Motifs can serve several powerful purposes in storytelling.

Yet because motifs are often discussed in literary and academic circles, many genre-fiction writers fail to explore the potential of this powerful literary device — but literary devices aren’t for literary writers alone. Flashbacks, foreshadowing, mood, imagery, metaphor, and suspense are all literary devices that, among other examples, are commonly employed by genre and literary writers alike.

How, then, can all writers utilize motifs to strengthen the quality of their storytelling? Let’s dive deep into this topic today, writers!

Every story is a carefully woven tapestry of tensions.

And while narrative tensions can vary in both nature and magnitude, every form of tension has the power to create dissonance that’s vital to a story’s success. It’s this dissonance, the divide between a character and an object of their desire, that will keep readers turning pages, eager to see how tensions will resolve.

But not all threads of tension are created equal — and some are far too easy to snap. How can you ensure a deft hand as you weave a little necessary tension through the pages of your book? Let’s discuss a few key techniques today, writer!

Ah, the Great Prologue Debate. Should they or should they not have a place in fiction?

The necessity of prologues (or lack thereof) is a topic that’s frequently discussed in online writing circles, and today I’d like to add my two cents to the clamor. You see, I feel pretty strongly about the power of a prologue well written. It’s a story element I’ve enjoyed time and time again as a reader, and also one that I’ve worked to emulate in many of my own stories.

Why do I think that prologues have their place? And what defines a prologue as well-written in my eyes? Allow me to share my thoughts with you in today’s article, writers.

Let’s talk about world-building, writers!

Over the past few weeks, we’ve broken down several key world-building elements here on the blog, including the development of fictional cultures, languages, and magic systems — all to celebrate the arrival of World-Building Warrior, our latest writing workbook here at Well-Storied.

Today, however, I’d like to talk less about how to develop your fictional world and more about the common pitfalls that threaten to derail many writers’ world-building success. Shall we dive in?

Abracadabra, alakazam! Let’s talk about crafting magic systems today, writers.

Though not every speculative fiction story needs be threaded with magic, adding a few fantastical powers to your story world can be a fun way to liven up the narrative. In many cases, magical powers also symbolize bigger themes, serving as a vehicle for conversations about privilege, oppression, pride, and other compelling topics.

No matter your approach, building an original and believable magic system requires a good amount of time and care. Let’s work together today to gift our characters some incredible powers, shall we?

Let’s face it: Tolkien set the bar pretty high as far as constructed languages go. 

Whether you’ve considered outlining an entire conlang (that’s world-building slang for “constructed language”) or are simply looking to use a few invented words to liven up your story world, knowing how best to approach the construction of a fictional language is daunting to say the least. 

Is the use of conlang really necessary? How much detail should you put into crafting your fictional language? And how in the world can you incorporate it in a way that feels natural and believable to readers? Let’s talk about all this and more in today’s article, writer!

Let's dive deep into the world-building process, shall we?

Whether you're crafting an entire story world or delving into an alternative or fantastical reality here on Earth, developing fully-realized fictional cultures is key to fantastic world-building. But cultures are rather complex, nebulous beasts. Their ever-evolving nature can make them especially tricky to nail down.

So, what elements define culture? And just how much time and attention should you put into creating your own? Let's discuss all this and more in today's breakdown, writers!

Writer, it’s time to give life to your story! 

One of the most powerful ways to breath life into the pages of your book is to immerse readers in your story world, specifically through crafting lush, evocative descriptions of your story’s settings. But that’s easier said than done, isn’t it?

In today’s article, we’re going to cover how to choose the most impactful settings for each of your story’s scenes, as well as my top tips for bringing those settings to life via immersive descriptive writing. Sound good? Let’s dive in!

Have you ever thought about writing fiction with filmmaking in mind?

This certainly isn’t a concept I originated. Rather, I recently rediscovered it after reading Diana Gabaldon’s I Give You My Body, her guide to writing intimate scenes, in which she discusses framing the scenes in her books as though she were shooting a film. 

Having taken a few communications classes in my day—all of which involved a good bit of camera work—the idea of framing scenes with filmmaking in mind is advice that I not only find interesting, but believe may be vastly helpful to many writers looking to improve their craft. Sound like something you’d enjoy? Let’s kick off today’s discussion!

Books are a bit like amusement park rides. 

They come in all shapes and sizes and even levels of thrill, with enough variation that there are few who don’t enjoy any sort of ride at all. But there is one element that all rides must have if they're to succeed: an expectation of pace.

Fast rides fly. Slow rides meander. But it’s rare that a ride will catapult between high and low speeds until the rider begs to be removed. Why? Well, the intense change in pacing would leave most riders bewildered—and likely a bit nauseated, too.

The same goes for stories that lack consistent pacing. So let's avoid bewildering, and perhaps even nauseating, our readers, shall we? Buckle up, writers. We’re about to go for a ride!

Conflict is the backbone of any good story.

External conflict, which we broke down recently here on the blog, occurs between a character and an outside force, whether that be another character or an element of nature, society, or technology. On the other hand, internal conflict arises from an ethical or emotional debate that occurs within a character.

This style of conflict, while occurring in some form in every story, has the same ability to carry the full weight of a plot as external conflict. But how? Well, let’s discuss internal conflict together today!

Conflict drives narrative.

As humans, our curiosity piques when two forces oppose one another. “What is happening?”, we ask. Why are these two forces at odds? How will the conflict play out? Who will win? What would I do if I were in that situation?

These are the questions readers ask, more or less subconsciously, as they read. Which means they’re also exactly the kinds of questions writers should ask themselves when crafting plots for their stories.

In stories, as in life, there are two types of conflict: internal and external. Internal conflicts are the mental, emotional, or spiritual struggles a person faces—Character vs Self—which we’ll talk about on the blog soon!

Today, however, we’re going to focus on the second type of struggle: external conflict. Shall we dive into the breakdown?