Essential Guide to Writing a Novel
Hosted by James Thayer, this podcast offers a practical, step-by-step guide to writing a novel. It covers large issues like story development and scene construction, as well as sentence-level techniques to improve your writing. The podcast draws on Thayer's experience as an author praised by Kirkus Reviews and The New York Times Book Review.
Episodes
Episode 231 - Techniques to make our dialouge grab readers.
Dialogue is like a Snickers candy bar: it's good. Here are eight techniques for making conversations in our story engage the reader, things we should do and things we should avoid. Also, how did Sue Monk Kidd handle her first rejection? And Meg Cabot on how to keep going so we finish our story.Support the showBuy the master class.
Episode 230 - Creating a dastardly villain.
The shark. Dracula. Draco Malfoy. Cathy Ames. Annie Wilkes, Hannibal Lecter. Jadis the White Witch. Aren't these villains masterful creations, and don't they keep readers glued to the story? Here are ideas on how we can create wonderful--is that the right word?--villains. Also, we can keep our first-person narrator from being off-puttingly self-referential.Here is a 20-episode m
Episode 229 - Juice up the setting.
Every element of our story should add interest, including the settings. What if--because of the plot or characters--we must place a scene in an otherwise dull place? We can juice it up. We can make it lively and fascinating. Here is how the masters do it. Support the showBuy the master class.
Episode 228 - Avoiding dullness in our story.
Every element in our story should contribute to entertaining the reader including our settings. We can replace our dull settings with fascinating locations, and here's how to do it. Also: what's wrong with this sentence? Running along the street, the purse bounced against her leg. It's a funny dangling modifier. Funny if it doesn't appear in our story. Here are thoughts o
Episode 227 - Becoming a close observer.
Almost all successful fiction writers are close observers. We can teach ourselves to be close observers, and use those observations in our characters and settings. And here are examples of close observations from the masters, those small details that bring their stories to vivid life.Support the showBuy the master class.
Episode 226 - Ways to make our sentences shine.
Novels that endure not only have bold plots but are also beautifully written. Here are techniques on how to make our sentences shine. Also: should we write our first chapter first and our last chapter last (as does John Grisham) or should we write the chapters and scenes out of order (as did Margaret Mitchell)?Here is a 20-episode master class on fiction writing—a start-to-finish course covering
Episode 225 - Leave it all on the field.
Cliches can offer solid advice. Pedal to the metal. Go big or go home. Leave it all on the field. We should swing for the fences with a bold plot. Also: a setting can be more than facts about the landscape. The masters add compelling moods to their stories with their settings.Support the showBuy the master class.
Episode 224 - Using all the senses to describe our character.
Some of us may describe our characters using only the sense of sight: what the reader sees when imagining the character. But we can also use sound, smell, taste, and texture to make our characters more memorable. Here are thoughts on how to do so. Also, Janet Burroway on the critical difference between a scene and a summary. And how Francine Prose reads fiction to learn the writing craft.Here
Episode 223 - Readers can fall in love with our settings.
I talk about ways we can make our settings--the time and place of our story--irresistible to readers. They'll want to live there. Plus: we can use our global search function to almost instantly make our sentences more forceful. And: novelist Elizabeth George's plotting technique she calls the plot kernel.Support the showBuy the master class.
Episode 222 - Small techniques can add up to forceful sentences.
Here are pocket-sized techniques that can result in strong sentences; small--even tiny--things we can add to our prose writing arsenal. Also, Elizabeth George on her use of two outlines: the step outline and the running plot outline. And we can make our dialogue stronger by avoiding "Yes" and "No."Here is a 20-episode master class on fiction writing—a start-to-finish course
Episode 221 - Writing that is more intense than real life.
For readers, fiction offers escape from their real lives. How can we make our writing intense, and so lift our scenes above real life? Details are a key, and here are ideas on the use of odd and memorable details to make our prose vivid. Also, here's a good way to practice: write one perfect sentence. And, what made you want to write? Support the showBuy the master class.
Episode 220 - Cut to the chase.
The phrase "cut to the chase" originated in the film industry. When shooting and editing a movie, if things are getting dull cut to a chase scene. Cut to the chase applies to our novels and short stories, too. Here are ways we writers can make our stories stronger and our sentences more forceful by cutting to the chase. Also, a suggestion on naming characters.Here is a 20-episode mas
Episode 219 - How to get our story going.
Here is a checklist of things we likely should think about as we begin our first chapter: some elements to have in the beginning pages of our story and some things to avoid. Also: the strong technique of using contrast in consecutive scenes so that lights shine on both scenes.Support the showBuy the master class.
Episode 218 - Our writer's voice.
What is a singular attribute that separates Oscar Wilde, Ernest Hemingway, and Edgar Alan Poe? Their literary voices. Here are thoughts on our own voices: if and how we should try to develop them. Also: the strong tool of contrast, when the character contrasts with the setting.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scen
Episode 217 - Why and how to practice. And Edgar Alan Poe.
Writing is like learning the violin. We can get better. Here are reasons we should practice, and suggestions how to do so. And what sparked Edgar Alan Poe's imagination? Also: how much of our story should be scenes rather than summary? The answer: should fill our story with scenes that play out in real time in front of the reader like a movie.Support the showBuy the master class.
Episode 216 - Too many characters is a scene.
What's the problem with having a lot of characters in a scene? Aren't lots of people needed to make street scenes and party scenes and sports scenes and battle scenes credible? I'll talk about the problem of too many characters, and how we can fix the crowded scene so it doesn't lose focus. Also, a quick almost magical way to make our sentences stronger using the global se
Episode 215 - The ratchet, a strong plotting tool.
How can we know if our scene pushes the story forward. Does our scene contribute to the story? The ratchet can test our scene. I talk about the ratchet and show how Cormac McCarthy and F. Scott Fitzgerald used it. Plus, a technique for searching for instances of telling in our manuscript so we can change them to showing. And C.S. Lewis's rules of writing.Support the showBuy the master cl
Episode 214 - Famous writers show us how to write and live.
If we emulate famous authors, won't we get better at writing? Here are how some highly-skilled, best-selling authors write and live. Plus: the three dumbest pieces of advice for writers. And: George Orwell's rules of writing.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. E
Episode 213 - Save the cat plotting.
How can we get readers to admire and respect our hero, maybe even to fall in love with him? Our hero can save the cat. Here is how the screenwriters' save the cat technique can apply to our novels. Also, best seller Lawrence Block on how we can use our pleasure reading to improve our fiction writing skills.Support the showBuy the master class.
Episode 212 - Getting skilled with point of view.
Keeping a tight point of view is critical for our story. Here's how we can stay inside the mind of our main character yet learn what others in the scene are thinking. Plus, how John Grisham works. And: how we can reveal what a character is thinking through facial expressions. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue,
Episode 211 - How to have fun while writing.
Sometimes writing can be a grind. Here are things that are fun while writing that'll give us energy and keep us at our desks and allow us to pour joy into our words. Also: we should avoid vanilla, meaningless word packages. And here's how Kate Chopin worked.Support the showBuy the master class.
Episode 210 - Timeless plot patterns.
Folks new to fiction may think because there are a million stories and dozens of genres, plots can be presented in any way imaginable. But successful plots have time-tested patterns, and these are discussed here. Plus, M.M. Kaye's lovely setting descriptions, so elegant her writing might be called the voice of magic. And: how the best-selling romance novelist Emily Henry lives and works.He
Episode 209 - Avoiding blunders in our story.
How and why should we avoid our character traveling? And how does Orson Scott Card not make blunders in his novels? Here is his tool for having a mistake-free novel. Also: here is why our scenes--almost all scenes--should have some action, and how to write that action.Support the showBuy the master class.
Episode 208 - How to paint pictures with words.
Writing is magic. We type on a keyboard, and then the words we type create powerful images in readers' minds. Here is a discussion of our main tool for creating vivid images: detail. Which details, how to use them, and examples from a detail master, Jean Shepherd. And another angle: detail is as important in dialogue as it is in character and setting descriptions.Here is a 20-episode mas
Episode 207 - When the hero lies to the reader.
Sometimes an unreliable narrator can be great fun to create, and great fun to read about. Here are techniques for developing a protagonist the reader learns not to trust. Also, how can we avoid dull interior monologue and instead show readers what a character is thinking?Support the showBuy the master class.
Episode 206 - How to get lots of plot ideas.
Novelist John D. McDonald said he had more plot ideas than time to write them. That's not the case for most of us writers. We usually are in chronic need of more plot, more story. Here are techniques for inventing plot from James Scott Bell and Lester Dent. Also: vivid character descriptions from Jean Shepherd, showing us how to create unforgettable characters.Here is a 20-episode master
Episiode 205 - How to stop stalling and get going.
Sometimes we are full of ambition to write. Yet we don't. We put off our writing, then put it off again. Why do we do that? And what can be done to get us in front of the keyboard? Here are thoughts on what we can do to get us producing. Also, powerful first sentences drop the reader into the story after the action is already underway. Here's how to do it, with examples from exce
Episode 204 - Meaningless modifiers and what to cut.
Some words don't add anything to a sentence other than confusion. Here are several modifiers that our story is better without. Also, is cutting ten percent of our manuscript a good goal when editing? What should we cut to reach that ten percent? Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft,
Episode 203 - Argument makes our dialogue riveting.
Dialogue lets the reader become part of the story, as if the reader is standing next to the characters listening to them talk. Not all conversation between characters is equal: argument is the most engaging dialogue. An argument between characters in our story--the back and forth, the accusations and denials, the evasions and justifications--can be riveting. Here are thoughts on writing the big
Episode 202 - How to have fun while writing.
Writing fiction is work but it doesn't need to be a grind. Here's how we can have fun while we write, things that'll give us a joyful kick, maybe even make us laugh. Also: the important technique of the mini-backstory, which reveals so much about our character in so little space.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters
Episode 201 - A formula for strong sentences.
Physics loves formulas: E=MC2. How about writing? Here is a formula for writing strong sentences, ones that are clear and have energy. Our setting and character descriptions can also benefit from a formula, one that shows how to engage the reader. That formula is talked about here, too.Support the showBuy the master class.
Episode 200 - How can we know if we can write?
Do we have the skill to write a novel or short story? Here are early clues that may let us know. Also, top writers' ten best rules of writing. And J.R.R. Tolkien's techniques for writing fascinating settings.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 f
Episode 199 - Writing a scene with many people and lots of motion.
Sometimes in our story we'll have a scene filled with people where everyone is moving all at once, such as a battle scene or mob scene or festival scene or street scene. Here are techniques on crafting the scene so there's no confusion so readers can focus on the hero. Also, what is the rule of exceptions? And, can something bad happening to us make us better writers? Support the show
Episode 198 - A big way to make our dialogue riveting.
Readers love dialogue, the chance to eavesdrop on the characters. Here is a good way to make that dialogue really worth listening to. Also, here are techniques that can tie our scenes together, which Jack Bickham calls transitions and sequels. In a story, what is a transition and what is a sequel?Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, charac
Episode 197 - That odd little thing for our character.
How can we make our character memorable for the reader? How can we make the character leap off the page and stay in the reader's memory? Here's how Sherwood Anderson did it. And here are also character descriptions from another master, William Faulkner, showing us how to create big and bold characters.Support the showBuy the master class.
Episode 196 - Importance of the character arc.
Readers want a character who can grow and change over the course of the story. Here is a discussion of the character arc: how we can use the arc to develop our character and the plot, giving the reader the big reward at the end of the story of a character who has met the moment with change. Plus, here is how we can show (rather than tell) about a character's thoughts such as confusion and dr
Episode 195 - The adopt a dog technique.
One of the best ways to have readers like our story is to have readers like--maybe even love--our main character. But we usually don't want our protagonist to be a Pollyanna, always sweet and understanding. Rather we want to create a fully-formed character--maybe with some weird or off-putting angles, maybe some flaws and shortcomings--to make the character interesting and believable. He
Episode 194 - How to invent a strong plot.
We want to write but we don't have our story fully figured out. What can we do? Here are thoughts on inventing plot, things we can do to shake loose the plot from our brains. Also, the techniques of a master of character description: Margaret Mitchell. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level
Episode 193 - Plotting: go big or go home.
Fiction's job is to entertain. A main way to entertain is to be bold with our plot. Here are thoughts on how to avoid the dull in our plot and how to create a story that keeps readers turning the pages. Also, how to invent strong metaphors and similes. And avoiding overly-precious, self-conscious writing.Support the showBuy the master class.
Episode 192 - Plotting: the importance of conflict, crisis, resolution.
In fiction in all genres only trouble is interesting. How do we writers use trouble in our story? Here are thoughts on how we can plot using conflict, crisis, and resolution, a technique important for all genres. Also, should we use beta readers? And the add-a-quirk technique.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scen
Episode 191 - Do we know enough to write the first sentence?
When do we know enough writing techniques to start our novel? And when is the story ready to be written? I'll try to answer both questions. Also, how do great writers describe a character's appearance in ways that reveal the character's past and personality? Here's how masterful writers do it.Support the showBuy the master class.
Episode 190 - The right way to leave red herrings.
Red herrings--false clues--are used in most all stories in all genres. Here are the right and wrong ways to insert red herrings into our stories. Also, here's how we can show--reveal--much about a character by describing a setting. 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.
Episode 189 - Start as close to the end as possible.
Kurt Vonnegut said we should "Start as close to the end as possible." What did he mean? How can we do so? Here are thoughts on this famous piece of advice from a legendary novelist. Also, avoiding the word "not" to give our sentences more energy. And Orson Scott Card on creativity.Support the showBuy the master class.
Episode 188 - How to make our writing fun.
Is your writing time becoming a grind? If so, here are some things that may reduce the grind and maybe even make writing fun. Also, here are thoughts on how we might write a sentence that is a timeless truth told in lovely language, an immortal sentence that will live forever.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scene
Episode 187 - Giving readers what they want.
We writers should consider giving readers what they want. Well, what do they want? Here is a discussion of the five things readers want in a novel. Also: the dual timeline plot structure. And F. Scott Fitzgerald's seven tips on writing.Support the showBuy the master class.
Episode 186 - Showing--not telling--what a character is thinking.
Thoughts are interior, in our minds. But there are ways to show--to give evidence--that reveal to the reader what our character is thinking. Also, here is an important ingredient that many writers forget when describing a character.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 185 - The keys to musical writing.
The three most important words in our fiction are, "Story, story, story." But we can also shoot for lovely, musical language that makes each sentence and paragraph a pleasure to read. Here are thoughts on how to add music to our sentences.Support the showBuy the master class.
Episode 184 - Skipping the dull stuff in our plot.
In his famous ten rules of writing, Elmore Leonard says that we shouldn't write things readers tend to skip. What are those things? How can we avoid writing them? Also, should our story have theme and, if so, how can we present it?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.
Episode 183 - A key to making our sentences forceful.
What do Ernest Hemingway, Cormac McCarthy, and Elmore Leonard have in common? Powerful stories, yes. But also lean and forceful sentences. Here's how they do it. Also: in our plotting,what's an acceptable coincidence and what's a weak, story-ruining coincidence?Support the showBuy the master class.
Episode 182 - Things to think about as we write the end of our story.
After months and month if writing, we'll near the end of our story. Our novel is almost finished. Here are things we should consider as we wrap up our story. Also, for many of us editing our own story isn't as fun as writing. Here are thoughts on how we can make sure we edit enough, and how we know when to quit editing.Here is a 20-episode master class on fiction writing—a start-to-f
Episode 181 - A critical difference between scene and summary.
Why should almost all of our story be scenes rather than summaries? Here's how we can avoid summaries and instead write moment-by-moment real-time scenes in our fiction. Also: here are perhaps the most beautiful sentences ever written in fiction.Support the showBuy the master class.
Episode 180 - The critical distance between the reader and the action.
The reader is like a camera as the scene unfolds. Where should that camera be? How far away from the characters and the action? Here are thoughts on authorial distance, about the benefits of placing the camera--the reader--near or far. Plus, how Charlotte Bronte worked. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, se
Episode 179 - The critical writing techniques all in one episode.
Here are the most important fiction writing techniques boiled down to twenty-five minutes. I've talked about all these elements in prior episodes but sometimes it's useful to hear things again. This episode is a refresher.Support the showBuy the master class.
Episode 178 - How to make readers laugh.
We may be writing a comic novel or we may want to add humor to our thriller or romance or horror or literary novel. Humor adds a strong element to most any story. Joe Pesci as Tommy DeVito in Goodfellas: “Funny how? I mean, funny like I'm a clown? I amuse you? I make you laugh?" Well, yeah. Let's see how we can make readers laugh.Here is a 20-episode master class on fiction w
Episode 177 - The description double duty technique.
Good descriptions of characters should do double duty: they can let the reader know what the character looks like and the description can also suggest something about the character's personality. Here are examples and thoughts on double duty descriptions. Also, how Alice Walker works. Support the showBuy the master class.
Episode 176 - Inventing a fabulous title.
The title is the book browser's first impression of our novel. The title should tempt the browser to pick up and open the book. Here are thoughts on how we can give our story a strong, enticing title. Also, how do famous authors edit their own manuscripts? Maybe we can learn from them the best way to self-edit our stories.Here is a 20-episode master class on fiction writing—a start-to-fin
Episode 175 - Writing funny dialogue.
We can write dialogue that makes readers laugh. Here are thoughts on creating funny conversations between our characters. Plus, we don't need to have our character look into a mirror to describe herself, which has been done time and again. Here are ways to avoid the mirror.Support the showBuy the master class.
Episode 174 - How to ruin our story's first sentences.
A story's first sentence should make the reader ask, "What's next?" They should propel the reader into the story. Here's how to do it right and how to do it wrongly. Also, three master writers show us how to describe a setting.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft,
Episode 173 - The magic of dialogue.
Dialogue is fun to write and fun to read. Our story should have lots of it. Here's a powerful thing dialogue can do: it can reveal (that is, to show rather than tell) what a character is thinking. The character's conversation can be lively and fun, and hearing the character speak is so much stronger than reading the character's mind. Here are thoughts on writing revealing dialog
Episode 172 - Our first fifteen pages.
The first pages of our novel should contain certain elements and avoid certain elements. Here's a list of things to include and exclude in those first pages. Plus, ways to write forceful, clear, and lovely sentences.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
Episode 171 - Top ten list of bad advice for writers.
In these episodes I try to set out good writing advice but a lot of bad advice is out there, so here is a list of bad advice, and the list may help us avoid writing blunders. Here are also ten dialogue mistakes, and avoiding them likely means we end up with engaging and even riveting dialogue for our characters.Support the showBuy the master class.
Episode 170 - Writing the crowd scene. And guilt and pride.
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 fo
Episode 169 - How to find a surefire plot.
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.
Episode 168 - Making our first sentence sparkle.
Does our story's first sentence cause the reader to ask, "What's next?" Or does the reader say, "So what?" Here are thoughts on creating a tense, sparkling first sentence. Also, how the masters use specific, definite, and concrete details to convince the reader.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters,
Episode 167 - Revealing our character by the setting.
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.
Episode 166- Showing our character's thoughts.
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, char
Episode 165 - The rule of exceptions.
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.
Episode 164 - Design our cover? And the masters on setting details.
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.
Episode 163 - The benefits of an underdog.
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.
Episode 162 - The state fair plotting technique.
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 cov
Episode 161 - Ways to give readers what they want.
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.
Episode 160 - Should our story have a theme?
Best-selling writers disagree on the importance of a theme in stories. Here are thoughts on whether we should present a theme in our novel or short story. And famous authors on their writing discipline. Plus, mixing genres when telling an agent or publisher about our novel.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes,
Episode 159 - A surefire way to generate plot, the sidekick.
Putting a sidekick into our story adds many benefits, a main one being that readers love sidekicks. Here are some techniques for creating a sidekick for our novel or short story. Also, a list of catchy, memorable novel titles. And a big question: how do bad novels get published?Support the showBuy the master class.
Episode 158 - A lifetime's writing advice reduced to one minute.
Were a young writer to ask me for advice, and only had one minute to listen, here is what I'd say. Plus: how Louisa May Alcott worked. And, avoiding the blahs and self-doubts when writing.Support the showBuy the master class.
Episode 157 - How we writers can create a world.
Remember the fabulous worlds that fantasy, sci fi, and historical writers create for us readers? How do they do that? What works so well? I'll talk about world-building, not just for those novels but for all genres. And also: more on the critical craft of character description.Support the showBuy the master class.
Episode 156 - How to write the fast start.
Many readers only give a story ten or twenty pages before putting it aside to look for something more interesting. A fast start is the best way to maintain the reader's interest. Here's how to write the fast start. Also, how Alice Munro worked, and Richard Ford's rules of writing.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characte
Episode 155 - The single most important ingredient in an unforgetable story.
Manon in Paris asked, "Why do some novels move us more than others?" Here is the single best way to make our story unforgettable, a story that moves the reader. Also, have we heard the advice, "Write what you know?" It's bad advice, and here are thoughts on it.Support the showBuy the master class.
Episode 154 - Learning from the masterful writer Edna Ferber.
Edna Ferber was a master of character description. Here are a few of her characters, and maybe we can pick up some of her skill. Also, how many words a day do famous writers write, and how many words a day should we write? And showing pain, as opposed to telling about pain.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes,
Episode 153 - A legendary novelist's lesson for us writers.
Charlotte Bronte's novel Jane Eyre is a classic of western literature, a novel that endures and still hugely entertains because . . . it's so great. (How that for being profound?) Charlotte Bronte offers an important lesson for today's writers, and I'll talk about her lesson in this episode. Plus, the trouble with prologues.Support the showBuy the master class.
Episode 152 - How the masters create their settings.
Why are some novels so good? One of the reasons is that the author is a master at setting descriptions. How did Charlotte Bronte and Edna Ferber make their settings magical? We'll talk about their techniques here. Also, strong verbs versus weak verbs: how and why to choose the stronger action word.Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot,
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