1. What are common mistakes you see in the plots of writers who are new to writing? The Response
2. I’m writing a story set at the New York World’s Fair in 1939. It seems like a lot to write out each time it comes up in the story. Can I simply call it the fair? The Response
3. In his ten rules for writers, Elmore Leonard advises that writers “avoid detailed descriptions of characters.” Do you know why? Isn’t this one way to characterize? The Response
4. I can't find the rules for the correct spelling of "e-mail." Some do "e-mail," others do simply "email." Which is right? The Response
5. Where can a writer surprise the reader? It seems this mostly happens in endings. What about other parts of a story? The Response
6. I’ve revised a story over and over for the last six months and it still doesn’t seem right. I’m fed up with it. I’ve taken all the advice out there on revision and I’m still at a loss. What can you tell me that I haven’t already tried a thousand times? The Response
7. I like to create settings that are creative but plausible, even if they may not exist or aren’t well known. (In other words, I don’t want to write fantasy or sci-fi.) I don’t find a lot of fiction that does this. Is it out there? The Response
8. I’ve been having debates with fellow writers on the merits of using dashes over commas (specifically to separate parenthetical clauses) and vice-versa. How interchangeable are these points of punctuation? The Response
9. Is it ever appropriate to kill off or maim a character in the first sentences of a short story? The Response
10. How do I reveal a first person narrator’s name? The Response
11. I have trouble making jumps in time clear to the reader. How can I do this? The Response
12. I’ve read that characters sometimes have favorite expressions and that using these in dialogue can make them seem more real. I’ve been looking for this as I read, but I’m just not coming across any examples. Can you help? The Response
13. I recently finished the first draft my first short story. I’ve never gotten to the end of a story, so I’m excited. But I just don’t have it in me to start revising. It’s enough to just finish the thing. I worry this means I might not be cut out to be a writer. What do you think? The Response
14. If a character asks a question, does the question mark go inside or outside the quotation mark? The Response
15. I’m tired of one or two word titles. They don’t seem to give the kind of insight into the story that I’m hoping my titles will give. But I run into the problem of making titles too convoluted. What can I do about this? The Response
16. My protagonist has two friends. Their personalities are similar, but they’re still different characters. It seems like a lot of work to cut one out and I don’t see the harm in keeping them both in the story. What do you think? The Response
17. Is it possible to use too much dialogue? The Response
18. Should a question mark follow a question when it’s summarized? Here’s an example: Lisa asked why didn’t her mom get the letter yet? The Response
19. I make a resolution to write more every year. However, I’m rarely able to keep my resolution much past the second week of January. Any suggestions on how I can be more successful? The Response
20. I’m self-publishing my novel and I’m hesitant to hire an editor. I don’t want to lose control over it. I’m proud of how it turned out and I can’t imagine what an editor would say—about the story or the grammar—that would make a significant difference. Is it really so bad to just skip this part of the process? The Response
21. A character in my novel is grumpy. Yes, he has other traits and he’s not one-dimensional, but when you get right down to it, he’s not pleasant to be around. I’m worried about his dialogue. He’s always shouting at someone or saying something unkind. His other traits come through his thoughts, mostly. Is that okay? The Response
22. Do I really have to start a new paragraph every time someone different talks? It seems to take up a lot of room on the page. The Response
23. Does a character have to fail in order for a story or novel to have enough conflict? The Response
24. Is there anything wrong with starting a lot of sentences with verbs that end in –ing? Here’s an example: “Swinging the bat, the ball soared past the wooden fence.”  The Response
25. I want to write a novel told by three characters, but I’m stuck. I’ve tried first person, but then it skews to one character. Third person omniscient isn’t working either. What now? The Response
26. Aren’t clichés actually dead metaphors or similes?  "He was tall, dark and handsome" is, to be sure, hackneyed language but it's not a cliché.  An individual may, literally, be tall, dark and handsome. The Response
27. I’m overwhelmed with my memoir. The writing seems unwieldy if I try to feature every single person and all the major events. How can I handle this?  The Response
28. Is it worth the extra money to pay for online classes that offer college credit? Will the credit help me get published? The Response
29. In pursuing a writing career, how important is it for one to have an MFA? The Response
30. How long should it take to write a short story? The Response
31. I often hear writers say, “write what you know.” But how can this be if you want to write fantasy or science fiction? The Response
32. Which is correct: “six or ten-day trip” or “six- or ten-day trip”? The Response
33. What is indirect dialogue? The Response
34. I am a little confused on when to use "to" or "too" in a sentence. Please explain. The Response
35. Why would I want to use an unreliable narrator when writing in first person?  The Response
36. What’s the difference between flash fiction and a short short story? The Response
37. When I read, I don’t like to slog through a lot of description of where the characters are, so in my short stories I usually name a place and leave it at that. Is that enough?  The Response
38. My first story will be published by a small on-line magazine. They’ve asked for a biography. What should I include? Should it be written in first or third person? I asked the editor and he wrote back saying there were no real guidelines, just to keep it brief.  The Response
39. I’ve had enough of the grind of sending out story submissions and collecting rejections. Are there other ways to get my short stories into print without self-publishing?  The Response
40. An editor rejected one of my short stories with a note that I should proofread carefully before submitting. One of the sentences he circled was this: “I can’t hardly wait for the game to start.” What’s wrong with it?  The Response
41. I have an amateurish habit of using ellipses, the three dots all in a row that are supposed to indicate “hesitation, interruption, or unfinished thoughts.” Should there be spaces in between each dot? What about before and after?  The Response
42. How do I break my habit of using so many ellipses?  The Response
43. My writing instructor recommends writers avoid using a thesaurus, but I find it’s a great way to discover new words. What’s wrong with using one?  The Response
44. Many experts advise using Courier New, 12 pt font for manuscripts but the print is so large that not many words fit on a line. My manuscript looks better using a smaller size or a different font, such as Verdana. Should I always follow the advice or go with what looks better on my manuscript?  The Response
45. An editor sent me extensive notes on a short story I submitted and asked to see a revision but she hasn’t actually accepted the story for publication. Do I bother with all these revisions in the hope she will accept it or just try my luck elsewhere?  The Response
46. Can a story have too many comparisons?  The Response
47. When a writer uses first person, is it possible to include what another character might be thinking without changing point of view? If so, how?  The Response
48. How does a writer choose a pen name?  The Response
49. I’ve never been to a writers’ colony but it seems like they come with a lot of hassle—the application, the lengthy wait to hear back, the high rejection rates and sometimes even fees—for what amounts to a quiet vacation. I’m sure I’m missing something. So, what’s the point?  The Response
50. The main character in my novel is strongly influenced by a character who never actually appears in the novel. (She’s part of his past.) Some of my readers object and say I should re-think this and perhaps give them a scene together. Every scene I come up with feels contrived. They just wouldn’t cross paths. Are there examples in literature of characters who have a profound influence but don’t actually appear in the story?  The Response
51. Most the writers I know plot out a short story before they write it. I don’t do this. I just have an idea and start writing. Is there a right way to do this?  The Response
52. In a short story, should I use a little squiggle or hash mark or just skip a line when switching to a different scene? The Response
53. My writer’s group agreed that my recent short story submission was too long, but it’s only three double spaced pages. How is that possible?  The Response
54. I use words like “moreover” and “ergo” in my fiction. Others tell me this is too stodgy. This is the voice I find most comfortable. Must I change it? The Response
55. What’s wrong with using clichés? They’re easily understood, so it seems like a good way to write clearly.  The Response
56. I understand appearance is often cited as one way to characterize, but isn’t this misleading? What a character looks like doesn’t necessarily reveal the truth about him.  The Response
57. Can I start a story with a line of dialogue? The Response
58. This sentence has a question in it: "I wondered if she’d ever take me seriously?" However, I’ve been told it should end with a period. Why? The Response
59. Is there a preferred length for flashbacks? The Response
60. An editor sent me an email saying he read an article I recently published in another magazine. He wants to republish the piece and pay me some money and asked me to send a digital copy and my social security number. I’m leery because he contacted me, but could this be legit?  The Response
61. I know it’s important to give a character a unique voice in dialogue, but what about the story itself? When writing in first person, does the whole story have to sound like the main character?  The Response
62. I hear about literary magazines, but I never actually see them for sale. Where do I find them?  The Response
63. My character witnessed a murder when she was a teenager. My novel isn’t about the murder, but that experience does influence her. Should I write it as a flashback? The Response
64. Here's a sentence in question: The children went home to their house. Should “house” be singular or plural? What about if the children follow their nose? Is “nose” singular or plural?  The Response
65. How should I keep track of where I’ve sent my stories?  The Response
66. Are words like "band" and "jury" singular or plural?  The Response
67. I’d like to keep a journal, but I never know what to write in one. How do I start? The Response
68. Should I write out numbers or use numerals?  The Response
69. I like the idea of using letters in fiction, but I don’t see this often. What about email? Is anything off limits?
     The Response
70. What is the difference between valuable and invaluable?  The Response
71. I’m having trouble with a violent scene in my novel. I keep coming back to this question: How much action is too much? The Response
72. Is someone waiting “on line” or “in line”?
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73. Does a story or novel have to have an antagonist?
     The Response
74. Do I need to get an ISBN number for my unpublished manuscript?
     The Response
75. I’m revising a first person story and I’m frustrated that so many sentences start with “I.” Some paragraphs have at least four sentences that begin that way. Some have even more. Is this just par for the course with a first person narrator or am I doing something wrong?  The Response
76. I have a tendency to overuse the word “seem.” I catch a lot of these uses in revision, but I often need an outside reader to help, too. How can I curb this tendency?
     The Response
77. Friends and family often ask me what my novel-in-progress is about but I’m reluctant to share. I trust them so I don’t know why I feel this way. Would it be better for me to get over this and talk about it?
     The Response
78. A character asks a series of questions all in a row. Right now, the dialogue looks like this: “Did you leave it in your car, in your office or at school?” Should I break it up into separate sentences: “Did you leave it in your car? What about your office? Is it at school?”
     The Response
79. I’m writing a short story in which a secondary character is important to the plot but is only in one short scene. Is that okay?  The Response
80. In a previous column ("Writing slumps; showing your work to others") you write, "It is also useful to consider who you show your work to." Shouldn’t you have used whom instead of who? Am I missing some obscure rule or was this just an oversight?
    
     The Response
81. I get stuck every time I start a new chapter. The blank page makes me feel like I’m beginning the novel all over again. How can I avoid this?
     The Response
82. I’m new to submitting my poetry, and many journals’ submission guidelines say that they pay in “contributor’s copies.” What does this mean?
     The Response
83. What novels are “must reads” for fiction writers?
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84. I start a lot of sentences with the word “there,” but I’m not sure how to reword them. Is this really a problem?
     The Response
85. One of my characters is a botanist and her occupation is important to the story. However, I don’t know much about botany—just enough to give some specifics. Is this enough? I’m worried that she won’t be a believable character. Maybe I should just stick to what I know.
     The Response
86. How do I know when to start a new paragraph?
     The Response
87. I’m writing a novel about a family and the children are in junior high and high school. I’m struggling with their dialogue. What I’ve managed to write either sounds too adult or is rife with stereotype. I’m sure that some of the language is outdated, too, as I’m drawing on my own teen years. How can I make this work?
     The Response
88. Going by the rules of when to use “a” and “an,” I think “an one man show” is correct but “a one man show” sounds right. Which is it?
     The Response
89. I haven’t felt very inspired lately, so I haven’t been writing much and I’m worried about this. Is there anything I can do?
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90. I’m embarrassed to admit that I don’t know the true distinction between “there,” “their,” and “they’re.” I mess these up often enough that I could use clarification.
     The Response
91. When writing in first person, I have the narrator say, “My face turned red” and “a blush spread across my cheeks.” Is this okay? She’s not looking in the mirror so she can’t see it happening, but she’s embarrassed and knows it’s happening. The Response
92. I mistakenly switch from past to present tense when writing. How do I avoid this?
     The Response
93. When I workshopped a short story recently, everyone assumed the narrator was a man. This is probably because I’m a man. I think this is the reader’s problem—they shouldn’t make assumptions—but the group insisted I should do something about it. Who’s right? The Response
94. I’m writing about the root of the lotus and I keep going back and forth between “the lotus’ root” and “the lotus’s root.” Which is right? The Response
95. Usually a character’s name just comes to me, but that’s not happening this time. I don’t know where to start. What should I do?
     The Response
96. I know that submitting a hard copy requires beginning the story halfway down the first page.  Should an on-line submission be done the same way? The Response
97. I am working on a novel told primarily in first person with one narrator.  However, I want to change this from time to time and tell another character’s story. Can I do this without confusing the reader?
     The Response
98. I need help settling this disagreement with a friend: One space or two after a period?
     The Response
99. Thanks so much for going deeper into third person narrator information. It spins my thinking into tornadic twists. But now you leave me with new questions. I feel that I'm on the brink of a great new discovery. Can you recommend books that would lead me on?
     The Response
100. Is the word “everybody” plural or singular? What about the word “nobody”?
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101. I’ve taken many fiction classes. In a university, you know you’re done when you get the degree. Since I’m not working toward a degree, how do I know I’m done?
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102. I’m going to a book release party for a friend of mine and I know her agent will be there, too. Should I try and find him to tell him about my novel?
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103. In a recent response on third person narrators, you gave an illustration of Joyce Carol Oates opening in "Where Are You Going, Where Have You Been?"  I'm still a little confused. Who is the third person narrator in this short story? The author? Or is it Connie's mother? To me, the narrator in this opening scene is omniscient hanging above the scene seeing and knowing everything.
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104. Should I use past or present tense when writing about my book in a query letter?
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105. I’m ready to find out what others think about my poems, but I’m afraid to share them. How can I get past this?
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106. A writing instructor marked an entire scene in my short story as “redundant.” How can a whole scene, with everything that goes on in one, be redundant?
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107. What do you do when the words just aren’t coming? Is it okay to just take a break?
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108. Is it possible to get published these days without an MFA?
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109. Is it all right to write a story with very little dialogue?
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110. When publishing a story, do I have to take an editor’s advice on revisions?
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111. Do I really need to spend a lot of time doing a final proofread before submitting my fiction? Isn’t that what an editor does?
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112. I’ve heard the advice that writers should read whatever they can, even if it’s bad. Why bother?
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113. I’m only able to write fiction in first person. When I try third, it ends up sounding stiff and boring. What can I do?
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114. How do I indicate that a character is repeating someone else’s words when speaking? Using quotation marks inside of quotation marks seems confusing.
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115. I know all about closure when it comes to endings, but I never know how to finalize a story. What makes for a great last line?
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116. What is exposition? The Response
117. What are epigraphs? The Response
118. Is it possible to have too much action in a scene? The Response
119. I’ve heard the advice that writers should read whatever they can, even if it’s bad. Why bother?
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120. Should I use flashbacks or summary when giving my character's background? The Response
121. Are contests that charge a fee legit? The Response
122. I just read with interest your column on writings with a twist at the end. What if one ends the story untidily, skips several spaces on page, and in the next paragraph the writer turns off his computer that he just wrote the story on, turns off the light, and pushes back his chair. Is that an acceptable ending? The Response
123. Can writers use made up words in realistic fiction? The Response
124. I want to write a short story about claustrophobia. How do I develop this idea? The Response
125. What is the difference between a short story and a vignette? The Response
126. What’s the difference between “whose” and “who’s”? The Response
127. What is a creative writing portfolio and why would I need one? The Response
128. I've been in a lot of creative writing classes and I'm thinking about taking some time off. I'm worried that I won't write as much on my own. How can I make the transition without losing steam? The Response
129. When should I use a dash? The Response
130. I'm told that sometimes my fiction reads too fast. How can I slow it down and still keep things intense? The Response
131. How do I know when to capitalize titles, like those of family members, political offices, or rank? Does "mom" get capitalized? Does "president" always begin with a capital letter? I've seen these words both ways. The Response
132. How much setting do you really need? Is it enough to describe the place well and then just move on and focus on character and plot? The Response
133. What is a magazine’s masthead and where would I find it? The Response
134. I’m in the military and am currently serving outside the United States. Is there a course of study available for an online, untraditional student that will challenge me to become a better writer? The Response
135. Where do you put the apostrophe and “s” when you want to show two people own something? For example, is “Linda and Carl’s home” or “Linda’s and Carl’s home” correct? The Response
136. I recently read a short story that was one long letter from one character to another. The structure inspired me. Are there other interesting story structures like this that I just haven't come across? The Response
137. What makes a group of books a series? The Response
138. I like to write stories that have a twist at the end, something to shock the reader. My writing group says they don't like this. Are twist endings passé or am I in the wrong writing group? The Response
139. What is personification? The Response
140. I’d like to start trying to get some of my creative writing published. How do I know where to send it? The Response
141. What is the difference between “toward” and “towards”? The Response
142. As a young writer who's been at it for four years, I'm wondering how to cope with rejection. Although I have had one short story accepted at a respected literary magazine, I find the relentless rejection - especially to my novel - very discouraging. Do you have any tips on how to not let it get you down? The Response
143. I entered a poetry contest and learned that my poem is a semi-finalist and that it can be published in their anthology for a fee. Is this common? The Response
144. Can a novel or short story have too much dialogue? The Response
145. I notice more journals are accepting work online. Is this really a good idea? The Response
146. My character has a unique situation that I need to establish early on. Is it okay to summarize this before starting the action of the story? The Response
147. Should all poetry lines end with a comma or period? The Response
148. When writing in first person, do I automatically have to use the main character as the narrator? The Response
149. How do I choose a name for a town that I made up? The Response
150. When writing a story, who tells it? The Response
151. What is a ghostwriter? The Response
152. I keep hearing the advice that writers should read. I still don’t get it. Why is this so important? The Response
153. Can I submit two short stories to the same journal? The Response
154. I want to write a short story about claustrophobia. How do I develop this idea? The Response
155. What is the difference between a short story and a vignette? The Response
156. What’s the difference between a round and flat character? The Response
157. How can I reveal the gender of a character who doesn’t have strong gender-specific traits? The Response
158. I’ve started submitting to literary journals and haven’t heard back. The wait is excruciating. Why does it take so long? The Response
159. How long does it take for someone who just started writing to get published? The Response
160. I started my short story with a character waking up in the morning and I was told this is a bad idea. What’s wrong with it? The Response
161. When a character asks a question, does the question mark go right after the question, or at the end of the sentence after I indicate who said it? The Response
162. I hear the advice to “write what you know.” Does that mean I should only write based on my experience? The Response
163. Why do journals and magazines use form rejection letters? Wouldn’t their comments help make writers better? The Response
164. I’m writing a story based on a difficult situation while I’m in the midst of it. Is this a good idea, or should I wait until later? The Response
165. Can I submit an excerpt of my novel to magazines to try and get it published before the whole novel is finished? The Response
166. I always hear it’s a good idea for writers to keep a journal, but what am I supposed to write in it? The Response
167. Can a published poem be entered in a poetry contest put on by a journal other than the one it was published in? The Response
168. I’m told my stories sound too formal, but I’m following rules and advice I’ve learned over years of literature classes. What am I doing wrong? The Response
169. A magazine that accepted my article is sending me a galley. What’s that? The Response
170. How can I make summary interesting? The Response
171. I like to use the thesaurus, but my critique group says I should put it away. Isn’t the point of creative writing to find the perfect word? The Response
172. In a critique I got lambasted for a story that ended where the character finally got what she wanted. What’s wrong with that? The Response
173. After sending out query letters for my first novel, an agent contacted me asking to see a sample, and now she’s asked to see the whole thing. She wants to have it “on exclusive.” What does this mean? The Response
174. I am writing a story about a girl who is ten. Her early life is important and dramatic, but will I discourage older readers with a five-year-old main character? Are flashbacks appropriate in this case? The Response
175. If I send a query to a publisher or agent and they accept it, do they send a formal contract or money to write the book? The Response
176. It seems clunky to explain relationships or basic information, such as age or occupation, when first introducing characters. Is there a way to avoid this? The Response
177. I’m new to publishing and I’ve noticed some writers send queries to see if a publisher wants them to write a book. I thought that writers were supposed to have the whole book already written and send that. What’s right? The Response
178. I am having difficulty with the dialogue of my story. I have the premise of what I want to write but I feel like the dialogue isn't good compared to books I have read. I am interested in romance writing and wanted to know if there is a book you recommend on dialogue. The Response
179. I'm at a point in researching the market that I don't know where else to look for places to publish my personal narrative pieces. What can I do when I've exhausted the well-known market resources? I'd love to find more magazines. Any suggestions? The Response
180. I'm writing a story set in an actual city, but I'm not staying true to the reality of it. How much can I invent? The Response
181. Using 'he said' or 'she said' to indicate who is talking sounds awkward sometimes. How can I change things up but still make it clear who is speaking? The Response
182. I'm interested in creative writing, but I'm not sure how to go about it. How do I get started? The Response
183. Can I try and publish my fan fiction? The Response
184. I want to write, but something else always seems to come up. It's not an issue of desire. I genuinely want to write. With a full-time job, family, and other obligations, am I just not cut out for this? The Response
185. I received a rejection note that had some comments from the journal's editor. They liked the writing, but felt the plot was undeveloped. I've only gotten form rejections in the past, so I'm not sure what to do. Should I revise and resubmit it? The Response
186. I've been writing a novel for the last six years. Parts of it have been workshopped and it has undergone extensive revision. Now, I need somebody to read the entire novel and tell me what to do to make it publishable. I don't think I'm ready for an editor. I think I need a story evaluator. The Response
187. How long should it take to write a novel? The Response
188. What is telling detail? Does it have anything to do with the advice to show and not tell? The Response
189. When it's time to quit writing, what's the best place to stop so I can easily get started again? The Response
190. I’m debating whether to use a profane word in a particularly traumatic scene in my book. When is it all right to use profanity? If I keep the word in, could that be a problem when I try to publish? The Response
191. I don't understand rights in the new e-world. If you publish your writing on your own blog, is that no longer unpublished? The Response
192. What is flash fiction? The Response
193. What should I put in a cover letter when submitting to literary journals? The Response
194. I want to write a scene that my character didn't witness. She knows about it, but wasn't there. I don't want to switch into another character's perspective because I don't do that anywhere else. Should I have my character talk about this with a character who did witness it? The Response
195. In manuscripts, should I indent the first line of a paragraph or can I just skip a line and not indent the first line? Indenting looks so old fashioned. The Response
196. A friend of mine, who has a pretty interesting life, recently approached me to write his life story. I’ve taken fiction writing classes at Gotham Writers' Workshop in the past. In order to get in shape to write this book, would I be better prepared if I took memoir course or a novel writing course? The Response
197. What's the difference between lay and lie? The Response
198. Do I need an agent for the submission of a first novel? The Response
199. What do I do when I submit a story to several journals and it’s accepted by one? Is it possible to have it published in more than one journal? The Response
200. Does a story always have to have a definite conclusion, or can it be a mysterious ending, where it is up to the reader to decide what happened? The Response
201. How does a beginning writer approach having a pen name? Do you include it in your manuscript? How do you mention it to potential publishers in a professional manner? The Response
202. I am so paranoid about having a "sagging" or boring middle. I think it makes me afraid to write. I'm not sure of all the things that need to happen, despite knowing the last part of the novel. Any suggestions? The Response
203. I understand the idea of keeping exclamation marks in check, but is there more latitude in their use in the thoughts and dialogue of characters, the same way there is some flexibility in characters using clichés in their speech? The Response
204. Is it really that important to revise? I write when I’m struck by inspiration and I don’t want to lose that vitality. The Response
205. I’ve been told my dialogue includes too much of characters’ conversations. Why should I omit greetings and goodbyes when we use them all the time in real life? The Response
206. I've been told more than once that my writing is wordy, but I just don't know what to cut. How can I fix this? The Response
207. Does it really matter how I format my manuscript when submitting? The Response
208. Because of a recent job change, I don’t have as much time to write as I used to. I’m exhausted when I get home and the last thing I want to think about is writing. How do people who work full time manage this? The Response
209. I'm writing an article about a local author. The website where his book is listed for sale contains comments from his readers. I want to use a short sentence--four words--from one of these comments. Must I get permission from the person who posted the comment or, since the comment is already published on the bookseller’s website, can I use the sentence without permission and simply cite the website as the source? The Response
210. I’m working on a novel that involves a lot of research. So far, I’ve researched extensively but written very little. At what point in my research should I really start writing? The Response
211. I've been searching for clarification on the differences between the phrases: "as if" and "as though." Can you instruct me on their proper usage? The Response
212. What is magical realism? How is it different than fantasy? The Response
213. Why is connotation important in fiction? The Response
214. Should I hire someone to edit my manuscript before sending it out to agents? If so, do I want an editor or a writing coach? The Response
215. When I write I often mimic whatever I’m reading. Is this helping or hurting me? The Response
216. I always thought surprise was important in stories, but my writing group says it doesn’t work when characters do things that are “out of the blue.” Who’s right? The Response
217. For queries and short fiction submission cover letters is it appropriate to use my professional letterhead that includes my (PhD) degree? The Response
218. I write both poetry and fiction. Is it better to develop skills in one specific genre or go back and forth between genres? The Response
219. I’ve been told I overuse italics to make a word stand out. But isn’t that the point of italics? What’s the correct use? The Response
220. My writing group needs some inspiration and structure. Can you suggest activities or formats that have worked with other writing groups? The Response
221. I've been cautioned to avoid passive sentences with "was." But is every use of "was" passive? The Response
222. If the pronunciation of the main character's name is not apparent, should some explanation accompany it the first time it's mentioned? The Response
223. After submitting work to a publication, I received a letter, addressed to me personally, saying that although they could not use my article at this time, they will keep it in their files for future consideration. I took this as somewhat positive, and plan to submit more in the future. But should I bug them in another month telling them I've improved the article they have on file with a few changes, and resubmit? The Response
224. How do you know when a piece of fiction is finished? How do you know if you’re at the point where additional editing will degrade the story instead of improve it? The Response
225. When submitting, should I submit to only one publication or is it wise to submit to several at the same time? The Response
226. What is the timeline that an individual can resubmit a published poem to another publication? Can a published poem be entered in a poetry contest other than the journal it was published in? The Response
227. Why is a faction—blending fact with fiction—unacceptable as a genre in literary works? The Response
228. Is there a standard to the spacing of lines of a manuscript? I've heard several authors talk about the number of pages they write per day as a goal. The Response
229. Now that I have several chapters of my novel completed, I would like to know how to go about finding an agent? Any suggestions? The Response
230. I am trying to keep to a strict third-person limited point of view from the perspective of a single character. How can I let the reader know what my character looks like? The Response
231. Should new writers start with short stories before writing a novel? The Response
232. Should I revise as I write? The Response
233. I’ve seen this word spelled two ways: “all ready” and “already.” Which is right? The Response
234. In dialogue, what is subtext? The Response
235. Do novel chapters need titles? The Response
236. Why is the use of a deus ex machina discouraged in storytelling? The Response
237. I recently had an essay published in an anthology. While the content was not changed, my punctuation was. It's my first publication and I'd like to be able to use it in my portfolio, but will it reflect poorly on my writing skills? The Response
238. Should I leave my scene alone, knowing that I wrote it before someone actually performed a strikingly similar heroic deed, or should I change it since readers will undoubtedly believe that I simply copied from the headlines? The Response
239. How do I know if something is a cliché? The Response
240. I enjoy making up characters, but I’m not sure where to go from there. How do I take all these characters and write actual stories? The Response
241. Is putting the copyright symbol on my manuscripts enough to protect my ideas? The Response
242. Can I use the same theme from another writer’s book as long as I change the characters and the situations? The Response
243. Are ellipses the best way to show a pause in dialogue? The Response
244. When is it appropriate to use “you” in fiction? The Response
245. I like using adjectives but I often hear they make for weak descriptions. What’s so bad about them? The Response
246. How does a novelist cite research material? Should I include a bibliography? Or use footnotes? The Response
247. After telling a story using third person from one character's perspective for about three-fourths of the story, is it possible to smoothly shift to another perspective for the final quarter? The Response
248. How much of a memoir should be true? The Response
249. Is it true that for submission purposes italics in a manuscript should be replaced with underlined words? What is considered standard for the industry? The Response
250. I have writing slumps that can last for weeks because I can’t think of anything interesting to write about. How do I avoid this? The Response
251. At what point should I show my work to someone? The Response
252. What is in medias res? The Response
253. Why does the exclamation mark have such a bad reputation? When is it acceptable to use it? The Response
254. When you’re writing about a character’s thoughts aren’t you always “telling” instead of “showing”? The Response
255. What is the best way to write a telephone conversation when only one side is heard? The Response
256. Does a story have to have a moral? The Response
257. What is a run-on sentence? The Response
258. I am writing a story set in the 1700s in the US about a child that has been captured by Indians. I want to show some of the problems the child has of learning the new language. What is the best way to bridge that problem? The Response
259. When should I start thinking about an agent? The Response
260. What is voice? The Response
261. What should a manuscript look like? The Response
262. My main character is an all-out jerk. Some have warned me that this might not go over well with readers. What do you think? The Response
263. What is the difference between genre fiction and literary fiction? How do I know what I’m writing? The Response
264. I often hear that my steamy scenes are too over the top. Are these readers just too squeamish for my stories? The Response
265. How do I know when I have enough short stories to make a book? The Response
266. Readers complain that my characters explain too much in their dialogue. What am I doing wrong? The Response
267. What is passive voice? The Response
268. When describing a character’s appearance, I either over do it or don’t give enough. How do I know what to include and what to leave out? The Response
269. Does fiction have to be grammatically correct? The Response
270. I always hear that writers shouldn’t change point of view, but I see it done in books all the time. Why can’t I do it? The Response
271. I’ve heard that too much phonetic spelling can be hard to read. How do I create the voice of a character who has a distinctive speech pattern or dialect without it? The Response
272. I keep hearing the advice “show, don’t tell,” but I’m not quite sure what it means. Can you explain? The Response
273. How do I jump from one time to another without confusing the reader? The Response
274. How important is the title of a story? The Response
275. If I’m writing a passage where a character is thinking something, should I put the thoughts in italics? The Response
276. After I get done with the first draft of a story, revision feels overwhelming. How can I keep going and not lose my momentum? The Response
277. How do I know where to break for a new chapter when writing a novel? The Response
278. When submitting, should I submit to only one publication or is it wise to submit to several at the same time? The Response
279. Do you have any tips on researching? I’m looking into dendrochronology and I’m having a hard time finding out more about forensic botany without spending hundreds for books I’m not sure would help. The Response
280. How long is a short story? The Response
281. Why is a faction—blending fact with fiction—unacceptable as a genre in literary works? The Response
282. Setting doesn’t seem all that important. As long as the reader has an idea of where it happens, isn’t that enough? The Response
283. What is a mixed metaphor? The Response
284. How do you avoid making a character too one-dimensional? The Response
285. How is dialogue punctuated? The Response
286. I write both poetry and fiction. Is it better to develop skills in one specific genre or go back and forth between genres? The Response
287. I’ve been told my dialogue includes too much of characters’ conversations. Why should I omit greetings and goodbyes when we use them all the time in real life? The Response

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