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.

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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.

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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.

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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.  

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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. 

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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.

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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.

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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.

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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?

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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.

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