Heroes and protagonists, money matters, freelance editors, and Google+: you’ll find all that and more in today’s Great Stuff. Let’s get started, shall we?

CRAFT

Do “hero” or “heroine” mean the same thing as “protagonist?” In Why Your Protagonist Might Not Always Be Your Hero, Katie Weiland (@KMWeiland) explains the distinction and how you can identify who the protagonist really is. (Note that this character is not necessarily an anti-hero, either.) Katie suggests that you ask three questions to identify your protagonist:

• Who is most important to your plot?
• Who has the most dramatic character arc?
• Who has the most at stake?

Katie also continues her Most Common Writing Mistakes series with A Surefire Sign You’re Over-Explaining...

The next eight articles are going to be about characters and characterization. Before we get started, though, I want to point you to another excellent blog post from several years ago, titled The Night the Lights Went Out in Texas, by Keith Cronin, on Writer Unboxed. This paragraph sums up so much about the enterprise of story-telling, whether in fiction or non-fiction:

“But it really comes down to the people. (I look at the sentence I just typed, and realize I instinctively chose the right word with “people.” It’s hard for me to even refer to them as mere “characters” – that’s how real they’ve become to me.)”

That says it all, doesn...

Today is Memorial Day in the United States, one of the two holidays (two!) in which we honor and remember our military personnel, those serving today and those who have served in the past, especially those who were injured or killed in combat. As a veteran myself, I’ll be participating in a ceremony this evening. Courage in the face of mortal danger and sacrifice to it have long been—and should be!—staples of literature. James Scott Bell’s (@jamesscottbell) Of Miracles, Sacrifice and Story speak to this better than I can, so that’s where we’ll start this week’s Great Stuff.

And to my brothers and sisters in arms, thank you.

CRAFT

Nancy J. Cohen (@nancyjcohen) offers a veritable plethora of tips on how to make On-Site Research trips worth your time and expense...

Wow! TONS of Great Stuff this week, in just about all categories. Titles, critique groups, emotions, made-up words, publishing paths, “scarcity thinking,” and dogs reading books! Even a traditional/self-publishing poll. Something for everyone.

CRAFT

Right up there with a great cover, a great title is critical to getting a potential reader to consider your book. That’s why Katie Weiland (@KMWeiland) provides 17 Steps to a Reader-Grabbing Title. Seventeen sounds like a lot, but she breaks them into 5 elements, 7 questions to ask, and 5 brainstorming tips, to make them easy to digest.

There are writers out there who hate critique groups. HATE ‘em. Sometimes there’s plenty of reason to. But sometimes not. Kris Montee, one of the sister pair who write as PJ Parrish, discusses this in

I need to “revise and extend” my last Critique Technique post.

Last time I wrote that things should be worse for the protagonist at the end of each section (or scene) or chapter of an article, short story, or novel than they were at the beginning. Well, that’s not entirely true. In a longer piece, and particularly in a short part of that piece, that may not be possible, or desirable.

Letting the scene’s or chapter’s protagonist make a little progress, or seem to make progress, has its benefits:

1. The reader is encouraged, and so wants to read further.
2. That progress gives the author more opportunities to make things worse for the protagonist: one step forward makes room for the two steps backward to come. (There we writers go again, being evil and devious!)
3. If the scene’s protago...

A double-13 day today, but you should feel lucky because there’s so much Great Stuff waiting below. Techniques for getting started or keeping going, for pulling in the reader, setting mood, and more. News about Smashwords and indie publishing. Making better use of social media generally and Goodreads and Twitter in particular. Even a link to an old video game based on The Great Gatsby! Check it out.

CRAFT

Just in case you don’t already have enough to read, or you’re looking for something specific that you haven’t found yet, Katie Weiland (@KMWeiland) lists 10 of My Favorite Writing-Craft Sites. Two you see mentioned a lot here—Writer Unboxed and The Creative Penn—are on the list, plus others I hadn’t heard of.

Not only is James Scott Bell (@jamesscottbell) an excellent writer...

Hey! What happened to Monday? I was traveling, that’s what. And Tuesday? Trying to catch up. And Wednesday? STILL trying to catch up. I’m almost there. So, herewith is an abbreviated and tardy version of Great Stuff: outlining and word choice and beginnings and endings; branding and Goodreads and mastery and saving your work on the cloud.

CRAFT

If you’re an outliner, you understand that your outline is a fixed thing, graven in stone. In What Comes After Once Upon a Time, Robert J. Sadler describes how a little item he threw into a story, not thinking it was going to turn out to be important, instead became a key element in getting his latest novel to its conclusion by a path he never intended. But he trusted his storyteller’s instinct and good things happened.

We all know that we s...

Last time I wrote about how the beginning of a piece is supposed to “hook” the reader, to make them have to keep reading past the first line, the first paragraph, the first page. Now we need to zoom out a little and look at the beginning of the piece as a whole. Specifically, we need to ask, “Is this the right place for the piece to begin?”

That may seem like an odd question: doesn’t an article, short story, or novel start at the beginning?

Not necessarily. You’ve probably heard that a story needs to start in medias res, a Latin phrase meaning “in the middle of things.”

Great. What things?

Things. You know. The action. The events. Which may, of course, be internal to on...

Frantically trying to get caught up after spending the last 3 days volunteering with the Oklahoma City Memorial Marathon, something I do every year to honor the memory of a friend of mine who was killed in the bombing of the Murrah Federal Building here. I’ve been a part of the event every year, as a volunteer, runner, or both, and this year was even honored with a profile interview in The Oklahoman, the city’s newspaper, even if the writer did misspell my name.

But enough of that! This is a writing blog! There’s lots of Great Stuff included this week: foreshadowing, characters who pop, pitching, the benefits of writing short fiction, book marketing, the value of reviews, burnout, learning from writing, and even some fun: one 2-year-old’s takes on books based on their covers...

Before I begin, remember that for each of the items I’ll discuss from now on, you have four questions to ask:

• Did it happen?
• Exactly where did it happen?
• What exactly is the problem? Or what just worked really well?
• What can the author do to fix it, if something needs fixing?

OK, so what is a “hook” and how can it be weak or missing? Whatever you’re writing—fiction or non-fiction, poetry or prose—you need to catch and hold your reader’s interest: you need to hook them. And you need to do it early. How early? Well, in a poem it has to happen right away, in the first few lines, since a poem is likely to be brief. But this is true even in a longer piece...