Tweet I’ve talked before about Deborah Chester, the core professor of my Master of Professional Writing program at the University of Oklahoma. She’s a phenomenal teacher, and she consistently displays a deep understanding of the process of writing commercial fiction. That’s a skill worth having, believe me. She also teaches several classes on the undergrad […]
Tweet On Tuesday I interrupted a three-week introduction to the Kindle publishing phenomenon for a case study near and dear to our hearts: Courtney Cantrell’s Kindle publishing success story. Now, admittedly she’s no Hocking yet. She’s a success regardless. She has already sold well beyond her immediate circle of friends and family, and even out […]
Tweet In yesterday’s article I introduced the concept of sequels in classical scene structure. They act as a kind of transition, a moment of reflection, and (as I said at the end) they provide your protagonist with a critical opportunity to shine. I described the sequel as a progression: It starts with an emotional reaction […]
Tweet Last week I told you all about classical scene structure for novels. The core of it is that the scenes driving your story should always be tightly focused on a direct conflict between two characters, and the scene should end in catastrophe for the protagonist. One More Word on Catastrophe Now…there is a great […]
Tweet I started the week talking about writing 17,000 words in three days…and all the catastrophes that made it necessary in the first place. Then yesterday I talked about a new writing technique I’ve been studying in class that pushes a novel toward lots of conflict and catastrophe. Today I want to make the connection. […]
Tweet Okay, I’ve been mentioning my Master of Professional Writing program left and right, but I want to say up front that full credit for the information in this week’s and next week’s posts goes to Deborah Chester. She’s the professor teaching my Writing the Novel class, and a lot of these ideas come straight […]
