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.

Support the Show.

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.

Support the Show.

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.

Support the Show.

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.

Support the Show.

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.

Support the Show.

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 .

Support the Show.

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.

Support the Show.

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.

Support the Show.

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.

Support the Show.

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.

Support the Show.

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.

Support the Show.