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Whatever George Wants, George Gets . . . And Now She Has Her Own Voice
Colin Mustful Colin Mustful

Whatever George Wants, George Gets . . . And Now She Has Her Own Voice

So, I had learned a valuable lesson: Remain neutral toward all characters, no matter their foibles or allure. Otherwise, you lose perspective on their usefulness to the story and, worse, it may keep you from putting them in compromising or even dangerous situations. The end result could easily become wimpy characters and insipid plots. No reader wants that.

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Love, War, and the Dramatic: How and Why to Avoid Sentimentality in Writing
Colin Mustful Colin Mustful

Love, War, and the Dramatic: How and Why to Avoid Sentimentality in Writing

Something is sentimental when it exaggerates a feeling and becomes falsely emotional or inauthentic. This often happens when a writer relies on an assumed emotional response from a reader by, for instance, describing a marriage as happy or a funeral as sad. Not all marriages are happy and not all funerals are sad, and each will be viewed differently from different perspectives.

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Free Indirect Style - What it is and how to use it
Colin Mustful Colin Mustful

Free Indirect Style - What it is and how to use it

Free indirect style is a powerful literary device that emerges readers deep within the mind of a character. When done effectively, it blends the voices of the narrator and the character making them seem like one-in-the-same. By using free indirect style and engaging readers in the mind of the character, empathy is created which ultimately leads to an emotional response.

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