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Create Complex Characters How do you create a main character readers won't forget? How do you write a book in multiple-third-person point of view without confusing your readers (or yourself)? How do you plant essential information about a character's past into a story? Write Great Fiction: Characters, Emotion & Viewpoint by award-winning author Nancy Kress answers all of Create Complex Characters How do you create a main character readers won't forget? How do you write a book in multiple-third-person point of view without confusing your readers (or yourself)? How do you plant essential information about a character's past into a story? Write Great Fiction: Characters, Emotion & Viewpoint by award-winning author Nancy Kress answers all of these questions and more! This accessible book is filled with interactive exercises and valuable advice that teaches you how to: Choose and execute the best point of view for your story Create three-dimensional and believable characters Develop your characters' emotions Create realistic love, fight, and death scenes Use frustration to motivate your characters and drive your story With dozens of excerpts from some of today's most popular writers, Write Great Fiction: Characters, Emotion & Viewpoint provides you with the techniques you need to create characters and stories sure to linger in the hearts and minds of agents, editors, and readers long after they've finished your book.


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Create Complex Characters How do you create a main character readers won't forget? How do you write a book in multiple-third-person point of view without confusing your readers (or yourself)? How do you plant essential information about a character's past into a story? Write Great Fiction: Characters, Emotion & Viewpoint by award-winning author Nancy Kress answers all of Create Complex Characters How do you create a main character readers won't forget? How do you write a book in multiple-third-person point of view without confusing your readers (or yourself)? How do you plant essential information about a character's past into a story? Write Great Fiction: Characters, Emotion & Viewpoint by award-winning author Nancy Kress answers all of these questions and more! This accessible book is filled with interactive exercises and valuable advice that teaches you how to: Choose and execute the best point of view for your story Create three-dimensional and believable characters Develop your characters' emotions Create realistic love, fight, and death scenes Use frustration to motivate your characters and drive your story With dozens of excerpts from some of today's most popular writers, Write Great Fiction: Characters, Emotion & Viewpoint provides you with the techniques you need to create characters and stories sure to linger in the hearts and minds of agents, editors, and readers long after they've finished your book.

30 review for Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints

  1. 5 out of 5

    David

    Eventually, reading books about how to write is just another way to put off writing. I've said before that I think I've exhausted what I can gain from such books, not because I'm now the best writer I can be (I'm not, or at least I hope I'm not) but because you have to learn by doing, not by reading about it. That said, I begin to distinguish between writing advice books aimed at "beginning," "intermediate," and "advanced" writers. Though the latter is hypothetical - an "advanced" writer would pr Eventually, reading books about how to write is just another way to put off writing. I've said before that I think I've exhausted what I can gain from such books, not because I'm now the best writer I can be (I'm not, or at least I hope I'm not) but because you have to learn by doing, not by reading about it. That said, I begin to distinguish between writing advice books aimed at "beginning," "intermediate," and "advanced" writers. Though the latter is hypothetical - an "advanced" writer would presumably be someone already published or very close to it, and I have yet to find a book that I think might actually have something new to say to someone at that level. Advanced writers improve their writing by reading other great writers. So where am I? I don't know - obviously I am not published yet, unless you count some fairly well-regarded RPG supplements. I like to think I am at least "intermediate." So Nancy Kress's Characters, Emotion, & Viewpoint is, I would say, an intermediate-level book. I picked it up because some critiques of my latest WIP were that the characters were not engaging enough. As far as talking about how to make characters compelling and emotions more interesting and real, there was little in Kress's book that I didn't already "know." But there are a lot of useful discussions that would be good refreshers for any aspiring author to keep in mind. Kress does delve into some very technical aspects of certain types of writing, which was useful, and she breaks down a few concepts into useful categories, which was also informative. For example, there is a chapter on humorous characters, and how hard it is to pull off humor in writing, the techniques that work, and the ones that don't. There are chapters on character description, motivations, emotion (several chapters on emotions), all written at a sophisticated level for the writer who already knows the basics and presumably is past making the most obvious blunders. (Kress still takes some time to warn against those: the "looking in the mirror" cheat to describe your character, the police blotter-style physical description, whipsaw emotional responses, etc.) I was particularly interested in these four categories of protagonists: • Characters who never change, neither in personality nor motivation. They are what they are, and they want what they want. • Characters whose basic personality remains the same; they don't grow or change during the story. But what they want changes as the story progresses (“progressive motivation”). • Characters who change throughout the story, although their motivation does not. • Characters who change throughout the story and their motivation progresses. I had always kind of assumed: "Well, of course a well-written protagonist changes — you want character growth!" And usually I will not like a book where the main character shows no growth, no change, no evidence that the story has really affected him or her. But there are static protagonists who work just fine: for example, James Bond. (Admittedly, not a particularly literary character.) And separating motivation and character is also useful. Probably the most useful chapter, though, was the one on POV. Of course I already knew the difference between omniscient, close third person, multiple third person, and first and second person, and why head-hopping is bad, but Kress even breaks them down into even finer categories than that, and gives a pretty good discussion of the advantages and pitfalls of each. Also, notably, while giving the "rules" for good writing, Kress cites plenty of examples of books that break the rules, and notes that yes, it's true, "badly written" books still get published and are best-sellers, and it's worth looking at what qualities those books possess that overcome their technical deficiencies. So, I don't know that I got enough out of this book to improve my writing directly, but there were useful points to consider, and if you just like reading books about writing, this was a fairly dry but quite intelligent one. I haven't read any of Nancy Kress's fiction, but will have to pick up something, as I always like to read some fiction by writers who write writing advice books.

  2. 4 out of 5

    LATOYA JOVENA

    At first this book seemed like a regurgitation of basic things I already knew. But I hung in there and learned a lot. I'd advise any aspiring author to do the same. At first this book seemed like a regurgitation of basic things I already knew. But I hung in there and learned a lot. I'd advise any aspiring author to do the same.

  3. 4 out of 5

    Rissa

    Characters emotions and viewpoints⭐️ Every time I pick up a new writing book I learned something different or get some other insightful tips. What I liked most about this one is that it had a lot of exercises to do writing exercises that is. So I mark them off so that way when I am stuck or I need help or I just want some thing to keep my mind writing I can’t flip to it quickly. I recommend picking up this book I enjoyed it.

  4. 5 out of 5

    Max Mulholland

    An outstanding collection of explanations, examples, & exercises to improve your writing by focusing on character development. I've learned a lot from this book and I am busy applying it to my own writing. I highly recommend it to new and emerging writers. This book will be staying on my reference shelf-or more likely, open on my desk-for some time to come. An outstanding collection of explanations, examples, & exercises to improve your writing by focusing on character development. I've learned a lot from this book and I am busy applying it to my own writing. I highly recommend it to new and emerging writers. This book will be staying on my reference shelf-or more likely, open on my desk-for some time to come.

  5. 5 out of 5

    Meghal Bhatt

    Boring and repetitive. Better books out there.

  6. 4 out of 5

    Joy Pixley

    I found this book to be very useful at helping me work through some issues with the characters in my novel. The relatively narrow focus means Kress can delve deeply into each of the issues she covers. The first seven chapters are about deciding and showing who your characters are, including how their outer presentation might not match their inner thoughts, and how they might (or might not) change over the course of the book. I appreciated the level of detail here. I thought I had a pretty good h I found this book to be very useful at helping me work through some issues with the characters in my novel. The relatively narrow focus means Kress can delve deeply into each of the issues she covers. The first seven chapters are about deciding and showing who your characters are, including how their outer presentation might not match their inner thoughts, and how they might (or might not) change over the course of the book. I appreciated the level of detail here. I thought I had a pretty good handle on my main characters, but every chapter encouraged me to think about something new, or in more depth than I had before. The middle four chapters deal with how to think about and then show your characters' emotions. This time around, I especially appreciated the chapter on how different types of people respond differently to frustration, and how to express that for your main characters. This is key for just about any story, since whatever it is your characters want to achieve, if they got it easily you'd have a short book! The last four chapters go into wonderful detail about point of view strategies. I appreciated how the author gave the pros and cons for each type, including which are currently more popular, without coming down hard on either a literary or a commercial stance. That is, she never says, "This is better, and you should do it this way," but instead says, "If you decide to do it this other way, you should know what difficulties you'll face." Throughout the chapters, Kress uses examples very effectively. When she refers to classic characters, she usually uses several, so that if you haven’t read all of the same books, hopefully you recognize at least one or two (she also describes them). If you haven't read any of the books, you'll be at a disadvantage. But I'd think reading a synopsis online would give you enough of an idea of, say, Anna Karenina or Mr. Darcy to understand what Kress means. Since this is a book that I already know I'll be going back to again and again, I appreciate how well-organized it is, with clear sub-section headings within each chapter so you can quickly find the part you want to re-read. At the end of each chapter, Kress gives a recap of the chapter and includes several exercises to try. I didn't see much point in the recaps, but they didn't take up much space. The exercises were hit and miss. I usually don't actually do exercises anyway, but I like to think them through. When the exercises were specific to the characters in my WIP, they made the most sense to me. And some of the exercises about observing others' behavior (e.g., in public, or interacting with friends) and thinking about how that applies to writing were also interesting. However, many of the writing exercises were completely unrelated to the reader's WIP characters and seemed off-track; presumably anyone reading this book wants to apply it to a current project. Overall, it's a great craft book, and I would definitely recommend it.

  7. 5 out of 5

    Colin Smith

    As the title says, this is a craft book for writers giving helpful guidance on creating believable characters, using emotion effectively and in a way that helps build character and add to the story, and choosing the correct point of view for your story. Nancy Kress is a published author of both fiction and non-fiction. The more craft books I read, the less often I find anything really new to offer in terms of tips and advice. Usually it's the same information in different dress. Sometimes I find As the title says, this is a craft book for writers giving helpful guidance on creating believable characters, using emotion effectively and in a way that helps build character and add to the story, and choosing the correct point of view for your story. Nancy Kress is a published author of both fiction and non-fiction. The more craft books I read, the less often I find anything really new to offer in terms of tips and advice. Usually it's the same information in different dress. Sometimes I find information that contradicts other writer's advice, but most recognize that writing is an art, not an exact science. The best books like this can offer are tips, suggestions, and best practice advice. On the positive front, Kress's book is very readable. She offers lots of good suggestions, engagingly written, with plenty of examples. Each chapter concludes with a summary and a series of exercises to help the reader put into practice the principles discussed. She doesn't take the "my way or the highway" approach to writing. There are many different approaches to the novel, and her suggestions are simply to help the aspiring writer choose the best path for himself, and avoid the pitfalls many novices fall into (purple prose, telling not showing, etc.). The only negative I found was that Kress's discussion of viewpoint didn't mention the role that tense plays. For example, the first person POV is certainly hindered by the fact that the protagonist is telling the story, so you know she survives. However, if the book is written in the present tense, that certainty is removed. Also, you gain an even greater sense of immediacy as you experience events along with her. Overall, I enjoyed this book, and would recommend it as one of the better craft books out there. Not as good as ON WRITING by Stephen King, but few craft books rise to that level (IMO). There is some mild profanity in some of the examples she uses, but I doubt that would bother the audience for which this book is intended.

  8. 4 out of 5

    Mary Catelli

    A how-to-write book. Covering exactly the topics described in the title. Goes into all sort of aspects, Like complicated motives, character change, the different types of POV (first, third, omniscient, epistolary), humorous characters and how they differ from the usual rules, what you need to know about the character's background in order to write, the complications that you have view the character as the reader will, the importance of putting attitude into the description, and more. A how-to-write book. Covering exactly the topics described in the title. Goes into all sort of aspects, Like complicated motives, character change, the different types of POV (first, third, omniscient, epistolary), humorous characters and how they differ from the usual rules, what you need to know about the character's background in order to write, the complications that you have view the character as the reader will, the importance of putting attitude into the description, and more.

  9. 4 out of 5

    Don Incognito

    This is a helpful book on creating character and one of the more helpful writing books I've read overall. As a writer, for some regrettable reason I have a hard time absorbing the lessons in writing books; this one actually reaches me somewhat. Excellent exercises. Writers should read it unless they've already read many books on character. This is a helpful book on creating character and one of the more helpful writing books I've read overall. As a writer, for some regrettable reason I have a hard time absorbing the lessons in writing books; this one actually reaches me somewhat. Excellent exercises. Writers should read it unless they've already read many books on character.

  10. 4 out of 5

    Ejayen

    I've not much to say about this book as I was reading it in a bit of a hurry as it was borrowed, but I've lots of notes. I've not much to say about this book as I was reading it in a bit of a hurry as it was borrowed, but I've lots of notes.

  11. 5 out of 5

    Michele

    Very useful and will keep in handy while out long my book series.

  12. 4 out of 5

    Bernie Gourley

    This book is about how to write characters with sufficient depth that readers will follow them through to the end of a story. As the title suggests, there are three major components to the book: character building, emotional considerations, and point of view. A story requires a character who needs or wants something and faces barriers to that goal. The character has to be someone that the reader is interested in seeing through a process that involves inching toward a goal while being repeatedly This book is about how to write characters with sufficient depth that readers will follow them through to the end of a story. As the title suggests, there are three major components to the book: character building, emotional considerations, and point of view. A story requires a character who needs or wants something and faces barriers to that goal. The character has to be someone that the reader is interested in seeing through a process that involves inching toward a goal while being repeatedly beaten back. This doesn’t mean the character has to be likable, but if the character is unrealistic and uninteresting readers won’t get far. (In other words, they don’t have to like the character, but they do have to feel some sort of way about them.) Facing barriers to one’s goals creates emotional states that must feel authentic. If a character doesn’t respond emotionally to events, then the story is likely to feel flat (unless one has built a hilarious Sheldon Cooper-like character on purpose.) The perspective from which the reader learns of events is critical because it determines what information the reader is privy to, and—in particular—information about thoughts and emotions that are sometimes falsely portrayed. Of the sixteen chapters that comprise the book, the first seven explore character development. Chapter 1 describes character in terms of general types. The book goes on to discuss the importance of how one introduces key characters. The next three chapters drill down into the challenge of building an authentic character: 1.) What is the character like deep down? 2.) Are the motives of the character clear-cut or complex? 3.) How can one show that the character has changed over the course of the story, and, if they don’t change, will the reader be satisfied? Chapters 6 and 7 investigate specialized types of characters (i.e. genre characters such as in romance, mystery, thriller, or sci-fi [Ch. 6] and in humor [Ch.7.]) Chapters 8 through 11 examine emotion and how it’s conveyed to the reader. The means by which writers communicate emotion include: dialogue (Ch. 8), metaphor, symbolism, and sensory experience (Ch.9.) Chapter 10 delves into special cases that are common in fiction but which require unique consideration (love, fighting, and dying.) Frustration has its own chapter (Ch.11,) and that may seem odd, but one must remember that a story is one barrier after another being erected in the way of the character’s pursuit of his or her objective. The next four chapters present information to help the writer evaluate different approaches to viewpoint. Not only are there various pros, cons, and considerations one must take into account when deciding upon viewpoint, each approach has a several variations. The first of these chapters (Ch. 12) outlines the broad-based considerations. The next three chapters deal with first person (Ch. 13), third person (Ch. 14), and omniscient points of view (Ch. 15,) respectively. (The rarely used 2nd person point of view is also discussed briefly, but largely as a warning.) The last chapter explores how to make it all work by way of what Kress calls the “fourth persona.” Early in the book, one is told that the writer must simultaneously embody three personas (i.e. the writer, the character, and the reader.) Kress’s “fourth persona” is that of the critic, and it becomes necessary once one has drafted a story and character. The book has a few extras. At the end of each chapters there are several (usually 4 to 6) exercises to help writers understand the concepts through practice. The chapters each have summaries, and at the end of the book there’s a summary in the form of a checklist. That is about it for ancillary features. There are a couple graphics in the form of pictures of a “mini-bio” and an “emotional mini-bio.” These are single page fill-in-the blank summaries that help one build a character that has depth and an authentic feel. I found this book to be interesting and educational. The writer uses examples from a number of popular commercial and literary fiction authors. There’s no real need to be familiar with any particular author, but being familiar with them might present one with additional insights. The book is readable. I would recommend this book for writers of fiction.

  13. 5 out of 5

    Elizabeth

    Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints (Write Great Fiction) by Nancy Kress This book is very similar to the author’s Dynamic Characters: How to Create Personalities That Keep Readers Captivated - some of the text is word for word. This books covers more topics and has writing exercises at the end of each chapter. The book is written with very specific and helpful advice about the craft of writing and contains many examples Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints (Write Great Fiction) by Nancy Kress This book is very similar to the author’s Dynamic Characters: How to Create Personalities That Keep Readers Captivated - some of the text is word for word. This books covers more topics and has writing exercises at the end of each chapter. The book is written with very specific and helpful advice about the craft of writing and contains many examples from published works. Ms. Kress is very adept at discussing the general rules of writing as well as discussing when and how those rules can and should be broken. She is very good at describing the consequences of writing decisions and explaining why some choices lead to an entirely different story. I highly recommend this text to anyone who is a beginning writer or a writer looking for ways to improve their craft. You probably don’t need to buy both this text and Dynamic Characters: How to Create Personalities That Keep Readers Captivated, however both are available on Kindle Unlimited. If you have that it is worth reading all of her writing guilds.

  14. 4 out of 5

    Justin

    I found this book to be about as helpful as Orson Scott Card's Characters and Viewpoint, but more in depth. If you aren't a beginner, some of it is a refresher, but there are things I hadn't learned about before. In 16 chapters and three sections, Kress covers types of characters, introducing characters, characters' genuine selves, character motivation, character change, protagonists in genre fiction, and humorous characters. As for emotion, she talks about dialogue and thoughts, emotions throug I found this book to be about as helpful as Orson Scott Card's Characters and Viewpoint, but more in depth. If you aren't a beginner, some of it is a refresher, but there are things I hadn't learned about before. In 16 chapters and three sections, Kress covers types of characters, introducing characters, characters' genuine selves, character motivation, character change, protagonists in genre fiction, and humorous characters. As for emotion, she talks about dialogue and thoughts, emotions through metaphor, love, fighting, and death scenes, and frustration. In the section on viewpoints, she talks about the generalties, then the specifics of first person, third person, and omniscient, as well as other uncommon POVs. Her final chapter talks a bit about the writing process. She also includes an appendix which contains an entire summary of the entire book. Regardless of what level of writer you are, this is a valuable book that covers the most important element in storytelling, and reminds us that it's not 'your' story as the writer, rather it's the character's story.

  15. 4 out of 5

    Lisa M

    4.5*s This book is a bit weak on developing characters (see below), but strong on what to do with your characters once you develop them. Topics such as motivation, emotion, dialogue, point of view, etc. are covered. If you're looking for examples of characters, try The Complete Writer's Guide to Heroes and Heroines or 45 Master Characters: Mythic Models for Creating Original Characters. There are a number of other similar books, but those are two that I'm familiar with. 4.5*s This book is a bit weak on developing characters (see below), but strong on what to do with your characters once you develop them. Topics such as motivation, emotion, dialogue, point of view, etc. are covered. If you're looking for examples of characters, try The Complete Writer's Guide to Heroes and Heroines or 45 Master Characters: Mythic Models for Creating Original Characters. There are a number of other similar books, but those are two that I'm familiar with.

  16. 4 out of 5

    Jaime

    This book was more textbook-like than most of the writing books I have, but I found it quite useful, even if it was slow reading (But not dry! The writing was entertaining.). The parts I found most useful were about using humor and emotion, and the differences between types of point of view. I often get confused between the various types of third person and omniscient, so it was nice to have it explained and see some examples. There are also writing exercises at the end of each section. I haven’ This book was more textbook-like than most of the writing books I have, but I found it quite useful, even if it was slow reading (But not dry! The writing was entertaining.). The parts I found most useful were about using humor and emotion, and the differences between types of point of view. I often get confused between the various types of third person and omniscient, so it was nice to have it explained and see some examples. There are also writing exercises at the end of each section. I haven’t done any of them yet, but I like to know that they’re there in case I need some review in the future.

  17. 4 out of 5

    Debbie Johansson

    I found this a very helpful book on characters, setting and explaining the differences with points of view. I wish I had read this book earlier as I could have saved myself a lot of hassle with re-writes. Now that I've read it, I will be working through the exercises within the book to improve my own writing. Highly recommended. I found this a very helpful book on characters, setting and explaining the differences with points of view. I wish I had read this book earlier as I could have saved myself a lot of hassle with re-writes. Now that I've read it, I will be working through the exercises within the book to improve my own writing. Highly recommended.

  18. 5 out of 5

    Amanda Patterson

    Excellent reference book for fiction writers. Most first time novelists don't realise how important viewpoint is. And characters. Everyone starts writing a novel without knowing who the baddie is - that's why they can't finish it.Great book. Highly recommended. Excellent reference book for fiction writers. Most first time novelists don't realise how important viewpoint is. And characters. Everyone starts writing a novel without knowing who the baddie is - that's why they can't finish it.Great book. Highly recommended.

  19. 4 out of 5

    Jonathan Peto

    This book got me thinking about my writing even when the focus was old hat. What more could I ask for?

  20. 4 out of 5

    Tasha

    Even though some of the things in here were already known to me this was still a big help. Love the exercises!

  21. 5 out of 5

    Anthony Vicino

    One of the best books I've read on viewpoint. Character and emotion stuff was also very good. One of the best books I've read on viewpoint. Character and emotion stuff was also very good.

  22. 5 out of 5

    Doree Weller

    People always complain that my characters are "gray," and even though I have good stories, character is the heart, and if I'm not getting that right, no one but people who love me are going to want to read my story. It's been frustrating to me because although I want to do what my critique group tells me to and give my characters more agency, I haven't seen how to do it, and trial and error wasn't working for me. This book gives concrete examples on how to make characters more dynamic, and I fina People always complain that my characters are "gray," and even though I have good stories, character is the heart, and if I'm not getting that right, no one but people who love me are going to want to read my story. It's been frustrating to me because although I want to do what my critique group tells me to and give my characters more agency, I haven't seen how to do it, and trial and error wasn't working for me. This book gives concrete examples on how to make characters more dynamic, and I finally feel like I get it! It's a wonderful feeling to finally understand a concept that's been troubling me for a long time. People like me would certainly benefit from this book, but I also think it could be useful to just about anyone who wants to create characters. This is a book that I'll probably get more out of each time I read it.

  23. 4 out of 5

    Patrick DiJusto

    Remember that scene in the movie Amadeus, where Antonio Salieri complains to the priest about how badly God has treated him and his music? I feel somewhat the same way about writing fiction: "All I wanted was to write science fiction. Why did God implant the desire? Like a lust in my body! And then deny me the talent?" So I read books like this one, which gives good, solid advice on how to develop believable fictional characters and how to place them in the right fictional situations. The advice Remember that scene in the movie Amadeus, where Antonio Salieri complains to the priest about how badly God has treated him and his music? I feel somewhat the same way about writing fiction: "All I wanted was to write science fiction. Why did God implant the desire? Like a lust in my body! And then deny me the talent?" So I read books like this one, which gives good, solid advice on how to develop believable fictional characters and how to place them in the right fictional situations. The advice is worthwhile -- in fact, it's nothing I don't already know -- but for some reason I'm still unable to translate that into a manuscript! Which is in no way the fault of this fine book. I foresee a lot more of these books in the future. I still can't foresee a finished science fiction novel. Until then, "Mediocrities everywhere... I absolve you..."

  24. 5 out of 5

    Ryan Patrick

    I feel like I learned more about creating good characters in the Plot book in this series (Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish) than I did in this book, but otherwise it was fine - not amazing, but fine. I feel like I learned more about creating good characters in the Plot book in this series (Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish) than I did in this book, but otherwise it was fine - not amazing, but fine.

  25. 5 out of 5

    Julie

    Great book with lots of information I loved the recap feature at the end of each chapter. Some of the sections weren’t especially useful, such as the omniscient POV section. Parts of it were slow, not because of bad writing but because of dense information. Also a few rare times the author explained a rule as it applied to a particular passage rather than in more universal terms. It still made sense but made taking notes challenging.

  26. 5 out of 5

    A. R.

    This book is filled with ideas on how to create characters and tell their story in an easy to follow detailed manner. Kress gives many examples and exercises to help the writer learn to sharpen their skills. There is so much to consider when reading this book. I recommend taking your time and working on your writing at the same time implementing the ideas presented.

  27. 4 out of 5

    R.J. Sorrento

    Very helpful guide. A resource I’ve tabbed and will revisit. My only qualm is I wanted more detail particularly regarding character emotions. Great overview, however, and the POV chapters are worth the price alone. I also appreciated her advice for writers and how not to become the “critic” of your own work early on in the process of writing.

  28. 4 out of 5

    Lee Linderman

    Sections of this book reminded me of Donald Haass's book on emotion, with more emphasis on what to keep in mind during initial drafts instead of rewrites. The section on POV is well conceived - Kress devotes far more attention to the nuances between and among POV possibilities than most books on craft. This is a book I will be returning to throughout the drafting process. Sections of this book reminded me of Donald Haass's book on emotion, with more emphasis on what to keep in mind during initial drafts instead of rewrites. The section on POV is well conceived - Kress devotes far more attention to the nuances between and among POV possibilities than most books on craft. This is a book I will be returning to throughout the drafting process.

  29. 4 out of 5

    Ulrike Hill

    Highly recommended Many writers do not understand how to develop characters or which viewpoint is suitable for their story. An in-depth look at characterisation and POV. A must-read for any pre-published author.

  30. 5 out of 5

    Christina

    This is an excellent resource for any fiction writer. Well written, great use of organization and examples. I read it straight through and will likely go back to various chapters again and again in the future.

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