The Chopping Blog

If the protagonist is going to succeed, then you want to bring them closer and closer to failure. If they are going to fail, you want to bring them closer and closer to victory.

Plot is the transformation of the internal by the external.

Coincidence works when it ignites trouble, not when it puts out fires.

The charm of the amateur sleuth lies in contradiction: they don’t belong in the world of crime, yet somehow they thrive there.

Intentionality is how you earn readers’ trust.

If your novel wants to break the fourth wall, go ahead. Just make sure you have something to say when it does.

It’s a super common entry point into a fantasy novel: the protagonist steps through a portal or is somehow transported into another world.

This isn’t a hero with flaws.

In noir, the detective is hired to do a job—usually to find someone or uncover some buried truth—but the story unfolds more like a quest than a casefile.

At the heart of noir is a central tension: the world is corrupt, maybe even irredeemable—but the protagonist refuses to be.

A premise should create instant friction—between people, values, desires, timelines, or survival. This will be the lifeblood of your story.

The best subplots add layers, create obstacles, resolve internal conflicts, and enrich the main storyline. They create depth rather than merely taking up space.