Maryka Biaggio 

I’ve always been impressed by the author who can sweep the reader away with a magical opening sentence. Some may believe the first sentence is nothing more than the first of many other sentences. But writers worry a great deal about their first lines, as they should: A well-written opening can launch the reader out of port into the open sea of story, eager for adventure.

Of course, every sentence should be there for a reason, but the first sentence must accomplish some specific things. It should draw the reader in, perhaps prompt a question or two, and maybe reveal something about the story to come.

Monica Cox

I felt completely lost when it was time to revise my first manuscript. There were countless books, articles, and classes available on the art of drafting a story, but few seemed to focus on revision. 

Through my own trial and error and work as a book coach, I realized many writers are making these same five mistakes. 

1. Jumping Right Into Line Edits 

It’s so tempting to type “the end” then turn back to page one and start editing. The problem with this strategy is you get sucked into line edits too early, and if you haven’t solved the big problems in your manuscript first, it’s wasted work. 

Monica Cox

As a former video producer, my dialogue tends to read more like a script. While the pacing and content shine, the meaning I imbue in my head doesn’t always translate onto the page. I have had to learn to add more context, intentional body language, and narrative exposition to enhance my dialogue.

I’ve learned to use these five strategies to help.

1.  THAD 

In From Idea to Novel: Mastering the Process, Elizabeth George suggests the Talking Heads Avoidance Device, or THAD method. The idea is that characters in conversation with one another are doing something—a work task, eating, knitting, etc. These actions reveal things about the non-POV characters, add to the reader’s understanding of your POV character, and enhance the setting. 

Jacquelin Cangro

You can polish the paint, tune the engine, and line up on the starting grid—but your novel doesn’t actually move until something forces it forward. That moment is your inciting incident—the spark that ignites the engine of your entire plot.

That spark causes the emotional ground beneath your protagonist’s feet to shift, after which nothing will be the same. A well-placed inciting incident doesn’t just hook readers: it powers everything that follows. Without it, even beautiful prose can feel like the story is idling in neutral.

Let’s look at how to make that moment accelerate your plot. 

Monica Cox

This article was originally published in WriteOn! Spring 2023 edition

Beta readers are an important part of a writer’s revision process. After we draft and revise a manuscript, our characters and story worlds become a part of us. As a result, it can be difficult to recognize when important elements haven’t made it onto the page for the reader. Here is where a beta reader—an early reader acting as a stand-in for your eventual target reader—can help.

Despite the number of people in your book club or social circle offering to read your manuscript, be selective when choosing beta readers. You want actionable feedback. For instance, your mom might be an avid reader, but she’s going to tell you everything you do is wonderful. If you want an ego boost, send your manuscript to her. But if you want constructive criticism to improve your craft, you must be more discerning.