Rachel asks: “Do you have any tips on writing a point of view you haven’t experienced?”
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Ian asks: “Some stories use taste as characterization, but sometimes it falls flat. How can one use it well?”
In the Line of Fire
James Bond series by Ian Flemming
Chitty Chitty Bang Bang by Ian Flemming
The Diamond Smugglers by Ian Flemming
The Hobbit by J.R.R. Tolkien
Farewell My Lovely by Raymond Chandler
Five Red Herrings by Dorothy L. Sayers
Emma by Jane Austin
The Picture of Dorian Gray by Oscar Wilde
Soulless by Gail Carriger
Crudrat by Gail Carriger
Marine Biology by Gail Carriger
Down From Ten by J. Daniel Sawyer
Silent Victor by J. Daniel Sawyer
Suave Rob’s Double-X Derring-Do by J. Daniel Sawyer
The Man in the Rain by J. Daniel Sawyer
Jason asks: “Are there any strategies and techniques for making characters more interesting?”
Robert asks: “How would an intelligence without a body differ from a human character, and how would a lack of a body affect a character’s perspective?”
Jeanne asks: How do you write “the other” and keep the characters believable and accessible?
Ian asks: How do you write characters having intense moments without them seeming out of character?
Caine asks: How do you write characters that are very much outside your experience?