Ideas aren't magical; the only tricky part is holding on to one long enough to get it written down.
By: Lynn Abbey
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
A good short-story writer has an instinct for sketching in just enough background to ground the specific story.
During the many centuries that magic, here on this planet, was presumed to have worked, there were at least as many theories as to how magic worked as there were cultures and religions.
Im always trolling for trivia.
No one uses a ribbon typewriter any more, but your final draft is not the time to try to wring a few more sheets out of your inkjet cartridge.
It's possible to become so comfortable with one's style and structure that one ceases to grow.
If you write, one of the questions you're always trying to answer is, Where do you get your ideas? And, if you write, you know how pointless a question this is and how difficult it is to answer.
The money can be decent, but I really don't recommend the work-for-hire route as an entry into publishing. Too many things can go wrong.
When I have an idea, it goes from vague, cloudy notion to 100,000 words in a heartbeat.
I think my prose reads as if English were my second language. By the time I get to the end of a paragraph, I'm dodging bullets and gasping for breath.
Short-story writing requires an exquisite sense of balance. Novelists, frankly, can get away with more. A novel can have a dull spot or two, because the reader has made a different commitment.
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