Essential Guide to Writing a Novel

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. Support the show Buy the master class.

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,...

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 dialog...

The  first pages of our novel should contain certain elements and avoid certain elements.  Here's a list of things to include and exclude in those first pages.  Plus, ways to write forceful, clear, and lovely sentences. 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 i...

In these episodes I try to set out good writing advice but a lot of bad advice is out there, so here is a list of bad advice, and the list may help us avoid writing blunders.  Here are also ten dialogue mistakes, and avoiding them likely means we end up with engaging and even riveting dialogue for our characters. Support the show Buy the master class.

Here are techniques for keeping focus in a scene where there is a crowd, with an example from Harper Lee.  And how Margaret Mitchell worked.  Plus: how can we show rather than tell about a character's guilt or pride. 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 f...

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. Support the show Buy the master class.

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. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters,...

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. Support the show Buy the master class.

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.   Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, cha...

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.  Support the show Buy the master class.

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. 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...

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. Support the show Buy the master class.

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. Here is a 20-episode master class on fiction writing—a start-to-finish course co...

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? Support the show Buy the master class.

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. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes,...

Putting a sidekick into our story adds many benefits, a main one being that readers love sidekicks.  Here are some techniques for creating a sidekick for our novel or short story.  Also, a list of catchy, memorable novel titles.  And a big question: how do bad novels get published? Support the show Buy the master class.

Were a young writer to ask me for advice, and only had one minute to listen, here is what I'd say.  Plus: how Louisa May Alcott worked.  And, avoiding the blahs and self-doubts when writing. Support the show Buy the master class.

Remember the fabulous worlds that fantasy, sci fi, and historical writers create for us readers?  How do they do that?  What works so well?  I'll talk about world-building, not just for those novels but for all genres.  And also: more on the critical craft of character description. Support the show Buy the master class.

Many readers only give a story ten or twenty pages before putting it aside to look for something more interesting.  A fast start is the best way to maintain the reader's interest.  Here's how to write the fast start.  Also, how Alice Munro worked, and Richard Ford's rules of writing. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, charact...

Manon in Paris asked, "Why do some novels move us more than others?"  Here is the single best way to make our story unforgettable, a story that moves the reader.  Also, have we heard the advice, "Write what you know?"  It's bad advice, and here are thoughts on it. Support the show Buy the master class.

Edna Ferber was a master of character description.  Here are a few of her characters, and maybe we can pick up some of her skill.  Also, how many words a day do famous writers write, and how many words a day should we write?  And showing pain, as opposed to telling about pain. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes,...

Charlotte Bronte's novel Jane Eyre is a classic of western literature, a novel that endures and still hugely entertains because . . . it's so great.   (How that for being profound?)  Charlotte Bronte offers an important lesson for today's writers, and I'll talk about her lesson in this episode.  Plus, the trouble with prologues. Support the show Buy the master class.

Why are some novels so good?  One of the reasons is that the author is a master at setting descriptions.  How did Charlotte Bronte and Edna Ferber make their settings magical?  We'll talk about their techniques here.  Also, strong verbs versus weak verbs: how and why to choose the stronger action word. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot...

My first encounter with Mad Magazine, a life changer.  And dialogue techniques that can help make our characters' conversations fascinating. Support the show Buy the master class.