Blake Snyder's famous Save the Cat plotting--where he describes fifteen beats a movie screenplay should have--is useful for us novelists.  And wonderful setting descriptions from Willa Cather.  Also, what's wrong with this sentence: He scrunched his eyebrows in confusion?  And Neil Gaiman's eight rules of writing.

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How can we submit a manuscript that meets the industry's format expectations and so avoids an amateurish look?  Here's how to do it.  Also, how the best-selling novelist Elin Hilderbrand live and work?  And a few comments on pumping up our creativity.

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We aren't villains, and we likely don't have the background and personality of a villain.  How can we get inside the mind of a villain for our story, so the villain engages the reader?  Here are techniques to do so.  Also, big and small things in a novel should be foreshadowed.  I'll mention why and how to use foreshadowing to give clues and red herrings to the reader, focusing on small things we might otherwise forget to tie up.  Also, here are my favorite funny titles of novels.

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Sometimes new writers have a strong plot idea and they begin writing without learning much about fiction writing.  Here are the ten most common mistakes new writers make, mistakes that are often prospect killers.   Also, how does Kristen Hannah work?  And: maybe the best way to learn how to write a novel.

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We learn many techniques to improve our fiction writing.  Is there one big thing we should think about first, the most important element?  Yes, and we talk about it here.  Also, avoiding mixing up the grammatical person and the point of view.   How William Faulkner worked.  And; making a direct connection between our hero and the reader by showing kindness.

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Here is a technique--it's magical--to make our sentence-by-sentence writing instantly stronger; avoiding qualifiers.  And how to use good dialogue tags so the reader hears the dialogue rather than the clunky tags.  And important tips regarding back-story.

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Naming our story's characters is fun but there is a big technique involved, which we talk about in this episode.  Also; the iceberg theory of writing, and the story framing device.  Plus, examples of showing rather than telling about characters' moods.

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It's critical for us writers to make multiple simultaneous submissions.  Here are some thoughts on why it's so important.   And I mention a wonderful but counterintuitive technique that makes our dialogue smoother.   Also: the importance of a scene playing out minute-by-minute, without time skips.

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Where can we turn when wondering about whether we should continue reading a novel?  Right here, for some thoughts on reading.  Also, here is a discussion on big mistakes we might make when creating our story's setting, and how to avoid them.

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Some novels--even novels that are great literature--have titles that are downers: titles that are sour and pessimistic.  Here are thoughts on why we might not want to give our novels downer titles.   Also, why we should avoid words that when too close together echo poorly, creating a distracting dissonance.   And how we writers can practice.

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