A “reasonable” villain might seem believable—but it’s also the fastest way to kill tension in your story. The best antagonists aren’t fair opponents; they’re towering, terrifying forces that make the hero dig deep and evolve. From Goliath to the Borg, it’s the impossible odds that make victory unforgettable.
Back in the trenches: I’ve started writing Fall From Grace, Book 2 in the Thomas Billings thrillers. Thomas and Grace head to London for an audience with the Queen—then get yanked into Establishment crosshairs. Expect chases, betrayals, and the kind of moral gray that leaves even “good guys” guessing.
Mark reflects on the strange physics of author life—writing about the Hazeldean Artisan Market before it happens, even though you’re reading about it after the fact. Between the smell of coffee, glitter-covered tables, and fellow creatives, he celebrates the timeless joy of connecting with readers and fellow artisans (and maybe bending the space-time continuum just a little).
A novel isn’t a pile of words—it’s a chain of well-built scenes. This post breaks down the five parts of a powerful scene (from Inciting Incident to Resolution) and why scene craft is the difference between a draft and a publishable book.
Mark Posey shares the five thrillers that rewired his brain — from First Blood to Cujo, these are the books that taught him how to build tension, twist morality, and keep readers one heartbeat away from panic.
Great fiction doesn’t come from easy wins—it comes from impossible choices. When your protagonist is forced to pick between two equally awful options, the story stops being about “victory” and starts being about what they’re willing to lose. That’s when stakes rise, true character is revealed, and readers stay glued to the page.
Why do authors put their characters through hell? Because without conflict, there’s no story. In Confessions of a Sadistic Author, Mark explains why Jacobine, Billings, and the rest of his cast are constantly battered and bruised — and why their scars make them unforgettable.
Writing fiction should make you feel something. If you’re not laughing, crying, or at least smirking at your own words, your readers won’t either. Emotional resonance starts with the writer. From cardboard characters to scenes that don’t belong, here are five reasons your story might be falling flat—and what to do about it.
From SRP Author Mark Posey: Well, my friends, the ballots have been counted, the hanging chads examined, and unlike certain
A great antagonist isn’t a cartoon villain twirling a mustache—they’re someone who truly believes they’re right. The most compelling conflicts come when your villain’s goals clash with your hero’s in ways that feel uncomfortably relatable.
