADEMIC WRITING : my twenty-or-so top tips for writing well at all levels of academic study - which should also help you to get a better grade.
GIVING A READING : Part One - Getting Ready : Does just what it says on the tin, from why it's worth learning to enjoy events, to leaving the house.
GIVING A READING: Part Two - On The Night : Everything from arriving at the venue to catching the last train home.
HOW TO COPE WITH PUBLICITY : An exploration of what's going on when you find that the publicity you long for - interviews, reviews, trade dinners - is much more stressful than you'd expect, and tips for how to cope.