Essential Guide to Writing a Novel

Here are techniques for keeping focus in a scene where there is a crowd, with an example from Harper Lee.  And how Margaret Mitchell worked.  Plus: how can we show rather than tell about a character's guilt or pride.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more.  Each episode is focused and about 30 minutes.  The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars.  If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.Support the showBuy the master class.

Stephen King says there is no idea dump we can visit to find a good plot.  We have to create our own plots.  How can we do so?  Here's a discussion on creating plots.  Also, if Meriwether Lewis of the Lewis and Clark expedition can learn to write, so can we.  And the critical technique of using the active sentence form.Support the showBuy the master class.

Discover the pivotal role of a first sentence in captivating readers right from the start. Explore how great authors craft engaging openings that spark curiosity and tension. Gain insight into the art of using specific details to enhance your writing and create a vivid experience. Delve into personal stories of rejection and how they can fuel your growth as a writer. Learn about the importance of sensory details while avoiding clichés to maintain originality in your narrative.

Our setting descriptions should do more than describe a place.  They can also show the reader much about our character.  Here's how to do so.  Also: what's the main thing our plot needs: trouble.  Here's why.  And how Edna Ferber worked.Support the showBuy the master class.

Two mistakes can ruin our presentation of what our character is thinking: telling rather than showing, and interior monologue.  Here are ways to present thoughts in a way that grabs the reader.  Also, how Octavia Butler worked.  And examples of wonderful character descriptions from masterful writers.  Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more.  Each episode is focused and about 30 minutes.  The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars.  If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.Support the showBuy the master class.

Sometimes the strongest writing technique isn't the strongest in our story.  Every writing rule has exceptions, and here's a discussion on when to make exceptions.  Also, how to create a strong title for our novel and short story. Support the showBuy the master class.

We are learning fiction techniques, and we are or soon will be skilled fiction writers.  Does this mean we should design our own book covers?  Also, Michael Chabon's terrific sense of smell.  And the use of details in the haunted house.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more.  Each episode is focused and about 30 minutes.  The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars.  If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.Support the showBuy the master class.

Having readers fall in love with our character is so important, and making our hero an underdog is a good way to do it.  Here are thoughts on underdog characters.  Also, I'll read a few character descriptions from master story-tellers that may make us stronger writers.Support the showBuy the master class.

Our story should be like a state fair: one thing after another.  Here are some ideas on state fair plotting.  Plus: settings shouldn't be inert locations in our novel or short story but rather should work for our story.  Here's how to get the most from our settings.  Also: my experiment with AI proofreading.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more.  Each episode is focused and about 30 minutes.  The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars.  If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.Support the showBuy the master class.

Readers want five things in a story, three of which are right in the beginning.  Here's a discussion of how to deliver those five things.  Plus, a character's thoughts are the least interesting aspect of a story.  How can we show what a character is thinking without entering her mind?Support the showBuy the master class.