Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot, including: Techniques for crafting strong beginnings, middles, and endsEasy-to-understand plotting diagrams and chartsBrainstorming techniques for original plot ideasThought-provoking exercises at the end of each chapterStory structure models and methods for all genresTips and tools for correcting common plot problemsFilled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, "Write Great Fiction: Plot & Structure" gives you the skills you need to approach plot and structure like an experienced pro.

    Let’s just go ahead and call that, “25 bonus tips,” shall we? Boom. Value added.)The book features sections such as:“The Transubstantiation of Trope,” “Why Bad Decisions Are A Good Decision,” “Nobody Sees Themselves As A Supporting Character,” "I Want To Buy The Semi-Colon A Private Sex Island," and “Plot Is Promise.”Contained within are things you should know about plot holes, self-publishing versus legacy publishing, "on-the-nose" dialogue, story versus plot, metaphors, copy-editing, killing darlings with a claw hammer, cursing like an undead pirate, and generally being a cranky and irreverent creative type.

    You’ve heard of “organic writing,” but that seems a bit squishy to you. Take a look at the wildly popular Snowflake Method—a battle-tested series of ten steps that jump-start your creativity and help you quickly map out your story. All around the world, novelists are using the Snowflake Method right now to ignite their imaginations and get their first drafts down on paper. In this book, you’ll follow the story of a fictitious novelist as she learns to tap into the amazing power of the Snowflake Method. Almost magically, she finds her story growing from a simple idea into a deep and powerful novel. And she finds her novel changing her—turning her into a stronger, more courageous person.Zany, Over the Top, and Just Plain FunHow to Write a Novel Using the Snowflake Method is a “business parable”—a how-to guide written in story form. It’s zany. It’s over the top. It’s just plain fun. Most important, it’s effective, because it shows you, rather than telling you.You’ll learn by example how to grow your story idea into a sizzling first draft. You’ll discover:* How to define your “target audience” the right way, so you know exactly how your ideal readers think and feel. Forget what the experts tell you about “demographics.”* How to create a dynamite selling tool that will instantly tell people whether they’ll love your story or hate it. And you want them to either love it or hate it.* How to get inside the skin of every one of your characters—even your villain. Especially your villain.* How to find a deep, emotively powerful theme for your story. Do you know the one best point in your novel to unveil your theme—when your reader is most eager to hear it?* How to know when to backtrack, and why backtracking is essential to writing great fiction.* How to fire-test each scene to guarantee it’ll be high-impact—before you write it.Excerpt from Chapter 1:Goldilocks had always wanted to write a novel. She learned to read before she went to kindergarten. In grade school, she always had her nose in a book. In junior high, the other kids thought she was weird, because she actually liked reading those dusty old novels in literature class. All through high school, Goldilocks dreamed of writing a book of her own someday.But when she went to college, her parents persuaded her to study something practical. Goldilocks hated practical, and secretly she kept reading novels. But she was a very obedient girl, so she did what her parents told her. She got a very practical degree in marketing. After college, she got a job that bored her to tears—but at least it was practical.Then she got married, and within a few years, she had two children, a girl and then a boy. She quit her job to devote full time to them. As the children grew, Goldilocks took great joy in introducing them to the stories she had loved as a child. When her son went off to kindergarten, Goldilocks thought about looking for a job. But her resume now had a seven-year hole in it, and her practical skills were long out of date. The only jobs Goldilocks could qualify for were minimum wage.She suddenly realized that being practical had made her horribly unhappy. On a whim, Goldilocks decided to do the one thing she had always wanted more than anything else—she was finally going to write a novel.She didn’t care if it was impractical.She didn’t care if nobody would ever read her novel.She was going to do it just because she wanted to.For the first time in years, she was going to do something just for herself.And nobody was going to stop her.

    From story concept to character development to scene construction and beyond, this title helps you learn the big picture of storytelling at a professional level through a fresh approach that shows how to combine six core competencies: the four elemental competencies of concept, character, theme, and story structure (plot).

    You should never quit your day job, but your ultimate goal should be to quit your day job. It's an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it's really like to make art in a world that runs on money-and why it matters.

    The Marshall Plan technique is the industry’s #1 go-to novel-writing method for anyone who wants to write a commercial novel—fast.In this unique guide, agent, editor and novelist Evan Marshall provides an easy-to-follow plan which simplifies the complex process of designing and writing successful commercial fiction. Now revised, this book includes these topics: Choosing the perfect genre for you. Shaping your story idea . . . with Hollywood in mind. Developing strong main characters for your story. Word-length ranges for the most popular fiction genres and subgenres. NovelMaster, which takes the guesswork out of structuring your novel. How to interweave plots and subplots. How to lay out all of your novel’s scenes. Mastering the five fiction-writing modes. How to handle story research so it doesn’t slow you down. 50 easy-to-implement fiction-writing techniques from the pros. A complete manuscript self-editing guide. How to format your manuscript for submission. How to approach agents and editors. Developing a fiction proposal, including the long and short synopsis. Self-publishing your novel. REVIEWS OF THE MARSHALL PLAN FOR NOVEL WRITING3.7 average rating, 440 ratings, 55 reviews, added by 954 people, 336 to-reads, 87% of people like it—Goodreads4.1 out of 5 stars (88 customer reviews)—Amazon“A down-to-earth approach to completing a novel.” —Boulder Planet“The Marshall Plan for Novel Writing is a master plan for aspiring novelists. Evan Marshall is brilliant.” —Bobbi Smith, New York Times bestselling author“A comprehensive manual to writing a novel for all writers—from the beginner to the more advanced looking for polishing tips. Savvy and concise.” —Bill Contardi, literary agent“Finally, a practical how-to manual for all aspiring authors, written with wit and wisdom. A delightful read!” —Maureen Walters, Vice President, Curtis Brown Literary Agency“An invaluable tool for the aspiring novelist. An upbeat, easy-to-follow guide that takes the mystery out of writing.” —Alicia Condon, Editorial Director: Fiction, Kensington Publishing“Evan Marshall has the scoop on making book—from beginning to end and everywhere in between.” —barnesandnoble.com ABOUT EVAN MARSHALL Evan Marshall is president of The Evan Marshall Agency, an independent literary agency which specializes in adult and young-adult fiction. He has held senior positions at Houghton Mifflin, Ariel Books, New American Library, Everest House and Dodd, Mead, where he acquired national and international bestsellers. The Marshall Plan For Novel Writing is now in its 4th edition. Evan is the author of 10 commercially published mysteries including Manhattan Mysteries and Jane and Winky Suburban Sleuths series, named “Miss Marple Lite” by Kirkus Reviews. His novels appeal to fans of Janet Evanovich, Lilian Jackson Braun, Agatha Christie and Alexander McCall Smith. To learn more about The Evan Marshall Agency, please visit www.evanmarshallagency.com. Visit his author page at www.evanmarshallbooks.com.

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    No more interruptions. No more feeling you're not good enough to be the writer you long to be. No more conflicts with family. No more writer's block. Awareness + Solution = Mind Hack Rather than "feel good inspiration", 47 Mind Hacks for Writers takes you through the simple steps you need to shift your mindset so you can write on your terms.We asked over 100 writers what their biggest obstacles were around writing. This book gives you a mind hack for each one. DISCOVER 47 Mind Hacks that Will Make You a More Productive Writer The book will help you: Put an end to writer's block… forever Uncover the real reason you're procrastinating and start writing today Discover a fun way to get your family to help you reach your writing goals Stop feeling like you're not good enough Shut down the overly-critical self-talk that holds you back Karen & Steve Dimmick have been using belief change techniques, coaching and Neuro-Linguistics since 2004, and have been helping authors since 2007.You know what life hacking is, now it's time to hack your mind, get out of your own way and be the writer you know you can be. DOWNLOAD 47 Mind Hacks for Writers, today, and get back in control of your writing life!

    The official companion to the documentary Showrunners, this highly informative book features exclusive interviews with such acclaimed and popular showrunners as Joss Whedon, Damon Lindelof, Ronald D.Moore, Terence Winter, Bill Prady, Shawn Ryan, David Shore, and Jane Espenson.

    If an editor or agent (or reader) loses interest after a page or two, you've lost him or her completely, even if the middle of your novel is brilliant and the ending phenomenal. Noah Lukeman, an agent in Manhattan, has taken this advice and created a book that examines just what this means, and I have to tell you, it's one of the best I've read. I've written (and seen published) pretty close to a dozen novels in as many years -- some are still to be published and will be out shortly; others are already out of print after four years. But I wish I had read Lukeman's book, The First Five Pages, when I began writing fiction. I'm glad I did now. It has helped, immediately. I'm already embarrassed about some of the goofs I made in my writing -- and I've been revising recent prose with his advice in mind. First off, Lukeman is a literary agent who once was an editor, and his editorial eye is sharp. If every novelist and short story writer in this country had Lukeman as an editor, we'd have a lot more readable prose out there. He writes: Many writers spend the majority of their time devising their plot. What they don't seem to understand is that if their execution -- if their prose -- isn't up to par, their plot may not even be considered.This bears repeating, because in all the books I've read on writing, this is an element that is most often forgotten in the rush to come up with snappy ideas and sharp plot progressions. You can always send a hero on a journey, after all, but if no reader wants to follow him, you've wasted your time. In a tone that can be a bit professorial at times, Lukeman brings what prose is -- and how it reads to others -- into sharp focus. He deals with dialogue, style, and, most importantly, sound. Sound. How does prose sound? It must have rhythm, its own kind of music, in order to draw the reader into the fictive dream. Lukeman's tips and pointers are genuinely helpful, and even important with regard to the sound of the prose itself. Lukeman also brings in on-target exercises for writers of prose and the wonderful advice for novelists to read poetry -- and often. Those first five pages are crucial, for all concerned. But forget the editor and agent and reader. They are important for you, the writer, because they determine the sharpness of your focus, the completeness of your vision, the confidence you, as a writer, need to plunge into a three- or four- or five-hundred-page story. The First Five Pages should be on every writer's shelf. This is the real thing.P#151;Douglas Clegg Douglas Clegg is the author of numerous novels and stories, including The Halloween Man and the collection The Nightmare Chronicles. In addition, Clegg is the author of the world's first publisher-sponsored Internet email novel, Naomi.

    And the secret phrase is this:NOBODY WANTS TO READ YOUR SH*T. Recognizing this painful truth is the first step in the writer's transformation from amateur to professional. From Chapter Four: “When you understand that nobody wants to read your shit, you develop empathy. You acquire the skill that is indispensable to all artists and entrepreneurs—the ability to switch back and forth in your imagination from your own point of view as writer/painter/seller to the point of view of your reader/gallery-goer/customer. You learn to ask yourself with ev­ery sentence and every phrase: Is this interesting? Is it fun or challenging or inventive? Am I giving the reader enough? Is she bored? Is she following where I want to lead her?"

    As a child, he had to take a remedial reading and writing class because he could barely write a full sentence. One editor told him his book would never be published.And yet Bryan is now a bestselling author whose books have been read by over 100,000 people and the book the editor said would never be published has been praised publicly by the foremost experts in the field.All writers doubt their ability. But Bryan's story shows doubt doesn't have to define your writing future.

    The bestselling grammar book has been updated and revised to include the latest and greatest on the basics and subtleties of English, and features a new chapter on the language of the Internet.

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    Now what? How do you turn this raw material into finished stories, essays, poems, novels, memoirs? Drawing on her own experience as a writer and a student of Zen, Natalie shows you how to create a field big enough to allow your “wild mind” to wander — and then gently direct its tremendous energy into whatever you want to write.Here, too, is invaluable advice on how to overcome writer’s block, how to deal with the fear of criticism and rejection, how to get the most from working with an editor, and how to learn from reading accomplished authors. With humor and compassion, Goldberg recounts her own mistakes on the way to publication — and how you can avoid the most common pitfalls of the beginning writer. Through it all there is a deep celebration of writing itself — not just as the means to an end, but as a path to living a deeper, more fully alive life.