by Lisa Hall-Wilson

Ever figure out a solution to a problem, and then way over-use it? That’s what happens with rhetorical questions when we’re trying to avoid author intrusion!

Once you become aware of author intrusion, of what that looks like in either limited third person, first person, or deep POV, the easy workaround becomes a rhetorical question.… Read the post

by Lisa Hall-Wilson

First Person POV is not automatically deep POV. First person leans heavily on a narrator construct. Once you understand what the narrator voice is, how it’s used, and how to recognize it, you’ll see where first person POV differs from Deep POV.… Read the post

by Lisa Hall Wilson

Trauma can create great internal, external, and interpersonal conflict, but readers are not interested in clinical definitions or objective recitations of symptoms. Trauma needs to be more than emotion-theatre. It should make your character’s journey more difficult and be specific to the journey ahead of them.… Read the post

by Lisa Hall-Wilson

I am frequently asked how to write a verbal disclosure of trauma in fiction. So, usually one character has a trauma backstory they’ve never told anyone about, and at some point in the story, they decide they need to share that history with someone.… Read the post

By Lisa Wilson-Hall

Writing character emotions is tricky, but an effective way to bring your writing to life. Emotions serve three specific purposes: to inform us, to protect us, to warn us. All of this is true in real life as in fiction.… Read the post