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-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.

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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.

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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, 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.

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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.

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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 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.

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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. 

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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-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.

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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.

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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, 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.

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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 dialogue. 

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