I recently came across a book by James Scott Bell that lays out an interesting premise about something he calls the 'mirror moment'. Bell's theory is that there is a single moment in the middle of the story where the main character takes a "long, hard look at himself (as in a mirror). He asks, Who am I? What have I become? Who am I supposed to be?" Bell says if you can nail that moment, everything that comes before and after it will have more depth and resonance.
Margaret Atwood recently wrote an essay titled ["Margaret Atwood on What *The Handmaid's Tale* Means in the Age of Trump"](https://www.nytimes.com/2017/03/10/books/review/margaret-atwood-handmaids-tale-age-of-trump.html?_r=0) that caught my eye. There has been a swarm of interest around the book thanks to the upcoming series on Hulu, but I have to admit that I was curious to see if her political views matched mine. What I found most compelling in the article, however, is how she talked about stretching herself outside her genre when she wrote *The Handmaid's Tale*: - ***"It seemed to me a risky venture. I’d read extensively in science fiction, speculative fiction, utopias and dystopias ever since my high school years in the 1950s, but I’d never written such a book. Was I up to it? The form was strewn with pitfalls, among them a tendency to sermonize, a veering into allegory and a lack of plausibility. If I was to create an imaginary garden I wanted the toads in it to be real."***
When you’re starting a new story, determining POV is a very important choice. Writing from multiple POVs can be frustrating and confusing for readers if it’s not handled well, so you need to have a very good reason for using multiple POVs in your story. That said, here are a few tips on how to craft a story using multiple POVs:
Have you ever been so engrossed in a book that if the ending isn't strong and doesn't resolve all the plot threads, you're disappointed in the whole book? I once read a novel with a deeply engaging main character I really connected with. She struggled and overcame and struggled and overcame. And at the very end of the book, the author killed her. WHAT? It's the only time I've ever thrown a book. And I refused to read anything more by that author. You know how important it is to hook your reader from the very beginning. It's why you start in the middle of the action, plunging your reader right in so they get caught up in the excitement. Your ending is as important…if not more.
Theme is not your character arc, nor is it the plot or what happens to your character. It's actually the essence that ties those two together. If someone asks you "what is your book about?" you don't respond with scene-by-scene detail, or the changes your character goes through. You think of your character and what essential thing she or he comes to understand through the course of the book. If you can't do that, you don't have a firm grasp on your story's theme.
You may have noticed that we at ProWritingAid have a fondness for technology that makes writers better, stronger, more organized, and highly productive. If you like creating a storyboard for your novels, or if you want an innovative app to capture all of your to-do’s for your client work, let us introduce Trello. For those of us who use sticky notes, index cards, and other forms of reminders to help you organize everything you need for a writing project, Trello is the easiest, most intuitive way to organize your work.
If you’ve taken writing courses at the university level, more often than not, your instructors have fervently cried: Never, ever, ever, ever start a story with a dream sequence. And if you Google “dreams in novels,” you will find a huge range of opinions on the matter. For every post scorning the use of dreams, there is one saying that *when done well*, dream sequences can move your plot forward. But are there times when dreams are ok to use? Some authors have used them incredibly effectively in the past. .
Here are the posts from our blog that most resonated with our readers this year. Did your favorite make the list?