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

Buy the master class.

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, 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 show

Buy the master class.

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 show

Buy the master class.

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 dread.

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 show

Buy the master class.

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.  Here's a technique to make sure readers will root for our main character even if the character isn't usually endearing.  Also, here is how a master writer describes her settings.

Support the show

Buy the master class.

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 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 show

Buy the master class.

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 show

Buy the master class.

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, 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 show

Buy the master class.

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 show

Buy the master class.

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.  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 show

Buy the master class.