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Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
Readers want to see, hear, feel, smell the action of your story, even if that action is just two pe
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Nancy Kress:
The process, not the results, have to be the reason a writer writes. Otherwise, creating a four-hunNancy Kress:
Without coffee, nothing gets written. Period.Nancy Kress:
When a story is flying along, and I'm so into it that my 'real' world goes away, it can feel magicaNancy Kress:
The truth is, you have about three paragraphs in a short story, three pages in a novel, to captureNancy Kress:
Every story makes a promise to the reader. Actually, two promises, one emotional and one intellectuNancy Kress:
As a writer, you must know what promise your story or novel makes. Your reader will know.Nancy Kress:
Your opening should give the reader a person to focus on. In a short story, this person should turnNancy Kress:
If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things mNancy Kress:
Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a loNancy Kress:
Conflict drives fiction; no one wants to read a four-hundred-page novel in which everything rolls a