Episode 169 - How to find a surefire plot.

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

Having readers fall in love with our character is so important, and making our hero an underdog is a good way to do it.  Here are thoughts on underdog characters.  Also, I'll read a few character descriptions from master story-tellers that may make us stronger writers.Support the show

Our story should be like a state fair: one thing after another.  Here are some ideas on state fair plotting.  Plus: settings shouldn't be inert locations in our novel or short story but rather should work for our story.  Here's how to get the most from our settings.  Also: my experiment with AI proofreading.Support the show