What it’s like to be transported to a parallel universe of incandescent vision through your own small words.
How it feels to unravel the mystery of all human endeavor into a web of light that pulses delicately in your hands.
Everything about your main characters’ childhoods, which were so poignant and heart-rending and touching but don’t fit into the story you have to tell today.
What’s in the shadows of your protagonist’s heart that makes them gesture so gracefully, lie so effectively, turn their head with such sudden tenderness.
Where your villain has been to make them burn so deeply, grasp so strongly, care so powerfully about destroying everything that’s ever been against them.
What really happens when the secondary characters go in the other room while the protagonist is watching out the window for the villain.
What hilarious jokes those secondary characters are telling in the background during the pivotal bar scene.
All the subtle, complex minor subplots going on between the secondary characters that would only distract your reader from following with bated breath your protagonist’s driving agenda.
What every single detail of every single room in every apartment or house looks like, down to the patterns on the upholstery and the type of wood the coffee table is make out of.
Your protagonist’s favorite books and movies.
Your villain’s favorite books and movies.
What great clothes your protagonist is wearing in every scene. AND where they got them.
What your villain knows about hatred and malice that you wish you didn’t know and will never actually admit to.
Exactly how—although it would disrupt your reader’s epiphany for you to spell it out in so many words—your protagonist and villain understand each other in the final moment, when they face each other across the abyss of their irreconcilable differences.
What lies beyond the hill in that panoramic view in front of which your characters enact their mesmerizing climactic scene.
How their dark figures against that view epitomize everything you know and feel and believe about the vividness of living.
What your protagonist means when they say, “I’ll just let you wonder.”
What your villain means when they say, “I don’t have to.”
Where your characters go when they walk off the last page.
Exactly how your protagonist felt before it all fell apart, when they were lying in the arms of your own imaginary beloved.
Oh thank you. People think I’m crazy for going so deep into every character and detail since most of it doesn’t appear in the story. But the other thing they don’t know is- it does!
Victoria, another fantastic post. Coming to your site is reliably worthwhile. Thanks for your kind words over at our blog. We were overjoyed to spread the word about your wonderful post on being grateful about writing
I hate to be a naysayer, but… where did your essays go? I really miss the essays. I don’t really care for these lists–these X Number lists really don’t strike any sort of chord with me. I started reading your blog back when you were posting awesome essays, but I haven’t seen any of those in AGES. Have you decided to stop writing those?
Ai, I have been simply overwhelmed by the positive response to the lists. It’s amazing. I have zillions more readers now than I did before.
I’m now writing the essays over on the advice column. If you have a topic you’d like to see addressed, please do send me a question. I’ll answer pretty much anything about writing craft or the writing life or the publishing industry. In fact, if you can make it sound like it’s has anything even remotely to do with writing, I’ll tackle it.
I’m still writing in-depth essays on craft and the writing life on the magazine. Those are really long.
And I’ve spent the past six months producing my book, The Art & Craft of Fiction: A Practitioner’s Manual.
Yeah, I’m now maintaining three blogs and a micro-publishing house for just the one business.
[...] Mixon on A. Victoria Mixon, Editor 21 Things You Writers Know that Non-Writers Don’t “What hilarious jokes those secondary characters are telling in the background during the [...]
Victoria, I love how you in a subtle way tell writers what to look out for and what to remember, very clever. I’ll bookmark this page so I can remind myself regularly. Numbers 3, 8 and 12 really speak to me. The latter reminds me of Sue Grafton whose assistant (among other things) keeps track of what the protagonist of her A-Z series and her sidekicks have worn over the years. The thing I don’t like about your site is that I’ll have a great excuse to take another few minutes (make that half an hour, or an hour) off my writing time. You’ve got me sold on the value of your book. Good on ya Victoria! as my Aussie buddy would say. Best, Judith
I loved this one. The knowing the jokes and inside information is so true. This is why I’d take a favorite author out to coffee…just ask the questions like that.
"Opinionated, rumbunctious, sharp and always entertaining."
—Roz Morris, Nail Your Novel
"A gift to writers. . .an indispensible resource. . .Highly recommended."
Short story author Scott Warrender is a Mentoring Program client. I have done full Copy, Line, & Developmental Editing on a number of short stories for him, the first of which was his poignant fictional memoir of Africa, ''The Boy With the Newsprint Kite,'' now published in the Foundling Review.
Clients’ Books
Bhaichand Patel is the author of two nonfiction books: Chasing the Good Life (Penguin Books India, October, 2006), and Happy Hours (Penguin Books India, October, 2009). I edited Patel's debut novel, When the Streets Were Cold and Dark.
I've edited a number of nonfictionessays for my friend Lucia Orth. (Many years ago, my contribution to Baby Jesus Pawn Shop was simply a peer critique and participation in a standing ovation.)
The poet Chris Ryan is the author of The Bible of Animal Feet (Farfalla Press, 2007). He has recent stories in Pank, Anemone Sidecar, and A Cappella Zoo. I edited Ryan's novel The Ishmael Blade and worked with him on his debut novel Heliophobia and WIP Pogue.
