What if we get the sense that our story is a trope, that the plot is a cliche, that it's been done before?  Here are thoughts on cliched stories.  Also, Christopher Vogler's twelve steps for plotting our story.

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Classic novelists knew the strong technique regarding plotting and it's a terrific lesson for us: go big or go home.  And what if we want to ignore a proven technique?  And: thoughts on a character's stream of consciousness thinking.  Also, how to avoid overthinking our writing project.

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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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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.

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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.

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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.

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We writers may never know to whom our words will have a profound meaning.  Plus, the importance of cause and effect.  And the perils of interior monologue.

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Should we show friends and family our manuscripts as we compose them?  Good reasons for and against exist.  The key to vivid writing: be specific, definite, and concrete.  Plus, famous romantic lines, avoiding useless analogies, and a technique for vivid writing: using verbs rather than verb objects.

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What should we look for when editing our own manuscript?  How do famous authors do it?  What should we look for as we edit?  This episode discusses the editing process, the good and bad of it.

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Topics of earlier episodes are boiled down to sixteen points, and we'll talk about them briefly.  Also, here are some things we can do to make our sentence-by-sentence writing more pleasing to readers' eyes and ears.

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How can we shake loose from our brains plots for our novels?  Here's my favorite way.  Plus, benefits and perils of writing with a partner.  More on accents.  And avoiding adverbs, which are not a writer's friend.

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Why don't we begin our novel?  Here's a reason, and a way to avoid it.  Plus, we'll talk about qualifiers and intensifiers, the leeches of language.  And some thoughts on profanity and slang.  And why age benefits novelists.

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Many adjective and adverb s do nothing but pad a sentence, making the sentence rickety.  Here are some techniques on avoiding these useless or unintentionally funny modifiers.  Plus, some words are just too much.  We'll avoid these, too.

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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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In this episode we focus on sentence-by-sentence writing.  How can we make our sentences vivid and powerful?   Some strong techniques are discussed, such as avoiding cliches like the plague.

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Our writing should be a clear window to the story, and a technique is to, in Einstein's phrase, keep it simple but not too simple.  Here are some techniques for doing that, along with a discussion of metaphors and similes.

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As writers, should we be concerned with a themes for our stories?   And a critical question: are writers allowed to be weird?  We'll also return to the need for early conflict in our stories, and then go on to discuss vivid writing.

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Our setting -- the place and time of the scene -- anchor our characters the the ground.  Here are techniques for writing our settings to get the most from them, so that they play a strong role in the story.

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Our topics this episode are how to avoid breaking the fourth wall, onomatopoeia (clunk, thud, kersplat), and techniques on ending the novel.  We'll also talk about some bad writing, really bad writing.

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Dialogue is so important to our stories that we'll talk more about it here.  Then we'll move on to foreshadowing--including the Chekhov's famous gun--and coincidences., where one is fine but two are not.

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A fictional character's dialogue sounds like a person speaking in real life, but not too much like a person speaking in real life.  In this episode we'll talk about dialogue techniques that draw the reader into the story.

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Here are techniques to control our point of view so that our story doesn't have a dizzying quality as the reader jumps from one character's mind to another character's mind.  We'll also discuss a writer's narrative voice.

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The difference between showing and telling is so important that we continue with it in this episode, including the technique of saving it for later.  Plus, we'll talk about the grammatical person.

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We'll talk about the most critical skill for vivid writing, showing versus telling.  Showing reveals.  Telling explains.  Showing is almost always more involving for the reader, and we'll discuss how to show rather than tell..

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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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We'll discuss the difference between summary and scene., and why writing scenes rather than summaries is so important.  Point of view will also be briefly touch on, along with techniques on how to end a scene  Rhythmic placement of scenes is also a topic in this episode.

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Crafting a scene involves mechanics hidden from readers.  Here are techniques that lead to the success of a scene: ways to grab the reader, immerse him or her in the scene, and then launch the reader into the next scene.  

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How can we create compelling villains and lovable and maybe eccentric sidekicks?  How many characters should we put in a scene?  How about basing a character on a friend or relative?  And are there tips for naming our characters?  Learn these techniques and more ini this episode.

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Characters in fiction come in a huge variety, and creating characters involves techniques that discussed in this episode.  There are reasons we find Scout Finch and Hermione Granger and Jack Aubrey and Katniss Everdeen so compelling, and let's find out why.

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We'll talk about how to keep the reader involved in  the story, how to move a plot forward.  And we'll discuss one of my favorite topics: the novel's first sentence.

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Is there an idea dump where we can find a fresh plot for our novel or a strong plot point for the next chapter of our novel?  No, but good methods exist to develop plots, and that's the topic of this episode.

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Getting ready to start a novel.  Drafting a  a plan (timetable).  An outline (pros and cons).  Other useful pre-writing and during-the-writing documents.  Recommendations for a novel's length.

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Follow the rules.  Go with what works to increase our chances of getting published.  Writing can be learned.  And if we know how to write, we can get better.  A critical ingredient: persistence.  One negative thing about learning to write.  Leaning to concentrate.  And a technique about weeping.

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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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Details are proofs, evidence offered to the reader about our story.   Details will make our fiction engaging and will allow the story to grab readers.  But there are right and wrong ways to use details, and we'll talk about the difference.  Also, how should we handle back-story, politics, and society in our story?  And a goofy pop quiz.

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For most of us our sentence-by-sentence writing should be a clear window to our story rather than a barrier to seeing the story.  Here are thoughts on the clear window.  Also, how George Orwell worked.

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What are the advantages and disadvantages of writing in the present tense?  And the past tense?   Also, a reminder about the importance of setting.  And I get on my high horse about writers needing persistence regarding submissions.

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It's hard to make a big meeting scene interesting.  Much of the time meeting scenes should be avoided.  But if we must have a meeting, showing rather than telling will make it more interesting.   Plus, how Carson McCullers worked.  And some comments from feuding writers.  Also, an interview with Maeve Binchy.

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Good advice about designing your own book cover; don't.   If you self-publish your novel don't ruin it with a do-it-yourself book cover.   Here are thoughts on why you should hire a pro designer.  Also: why have we lost some enthusiasm for writing our novel, and how can we get it back?   And some of the loveliest sentences in literature.

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Some of us have a hard time beginning the writing of our novels or short stories.  Here are the reasons why and things we might do to overcome them.   Also, the best first sentences in literature.  And now novelist John Cheever worked.

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When can a book coach help us and when can a coach not help us?  Here are thoughts on book coaches.  Also, the master George Orwell on describing a character.  Plus, improving our sentence-by-sentence writing by 1) showing, 2) offering details, and 3) avoiding summary words: three big techniques in one.

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We can avoid inert paragraphs by having our descriptions do more than one thing at once.   Descriptions of our characters, settings, and action and our dialogue can do double duty--two things at the same time--which will engage the reader and enliven our story.   Here's how .

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Should we categorize our novel as literary or commercial?  What are the benefits and drawbacks of doing so?  Also, we can improve our dialogue writing by reading great crime fiction.  And: the importance of avoiding filters.

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Jack Bickham says that scenes should be followed by sequels.  Here are thoughts on how to write a sequel.  Also, the middle of a novel--sometimes called the Great Swampy Middle--can be hard to plot.  We'll discuss techniques on bulking up the middle of our story.

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What is the best way to plot our novel, plotting from scene to scene?  Here is a discussion of the critical technique of avoiding a scene's set up and wind down.  Also, I took part in a writing experiment and spectacularly failed, and here is an account of it.  I still wince when I recall it.  Also, a strong writing technique is avoiding "was" and "were."  We'll discuss why and how to do so.

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What if we are stymied in our plotting, and can't think of enough story?  Here are some thoughts on how we might get to work.   Also; one of the best ways we can reveal our characters to readers is with the characters' own words, with their dialogue.  Here are some thoughts on showing--as opposed to telling--with dialogue.  Also, this episode contains the words "oaf," "poltroon," and "knucklehead," such words being like salt; they make anything better.

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We writers get to experience the joy of creating something--a character, a setting, an event--out of nothing.  And, how can we tell if the new plot point we've come up with is any good?  Are there questions we can ask ourselves to test our new plot point?  Also: who are the most memorable villains in fiction?  Here is Stephen King's list.  And here is something technical; how to paragraph dialogue.

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Most of us subscribe to the our-words-should-be-a-clear-window-to-the-story technique but some writers intentionally make their sentences beautiful so that we think about the words on the page.  Here are some thoughts on writing beautiful sentences.  Also, how can we pump up our creativity so as to get us off the dime regarding our plotting?  And Edna Ferber's striking character descriptions.  

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A phrases notebook is a remarkably useful tool for writers.  Here's how to create one.  Also, sometimes while writing we might get the feeling that our plot is becoming aimless and that it is bogging down.  We'll list questions we can ask ourselves to determine if it's true, and how to fix the problem.

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Can we writers get into a mental state called the flow or the zone, then write 40 pages?  Maybe.  Here's how.  And: our fiction might someday change people's lives.   Also, showing--as opposed to telling--negative emotions such as disgust.  And a monkey in Thailand.

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