If there's one impulse that all writers seem to share, it's the need to *say* something.
"Charisma", draft 3, act 1. Action.
I'm not happy with the idea that I haven't moved since the last time I sat down to make something.
What is it about writing a story that made you hell-bent on writing it, other than your urge to sign your name to it?
I don't always know when to stop doing research for a project, or how to deal with coming across valuable research after the project is already closed.
For the first time, I've formulated and written down the steps I take to create a story. Yours may differ.
If someone can talk you out of being a writer, you’re not a writer. But that doesn't mean other writers owe you anything.
Each book of mine has been about going a place I haven't gone yet, and seeing what I can bring back with me.
On Chuck Wendig only wanting to write standalones from now on, a sentiment I agree with.
How much rewriting is too much?
Liberating the voice and being able to speak as only you can, rather than through the thousand voices you've inherited from the outside, is the hardest and most essential skill.
If you have the confidence to tackle a given thing and see it through, that by itself can be enough to fix any problems you worry it might bring with it.
What I learned while writing my latest (and strangest) novel.
Take any two projects that seem like they could be the same, and there's a good chance under the skin they're nothing alike.
I hate all the bookkeeping that goes with writing a story, but I know I can't avoid it.
A meditation on when, and how, Dashiell Hammett stopped writing.
Those who create because they want to, the way they want to, are not children of lesser gods.
When is "Write the story you want to read" not good advice? When you're not much of a reader.
People see your results, not your efforts. By design.
"The 'three-act structure' and the 'hero’s journey', are editing tools, not writing tools."
On how messy my note-taking can be on my projects.
"When everyone in the community reads the same books, you can an inward-looking, intellectually impoverished community that can only contemplate its own navel."
What Zen taught me about writing SF&F, part 1.
Examining your inner creative voices: "Are you 'one' writer or 'many' writers?"
"Odds are you know 70% of what there is to know, but everyone knows a different 70%."