Studies show that making meaningful progress toward big goals is best served by focusing on the small steps that will get us there.

Developmental editors, critique partners, sensitivity readers, friends—feedback comes from different people, for different reasons, at different times.

You can get your readers behind a character they don’t want to grab a beer with—if you allow enough humanity to show through.

We’re often told to read the best books first and apply their lessons to our own work. Here’s a wrinkle: Books you don’t like can be great teachers too.

When used properly, flashbacks can be illuminating. When used haphazardly, they detract from the narrative and leave the reader confused (or worse, bored).

The human condition in its alienation, pain, and joy yearns for a faithful scribe. Memoir offers readers that ultimate safe harbor: the knowledge that they are not alone.

Is your reader being told a story, or experiencing it by your protagonist’s side? When revising your novel, here are four important red flags to look for.

Just like your hero, your villain should be fully three-dimensional: fallible, flawed, and complete with a backstory that explains being so downright nasty.

A book is often the product of teamwork. The ability to revise—to accept feedback and apply it with diligence and insight—is essential to success.

In conversation we describe dialogue simply—”She said,” “He asked”—but writing enables a broader palette. How do we decide which words to use, or not use?

It may be on the wane for reasons ranging from linguistic evolution to feminism, but one writer says exclamation point usage is a simple kindness.

Like trying to outrun a semi bearing down in your rear-view mirror, writing serially for release in real-time can be both exhilarating and exhausting.