Creative Writing

Creative Writing — questions and answers

What does it mean to write in first person versus third person, and when does the choice actually matter?

First person uses 'I' and confines the reader to one character's direct experience and knowledge. Third person uses 'he', 'she', or 'they' and can stay close to one character or move between multiple viewpoints. First person creates intimacy and unreliability; third allows broader scope. The choice shapes what information you can reveal and how readers connect to characters.

How long should a short story actually be?

Most literary magazines define a short story as between 1,500 and 7,500 words, though some accept up to 10,000. Flash fiction runs under 1,000 words, often under 500. Length matters because publications set word limits, and different lengths demand different structural approaches—a 3,000-word story typically focuses on a single scene or turning point, while 7,000 words allows for more expansive development.

What's a manuscript format, and why do publishers care about margins and fonts?

Manuscript format refers to standard typesetting: double-spaced lines, 12-point serif font like Times New Roman, one-inch margins, indented paragraphs, and a header with page numbers and the author's surname. Publishers and agents request this because it's easy to read on screen and paper, allows space for editorial notes, and produces consistent word counts. Deviating signals unfamiliarity with industry norms.

Can you write a novel without planning the plot in advance?

Yes. Some writers draft discovery-style, following characters and situations without an outline, then shape the structure in revision. Others plot extensively before writing. Neither method is superior—discovery can yield surprising, organic narratives but may require heavy revision, while outlining provides direction but can feel restrictive. Many writers blend both approaches depending on the project.

What makes dialogue sound natural instead of stiff or overly formal?

Natural dialogue uses contractions, interruptions, incomplete sentences, and the rhythms of actual speech without transcribing every 'um' or repetition. It implies subtext—characters rarely say exactly what they mean. Stiff dialogue over-explains, avoids contractions, or has characters announce information they already know. Reading dialogue aloud helps identify where it sounds wooden or forced.

How do you revise a draft without losing what made it work in the first place?

Save earlier versions so you can retrieve cut material if needed. Identify the core emotional or thematic thread before cutting, then preserve moments that carry it while trimming tangents, redundant phrasing, and weak scenes. Revision strengthens rather than erases—tightening prose, deepening character, clarifying stakes. If a passage feels alive, interrogate why before deleting it. Sometimes the energy just needs better placement.