Every decade produces a version of the claim that the novel is dying. The novel has survived the claim every time, though not always in the same form. The internet posed a different kind of challenge from television or cinema or the paperback — not competition for leisure time so much as a transformation of the cognitive environment in which novels are written and read. Whether that transformation has produced a new kind of fiction, or merely confirmed that serious literary form is more durable than its critics assumed, is a question still being worked out.

Your opening line is the handshake between your book and its reader. Get it wrong, and they walk away before the conversation starts. The best opening lines do at least one of three things: they create tension, raise a question, or drop the reader into a world so vivid they have no choice but to follow. What makes a line work? Strong openers resist the urge to explain. “Call me Ishmael” gives us nothing — and everything.

The most common dialogue mistake writers make is writing what people actually say. Real speech is full of filler, repetition, and half-finished thoughts. Read it on the page and it’s exhausting. Good fictional dialogue sounds natural without being real. It’s edited conversation — the illusion of speech, not a transcript. The function test Every line of dialogue should do at least one of these things: Reveal character Advance the plot Create or deepen conflict Deliver information the reader needs (carefully — this one tips into “on-the-nose” fast) If a line does none of these, it probably shouldn’t be there.