Here is a magical way to end a scene and to begin another without worrying about travel and time between scenes.  Also: avoiding dangling modifiers.  And how Bernard Malamud worked, and Helen Dunmore's rules of writing.

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What should we do if we must--absolutely must--have an element in our story that might not be fully entertaining and engaging?   1) Make sure it's important and 2) make it short.  Here are thoughts about this critical technique.  Also, details in our descriptions are important, but which should we use and which should we leave out?

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We writers can use lovely phrases and perceptive observations when describing our character in our story, and yet the reader may still quickly forget the character.  Here's how to make a character stick in the reader's mind.  Also, are you a born writer?  Maybe so.  Here's why you might be.

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We can show (as opposed to tell) as we create a setting for our story.  Showing will make our settings vivid, and will allow the setting description to do double duty: describe the place and suggest a mood.  Also, reasons to avoid meetings in our story.

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We'll build our character as we write along, adding descriptions and actions and dialogue.  But there is a way with only one or two sentences to reveal something powerful and memorable about the character--in just a few words--and I'll talk about the technique here.  Also, Joyce Carol Oates's rules of writing.  And punctuating dialogue, with important techniques about our character's spoken sentences so that our dialogue is a clear window to the story.

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Jack Bickham's three sentences on scene construction are the best I've found regarding how to write a scene.  Here are why these sentences are important for us writers.  Also: Sarah Ann Waters' terrific ten rules of writing.  And avoiding the word "not."

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Many listeners are writing literary novels and stories.  Here is an important technique regarding construction of a literary story, and it also applies to commercial novels.  

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The easiest thing for a reader to do is to quit reading our story.  Here are ways to begin and end scenes that'll prevent that from happening.  Our scenes' beginnings and endings will propel the reader farther into the story.

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Stephen King is a powerful storyteller, of course, and he is also a highly-skilled sentence-by-sentence writer.  Here are his tips on writing dialogue, plus thoughts from me about making our characters' dialogue riveting. 

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Readers love first person novels, where the hero talks directly to the reader.  Here are some techniques for first person writing.  Also, famous novelists reveal the books that made them want to be writers.

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