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If someone sends you their story to read, it's because they're looking for an honest opinion from someone who is reading it from a different perspective. They're looking to see if it's enjoyable or not. Now, they say there's a fine line between constructive and destructive criticism...but there really isn't. In fact, I'd think the gap is pretty darn WIDE between the two! Hehehe! You may have an overly abrasive critic, or an overly sensitive writer...or both. But criticisms, with the right intention and wording, can truly make a good writer GREAT! And a great writer, PHENOMENAL! When faced with the task of having to tell someone what they could fix to make it better...what criticisms do you think would truly be helpful to another author? What would be helpful to you? Exactly how does one go about 'coaching' someone else, and bringing the absolute BEST out of their writing every time? Let us know what you think? And also...let us know what criticisms you would try to AVOID!

Often, when telling a story with multiple characters, a writer is given an opportunity for greater depth and subtle shifts of focus in the main story itself. If the main story is all about getting to know the dream boy and asking him to the dance...that might make for an excellent short story. But what if you wanted it to go even deeper. What if the love interest's sister has a crush on the protagonist. And he has to find a way to dodge her crush on him and get to his ultimate goal at the same time? That simple subplot can possibly take a 2 page story, and turn it into a 10 page story. And still be just as interesting, if not more so. Do any of you use subplots in your stories to create a more three-dimensional experience for your readers? If so, how? What strategies should writers be looking for to utilize extra characters and ideas to make a fuller, richer, story? If you all have any advice, let us know!

Joey, Josh, Billy, Timothy, Dillon, Brad, Eric, Tony, and Bob! What's in a name, right? Hehehe! When you're reading these stories, or writing your own...exactly how important is the 'name game'? I mean do you associate certain names with being 'cute'? Do certain ones give you a feeling of threat or menace? Do certain character names sound better together than others? I mean...even though it's mostly the actual story telling that's telling the story...can a character's name hold a certain 'feel' to it that enhances the experience for anyone who reads it? Do difficult or hard to pronounce names become distracting? Do plain or overly common names become boring or unoriginal? Or does it matter at all? Let us know what you think on this when you get a chance! Cool?

One of the main pulls of a love story comes from the idea that the main character can actually have a shot at the boy of his dreams. That despite fear, distance, struggle, social rejection, or a number of other problems...that little slice of heaven is still within reach. And that can be a very enlightening and 'grin inducing' concept for everyone reading. Now...when I say 'the boy of your dreams'...that doesn't mean that he has to be super teen boy model gorgeous. He's the boy of YOUR dreams! And that automatically mean that there is no set standard for what you like. As long as the emotion feels real, for the author, the readers, and the characters involved. This week's question is...how do you go about creating this almost 'magical' specimen for your stories? What parts of your life or your past do you draw from when creating the look and feel of this character? What personality traits to you try to put into him? What flaws do you insert? The 'love interest' role is an MAJOR part of the story. If he doesn't work out or seem appealing, it's gonna be hard to keep your reader's attention. So how do you go about making one up? Let us know!

Have you ever seen a story that a writer has already written from beginning to end, that's already complete and tells a great story...but then suddenly gets a 'sequel' later on? Like maybe there's just a bit more story to tell? Maybe the characters were so well loved by their readers, that the author decided to bring them back and continue on. It could pick up right where the last one left off...or maybe there's been a big lapse since the last chapter. Like from high school stories to...'the college years', or something similar. Whatever the reason, sometimes an author can go back and add on to a story that has already been finished. What do you guys think about this? Should these stories be given a sequel? I know some people who actually avoid sequels like the plague, and for good reason after many bad experiences with them. Is it possible to ruin a story that was fine like it was? Or can a skilled writer actually add to an original and make it just as good, if not better, than the first one? Would you ever think of going back to an earlier story to make one? Let us know what you think!

It would be difficult to ever let anyone read your own story if you didn't have some level of confidence in what you do. It's already scary enough putting your heart and soul on display for anybody to read, and possibly rip apart, whenever they feel like it. But courage is a necessity. And if you're anything like me, you've got to rebuild that courage from scratch again with each and every project you put out there. The question this week is...are you an actual FAN of your own work? And don't mean in a cocky or arrogant way (unless of course, you ARE, in which case, we wanna hear about that too!), but do you have a general appreciation for the stories you write? Some authors need recognition and approval from their readers or other writers before the feel comfortable with it. Some writers really WANT to put a story out there, but never find the courage to post them, or even finish them. And some just hate their own work altogether. So what do you think? Are you a fan of your stuff? Why or why not? And if you've got a million ideas, but haven't written them out for anybody to see yet...what are you waiting for?

With so many stories circulating online, some good...some...not so much...there has to be a selection process when it comes to what we want to read. Maybe we get drawn in by a catchy title, or by the name of a certain author, or maybe you just toss a dart at the virtual dartboard and see if you got lucky. Whatever it is, once you open a page, you want to see if you can find a good story within. However...sometimes, while you're reading...you come across something that makes you wonder whether or not you made a bad choice. Something that makes you hit the back button before you even get too far into the story and resume your search for something better. What is that 'certain something' that sends you running when your read a story online? Is it the language? The subject matter? Maybe the dialogue, or just a boring amount of detail? Is it a lengthy disclaimer at the beginning, or a hard to read format? What is it that completely 'ruins' a story for you, and makes you stop before you even really get started? Let us know!

One thing about writing a longer story, or a series/mini-series, is the idea of a cohesive plot and an overall theme holding it all together. It sorta keeps readers from feeling like it's just a collection of random events that don't have any real connection to each other. There's a center to it all. A premise or a problem that runs throughout the entire storyline. So you can ask someone, "What's this story ABOUT?" and there's actually a way to sum it up in a few sentences. But what happens if you get excited, and have a great premise for a story or series...and then find out that it's too small to actually carry a whole story on its own? What if you want to write five chapters, and only have two chapters of material. Sometimes 'boy meets boy', and that's all there is to tell. You can't really drag it out without completely changing (or possibly 'ruining') the original idea. So how are you able to spot a limited premise from a distance before you even get started? After all, you don't want to write two chapters and then just decide to leave it without an ending, simply because you ran out of things to say. So how do you know when to stop? And when to not even START until the idea is fleshed out a bit more? Let us know your thoughts!

There you are...you're writing your story, and you're trying to get from the beginning (Point A) to the end (Point as smoothly and naturally as humanly possible. You want to have a believable build up, and a natural progression between the major points of your plot. It just makes for a fun ride. But how does an author successfully go from one 'scene' to another without making it seem jumpy or weird? The characters can't just meet in the park, then you jump to them kissing, then jump to them getting naked in a hotel room three miles away. What happens in BETWEEN those moments? And how can you smooth that transition out in an enjoyable way without 'talking too much' or boring your audience? What techniques do you use, as a writer, to bring your readers from one event to the next without leaving out major details or giving the impression that your 'skipping' stuff to race to the end? Let us know what you think!

As the task of writing a story from beginning to end, or even a 'chapter' from beginning to end, can be quite a drain in itself...it's always a huge benefit to have an editor handy to find all of the mistakes that you might not be able to catch yourself. It can only work to make a story even better, and to have a good editor on your side is a blessing. So the relationship between author and editor would have to be somewhat compatible, don't you think? Makes sense. However, what happens if an author and an editor just so happen to come from two completely different sides of the planet? Where social, cultural, and language, norms might differ from place to place? Is it possible to find a comfortable middle ground in how a story is written and how it's edited. Is it 'ass' or 'arse'? 'Mom' or 'Mum'? 'Color' or 'colour'? 'Favorite' or 'favourite'? They seem like little things...but if your editor is used to writing and reading with (what might as well be an entirely different language), and with a different rhythm...how can an author bridge the gap to create that magic compatibility that will make it work? Or is it better to just avoid that situation altogether? What are you thoughts? Let us know!

Every author that writes a story for others to read has a certain attachment to it. And rightfully so, I mean it takes a lot of heart and hard work to put your inner thoughts and feelings out there for other people to see. It is, for all intents and purposes, a part of your 'soul'. But what happens when you look elsewhere online and see your work pawned off as somebody else's? Either they just stole your idea, or took your name off and posted it as their own? Or maybe they just plain took your story and added it to their pay site for profits without telling anybody? What do you do? How does an author go about getting credit for his work and putting an end to having their 'soul' stolen? Or...has the damage already been done? Maybe it doesn't matter as much to you personally, or maybe you feel disconnected from it once it's released? Whatever your feelings, let us know! I can honestly say that I've been the victim of all three scenarios over time, and probably some that I don't even know about yet. So tell me..what would you do?

I once heard a quote that said, "Criticism is the burden of genius." And since anything even remotely personal or artistic pretty much falls into the category of genius, it sometimes feels like this is true. No doubt about it...if you put yourself out there, you are going to be exposed to it. And sometimes it can just blindside you to the point where you end up getting really hurt by the comments being said. And you have to learn to grow a thick skin, as sensitivity is an unfortunate weakness when it comes to your art. Take the hit, and keep moving. But...what if it isn't just one hit? What if you have someone, or a bunch of 'someone's, constantly popping up in your email, or on your site, or in your forums, or at your book signings...whatever...and they seem DETERMINED to completely cut down everything you do as a writer? How do you deal with author hecklers? Or...have you ever been one yourself? Is it something to be hurt and angry about? Should you take measures to make sure that it stops? Or is it something that should just be ignored? Hell, maybe it's even something to be FLATTERED by! Sure, they complain everytime they see your work...but they are ALWAYS coming back for more! So maybe it should be taken as an envious compliment instead of an insult. What do you guys think? What are the motivations of an author heckler, and how do you deal with them?

As an author, you may find yourself growing and expand with every new idea that you put down in a story. With every project that you complete, and with every idea you have for other projects in the future. I, personally, always welcome a new challenge. Trying out things that I've never done before is exhilirating, to say the least. Even when it causes big problems that need to be worked out to get it just right. Even THAT part keeps me energized. It's how we all grow into the writer's we all hope to be. But, even though we're always moving forward, there may still be a lot of avenues that we're constantly avoiding. Maybe without even knowing it. Blindspots in our writing that we've never explored or expressed. Feedback is always a good way to comment on what you've already written, but does it really help you discover the potential for something totally different? How can someone go about discovering their own blindspots? And once you find them..would you pursue them? Would you tackle a story theme that you've never written before, just to see if you could do it? Or is it beter to write with comfort and ease, allowing the feelings pour out freely without stumbling over unfamiliar terrtory? Let us know!

It's always a slightly easier task to write about something that you know and are familiar with when putting a story together. We all remember love, heartache, rejection, infatuation, fear, and hope. Those are pretty much universal, and they feel like 'home' somehow. And, likewise, it's easier to write about the present time, a familiar setting, or an age and era that we grew up in. But what if you want to write something outside of the norm? In sci-fi/fantasy, you can pretty much write your own rules and make them up as you go along. But suppose you're writing a story that takes place in New York in the 50's? Or about Paris during the war? What if you want to write about the age of knights and swordsmen? Or Ancient Egypt? Or the Civil War? How should one go about researching that particular subject? (And DON'T just say 'use the internet'! Hehehe! WHERE on the internet is a good place to start?) How does the story change? How would people 'speak' to each other? What is the feel of that particular environment, at that particular time? There are a lot of things that are different now than they were just ten or twenty years ago. 14 year old boys didn't have cell phones in the early 80's. There was no FaceBook in the mid 90's. And nobody says, 'closet queen' during the first World War (I don't think). So how does a writer prepare himself for creating a period piece? And have you readers ever seen a story that made a lot of mistakes on it? Let us know!

Whenever writing, or reading the work of a particular author, it's common to see similar themes in their stories. It may be accidental, or it might have been done to create a certain level of familiarity...but it's there. It's almost like seeing Stephen King or Alfred Hitchcock in one of their own movies. But whether they're writing many different stories with a bunch of new characters each time, or a dedicated writer to one long series or novel...do these familiarities begin to bore you as a reader? Do they become predictable or tiresome? Or is it something that you look forward to with every turn of the virtual page? Let us know what you think! And if you write you're own stuff...how do you go about changing up the vibe often enough to make each story or chapter stand out as its own 'presentation'...instead of just another one for the heap?

Have you ever had one of those friends that just loves some kind of conflict, no matter how necessary or Unnecessary it was? It's been called being 'real', and 'brutally honest'. 'Edgy', and 'in your face'. But it's the concept of using your writing and ideas to trigger an emotional response. Even if it starts out as a highly negative one. It can be something like excessive cursing, or graphic depictions of taboo sexual acts, or use of religious or racial slurs, or harsh political commentary. Whatever it may be, it's meant to target the reader and yank on their emotions so hard that they can't help but to take notice. Even if they walk away disgusted and angry...they'll remember what they read. It's been that kind of strong rebel attitude that keeps the question of 'free speech' such a controversy. But...all things aside..is it EFFECTIVE? Does rebel writing do exactly what it is meant to do? Do you walk away and get turned off by something so abrasive? Or does it pull you in even further to get such an 'unsweetened' taste of reality? And how do we judge what it is and what is NOT offensive? 'Catcher In The Rye' can be considered offensive by some. Speeches of 'Malcolm X' are considered offensive by others. Hell, many folks in the Bible belt of the US find HARRY POTTER offensive! So what do you guys think? Whatever your thoughts, let us know!

I'm sure many of you already know the three ways to write a story. But just for a quick review, they are as follows: 1st Person: Writing from the main character's perspective. (Ex. "I love him. And I can't sleep until I tell him so!") 2nd Person: Writing 'to' the readers, as if they're the main character. (Ex. "You love him, and you won't be able to sleep until you tell him so") 3rd Person: Writing from an ominipotent point of view, as if you can see things from the outside. (Ex. Johnny loves Evan. And he won't be able to sleep until he tells him so.") I personally prefer to write in the first person, simply because I feel as though it's more intimate as far as emotions go. But I've tried all three, and found some interesting challenges and advantages with each one. Most professional writer's use third person. It's pretty much the standard. I did that with 'Skylight', and had a few stumbling blocks as I had to avoid some of the things I do in first person. Hehehe, so that one always keeps me on my toes. What do YOU guys think about the different perspectives? When writing or reading...which ones do you prefer? Why? And have you tried any of the others? It can be quite an exercise! Hehehe! Let us know your feelings on this!

When you really think about it, writing stories is a lot like sex. Hehehe! Start off with the proper introductions, give all the details and needed signals...entice with a little foreplay..and then let things get hot and heavy until the moment when you reach the ultimate climax! And then...the sigh of release...and the afterglow as you settle into a comfortable state of bliss. Most stories have the same 'arc'. Introduce your characters, bring the reader in by laying out the situation and getting them interested...and then take them through an ever escalating series of events until you reach the big moment of the whole story, which will eventually lea to what is (hopefully) a satisfying ending. In your eyes, as readers or writers, what is key in creating a good story arc from beginning to end? Have you seen any stories that messed it up somewhere, or seemed to 'flatline' along the way? What makes you feel 'good' inside when a story is done? Like you've been for one hell of a ride? Let us know!

For some authors who write their stories one chapter at a time, whether they're posted that way or all at once, the chapter by chapter method is a great way to break a story up into smaller pieces. Making it easier for readers to absorb a little bit at the time. (Even though most burn through weeks and weeks' worth of hard work in about a half hour anyway, hehehe!) In the long run, each chapter is like a smaller story in itself, progressing the much bigger project along. As one of my teachers once told me, the book is the journey, and the chapters are the individual footsteps that get you there. However, when you're reading or writing a story online...how do you feel about the ending of each chapter? Should they have a definite 'end' to them? Are open ended chapters and cliffhangers better to keep the story moving? Have you read stories where the end of the chapter was so abrupt that it was like tripping over a brick? What are your feelings about chapter endings, and how they relate to the overall enjoyment of the novel or the series as a whole? Let us know!

In a day and age where people have read every kind of book, seen every movie and TV show, and have been exposed to practically every life story out there...it can be hard to really hit your audience with any kind of 'surprise' anymore. A lot of readers are already spinning their wheels to figure out what comes next long before you get to drag them along...and that makes big secrets hard to keep when letting your plot play out one chapter at a time. This week's question is...how can a writer go about actually catching his readers off guard with something that wasn't meant to be revealed until later? If you've got a big climax coming that's based solely on a deep dark secret...it's gonna be ruined if folks figure it out early? How do you hide it? And have you guys ever read something where the ending was too easy to predict way ahead of time? Did it spoil the rest of the story for you? Let us know what you think!

You can always count on it in a romantic story. It's always right there, lurking in the shadows, waiting to be unleashed upon the readers in a big blaze of glory. It's the moment where the 'big speech' is made, and the true meaning of the story is expressed. This is where the main character says 'I love you', and tells the other character why. It's the big confession. The big heartfelt talk that makes love seem grand and the love interest the most beautiful guy in the world. And since it's usually spoken at the climax of the story...it had better be good. The question this week is...how should an author go about creating a special moment where the big speech actually has some meaning? How can you keep it from sounding too cheesy, or making it too predictable? Do these moments often make you feel good inside, or is it just more of the same corny flavor that you were expecting from the very first paragraph? What are your thoughts on the big speech? Let us know!

Have you ever been reading a story with a cast of characters that all seem to have a distinct purpose and charm that adds to the storyline...but soon begin to fade into the background as the story goes on? Naturally, it's the main characters that push a story forward, but those supporting cast members can really help to give the story more depth and a few different perspectives on the same situation. When they disappear, fade away, or just end up 'hanging around' without much impact on the plot itself...it can cause a reader to question what their purpose was to begin with. What can an author do to keep characters from 'dangling' in mid air, and bring them back into the story? Is there a way to give them more to do without derailing the story's main characters? Or is it necessary? Maybe characters that fall into the background need to stay there? What do you guys think? Let us know!

If you're planning to write a story from beginning to end, and you're really ready to do it...then it's safe to assume that you've already got some ideas for the kind of story that you want to make. Maybe you have a certain character in mind, and a vague plot or storyline thought out...maybe even a few scenes and conversations already mapped out in your mind. But before you sit down to start typing...do you really know how everything is going to go? The question this week is...how do you plan out your stories from beginning to end? How do you organize your ideas before you get started? Do you take notes, create a basic outline, just put certain events in a sequential order? Or maybe you don't plot your stories out at all? Maybe you just have an idea in your mind and just 'wing it', letting the story guide you until you find a satisfying way to end it all? Whatever you do, let us in on the process! I'm sure a lot of writers would love to know how to get started!

A lot of times, readers can find themselves a good website (Ahem! like GA! Shameless plug here!) where they can find a good story anytime they go looking for one. Sometimes they follow a select group of authors that they like in order to have a constant supply of quality work that they're more likely to enjoy. And that's a beautiful thing. But suppose you went looking for a new story? A new author? A refreshing new take and new perspective? If you went back to the bigger 'pool' of stories again, and were looking for another good story to read...how could you tell, early on, that this particular writer is NOT for you? What are some early signs, like in the first few pages, or maybe even the first few paragraphs, that would signal a poorly written story for you? Something that would turn you off and make you move to the next story? Or maybe not even 'turn you off'...but it just lets you know that this particular writer isn't going to be able to provide the experience that you're looking for. Poor writing signals, what are your thoughts on this?

Normally, when most of us go through our day, we come into contact with a lot of different people. College roommates, co-workers, parking attendants, friends, family, teachers, classmates, and the occasional cute boy working at the coffee shop! If we had to literally write down every single person we talked to or had to interact on a daily basis...I'm sure we'd come up with at least 50 to 100 people, easy. (Then again...I'm a city boy! Hehehe, so it might be different here) However, when you read the stories online, the focus gets minimized to surround just the few main characters that are involved with the current plot. And that's a GOOD thing, right? I mean we can't go writing a story with 100 characters in every chapter, that would be insane! But the question this week is...can an author cut out so many background characters that pieces of the story seem to be missing? I mean, in teen fiction especially...do you ever find yourself asking, "Where are the parents at?" Why are they never around? Where are all the other classmates while they're having this secretly 'gay' conversation in the gym locker room? Where are the teachers? And if they're two boys that are falling in love...do they have any friends at all? Where are THEY? Do they have any kind of impact on the story at all? What do you guys think? Are there 'missing' people in these stories as a whole? Or is it better to just keep a tight story and focus on the feelings and interactions between the two main boys and leave the rest of the world as 'background'? What do you think?