What do Ernest Hemingway, Cormac McCarthy, and Elmore Leonard have in common? Powerful stories, yes. But also lean and forceful sentences. Here's how they do it. Also: in our plotting,what's an acceptable coincidence and what's a weak, story-ruining coincidence? Support the show
After months and month if writing, we'll near the end of our story. Our novel is almost finished. Here are things we should consider as we wrap up our story. Also, for many of us editing our own story isn't as fun as writing. Here are thoughts on how we can make sure we edit enough, and how we know when to quit editing. Support the show
Why should almost all of our story be scenes rather than summaries? Here's how we can avoid summaries and instead write moment-by-moment real-time scenes in our fiction. Also: here are perhaps the most beautiful sentences ever written in fiction. Support the show
The reader is like a camera as the scene unfolds. Where should that camera be? How far away from the characters and the action? Here are thoughts on authorial distance, about the benefits of placing the camera--the reader--near or far. Plus, how Charlotte Bronte worked. Support the show
Here are the most important fiction writing techniques boiled down to twenty-five minutes. I've talked about all these elements in prior episodes but sometimes it's useful to hear things again. This episode is a refresher. Support the show
We may be writing a comic novel or we may want to add humor to our thriller or romance or horror or literary novel. Humor adds a strong element to most any story. Joe Pesci as Tommy DeVito in Goodfellas: “Funny how? I mean, funny like I'm a clown? I amuse you? I make you laugh?" Well, yeah. Let's see how we can make readers laugh. Support the show
Good descriptions of characters should do double duty: they can let the reader know what the character looks like and the description can also suggest something about the character's personality. Here are examples and thoughts on double duty descriptions. Also, how Alice Walker works. Support the show
The title is the book browser's first impression of our novel. The title should tempt the browser to pick up and open the book. Here are thoughts on how we can give our story a strong, enticing title. Also, how do famous authors edit their own manuscripts? Maybe we can learn from them the best way to self-edit our stories. Support the show
We can write dialogue that makes readers laugh. Here are thoughts on creating funny conversations between our characters. Plus, we don't need to have our character look into a mirror to describe herself, which has been done time and again. Here are ways to avoid the mirror. Support the show
A story's first sentence should make the reader ask, "What's next?" They should propel the reader into the story. Here's how to do it right and how to do it wrongly. Also, three master writers show us how to describe a setting. Support the show
Dialogue is fun to write and fun to read. Our story should have lots of it. Here's a powerful thing dialogue can do: it can reveal (that is, to show rather than tell) what a character is thinking. The character's conversation can be lively and fun, and hearing the character speak is so much stronger than reading the character's mind. Here are thoughts on writing revealing dialogue. Support the show
The first pages of our novel should contain certain elements and avoid certain elements. Here's a list of things to include and exclude in those first pages. Plus, ways to write forceful, clear, and lovely sentences. Support the show
In these episodes I try to set out good writing advice but a lot of bad advice is out there, so here is a list of bad advice, and the list may help us avoid writing blunders. Here are also ten dialogue mistakes, and avoiding them likely means we end up with engaging and even riveting dialogue for our characters. Support the show
Here are techniques for keeping focus in a scene where there is a crowd, with an example from Harper Lee. And how Margaret Mitchell worked. Plus: how can we show rather than tell about a character's guilt or pride. Support the show
Stephen King says there is no idea dump we can visit to find a good plot. We have to create our own plots. How can we do so? Here's a discussion on creating plots. Also, if Meriwether Lewis of the Lewis and Clark expedition can learn to write, so can we. And the critical technique of using the active sentence form. Support the show
Does our story's first sentence cause the reader to ask, "What's next?" Or does the reader say, "So what?" Here are thoughts on creating a tense, sparkling first sentence. Also, how the masters use specific, definite, and concrete details to convince the reader. Support the show
Our setting descriptions should do more than describe a place. They can also show the reader much about our character. Here's how to do so. Also: what's the main thing our plot needs: trouble. Here's why. And how Edna Ferber worked. Support the show
Two mistakes can ruin our presentation of what our character is thinking: telling rather than showing, and interior monologue. Here are ways to present thoughts in a way that grabs the reader. Also, how Octavia Butler worked. And examples of wonderful character descriptions from masterful writers. Support the show
Sometimes the strongest writing technique isn't the strongest in our story. Every writing rule has exceptions, and here's a discussion on when to make exceptions. Also, how to create a strong title for our novel and short story. Support the show
We are learning fiction techniques, and we are or soon will be skilled fiction writers. Does this mean we should design our own book covers? Also, Michael Chabon's terrific sense of smell. And the use of details in the haunted house. Support the show
Jonathan Roseland
I'm currently working on a novel (about Biohacking, seduction, and philosophy), and, being my first foray into fiction, I don't want it to suck! So, I searched high and low for the best podcast about novel writing: this one, hosted by James Thayer, author of over ten books, is it! I've learned so much from him, like deleting every instance of "a bit" from my manuscript. What I love about the podcast is that he doesn't spend half the listener's time pitching VPNs, Better Help, or his Patreon. He just barely mentions his own books, which I do plan on picking up and reading. Talk about a go-giver! If you think you have a novel in you, listen to this podcast.
Frederick Gragg
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