Dawn asks: What do I do if I don’t like my characters?
Simon asks: Does the conventional wisdom that one can only truly learn by teaching apply to writing?
Roland asks: Can a writer revisit an idea in multiple stories, and keep the stories fresh and interesting?
The Bourne Identity by Robert Ludlum
The Road to Gandalfo by Robert Ludlum
Road to Omaha
The Holocroft Covenant by Robert Ludlum
The Scarlitti Inheritance by Robert Ludlum
The Lady in the Lake by Raymond Chandler
Nightfall by Isaac Asimov
The Man in the Rain by J. Daniel Sawyer
Ender’s Game by Orson Scott Card
Flowers for Algernon by Daniel Keyes
A Canticle for Liebowitz by Walter M. Miller
Prophet of Bones by Ted Kosmatka
Hitler’s Angel by Kris Rusch
Millenium Jon Varley
The Philip K. Dick Collection
By His Bootstraps by Robert A. Heinlein
The Door into Summer by Robert A. Heinlein
All You Zombies by Robert A. Heinlein
Roland asks: I’m intimidated writing the first book in a series when I don’t know where it could go later, or if I’m ready for it. What can I do?
Ed asks: How do you know when you need to redraft a work?
Allie asks: Any advice for ensuring good structure for ensemble casts? How does structure differ between ensemble stories and single protagonist stories?
Terry asks: “In film and television, soundtracks give viewers cues for how to feel in a scene. Is there a way to set the mood in writing?”
Ian asks: “I’m struggling to find current examples of rich setting. Have authors stopped using setting, or am I not looking in the right place?”
The Girl with the Deep Blue Eyes by Lawrence Block
Choke by Chuck Paulinuk
Setting: How to Create and Sustain a Sharp Sense of Time and Place in Your Fiction by Jack Bickham