In Carter Meland's Stories for a Lost Child, a teenage girl reads a packet of stories written by her grandfather, who she has never met. Among other things, the stories are about time-traveling astronauts, Misaabe (Bigfoot), and her Anishinaabe heritage.
While this isn’t the search for a future mate (thank goodness)—the same amount of time, patience, and knowledge of any potential deal-breaker requirements is essential. In the best-case scenario, you’ll be working with that agent for a long time.
Helen Oyeyemi's White is for Witching is about many things (twins, immigration, mental illness, losing a mother, coming of age…). But it's also a haunted house story, and that's what I want to talk about. Scaring a reader is one of the hardest things to do, and I want to figure out how Oyeyemi scared me.
Even when feedback seems misguided, it still has the potential to help you solidify your vision. Regardless of whether you implement it, a seemingly irrelevant piece of advice can force you to articulate why you’ve written something the way you did.
Funny, poignant, and deeply moving, The Line Tender is a story of nature’s enduring mystery and the people willing to seek meaning and connection within it. To celebrate the cover reveal, author Kate Allen reflects on how Loft classes helped her write this book.
Instead of a strictly sequential chronology, this book uses another common technique to convey relative depth to the past: space breaks and fragmentation. Each break lets us know we're moving to a different time period, even if we don't immediately know when that time period is. Then, each segment can be tagged with a time marker, so that even though it's stated in the present tense, we know when it occurs in the past.
The creative process generally feels like a rollercoaster. There are moments of intensity, from the highs to the lows, partnered with a wide range of emotions from fear and anxiety to a sense of calm, to excitement. This is a journey that shouldn’t be taken lightly, of which only many years of practice will prepare a person for the mental game of publishing—for both the author and publishing professionals.
Writing tools come in many forms. Some are apps for handheld devices, others are extensions for an Internet browser, while others are website or independent tools for a computer. With such a wide range of tools to choose from, you can customize your own ensemble of tools that benefit you based on your work process. Establishing these online tools into your routine can help you improve your content and reach even more readers and consumers.
Still there may be times when it becomes abundantly clear that you’ve grown apart as an author-agent team. Your initial reaction may be to walk away; it’s a natural reaction in a very emotional and creative realm. But it’s also important to step back, look at the bigger picture, and think about these three things.