What is a singular attribute that separates Oscar Wilde, Ernest Hemingway, and Edgar Alan Poe? Their literary voices. Here are thoughts on our own voices: if and how we should try to develop them. Also: the strong tool of contrast, when the character contrasts with the setting. 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—...
May 22, 2026•27 min
Writing is like learning the violin. We can get better. Here are reasons we should practice, and suggestions how to do so. And what sparked Edgar Alan Poe's imagination? Also: how much of our story should be scenes rather than summary? The answer: should fill our story with scenes that play out in real time in front of the reader like a movie. Support the show Buy the master class....
May 15, 2026•27 min
What's the problem with having a lot of characters in a scene? Aren't lots of people needed to make street scenes and party scenes and sports scenes and battle scenes credible? I'll talk about the problem of too many characters, and how we can fix the crowded scene so it doesn't lose focus. Also, a quick almost magical way to make our sentences stronger using the global search function on our computer. And lovely setting descriptions from Rachel Joyce. Here is a 20-episode master class on fictio...
May 08, 2026•27 min
How can we know if our scene pushes the story forward. Does our scene contribute to the story? The ratchet can test our scene. I talk about the ratchet and show how Cormac McCarthy and F. Scott Fitzgerald used it. Plus, a technique for searching for instances of telling in our manuscript so we can change them to showing. And C.S. Lewis's rules of writing. Support the show Buy the master class....
May 01, 2026•26 min
If we emulate famous authors, won't we get better at writing? Here are how some highly-skilled, best-selling authors write and live. Plus: the three dumbest pieces of advice for writers. And: George Orwell's rules of writing. 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...
Apr 24, 2026•26 min
How can we get readers to admire and respect our hero, maybe even to fall in love with him? Our hero can save the cat. Here is how the screenwriters' save the cat technique can apply to our novels. Also, best seller Lawrence Block on how we can use our pleasure reading to improve our fiction writing skills. Support the show Buy the master class....
Apr 17, 2026•26 min
Keeping a tight point of view is critical for our story. Here's how we can stay inside the mind of our main character yet learn what others in the scene are thinking. Plus, how John Grisham works. And: how we can reveal what a character is thinking through facial expressions. 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—al...
Apr 10, 2026•32 min
Sometimes writing can be a grind. Here are things that are fun while writing that'll give us energy and keep us at our desks and allow us to pour joy into our words. Also: we should avoid vanilla, meaningless word packages. And here's how Kate Chopin worked. Support the show Buy the master class.
Apr 03, 2026•26 min
Folks new to fiction may think because there are a million stories and dozens of genres, plots can be presented in any way imaginable. But successful plots have time-tested patterns, and these are discussed here. Plus, M.M. Kaye's lovely setting descriptions, so elegant her writing might be called the voice of magic. And: how the best-selling romance novelist Emily Henry lives and works. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dial...
Mar 27, 2026•27 min
How and why should we avoid our character traveling? And how does Orson Scott Card not make blunders in his novels? Here is his tool for having a mistake-free novel. Also: here is why our scenes--almost all scenes--should have some action, and how to write that action. Support the show Buy the master class.
Mar 20, 2026•27 min
Writing is magic. We type on a keyboard, and then the words we type create powerful images in readers' minds. Here is a discussion of our main tool for creating vivid images: detail. Which details, how to use them, and examples from a detail master, Jean Shepherd. And another angle: detail is as important in dialogue as it is in character and setting descriptions. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-l...
Mar 13, 2026•30 min
Sometimes an unreliable narrator can be great fun to create, and great fun to read about. Here are techniques for developing a protagonist the reader learns not to trust. Also, how can we avoid dull interior monologue and instead show readers what a character is thinking? Support the show Buy the master class.
Mar 06, 2026•26 min
Novelist John D. McDonald said he had more plot ideas than time to write them. That's not the case for most of us writers. We usually are in chronic need of more plot, more story. Here are techniques for inventing plot from James Scott Bell and Lester Dent. Also: vivid character descriptions from Jean Shepherd, showing us how to create unforgettable characters. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-leve...
Feb 27, 2026•31 min
Sometimes we are full of ambition to write. Yet we don't. We put off our writing, then put it off again. Why do we do that? And what can be done to get us in front of the keyboard? Here are thoughts on what we can do to get us producing. Also, powerful first sentences drop the reader into the story after the action is already underway. Here's how to do it, with examples from excellent writers. Support the show Buy the master class....
Feb 20, 2026•27 min
Some words don't add anything to a sentence other than confusion. Here are several modifiers that our story is better without. Also, is cutting ten percent of our manuscript a good goal when editing? What should we cut to reach that ten percent? 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 ...
Feb 13, 2026•28 min
Dialogue lets the reader become part of the story, as if the reader is standing next to the characters listening to them talk. Not all conversation between characters is equal: argument is the most engaging dialogue. An argument between characters in our story--the back and forth, the accusations and denials, the evasions and justifications--can be riveting. Here are thoughts on writing the big argument scene. Support the show Buy the master class....
Feb 06, 2026•26 min
Writing fiction is work but it doesn't need to be a grind. Here's how we can have fun while we write, things that'll give us a joyful kick, maybe even make us laugh. Also: the important technique of the mini-backstory, which reveals so much about our character in so little space. 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 clas...
Jan 30, 2026•27 min
Physics loves formulas: E=MC2. How about writing? Here is a formula for writing strong sentences, ones that are clear and have energy. Our setting and character descriptions can also benefit from a formula, one that shows how to engage the reader. That formula is talked about here, too. Support the show Buy the master class....
Jan 23, 2026•28 min
Do we have the skill to write a novel or short story? Here are early clues that may let us know. Also, top writers' ten best rules of writing. And J.R.R. Tolkien's techniques for writing fascinating settings. 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 do...
Jan 16, 2026•27 min
Sometimes in our story we'll have a scene filled with people where everyone is moving all at once, such as a battle scene or mob scene or festival scene or street scene. Here are techniques on crafting the scene so there's no confusion so readers can focus on the hero. Also, what is the rule of exceptions? And, can something bad happening to us make us better writers? Support the show Buy the master class....
Jan 09, 2026•28 min
Readers love dialogue, the chance to eavesdrop on the characters. Here is a good way to make that dialogue really worth listening to. Also, here are techniques that can tie our scenes together, which Jack Bickham calls transitions and sequels. In a story, what is a transition and what is a sequel? 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 minu...
Jan 02, 2026•27 min
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. Support the show Buy the master class....
Dec 26, 2025•24 min
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, characte...
Dec 19, 2025•26 min
One of the best ways to have readers like our story is to have readers like--maybe even love--our main character. But we usually don't want our protagonist to be a Pollyanna, always sweet and understanding. Rather we want to create a fully-formed character--maybe with some weird or off-putting angles, maybe some flaws and shortcomings--to make the character interesting and believable. Here's a technique to make sure readers will root for our main character even if the character isn't usually end...
Dec 12, 2025•29 min
We want to write but we don't have our story fully figured out. What can we do? Here are thoughts on inventing plot, things we can do to shake loose the plot from our brains. Also, the techniques of a master of character description: Margaret Mitchell. 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 availab...
Dec 05, 2025•26 min
Fiction's job is to entertain. A main way to entertain is to be bold with our plot. Here are thoughts on how to avoid the dull in our plot and how to create a story that keeps readers turning the pages. Also, how to invent strong metaphors and similes. And avoiding overly-precious, self-conscious writing. Support the show Buy the master class....
Nov 28, 2025•27 min
In fiction in all genres only trouble is interesting. How do we writers use trouble in our story? Here are thoughts on how we can plot using conflict, crisis, and resolution, a technique important for all genres. Also, should we use beta readers? And the add-a-quirk technique. 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—a...
Nov 21, 2025•26 min
When do we know enough writing techniques to start our novel? And when is the story ready to be written? I'll try to answer both questions. Also, how do great writers describe a character's appearance in ways that reveal the character's past and personality? Here's how masterful writers do it. Support the show Buy the master class....
Nov 14, 2025•25 min
Red herrings--false clues--are used in most all stories in all genres. Here are the right and wrong ways to insert red herrings into our stories. Also, here's how we can show--reveal--much about a character by describing 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, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time...
Nov 07, 2025•28 min
Kurt Vonnegut said we should "Start as close to the end as possible." What did he mean? How can we do so? Here are thoughts on this famous piece of advice from a legendary novelist. Also, avoiding the word "not" to give our sentences more energy. And Orson Scott Card on creativity. Support the show Buy the master class....
Oct 31, 2025•25 min
