Claim OwnershipFiction Writer's Toolshed: Practical Tools for Authors
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Description
Fiction Writer's Toolshed: Practical Tools for Authors is a hands-on training podcast that helps fiction writers of all skill levels build a repeatable skill set for finishing their work and writing consistently.
The show provides a clear, easy-to-use, proven roadmap for turning ideas into completed fiction. Whether you're drafting your first short piece, revising a work in progress, or struggling to finish what you start, we can help.
Each episode breaks down the writing tools, story techniques, and writer's troubleshooting skills fiction authors need to improve their craft, solve story problems, and build the habits required to write consistently. The goal is simple: help writers like you become productive authors.
Are you an aspiring fiction writer ready to learn how to translate the vision in your mind and heart clearly onto the page, again and again?
Are you a creative writer ready to stop fantasizing about stories and start finishing them?
This is your moment. It's time to learn the tools and skills to craft the stories you were destined to write, and become the author you dream of being. Welcome to the Writer's Toolshed.
This show is for you if you find yourself asking questions such as:
How do I actually start writing fiction?
Is my story idea good/original enough to be worth writing? (and what if someone else already did it?)
Do I really have to write every day to be a 'real' writer?
What does 'write what you know' really mean for fantasy / sci-fi?
What does 'show, don't tell' actually mean—and when is it okay to tell?
What software or tools should I use to write my novel? (Scrivener vs Word vs Google Docs vs longhand)
How do I beat writer's block instead of just staring at the cursor?
How do I write an entire novel without getting lost or giving up? (outlining vs pantsing, second-draft fixes, etc.)
How should I name my characters (and avoid cringey names)?
I finished my first draft! Now what the hell do I do with it? (cool-down period, big-picture edits, line edits)
How do I get useful feedback or beta reads—without getting shredded or ignored?
How do I actually get better as a writer? (beyond "read and write a lot.")
How do I stay organized—notes, timelines, worldbuilding, drafts, all of it?
How long should my book/short story be, and how do I handle word-count expectations?
How do I correctly format a manuscript so agents/editors don't bin it on sight? (Shunn format, fonts, margins, etc.)
Should I self-publish or go the traditional route?
How do I get an agent for my novel, step by step?
Where and how can I sell my self-published ebooks and print books? (KDP, Kobo, D2D, etc.)
Is it realistically possible to make a living as a fiction writer? (And what other writing jobs exist)
How do I know if my writing is any good—or if my novel is worth finishing? (Or "I'm writing my first novel and now I hate it, help")
What exactly is fiction writing, and how is it different from other kinds of writing?
What makes a character compelling instead of flat or cliché?
How important is setting, and how do I make my world feel real without drowning readers in description?
How do I come up with a strong plot instead of a bunch of random scenes?
What's the role of conflict in fiction, and how much conflict is enough?
How do I create suspense and tension without resorting to cheap tricks?
What is a plot twist, and how do I write one that feels surprising but not random?
How do I write realistic, interesting dialogue instead of wooden talking heads?
How do I end a story in a way that feels satisfying and earned?
What's a subplot and how do I weave subplots into the main story without losing focus?
What's the difference between literary and genre fiction in terms of how I actually write the book?
How long does it usually take to write a novel or short story (really)?
How do I build a writing habit and stay motivated when life is busy?
How do I overcome perfectionism and fear of failure on the page? (often framed as writer's block, but really mindset)
How do I revise efficiently without endlessly tinkering and never finishing?
How do I research for my fiction without getting lost in a rabbit hole? (history, science, police procedure, etc.)
How can I improve my writing style or voice? Can I even change my voice on purpose?
What's the difference between a short story and a novel in terms of structure and focus?
How do I decide between traditional publishing, small presses, and self-publishing?
How much money can I realistically expect to make from one novel?
How do royalties, advances, and rights actually work for fiction authors?
What are the most effective ways for a new novelist to find readers (without being spammy)? (mailing lists, social media, ads, etc.)
Do I need a platform or social media following before I publish my book?
How do I handle criticism and rejection without giving up?
How do I know when feedback is right vs when to trust my own instincts?
How do I deal with impostor syndrome—am I a real writer if I'm not published?
Is it ever too late to start writing fiction seriously?
How do I keep going when my first (or second, or third) book doesn't sell?
And many more.
The show provides a clear, easy-to-use, proven roadmap for turning ideas into completed fiction. Whether you're drafting your first short piece, revising a work in progress, or struggling to finish what you start, we can help.
Each episode breaks down the writing tools, story techniques, and writer's troubleshooting skills fiction authors need to improve their craft, solve story problems, and build the habits required to write consistently. The goal is simple: help writers like you become productive authors.
Are you an aspiring fiction writer ready to learn how to translate the vision in your mind and heart clearly onto the page, again and again?
Are you a creative writer ready to stop fantasizing about stories and start finishing them?
This is your moment. It's time to learn the tools and skills to craft the stories you were destined to write, and become the author you dream of being. Welcome to the Writer's Toolshed.
This show is for you if you find yourself asking questions such as:
How do I actually start writing fiction?
Is my story idea good/original enough to be worth writing? (and what if someone else already did it?)
Do I really have to write every day to be a 'real' writer?
What does 'write what you know' really mean for fantasy / sci-fi?
What does 'show, don't tell' actually mean—and when is it okay to tell?
What software or tools should I use to write my novel? (Scrivener vs Word vs Google Docs vs longhand)
How do I beat writer's block instead of just staring at the cursor?
How do I write an entire novel without getting lost or giving up? (outlining vs pantsing, second-draft fixes, etc.)
How should I name my characters (and avoid cringey names)?
I finished my first draft! Now what the hell do I do with it? (cool-down period, big-picture edits, line edits)
How do I get useful feedback or beta reads—without getting shredded or ignored?
How do I actually get better as a writer? (beyond "read and write a lot.")
How do I stay organized—notes, timelines, worldbuilding, drafts, all of it?
How long should my book/short story be, and how do I handle word-count expectations?
How do I correctly format a manuscript so agents/editors don't bin it on sight? (Shunn format, fonts, margins, etc.)
Should I self-publish or go the traditional route?
How do I get an agent for my novel, step by step?
Where and how can I sell my self-published ebooks and print books? (KDP, Kobo, D2D, etc.)
Is it realistically possible to make a living as a fiction writer? (And what other writing jobs exist)
How do I know if my writing is any good—or if my novel is worth finishing? (Or "I'm writing my first novel and now I hate it, help")
What exactly is fiction writing, and how is it different from other kinds of writing?
What makes a character compelling instead of flat or cliché?
How important is setting, and how do I make my world feel real without drowning readers in description?
How do I come up with a strong plot instead of a bunch of random scenes?
What's the role of conflict in fiction, and how much conflict is enough?
How do I create suspense and tension without resorting to cheap tricks?
What is a plot twist, and how do I write one that feels surprising but not random?
How do I write realistic, interesting dialogue instead of wooden talking heads?
How do I end a story in a way that feels satisfying and earned?
What's a subplot and how do I weave subplots into the main story without losing focus?
What's the difference between literary and genre fiction in terms of how I actually write the book?
How long does it usually take to write a novel or short story (really)?
How do I build a writing habit and stay motivated when life is busy?
How do I overcome perfectionism and fear of failure on the page? (often framed as writer's block, but really mindset)
How do I revise efficiently without endlessly tinkering and never finishing?
How do I research for my fiction without getting lost in a rabbit hole? (history, science, police procedure, etc.)
How can I improve my writing style or voice? Can I even change my voice on purpose?
What's the difference between a short story and a novel in terms of structure and focus?
How do I decide between traditional publishing, small presses, and self-publishing?
How much money can I realistically expect to make from one novel?
How do royalties, advances, and rights actually work for fiction authors?
What are the most effective ways for a new novelist to find readers (without being spammy)? (mailing lists, social media, ads, etc.)
Do I need a platform or social media following before I publish my book?
How do I handle criticism and rejection without giving up?
How do I know when feedback is right vs when to trust my own instincts?
How do I deal with impostor syndrome—am I a real writer if I'm not published?
Is it ever too late to start writing fiction seriously?
How do I keep going when my first (or second, or third) book doesn't sell?
And many more.
28 Episodes
Reverse
What does "kill your darlings" actually mean for fiction writers-- and how do you know which parts of your story should be cut? In this episode, I explore a problem with one of writing's most popular pieces of advice: and give you a solution that works well for me. I'll give you a way to decide. I also break down two ways you might notice a possible "darling" in the first place. Then I give you three questions you can use to test if something is a darling. Most importantly, I reverse the usual advice. This episode is perfect for you if you have questions like: * What does "kill your darlings" mean in fiction writing? * How do I know what to cut from my story? * How do I know if a scene belongs in my novel? * What should I do when beta readers dislike a scene I love? * How do I decide whether feedback means something should be removed? * Can a good scene still be wrong for the story? * How do I know what reader experience my story is creating? * Should every scene match the same tone or mood? * What if my favorite part of the story doesn't fit the rest? * When should I change the story instead of cutting the thing I love? * How can discovery writers decide what belongs after drafting? * How can I revise fiction without cutting the things that make it unique?
Robert E. Howard didn't tell Conan the Barbarian's life in chronological order. One story might find Conan as a young thief, another as an older adventurer, and another somewhere entirely different-- and somehow those gaps make his world feel bigger rather than incomplete. In this episode, I'm joined again by writer and editor Matt Click to talk about what Conan can teach fiction writers about writing stories and series out of order. We explore an approach I'm calling modular continuity: creating stories that work independently while still belonging to the same character, world, and larger continuity. Instead of filling in every step of a character's life, you can establish important anchors, leave open space between them, and write the adventures that interest you. Along the way, we talk about Robert E. Howard and pulp storytelling, why the Hyborian Age feels so enormous, Conan's surprising humanity and intelligence, The Tower of the Elephant, Savage Sword of Conan, Frank Frazetta-- and the extremely important question that started this entire conversation: Why does Conan rip so hard? Questions this episode explores: Can you write a fiction series out of chronological order-- and do it well? How do you keep continuity while leaving gaps in a character's timeline? What is modular continuity? How can standalone stories still feel like part of a larger series? Can leaving parts of your fictional world unexplained actually make it feel bigger? Why has Conan the Barbarian remained such a compelling character? What can fiction writers learn from Robert E. Howard's approach to serialized storytelling?
What makes your writing original when your story idea isn't completely new? In this episode, I explore why 'original fiction' isn't about having an idea nobody has ever had. I'll use Pokémon to show how influences can pass through one creator and become something new. Then I give you a simple exercise for finding the fingerprints already present in your own fiction. Most importantly, I make the case for why the fiction only you can write is worth making and putting into the world. In this episode, I answer questions like: What makes your writing original if your story idea isn't new? How do I know if my story is original enough? What truly makes one writer's work different from another's? Do fiction writers need completely original story ideas? How do your influences and personal experiences shape your writing? How can you use creative influences without feeling like you're copying? How can you find what is uniquely yours in your own writing? Why can two writers start with similar ideas and create completely different stories? Why does your individual perspective matter as a fiction writer? Why is the fiction only you can write worth finishing and sharing? --- Fiction Writer's Toolshed -- Episode 26
How do you write a scene that actually earns its place in the story? A scene can be well "structured", full of dialogue, conflict, action, or exposition and still feel like nothing happened. In this episode, we talk about how a scene is a specific sort of container, and how to fill it. You'll learn how to separate activity in a scene from real change, choose a change target, and use a simple "dial" to track what changes and by how much. This approach works for outliners and discovery writers, and it leaves room for slow burns, fast changes and even intentional stillness. Along the way, we'll use Robert McKee's Story as a jumping-off point and adapt and simplify the idea for prose fiction, comics, screenplays, and other forms of fiction. The question to carry back to your manuscript: What will be different because you spent the reader's time here? Questions this episode helps answer: How do you write a scene that actually moves a story forward? What is the purpose of a scene in fiction? How do you know whether a scene is necessary or earning its place? Does something meaningful have to change in every scene? How can outliners and discovery writers use the same scene-writing tool?
Trey Parker and Matt Stone's famous South Park writing rule is deceptively simple: if the beats of your story are connected by "and then," you may have a problem. Instead, they recommend building stories with "but" and "therefore," so one event causes or complicates the next. It's great writing advice. But how do you actually use it to fix a story? What's the formal tool? In this episode, I trace the idea from Parker and Stone's viral 2011 NYU writing lecture, to The Devil Wears Prada screenwriter Aline Brosh McKenna, all the way back to Aristotle's Poetics from 2000+ years ago. A chain to find a chain. Then we turn the principle into a practical fiction-writing tool: the Causal Chain Audit. If your novel, short story, or screenplay feels like a stack or 'gathering' of good scenes that somehow still isn't pulling you forward, this is a diagnostics tool you can use directly on your draft (and maybe even on your outline).
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