Essential Guide to Writing a Novel – Details, episodes & analysis

How can we make our character memorable for the reader?  How can we make the character leap off the page and stay in the reader's memory?  Here's how Sherwood Anderson did it.  And here are also character descriptions from another master, William Faulkner, showing us how to create big and bold characters.

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Readers want a character who can grow and change over the course of the story. Here is a discussion of the character arc: how we can use the arc to develop our character and the plot, giving the reader the big reward at the end of the story of a character who has met the moment with change.  Plus, here is how we can show (rather than tell) about a character's thoughts such as confusion and dread.

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.

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We writers should consider giving readers what they want.  Well, what do they want?  Here is a discussion of the five things readers want in a novel.  Also: the dual timeline plot structure.  And F. Scott Fitzgerald's seven tips on writing.

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How we dress our character will show--that is, to reveal--much about our characters to the reader.  Clothing is evidence of our character's personality, and a strong tool for us writers.   Also, Jack Bickham has solid advice on how to end our chapters.

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.

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Huge rewards for fiction readers are a character's emotions; love, fear, gratitude, respect, loathing, and many others.  Here are techniques on how to create emotions in our characters that will  be intensely rewarding for readers.  Also: an example of the rule of exceptions regarding likeable characters..

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In the last episode we talked about major dialogue techniques.  Here are smaller ones--but still important techniques--that'll make our dialogue shine.  And: how does the best-selling novelist Jonathan Franzen work?  We'll find out.

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Dialogue in fiction is fun to write and fun to read.  Here are seven techniques that'll help make our dialogue shine.  Also, why should we create a character readers hate?  Because those characters can be riveting, and are a strong element in the story.   Here are some famous examples from novels, not main villains, but rather secondary characters who make readers groan when they appear on the page.

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.

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Let's talk about stupid writing,  And: how to get our story going without over-explanation and back-story.  How John Updike and Frank Baum wrote.  And an encounter with Aphrodite in English 101.

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.

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Here is a list of the fourteen biggest mistakes we can make when creating our scene, and how to avoid them.  Also, we'll talk about how to avoid the dull tick-tock, tick-tock, tick-tock metronome beat when writing sentences.  And: showing rather than telling about a character's personality.

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Adding a close friend for our story's protagonist offers many benefits.  Here are some thoughts on buddies.  And: how did novelists Willa Cather and Nathaniel Hawthorne work?  Plus, techniques for avoiding interior monologue when our character is alone in the scene.  And: should we write the story that's loudest in our head or should we aim for the market?

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