Have you written a Detective or Mystery story? If so, I’d love to read it. Please email it to dk@dixonkinqade.com

If you haven’t written one, would you like to try? If so, here is the formula:

The Classic Approach:

The classic mystery is popular fiction which follows a specific formula. Clever writers may try to change the formula, but the most clever will cling to it for a very good reason. They work within the bounds of the formula because it works!
The following outline serves the modern mystery novel, as defined by editors and publishers. A typical story will be divided into 12 Parts.
The Classic 12-Part Mystery Formula
Act I
Introduction of the crime (mystery) and the sleuth
Part 1
A. Disclose the crime and mystery to be solved. The crime must capture the imagination. It should have been committed in an extraordinary way and either the victim the perpetuator, or both, should be unusual. Give the reader enough information about the victim to make them truly care that the perpetrator is found out and that justice is served.
B. Early in the story, clues should be revealed which suggest both physical and psychological aspects of the initial crime. Those clues should point to suspects and motive which will carry the sleuth to the end of Act I. Some clues should point the sleuth in the right direction, others may not be obvious or be recognized as actual clues unto later in the story.
C. Introduce the sleuth who will solve the crime early, and have him or her do or say something very clever or unexpected which will establish that person as unique. Create this character with care. His or her personality should be interesting enough to sustain the interest of the reader to the very last page. (or through an entire series of books). It is not necessary to disclose all aspects of the sleuth’s personality at the onset. Let the description unfold gradually to sustain interest. Do reveal enough background to let the reader understand the world in which the protagonist functions. (Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, country squire, investigative reporter in New York City, etc.)
D. Ground the reader in the time and place where the crime occurs. It is often useful to include some sort of symbol, an object or a person, in the opening scene which serves as a metaphor for what occurs in the story. The reappearance of this symbol at the conclusion of the story will create a certain organic unity.
E. Begin with a dramatic event. Some writers offer a prologue, describing the execution of the crime in detail, as it occurs, possible from the point of view of the victim or perpetrators. The same information could also be revealed by a character, through dialogue. Sufficient details should be furnished to allow the reader to experience the event as though he or she were actually there. Another good opening would be to put the sleuth in a dire situation and allow detail of the crime to unfold in due course.
Part 2
A. Set the sleuth on the path toward solving he mystery. Offer plausible suspects, all of whom appear to have had motive, means and opportunity to commit the crime. Select the most likely suspects, and have the sleuth question them. One of these suspects will turn out to be the actual perpetrator.
B. At the approximate mid-point of Act 1, something should occur which makes it clear to the reader that the crime is more complicated than originally thought. Hints may be given to allow the reader to actually see possibilities not yet known to the sleuth.
Part 3
A. The sub-plot should be introduced. The plot will continue to maintain the progress of the story, but the sub-plot will carry the theme, which is a universal concept to which the reader can identify. Sub-plots tend to originate either in a crisis in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma involving a matter of character, such as courage or honesty.
B. The ultimate resolution of the sub-plot with demonstrate change or growth on the part of the protagonist, and will climatic on a personal or professional level. That climax may coincide with, or occur as prelude to the climax of the main plot. The sub-plot may be a vehicle for a romantic interest or a confrontation with personal demons of the sleuth. The author can manipulate the pace of the novel by moving back and forth between the plot and sub-plot.
Act II
Direct the investigation toward a conclusion which later proves to be erroneous.
Part 4
A. Reveal facts about suspects, through interrogations and the discovery of clues.
B. Flight, or disappearance of one or more suspect.
C. Develop a sense of urgency. Raise the stakes or make it evident that if the mystery is not solved soon, there will be terrible consequences.
Part 5
A. The investigation should broaden to put suspicion on other characters.
B. Information gathered through interviews or the discovery of physical evidence,
- Dixon Kinqade

Writing a novel or our biography is dream that many of us hold in our hearts, your book does not have to be your dream. All you need is to dedicate some time to learn how to bring out that story inside you. A new e-guide, Bring out the Novel Inside You, has been written to help you make your dream come true. Here is some great advice from this e-guide.

Writing is one of the most fulfilling careers known. Any author will tell you that you can’t find a more interesting, challenging and successful business than creating one’s own biographies, novels, technical information or advertising.

And, now you can do all this while sitting at home. Yes, YOU can create something that can provide you with entry to one of the most highly paid, in-demand businesses in the world.

Writing is, by no means, only for the highly educated. In fact, some of the most highly paid authors didn’t finish high school. If you’ve survived this far in your lifetime you have the qualifications.

Writing is a matter of thinking, developing ideas in your mind and putting those ideas down on paper.

Nor do you have to risk your work in the slush-piles of the so-called publishing companies and their editors. There are many ways to get your books published. Don’t make your study of this information seem more difficult than it really is.

Today’s world, seemingly, is ready for almost any idea and you just might have one of the best. Until recently, the large publishing companies were very particular, shall we say, as to who was good enough as an author to bother editing and publishing.

First of all, the writer had to be already known and the publishing company published his book as if it were intended for the vaults of historical artifacts.

In reality, everyone has a life, a method of thought, a sense of story telling that is as different as our DNA.

? If we aren’t born to the same parents

? If we are raised with different cultural aspects

? If we have different educations

? If we have different interests and hobbies

? If we see humor differently, or

? If we’re as uptight as a bottle of pop that could blow in a second if shaken

…. Then, how could we possibly be so alike that only one writer, writing one book, could cover all the ideas and interests to satisfy all the people in the world?

Now, that’s boring!

The publishing companies of old made small (or, sometimes, large) fortunes by declaring that publishing your book would cost a fortune.

Since no one seemed to challenge that, or figured out a better way to do things like they are done today, it may have been expensive.

But, today, anyone can write his own book, his own unique way, and publish it himself and see it on the shelves of the largest book selling companies in the world.

That’s absolutely true!

I’m going to tell you all about that in Bring Out the Novel inside you, because I know there are those who want to see their actual book sitting on the shelf in their living room.

There is nothing like seeing that hardcover book standing erect between two book ends and your name, as author, emblazoned on the spine. Wow!

However, if your intent for writing great tales of interest is to sell them, I’ve got your method in this book also.

Both methods are good, so read all about them, use them and make your living doing so.

My extended experience as a college professor of the fine arts was mainly with the high hope that some big, famous company which published books, would find my little manuscript and clamor to become the publisher.

Believe me, it wasn’t easy to be a writer in those days.

But, those days, as they are called, were much easier and slower days of living – nothing like today.

Things happened slowly. News traveled much slower and the East knew before the West by months.

Today, you have to be up and at ‘em.

Individuals are outspoken about their own ideas and what they want and like. No-one tells today’s writers or anyone else, what NEEDS to be done to be done right.

I think that, by 2008, the whole world has caught on to that concept.

So, the field is wide open for writing what and how you desire.

Along with that, the field is becoming wide open for what you want

your book to look like and how you want to express yourself.

In fact, if you want to do it all, including designing the cover, etc., then I’m going to lead you to the right place for that.

You could see your hardback book on your shelf in a matter of weeks and you’ll see your paperbacks and ebooks in just days.

More of that in the ebook.

Right now, we have to know the right way and the wrong way to compose any kind of book.

It matters not what your style is, but it does matter whether or not you are correct in the writing.

You must avoid misinformation, misspellings and awful grammar.

Don’t get scared now. You’re not going to have to parse sentences and conjugate verbs.

For more expert advice on all these points and much more detailed information, that could have your novel published in just a matter of weeks, you can order your copy of Bring out the novel inside you today.


- Elizabeth St Denny Mfa

Writing a novel is an act of discovering yourself and discovering your potentials – Writing a novel is not ***? difficult ***? you might think, and completing a novel is one of the most exciting feelings in the world. many writers say the hardest part of writing a novel is starting it. The problem is that writing a novel is hard ****? there is help at hand! Why struggle on your own ?

The Role Of Characters In Writing A Novel

.The most important part of writing a novel is for you to know your characters well and ***?tting up your story in a way that keeps the reader intrested the whole way through and you make the novel irrestible for your reader. They say that writing a novel is 10% telling the story and 90% editing. The most important thing in writing a novel is that the material can sustain your attention for the years it will take to finish the ****?k.

Fiction can originate from “direct ***?rsonal impression” to “the writer’s resources of experience”. Fiction appears to grow out of a convincing character ****? the author can guide against this by having ****?d characters and character development . ****?d fiction doesn’t just happen, it is designed. Editors love character-based fiction and let’s ***?ce it, great fiction is character-driven.

The ***?me you invest in designing characters up front will pay off ten-fold when you start writing. Characters will ***.me different significance, some will ***?de into the background, some will leap into the spotlight. Characters play a significant role throughout the entire novel and have to advance or regress throughout the course of the novel. You start hearing the voices of different characters. For each of your major characters, take an hour and write a one-page summary sheet that tells:the character’s name,a one-sentence summary of the character’s storyline,the character’s motivation.

When you read the opening of a gripping novel, you are immediately drawn into the story either by the main character’s drama, problem or some conflict. So much so, that you just have to read on. You will find so much more guide and advise in the link below that you will find writing novel so easy and interesting and you will soon be writing a novel.


- TAIWO OLAOLUWA

I’m writing a YA historical fiction novel and have done a lot of research. I use actual names, places, and events from the 1860s. Can descendants of the people object to my using their ancestors’ names? How much freedom do I have in creating their private lives?
- Molly R.

Creative writers write to entertain. They entertain themselves, and they entertain those who dare to read what they write. This can be both good and bad.

If you write to entertain others, that’s good. If some of your family members get hold of your work, that’s bad. Of course, the last time they wrote anything was on a postcard in 1958, but they are an expert on writing. Somehow, moms, sisters and all the Aunt Tillies of the world always know exactly what is lacking.

There seems to be a school for writing advisors out there somewhere, and all of your family attended it. No one knows what they learned, or where, or when, but they seem to have graduated at the top of their class. They want you to know what they know because you should have already known it. Capice?

No one would guess these well-disguised editors have such a glowing secret career. Most people would think they are a common reader.

They read a magazine – somewhere – they can’t remember where – but it said you should have done it thus and so. You obviously didn’t read that article. You probably told too much about one character and not nearly enough about another.

And “while I’m at it,” they will say, “I might as well tell you the whole truth.” And you’re thinking – “No, tell me anything but the whole truth.” But they continue anyway.

“The setting was too flowery and frankly, a little boring. You know I wouldn’t hurt you for the world, so I’m saying this for your own good… “

And you’re thinking, “I’ll bet she wants to spare me rejection, humiliation and discouragement.”

And of course, they always “say it in love”. God help you when someone says something “in love”. You know you’re about to get both barrels.

Wouldn’t you like to “let them have it”? Just once? You might say something like this:

“And just who asked you anything to start with? I said you could read my story, not slice it and dice it and serve it as a sardine soufflé.

“What school did you go to anyway? Which courses did you take? I took Creative Writing 101 and Short Story Writing. I was totally unaware of your expertise. If I had only known of your editing skills, I could have saved a pile of dough. Where did you say you did your intern? I know a lot of people who could use your help. People who would appreciate it a lot more than I do.

“How much did you say you charge? You know what? I’m sorry I ever let you read my work. I’ll be most happy to write you a check for your services. Who should I make it out to? Ima Shredder?

“I admit, I really don’t appreciate this like I should. Here’s your check. And by the way, do you have any stories I could read?”

Just once, wouldn’t you like to say that? I would. Maybe that’s what heaven is all about.


- Deborah Owen

Nearly 30 years ago, I was a guest panelist at a seminar about “Writing for Profit.” — All day long, the speakers had told the attendees all about how to submit their written works to editors and publishers … what to expect in a publisher’s contract … how to prepare a writer’s proposal … primarily focusing on how to “sell” what the attendees had written.

At the end of the seminar, a panel of five “successful writers” … including me … was introduced, with a list of each writer’s works and their individual accomplishments given.

The first few questions from the audience were nothing more than a rehash of some of the information provided during the day. Then, a young man stood-up in the back and said …

“All day long, you’ve been telling us how to sell our written works – but – how do you learn how to write to begin with?”

After the other panelists finished recommending english composition classes; espousing the merits of good grammar and syntax; and advising him to “just keep writing, you’ll get better,” it was my turn.

My answer was … as usual … short and to the point …

“Read!”

Then, I had to explain what I meant.

If you want to be a Science Fiction writer, read every science fiction short story and novel you can find. Immerse yourself in the type of writing you want to do. Spend 80% of your time reading and 20% of your time writing “sequels” to the stories you have read.

Today, the young man who asked the question is a highly-paid writer … with a host of articles and books to his credit. — Last time I spoke to him, he thanked me again for my simple advice.

With that said, I am now going to answer those of you who have persisted in asking me …

How To Write Better Ad-Copy

Right now, you’re probably thinking, “Now he’s gonna tell us to read all the books we can find on copywriting.”

Wrong, paperback-breathe! — The first thing I’m gonna tell you is — after you’ve read all those copywriting books for general knowledge; like learning english composition, grammar and syntax — throw away those books and …

Read The Ads!

That’s right. — If you are going to write an ad to sell your “fancy-dancy fishhooks,” gather together every ad you can find that offers fishhooks, fishing lures, fishing poles, or, even, fishing boats. — Read them … reread them … and read them some more. — Don’t even try to do any writing. Just read the ads!

Again, you’re probably thinking, “That’s old hat. Everybody tells us to keep a swipe-file of ads offering products similar to our own, then use those ads to write our own ads.”

Wrong, again, copycat-litter-breathe! — If you only use your swipe-file to makeup copycat ads, you will be committing …

The Biggest Mistake Made By Beginning Ad-Copywriters!

Unfortunately, most beginning ad-copywriters take a successful ad … offering a product similar to their own … and simply change a few words in the headline, rewrite and rearrange the paragraphs, maybe put in an extra “bonus” of some kind, and try to use it to sell their product.

Think about it! — That would be like copying “Moby Dick” by changing the whale to a great-white buffalo … moving the action from the ocean to the great plains … and making Captain Ahab a Buffalo Hunter with a missing arm. (Don’t laugh. It’s been done … starring Charles Bronson, if memory serves.) — No matter how well done, it would still only be an imperfect imitation.

In the business opportunity field, one of the most successful ads of all time was Joe Karbo’s “Lazy Man’s Way To Riches” ad. — Can you imagine how many times that ad has been adapted, rearranged and enhanced to sell someone else’s opportunity information? — Some of the adaptations may have had some success but, just a few weeks before he died, Joe Karbo himself lamented to me that none of his copycat-ads; copycatting his own ad, had ever been successful.

Do the same thing I told the young would-be writer to do to learn to write, spend 80% of your time “reading” ads offering products similar to your own. Then …

Spend 20% of your time writing “sequels” to those ads.

The dictionary says a “sequel” is “A literary work complete in itself but continuing the narrative of an earlier work.”

Where most of the ads that just copycatted Joe Karbo’s “Lazy Man’s Way To Riches” ad were failures, or only had limited success, over the years I have written no less than five “sequel” ads that produced significant revenue for me. (One of them is the ad for my “How To STRIKE IT RICH” book.) — I never tried to ‘copy’ Joe’s ad, just continue his narrative to a different conclusion … my product.

Use your swipe-file the same way. — Read and reread those ads until you have a complete story of the similar products being sold. Set those ads aside and don’t even think about looking at them while you write your own ad. — Don’t try to ‘copy’ the ads you’ve read …

Write a “sequel.”

Let your ad-copy continue from where the other ads ended.

If you aren’t happy with your first results, do it all over again … read the ads again … set them aside again … write your “sequel” again. — Keep looking for more and more ads offering similar products to add to your story line … immerse yourself in those kinds of ads … to the point of drowning in ad copy. Then, lay those ads aside and write your “sequel” ads.

As your “sequels” get better and better, your income will get bigger and bigger.

Now, I’m gonna tell you …

The Greatest Unwritten Secret to Successful Ad-Copywriting!

Although I have read literally thousands of books, booklets, reports and articles about ad-copywriting, I don’t recall ever reading the “secret” I am about to tell you.

When you write your “sequel” ads …

Use The Words In Your Ad To Attract The Kind Of Customers You Want To Keep

The best way to explain what I mean is by illustration. — Here are two different headlines for an “opportunity” ad …

Earn $10,000 Per Month

Get $10,000 Per Month

It may appear, at first reading, that both headlines offer the same type of opportunity – but – read them closely.

The first headline begins with the word “Earn.” — To the reader, that means some “job” or “work” must be performed in order to “earn” the $10,000 promised.

Compare that to the second headline which starts with the word “Get.” — That leads the reader to believe that little, if any, “work” is involved in “getting” the $10,000.

Believe it or don’t … the readers don’t even realize that they are making that subtle distinction. Their reaction to the headline is ingrained in their “subconscious.”

Using the word “Earn” you will attract the kind of customers who don’t have a subconscious aversion to work. — Using the word “Get” you will attract more people who are looking for something for nothing … by “getting” their share of the “free lunch” that might just exist.

Which brings me to an observation about …

Ad-Copywriting Books

Over the past 30 years, I have watched an ever-increasing proliferation of books about ad-copywriting. Unfortunately, all too many of those books are just compiled from older, well-written books on the subject – but – with one BIG difference.

The compilers of those books believe that, in order to “sell” something, you have to “trick” the buyer into buying. So, they take legitimate advertising techniques and read into them an implied deception. In effect, the assorted fools who compile books corrupting viable advertising principals lend credence to the journalistic attitude that advertising, by its very nature, is evil.

Although I am adamantly opposed to book burning … any book about ad-writing that espouses any use of misleading words, deceptive phrasing, fictitious or nebulous testimonials, meaningless hype, or the egregious use of meritless guarantees belongs in your backyard incinerator, not in your business library.

If you have to “trick” your customers into buying from you, neither you nor your product deserve anything other than my contempt.


- Author

I may as well just say it. Writer’s block, I’m convinced, doesn’t exist. Mostly, I think, authors use writer’s block as an excuse to explain to themselves, an editor, or a concerned spouse why the book isn’t done or the chapter hasn’t been turned in.

Writing is talking on paper. Sometimes literally. And you never hear someone say, “I can’t talk anymore. I’ve got talker’s block. There just aren’t words there that can come out.”

That said, there are several common traps that new writers especially stumble into—and these traps stop writing progress.

Size Matters

One of the easiest traps is letting the sheer size of book stop writing, as mentioned earlier. The prospect of writing 300 pages is daunting. Especially that first day you sit down. It’s easy, especially if you’re inexperienced or emotionally worn out, to collapse under the mental burden of all that work.

The mental trick, I suggest, is to not think about those sorts of numbers when you’re writing. You need to bite off reasonably sized chunks and focus your energy and anxiety on just today’s chunk.

If you’re writing in the morning before you have to go to standard job, maybe you should do a thousand words a day. A thousand words is a bit of stretch but still a manageable goal. And if you pace yourself and write, for example, a thousand words a day, at the end of the week, you’ve maybe got a chapter done. And at the end of four months, your book is done. That’s how it works.

Don’t sit down each day with the burden of writing 80,000 words or 300 pages. Sit down to your very manageable goal of writing a few hundred words. It makes all the difference.

Bad Metrics

A second stumbling block relates to the first. While writers, editors and publishers commonly use measurements like words or pages to specify how big a book should be, you don’t really build a book with words or pages. Books require more concrete building blocks. And so, especially as you’re trying to slog your way through the first chapters of a book (always the hardest for me, quite truthfully) you can’t think things like, well, so I now I need to write a thousand words. Instead, you need to sit down and write a book building block or two or three.

Let me provide an example here. When I write some book about computers or technology, in essence, all I do is string together descriptions of facts, instructions for using some tool, and real-life examples. And these are the building blocks I use to create a book.

If I’m writing about how to use, for example, a word processor’s grammar checking tool, I might start by writing a paragraph that explains what the tool does. Then, I might go on by providing descriptions of, say, the six steps you take to use the tool. Finally, I might wrap up the discussion by showing how the tool works on some example text. And when I finish writing up these three building blocks, I’ve got my thousand words.

Do you see how that’s different from saying that you’re going to write a thousand words? A thousand words is the goal. But that goal really doesn’t help you grind through your writing. In comparison, saying that you’re going to briefly describe the thing, provide some step-by-step instructions and give an example is concrete. That concreteness helps you plod through the writing.

You’re probably not going to write how-to books about technology. But you’ll find that you too build your book using a pretty small set of specific-to-your-genre building blocks.

Don’t fiction writers do this, for example? The novelist describes scenes, records actions, crafts dialog and so on. And what this means again—remember that we’re talking about the myth of writer’s block—is that if you’re writing a mystery novel you don’t sit down with only the plan to write your thousand words. That’s too abstract.

You need to sit down planning to write some set of building blocks. Maybe today you describe the hunting lodge as it looks when Petra and Michael discover the old man’s body. Maybe tomorrow, you craft the dialog that occurs when the police interrogate Langston about the missing oil paintings.

Especially if you’re having trouble achieving your daily word counts—and probably even if you aren’t—you need to use standard building blocks to construct your book. The building blocks let you get the content onto the page.

Small Ideas Mean Big Problems

Let me also revisit something else I often saw when I was a book publisher. Sometimes the real problem a writer is having is trying to turn a little idea into a big book. Yet this problem is misdiagnosed as writer’s block. Some topics don’t merit a book. They may be great topics, but optimal treatment maybe requires ten page or fifty pages. But a book needs to be bigger than that.

I suggest that you can test your idea by writing a couple of example chapters and then making sure there’s not redundancy in those chapters and that there’s still good content available for two or three more unique chapters. That technique should work. But let’s say you didn’t know that when you agreed to write a book. Or that my suggested technique, unfortunately, didn’t work in your special situation. What can you do?

You’re in a tough spot in this case. You need to expand the scope of your book without screwing up the book’s original purpose and justification. If I were you and found myself in this position, I’d try to figure out how short I was coming up. Like, am I fifty pages short? A hundred pages short? Once I had this information, I’d brainstorm to develop a list of related topics that I could use to pad the book or beef it up. Finally, If the book had already been sold, well, I’d probably swallow my pride and have an honest conversation with the editor.

If you’re only a little bit short, the fix is usually pretty easy. Publishers can make a book seem larger by putting less text on a page or by using thicker paper. If you’re writing a nonfiction book, maybe you can throw in an appendix that covers some tangentially related topic or some extended bibliography or a glossary. If you’re writing fiction, I’m actually not sure what you do. That’s not my area of expertise. Do you add characters? A subplot? I don’t know. You better talk with your editor.


- Sunil Kumar

With so many poetry contests available both online and in poetry journals, you don’t have to look too hard to find one that suits your writing style and your wallet. While some poetry contests are free to enter, they may not have a great prize in return. On the other hand, some poetry contests that charge you ten or fifteen dollars to enter do not really offer you a lot in return. Spending fifteen dollars to win one hundred when you are competing with hundreds or even thousands of other writers is not a good gamble.

So when you find a contest that has both a tolerable entry fee and a reasonable payoff, you can enter. You may need to look at several contests before you decide on one that is right for you in terms of style. It is important to read the work of previous winners online if possible.

If the contest is sponsored by a university publication or a literary journal, you should pick up a copy or two of this journal to see what type of poetry appeals to the editors. Pay attention to the theme of the issue as it could affect the kind of poetry you read for that month. Try reading another theme to see if the style is similar even if the subject matter has changed. Then when you find a place that seems to publish work that is similar in style and tone to yours, check out the guidelines.

This is probably the best thing you can do, besides have natural talent, to win a poetry contest: follow the guidelines. It is not impressive to editors or contest judges if you try to be unique by straying from these rules. They are in place for a reason. Usually, this reason is to make the job of the editors and judges easier. They will be inundated with entries. If all the pages are uniform and the type is big enough to read, their lives will be much less stressful. If you are the one with the odd sized paper and blue font, you will make a bad impression rather than a memorable one.

So stick to the guidelines about page size, usually a standard eight by ten sheet of printer paper. Also use a font that is readable, at least an eleven or twelve point in something like New Courier, Arial, or Times New Roman. Also be sure that you follow guidelines about having you name and contact information on the page. Some people want a copy of your poem with no name on it so that judging is not biased by previously published work.

Remember to note whether or not you can go over one page for your poem. If they want you to stick to one page, this is not license to create two columns of stanzas on one sheet of paper, nor is it appropriate to shrink your type to a size that will fit a too-long poem on a single page. If your poem is too long, pick another one to enter or find another contest.

Finally, use the editor’s name in your cover letter and double check spelling. Be professional rather than artistic in your presentation.

You can find a list of poetry contests to enter at http://www.poetrycontests.biz/


- Jay Gilbert

Obviously, I’m not talking THE HUGO WINNERS; that’s a given. Just point me towards some editors that have put together good compilations
- Fyre & Reign

Free online romance stories are available for everyone to read. They are very popular and, they come with so many advantages. The first advantage is the fact that they are free. Romance stories are very captivating and they bring out stories of love and affection. It is pretty easy to become addicted to them because they are very sweet. Free online romance stories will be found on the Internet in sites that are dedicated to providing the stories. There are very many sites and, you will definitely find them very helpful. The free online stories on love will provide all you need. You will be highly inspired and, you might even want to try a hand at writing. Presenting your love story online is very easy. This is a platform that you can use easily to give you the exposure and experience. There are sites which specifically look for new talent as they explore some of the stories on love.

Free online romance stories may be short and they may also be long. If you wish to go through a story of romance quickly, you will find the short stories especially helpful. Reading online can be done through your computer or you can even print out the story to read it away from the computer screen. There are all kinds of subgenres to expect from these online stories. If you feel that you can write a very good story, it is time to start searching. You need to search for a very good site where you can submit your work. There are very many online editors who are just looking for your work. If you can write a compelling story, it is time to be going to work and give it a try. You do not have to read masterpieces from other people all the time; you can also produce your very own story. Free online romance stories will enable you to put all your work out there. There are very many audiences for the work and, you will need to produce the best work.

This is how your journey to becoming a popular writer starts. Free online romance stories will centre on the love. The plot has got to be very exciting and well thought of. It is vital that you spend time in reading other stories. This way, you will know how exactly stories are structured when writing romance. Romance is something that will require you to feel things. You do not have to copy or think too much when you are searching for inspiration in romance. It is life and, you just have to look deep inside you and it will flow to you. Make sure to take advantage of all the things that will help you become a better romance writer or reader. There is nothing complicated about finding the online short stories. You need the Internet and a computer and, you are ready to indulge into the matters of love. Make sure to have fun when you are reading and writing the stories.


- Francis Githinji