Episode 190 - The right way to leave red herrings.

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 endearing.  Also, here is how a master writer describes her settings.Support the show

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.  Support the show

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

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.Support the show

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

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.  Support the show

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

Is your writing time becoming a grind?  If so, here are some things that may reduce the grind and maybe even make  writing fun.  Also, here are thoughts on how we might write a sentence that is a timeless truth told in lovely language, an immortal sentence that will live forever.Support the show

We writers should consider giving readers what they want.  Well, what do they want?  Here is a discussion of the five things readers want in a novel.  Also: the dual timeline plot structure.  And F. Scott Fitzgerald's seven tips on writing.Support the show

Thoughts are interior, in our minds.  But there are ways to show--to give evidence--that reveal to the reader what our character is thinking.  Also, here is an important ingredient that many writers forget when describing a character.Support the show