Category: Writers on Writing

Writers on Writing

How to create your own creative writing retreat on a budget

Mandy Webster

Sometimes the best way to get more writing done is to stop trying to write at home. I know that sounds strange. After all, home is where most of us write. But home is also where the laundry needs to be folded, the dishes need to be washed, the dog needs to go outside, and the cat has decided that whatever you’re doing is less important than paying attention to them while they rest their behinds on your keyboard. Even when those things aren’t urgent, they’re always there in the back of your mind.

A ramshackle gray barn, rolling hills, and fog settling over the mountains—the perfect backdrop for my most recent creative writing retreat.

That’s one reason I’ve become such a fan of getting away for writing retreats. I’ve been taking long weekend writing getaways for several months now, and I’m amazed at how much work I can accomplish when I remove myself from my everyday environment. The trick is that these don’t have to be expensive, organized writing retreats. You can create your own.

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Writers on Writing

Why fiction can be more powerful than nonfiction when we need to understand social issues

Mandy Webster

Facts matter. We need historians, journalists, researchers, documentaries, investigative reporting, firsthand testimony, and all the other forms of nonfiction that help us understand what actually happened in the world. Facts are essential. Without them, we cannot distinguish history from mythology, evidence from propaganda, or reality from the stories people tell themselves. But sometimes, facts aren’t enough.

Graphic: Why fiction can be more powerful than nonfiction when we need to understand social issues
Facts tell us what happened. Fiction helps us understand what it felt like.
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Sometimes we can know a fact without really understanding it. We can know that human beings were enslaved. We can know that people were displaced from their homes. We can know that women living under oppressive governments lose rights and opportunities. We can know that war changes ordinary people’s lives. We can know that trauma can be passed from one generation to another. And yet we can still struggle to understand what any of those things actually mean to the people experiencing them. That is where fiction can do something extraordinary.

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Writers on Writing

Intentional ambiguity vs. confusion: How to use ambiguity effectively in novel writing

Mandy Webster

There is an important difference between a story that deliberately leaves some things unanswered and a story that leaves readers unsure what is happening because the narrative has not given them enough information. Both kinds of stories can be confusing, but they create very different kinds of confusion. One invites interpretation; the other makes it difficult to understand the story at all.

This distinction matters because writers are often encouraged to trust their readers. We are told not to over-explain, not to resolve every mystery, and not to tell readers exactly what a story means. That is good advice when the writer is deliberately creating ambiguity. It becomes bad advice when the writer uses “ambiguity” to excuse a story that is simply difficult to follow.

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Writers on Writing

Why epistolary novels are so difficult to write well

Mandy Webster

Epistolary novels tell their stories through “found” documents such as letters, journals, emails, text messages, and medical files, but creating a compelling narrative from those fragments is far more difficult than it appears.

Graphic: The challenges of writing epistolary novels
Epistolary novels tell their stories through “found” documents like letters, journals, emails, text messages, and case files—but creating an authentic, engaging narrative from those fragments is one of fiction’s greatest writing challenges.
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The format can be immersive, creative, and deeply personal when it works. When it doesn’t, it often feels forced, repetitive, or strangely artificial. That’s one reason I tend to approach epistolary novels with a healthy dose of skepticism. Every once in a while, I read one that completely wins me over, but more often than not, I find myself wishing the author had simply told the story conventionally instead. Recently, I read The Brides by Charlotte Cross, and its successful use of the epistolary format reminded me how difficult this type of novel is to write well.

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Writers on Writing

Everyone says you’re writing your novel wrong: They’re not all right.

Mandy Webster

It is a truth universally acknowledged that a writer in possession of a novel manuscript in progress must be in want of writing advice. If you’ve ever gone looking for advice about how to write a novel, you’ve probably discovered one of the great truths of writing: for every person who confidently tells you there is a right way to do something, there is another person who will confidently tell you they’re completely wrong—especially if you ask the question of social media.

Everyone has an opinion about the “right” way to write a novel. But what works for one writer, genre, audience, or school of thought may not work for another. The trick is figuring out what you believe a story is supposed to do—and finding the advice that actually serves your goals. There’s no single right way to write a novel. There’s only the way that works for the story you’re trying to tell.
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Plotters will tell you to outline. Pantsers will tell you that outlining kills the magic. One writing teacher will tell you that you should never use adverbs, while another will remind you that adverbs are perfectly legitimate words. Someone will insist that you must start your novel with action, while someone else will tell you that the reader needs time to settle into the world and meet the characters. And then there’s the Oxford comma.

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Writers on Writing

You might be starting your novel in the wrong place

Mandy Webster

One of the most common mistakes writers make has nothing to do with dialogue, pacing, or grammar. It happens before the story has even had a chance to get going. They’ve started the novel in the wrong place. The frustrating part is that this mistake is almost impossible to see while you’re writing your first draft. You know your characters. You know their histories. You know why everything matters. Naturally, you begin where the story begins—for you.

Graphic: You might be starting your novel in the wrong place
There are lots of places you could start a story—but if you want someone to keep reading your novel, you have to start it in the right place. The real challenge isn’t finding a beginning, it’s finding the beginning that pulls the reader in.

But readers aren’t you. Readers don’t need every step of the journey. They only need to enter the story at the moment it becomes impossible for your protagonist to keep living the life they had before.

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Writers on Writing

It Had to Happen: Time, grief, and the illusion of control

Mandy Webster

It Had to Happen begins with a devastating, almost clean fracture in a man’s life: Jack Utley loses his daughter just as his business is finally about to take off. In that moment, success and loss become entangled in a way that feels almost transactional—like one has been traded for the other. Jack is left doing what many grieving parents do in fiction and in life: trying to assign meaning to something that refuses to make sense. Then the story shifts into something far less predictable.

On the eve of his daughter Callie’s funeral, Jack encounters a mysterious woman. After that meeting, he wakes to find that time has somehow rewound itself to the morning of the accident. Suddenly, he is given what grief never allows in reality: a second chance. He saves his daughter’s life. But the novel is not interested in treating that as a simple gift.

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Writers on Writing

Plot vs. story: Why they are not the same thing in fiction

Mandy Webster

Writers often use “plot” and “story” interchangeably, but they are not the same thing. Confusing these two concepts can lead to manuscripts that feel technically busy but emotionally hollow—or deeply meaningful but structurally unstable. At its simplest: plot is what happens, and story is what it means. That difference sounds small, but it changes everything about how a novel works.

Plot vs. story: one drives what happens, the other shapes what it means. A strong novel needs both—the engine of events and the depth of transformation—working together to create a narrative that’s not just engaging, but unforgettable.

Plot: The chain of events

Plot is the visible architecture of a narrative. It is the sequence of events that unfolds on the page—the external movement of cause and effect. For example, in a thriller: A woman receives a threatening letter. She investigates its origin. She discovers a hidden identity. Someone tries to stop her. The truth is revealed. That is plot. It answers the question: What happens next?

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Writers on Writing

Why your first draft shouldn’t be perfect (and why that’s a good thing)

Mandy Webster

The pressure to write a perfect first draft has probably killed more novels than bad writing ever has. Many writers sit down to start a book believing they need to get every sentence right before moving on. They revise chapter one twenty times, polish dialogue that may not survive later drafts, and obsess over word choice while the rest of the story remains unwritten. The result is often frustration, burnout, and a manuscript that never gets finished. The truth is that a first draft isn’t supposed to produce a polished novel. It has a completely different job.

First drafts don’t need to be perfect—they need to exist. This reminder is for every writer staring down a blank page and trying to get everything right before they’ve even begun. The real work of writing starts with discovery, not polish, and every finished draft begins with something messy, uncertain, and real.

A first draft is not where a novel is perfected. It’s where a novel is discovered. When you begin writing a story, you may have an outline, character sketches, or a clear vision of the ending. But until you actually write the book, you don’t fully know what it is. Characters surprise you. Relationships deepen in unexpected ways. Themes emerge that weren’t part of your original plan. Scenes that seemed essential become unnecessary, while minor moments grow into something much larger.

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Writers on Writing

Occult satire, unreliable men, and a very bad cat: A deep view inside the novel, One Bad Cat

Mandy Webster

One Bad Cat is a novel that grew out of a simple premise and ended up somewhere far stranger, funnier, and more psychologically tangled than it first appeared. At its core, it’s an occult satire built around two intersecting storylines: a psychology professor who is turned into a cat by members of his coven, and a man trying to keep his life from falling apart after he lets a persistent stray cat into his apartment.

Dr. Stephen Scott begins the story in a position of intellectual authority. He’s a psychology professor with an interest in the occult, someone who believes he understands systems and people well enough to stay a step ahead. That control collapses when a group of female coven members cast a spell that transforms him into a cat. From there, his storyline tightens into something immediate and claustrophobic: a mind trapped in a body that no longer obeys it, focused on revenge, survival, and the recovery of a charm bag that contains the source of his power.

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