When I discovered Kephart’s book, anything she had to say about handling truth was welcomed. Perhaps I knew I was in good hands when I flipped to a page and read: “Memoir writers have no control over how their cast of characters – which is to say their mothers, their fathers, their siblings … will feel about what has taken residency on your page.” Continue reading [Zetta’s Reference Desk] – Handling the Truth: On the Writing of Memoir
When it comes to a reference that has the information you need and then some—this is it! This is my first, favorite, primary go-to reference book over other style manuals that I have and (sometimes) use. Why? Continue reading [Zetta’s Reference Desk] The Gregg Reference Manual, Tenth Edition
For me, the best writing books are practical. One of the most useful guides I’ve come across in recent years is Janet Burroway’s Writing Fiction: A Guide to Narrative Craft. The book is currently in its ninth edition, so I’m not the only one who thinks Burroway is awesome. So what’s so great about her? Continue reading [Zetta’s Reference Desk] – Writing Fiction: A Guide to Narrative Craft (9th ed.)
Here’s a few of the topics addressed: “Never Say He Thought/She Thought,” “Ditch Prepositional Tells” (e.g. – she licked her lips in expectation), “He Saw/She Saw—Let’s Get Off the See-Saw.” Sound provocative? Do you have problems in these areas or have beta readers or critique group members “ding” you for these things? Read this book. Continue reading [Zetta’s Reference Desk] Rivet Your Readers With Deep Point of View
After reading the short introduction about how The San Francisco Writers’ Grotto compiled the book and flipping through some of the pages, I just had to get it. Continue reading [Zetta’s Reference Desk] 642 Things to Write About
If I could have only one pet peeve as an editor, it would be apostrophes facing the wrong way. Continue reading Apostrophes and the Abusive Author
Realism can come into the story by way of the plot itself, but even if your plot is one of the most unusual, fantastic plots every conceived, you can still insert realism into it by way of the story’s characters. We tend to criticize books and movies with unrealistic characters. Not everyone likes Mary Sue or Marty Stu, so why not provide characters with some realistic attributes? Continue reading Realism in Romance. Why not?