Essential Guide to Writing a Novel

The ending of our novel should be a surprise but not a complete surprise.  Here are techniques for crafting that balance.  And famous character descriptions can inspire us to create our own fascinating character portraits. Support the show Buy the master class.

If we are going to spend a year or two writing a novel, shouldn't we avoid a mistake in our very first chapter that ruins the novel's chances with agents and publishers?  Here's the mistake and how to avoid it.  Also mentioned are techniques on keeping the point of view tight. Support the show Buy the master class.

Dialogue is fun to write and fun to read.  What's the best way to mix dialogue with action?  How can we make sure dialogue and action work together to propel the story forward?  And how science fiction legend Ray Bradbury came up with his plots. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and...

Sometimes when plotting we run out of ideas.  Here's a good way to prime the plotting pump.  And more on qualifiers, the leeches that infest the pond of prose. Support the show Buy the master class.

No one in line to buy an autographed copy of your novel?  You are not alone.  The Wall Street Journal tells of famous authors who have suffered empty bookstores.  And techniques for fitting our narrative voice to our genre 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...

Dialogue is fun to write and fun to read.  Here is a strong technique to make our dialogue fascinating for readers.  Also, novel writing's rule of exceptions. Support the show Buy the master class.

We'll talk in this episode about another big mistake, one that will cause agents and editors to put aside our manuscripts after four or five pages.  Also, some dialogue is better than other dialogue, and so here are tips on writing fascinating dialogue. Support the show Buy the master class.

Dialogue that does only one thing might be inert.  Talk between our characters should do double duty, and here are techniques about how to write double-duty dialogue.   Also, how to avoid the as-you-know syndrome in dialogue. Support the show Buy the master class.

What's the one most important writing technique for novelists?  If we get it wrong it sinks our publishing chances.  We'll talk about how to get it right.   Also, how to add the charming or funny or odd trait to our character that will make him or her stick in the reader's mind. Support the show Buy the master class.

Can we know in advance if we have the talent to write a novel, before we spend the time and effort to write it?  Here are some thoughts.  Also, we can get better at close observing and phrase- making, and some techniques are discussed. 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.  Eac...

Here are techniques for creating fictional villains readers will love to loathe and fear.  We writers can make readers shudder when our scoundrels  appear. Support the show Buy the master class.

Readers want to fall in love with our characters.  Here are some techniques about how to create characters readers will be passionate about, and so will dislike seeing the novel end.  Also, some advice on handling minor characters. Support the show Buy the master class.

Some scenes are too much, and they may ruin a novel for readers.  What are they?  Plus, here are some good techniques for describing our characters, having our descriptions do double duty.  And don't forget the quirks. 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...

How can we know when we've prepared enough?  Is it time to start chapter 1?  Here's a list of eight things we probably should have figured out before we start our first chapter.  Also, how to show rather than tell about emotions and reactions. Support the show Buy the master class.

Some elements of a novel are more interesting than others, and some are less interesting.  Writers should give readers more of the involving and fascinating aspects, and here is a ranked list of those elements.  Also, a look at how three great writers describe their characters, and what we can learn from them. Here is a 20-episode master class on fiction writing—a start-to-finish course covering p...

Scene structure is an art hidden from the reader but critical for the success of a scene.  We'll talk about structure in this episode.  Also, here is one of the best ways to avoid mushy, colorless sentences that don't grip the reader. Support the show Buy the master class.

Should we as writers practice our craft?  What are the benefits, and how should we do so?  And here are more ideas about making clear to readers what our character is thinking.  Also, here are some laughably bad 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 is...

Here are eight signs that our plot isn't as interesting as we'd like, which is to say; it's dull.  And how to fix it.  Also, how do we carve out the time to write in our busy lives?  A good author reveals how she did it. Support the show Buy the master class.

We should show as opposed to tell most of the time.  But sometimes telling is fine.  Here is a formula for when to show and when to tell.   Also, we'll talk about techniques for clear and spare writing.  And the reason Great Expectations by Charles Dickens is my favorite novel.  And a wonderfully funny sentence from Lee Child. Here is a 20-episode master class on fiction writing—a start-to-fi...

Making a list of our favorite novels is fun and it can teach us something about writing, plus the strong technique of check-mark plotting. Support the show Buy the master class.

Plotting our story is so important that we return to it here.  How can we know what works and doesn't work in a story?  We'll talk about plotting techniques including good advice from a Pulitzer Prize winner. 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 focu...

Successful novels almost always follow a pattern, and we'll talk about the pattern in this episode.  Also, what put you in mind of writing fiction?  I'd like to hear from you about it.  And several more odd book titles. Support the show Buy the master class.

Vladimir Nabokov said a writer should have the enchanter quality.  Here are examples from H.P. Lovecraft.  And how does Nora Roberts work?  Also, showing rather than telling about the weather and personality.  And some John Lennon. 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 ep...

Formulas became formulas because they work.  Our genre will offer guidelines (formulas) for our plots.  And: titles are fun to think about but it's sometimes hard to invent a good one.  Here are some thoughts about coming up with a good title. Support the show Buy the master class.

Interior monologue and how to avoid it.  And more techniques regarding the critical skill of showing rather than telling.  And visits to John Steinbeck and Willa Cather. 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...