Essential Guide to Writing a Novel

Dialogue is like a Snickers candy bar: it's good.  Here are eight techniques for making conversations in our story engage the reader, things we should do and things we should avoid.  Also, how did Sue Monk Kidd handle her first rejection?  And Meg Cabot on how to keep going so we finish our story.
Support the show
Buy the master class.

The shark.  Dracula.  Draco Malfoy.  Cathy Ames.  Annie Wilkes,  Hannibal Lecter.  Jadis the White Witch.  Aren't these villains masterful creations, and don't they keep readers glued to the story?  Here are ideas on how we can create wonderful--is that the right word?--villains.  Also, we can keep our first-person narrator from being off-puttingly self-referential.
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.

Every element of our story should add interest, including the settings.  What if--because of the plot or characters--we must place a scene in an otherwise dull place?  We can juice it up.  We can make it lively and fascinating.  Here is how the masters do it.  
Support the show
Buy the master class.

Every element in our story should contribute to entertaining the reader including our settings.  We can replace our dull settings with fascinating locations, and here's how to do it.  Also: what's wrong with this sentence?  Running along the street, the purse bounced against her leg.  It's a funny dangling modifier.  Funny if it doesn't appear in our story.  Here are thoughts on dangling modifiers, and how to avoid them.  Plus, the rule of exceptions.  
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.

Almost all successful fiction writers are close observers.  We can teach ourselves to be close observers, and use those observations in our characters and settings.  And here are examples of close observations from the masters, those small details that bring their stories to vivid life.
Support the show
Buy the master class.