[by Ross Browne]
If you’ve read any of Ken Follett’s work, it probably comes as no surprise that he was able to turn his own personal fascination with cathedrals and how they’re built into a damn good novel. But from a fiction technique viewpoint, what he done with The Pillars of The Earth transcends good and might be seen […]
[by John Robert Marlow]
Few works of fiction relate events in a continuous flow, from start to finish. Sometimes the story moves back in time (as with flashbacks); more often it jumps forward, sparing the reader the dull details of ordinary life. Frequently, the transition will take the reader from one location (and set of characters) […]
[by Whitney Bak]
When an editor takes the literary equivalent of a hedge trimmer to your bountiful, blossoming book baby, the process can feel more than a little personal. While some authors begin working with an editor in the very early stages of developing their manuscript, many don’t solicit editorial help until they’ve produced a […]
[by Ross Browne]
One piece of advice authors who write popular fiction often hear is that your odds of landing an agent and a traditional publishing deal can improve considerably when your novel is conceived as (or has the potential to work as) a series. This should come as no surprise to anyone who enjoys settling down […]
[by Ross Browne]
If you’re a fan of JK Rowling writing as Robert Galbraith, you’re probably well aware how much longer her latest release is than the other four books in the series.
My own first reaction to the size of the hefty tome—darn near 1,000 pages in hardcover—was mostly: Terrific! More […]
[by Ross Browne]
Up until last week, one notable blind spot in my reading life was Ian Fleming’s James Bond series. I loved the movies of the Sean Connery and Roger Moore era but, unimpressed by a later book in the series (written by one of four authors who took the helm after Fleming […]
