If you prefer your wizards left behind the curtain, this post is not for you.

Second, what follows is me taking something magical and deliberately dissecting it, so I can learn from its secrets how to better imitate it (and maybe other writers reading this can too). Two words of warning: first, I won’t be holding back on describing Seanan’s story, so if you’re worried about spoilers I suggest you read the story first – it’s free, and I highly recommend it. So, armed with this advice and the continuing positive effects of my current anti-anxiety meds, I’m going to take Seanan’s story and give this approach a try. Can you think of any other examples of the same elements?.What were the key elements of the scene/moment/line?.Her advice was: any time you encounter a scene, a moment, or even just a line that really grabs you, stop and interrogate it – Pacat that gave me a healthier alternative option for thinking about the kind of writing that I want to be able to create but can’t (yet) – a way to try to learn from it, instead of just seeing it as superior. However, at this year’s Emerging Writers Festival, I encountered some advice by keynote speaker C.S. The latest of these is Seanan McGuire’s L ittle Mermaid-inspired story, Each to Each (recommended to me by a friend because I’ve been thinking about writing my own take on that particular problematic fairytale). Occasionally, I will read someone else’s short story and it will be so much the kind of thing I want to write but am not yet capable of that I have to spend a day or so talking myself out of quitting (hello there, anxiety). “A lot of people never get past that phase,” Glass said. In a 2009 interview, Ira Glass talked about what has come to be known as the taste gap: the difficult period early in anyone’s creative life when they know good fiction (or art, or whatever) when they see it, but they don’t yet know how to produce it, so everything they create disappoints them.

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