This page has resources to help you with fiction writing.
This infographic provides a quick reference guide that you can use to help you get started with narrative writing.
8 Tips on How to Write a Good Short Story
by Kurt Vonnegut
The Art of Describing Characters
by Gillian Haines
Fiction-Writing Checklists
12 Writing Fiction Checklists by Darcy Pattison
The Great Novel-Writing Checklist by K.M. Weiland
Show Characters Getting from Point A to Point B
(Jumps in Space and Time)
by Nathan Bradsford
Story Cloud
(from Anna Barr, adapted from Shaping the Story by Mark Baechtel)
Purpose-Oriented Writing Exercises from Craft in the Real World by Matthew Salesses
Place & Mind
Writing Exercise from Anna Barr
Triangulation for Character Development in Narrative
The Creative Writing Prompts page includes writing prompts, workshop lessons, and writing exercises.
34 CliftonStrengths Themes reference card PDF
How to Write Captivating Characters by John Claude Bemis Authors Publish lecture (1 hour) - slides
How to Write Captivating Side Characters Authors Publish lecture by Cat Rambo (1 hour)
Plotting: Conflict, Complication, Curiosity, and Connection from Andrew Wille Writing Studio
100 Timeless Plot Archetypes by Nathan Baugh on Medium
Narrative Structure: What Are the 7 Basic Plots by Bethan McGloin on Knowadays
7 Basic Plot Archetypes slideshow with examples
The Seven Story Archetypes one page reference PDF
Writing Believable Dialogue from Authors Publish
Dialogue Punctuation 101 from Suzanne McConnell, coauthor of Pity the Reader: On Writing with Style
List of Tropes from TV Tropes
The Importance of Trope Awareness by Emily Harstone from Authors Publish
Literary Fiction vs. Genre Fiction by Sean Glatch on Writers.com
Literary vs. Genre Fiction by Diane Callahan on Medium.com
A Better Way to Think About the Genre Debate by Joshua Rothman in The New Yorker - the collapse of genre
Tips from Nathan Bransford, fiction writer and editor:
Narration: The reader needs a good proxy in a novel
More writing tips & techniques
Turning Off the TV in Your Mind by Lincoln Michel
Strategic Opacity based on Between the Covers Podcast lecture “Tin House Live: Torrey Peters on Strategic Opacity” (1 hr)
Writing Fiction: When to Consider Summary Authors Publish article by Sherry Shahan
Writing Effective Flashbacks: Seamlessly Integrating Backstory Authors Publish article by Sabyasachi Roy
Flash Fiction
Build Your Writing Career and Platform with Snap, Dash and Flash by Lynne Curry in Authors Publish
Whodunits, Cozies, and More: A Mystery Sub-Genres Primer on Book Riot
Mystery Subgenres: 60+ Immersive Fiction Subgenres on Self-Publishing School
21 Popular Mystery Tropes for Writers from Writer's Digest
All about creating mysteries in a novel
Writer's Toolbox from Gotham Writers includes:
Ask the Writer - Pressing and perplexing questions answered by our writing expert.
Author Q&A - An exclusive collection of Q&As with illustrious authors.
Character Questionnaire - Questions that will help you get to know your characters better.
Faculty Articles - Great writing advice from members of the Gotham faculty.
Resources/Reading Lists - Recommended books, publications, works, and websites.
Tips from the Masters - Pearls of wisdom from masters of the craft.
NaNoWriMo - nonprofit organization that provides tools, structure, community, and encouragement to help people find their voices, achieve creative goals, and build new worlds — on and off the page. November is the official "NaNoWriMo" (National Novel Writing Month)
11 Books on Writing for Your Post-NaNoWriMo Slump from Barnes & Noble blog
What Novelists Should Do After Rejection by Emily Harstone from Authors Publish
From the Blank Page to a Self-Published Novel by Amy Glin from Authors Publish
Is Your Manuscript Reader-Ready? Your Query Can Tell You! by Julie Artz from Authors Publish
Notes on Writing a Novel by Elizabeth Bowen
How to Write a Dynamic Act One from Authors Publish (2023)
Pity the Reader by Suzanne McConnell and Kurt Vonnegut
Process: The Writing Lives of Great Authors by Sarah Stodola
From Where You Dream: The Process of Writing Fiction by Robert Olen Butler
The Science of Storytelling by Will Storr
On Writing: A Memoir of the Craft by Stephen King
Refuse to Be Done by Matt Bell
The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby
Ron Carlson Writes a Story by Ron Carlson
In this lecture from Authors Publish, Emily Colin explains how to write opening pages that engage readers and publishers.
How to Write a Dynamic Act One from Authors Publish (2023)
In this lecture from Authors Publish, Madeline Dyer outlines several different types of narrative structures and shares resources for learning more about each.
The webpage includes the video and a link to the lecture slides.
In this lecture from Authors Publish, Nev March explains how to write a story that has multiple layers. Includes tips for how to create a plot outline and keep track of subplots in a spreadsheet.
The lecture webpage includes the video and a link to the lecture slides.
Jeremy Bursey discusses the craft book Mastering Plot Twists by Jane Cleland, including the ideas of twist, reversal and danger.
Bursey also has a blog Drinking Cafe Latte at 1pm that features articles and information on craft books he has reviewed as part of his The Writers Bookshelf series on YouTube.
How to Keep Readers Glued to Every Page of Your Book with Microplotting - lecture by John Claude Bemis presented by Authors Publish
Each scene in a novel should do one of two things: advance the plot or deepen understanding of the characters
Example & Tips for Advancing the Plot: 08:50 - 20:05
Identify what emotions the reader may feel
Example & Tips for Deepening Understanding of the Characters
5 character questions to keep in mind when structuring a scene: 31:08 - 45:52
What does my character want?
Why can't they get it?
What will they do about it?
Why doesn't it work out?
How will it end?
In this Authors Publish lecture, Emily Colin explains how to structure a story in which plot and character work together in an engaging narrative.
In this Authors Publish lecture, Cat Rambo explains multiple techniques for creating immersive worlds.
Cat Rambo's Writing Exercises
Author's Publish lecture page with video and link to writing exercises
In this Authors Publish lecture, Emily Colin explains how to revise a fiction manuscript. Her lecture and slides also include helpful tips to think about while writing a draft.
Lecture webpage with video & slides
notes from A Swim in a Pond in the Rain by George Saunders (119-164) -- using example short story "The Darling" by Anton Chekhov
Specifying character traits can also set up plot: "once a specific person has been made (via facts, characterization), we then know, of all the many things that could happen to her, which would be meaningful... in specificity lies nascent plot... 'good writerly habit' might consist of continually revising toward specificity, so that specificity can appear and then produce plot (or, as we prefer to call it, 'meaningful action')." (142)
Establishing a pattern in a story (with slight variations) is one way to create and use/exploit reader expectations: "the pattern, as patterns tend to do, creates a series of evolving expectations." (148)
Authors Publish Lecture by Emily Harstone
How to Revise for Publication: Getting Your Creative Writing Ready to Be Published from Authors Publish
2024 Guide to Manuscript Publishing: No Agent Required from Authors Publish
2024 Guide to Manuscript Submission: How to Find a Traditional Publisher for Your Book, 6th Edition from Authors Publish
See entire Brian Sanderson 2020 Creative Writing Lectures at BYU playlist - 14 videos, 60-75 minutes each
My Philosophy on Teaching Writing (2 mins)
Intro
Plot Part 1 & 2
Viewpoint & Q&A
Worldbuilding Part 1 & 2
Short Stories
Worldbuilding Q&A
Characters Part 1 & 2
Character Q&A
Publishing Part 1 & 2
Plot Part 2 video (1hr 10 mins):
On discovery writing vs. plot outline
Explanation of a plot outline
Authors Publish lecture by Wendy Chen
Authors Publish Lecture by Ley Taylor Johnson
Watch the Video (1 hour) & download the slides
Book: How to Write a Dynamic Act One: A Guide for Novelists from Authors Publish
Authors Publish Lecture by Ley Taylor Johnson
Watch the Video (1 hour) & download the slides
Book: How to Write a Compelling Act Two: A Guide for Novelists from Authors Publish
Narrative Voice: storytelling voice; "non-dialogue storytelling that communicates description, action, thought processes, and context to the reader in a manner that’s infused with the anchoring character/POV’s personality"
from What is "Narrative Voice?" by Nathan Bransford
Literature Discussion Notes - Narrative Voice (Google Form)
Psychic Distance: the mental/emotional distance between the writer and the reader
Closing psychic distance creates intimacy → puts the reader directly in the writer’s head/body. In order for a reader to trust the author, there needs to be enough intimacy in the writing.
the thoughts of a character
sensory details - use the five senses (sight, touch, sound, taste, and smell)
dialogue
Opening psychic distance makes the reader feel further away from the writer
Describing the action that is going on
Giving information
see also The Making of a Story: A Norton Guide to Creative Writing by Alice LaPlante, pg 273-276
Authors Publish lecture by Michael Kleber-Diggs about writing with poetic efficiency.
Quotes from Michael Kleber-Diggs:
"Efficient writing is powerful writing"
"Every word should matter"
“Syntax, precision, clauses and phrases, what’s subordinate and what’s main, and how all of those things combine together, are an essential part of efficient writing.”
Our writing should gain meaning by being concise, clear, specific, detailed, connect with readers, and emotional
"Language can be concise and detailed"
What you notice, what you sense, what you remember, how you felt, what you've learned by research, what you've learned by experience.
Michael Kleber-Diggs quotes about his own work:
Chaotic transitions
Distracted, fractured, not always linear — sometimes I want the reader to inhabit my perspective and the way I think about and write about things
“Sometimes I’ll smooth a transition by adding words, and sometimes I’ll leave it chaotic, depending on what I’m trying to accomplish.”
“Closeness [—psychic distance—] intimacy between me and the reader”
Notes from "Why do we read and write?" from Nathan Bransford
definition of story: "it’s about a character trying to navigate the world."
"And in order to make it engaging, I believe it helps for that character to be active and emerge from the story in a different place than they started. Now, please note that I’m saying active. I’m not saying powerful... Even just trying to figure something out or trying to make peace with circumstances beyond a character’s control is being active."
"I also believe good writing is precise and not vague. Different readers will project different things onto the page and everything does not have to be spelled out, but it helps for the writing to be as sharp as possible, even if this may result in different styles and approaches to get there."
Notes from A Swim in a Pond in the Rain by George Saunders
Lenses offered by George Saunders in A Swim in a Pond in the Rain
TICHN “things I couldn’t help notice” (84)
3 questions (14), “curiosity as caring”
What do we know so far? (In one or two sentences, summarize what you know so far)
What are you curious about? (What questions do you have?)
Where do you think the story is headed? (What bowling pins are in the air?)
writer as juggler - what bowling pins has the author thrown into the air? (14)
reader’s expectations, anticipating the reader (14, 17)
structure (19)
“We might think of structure as simply: an organizational scheme that allows the story to answer a question it has caused its reader to ask… We might imagine structure as a form of call-and-response. A question arises organically from the story and then the story, very considerately, answers it. If we want to make good structure, we just have to be aware of what question we are causing the reader to ask, then answer that question” (14)
“ritual banality avoidance” (35)
escalation (60, 137)
characterization & character development (16)
character change, story vs. anecdote, what makes this a story? (51)
“What makes a piece of writing a story is that something happens within it that changes the character forever… we tell a certain story, starting at one time and ending at another, in order to frame that moment of change” (51)
“ruthlessly efficient,” use everything, no waste (41, 48)
sidecar of motorcycle (58)
pattern creates expectation (134, 147)
“in specificity lies nascent plot” (142)
Patterns in a Story
Specifying character traits can also set up plot: "once a specific person has been made (via facts, characterization), we then know, of all the many things that could happen to her, which would be meaningful... in specificity lies nascent plot... 'good writerly habit' might consist of continually revising toward specificity, so that specificity can appear and then produce plot (or, as we prefer to call it, 'meaningful action')." (142)
Establishing a pattern in a story (with slight variations) is one way to create and use/exploit reader expectations: "the pattern, as patterns tend to do, creates a series of evolving expectations." (148)
First Sentences
In short stories, the first sentence is germinal, catalytic, and atomic. It must not only pull the reader into the story, but it must also set the parameters for what the story will be. Within the context of the story, a good first sentence is truthful (within the context of the storytelling), it is efficient, it immediately sets expectations, and it piques curiosity.
Example: In “A Temporary Matter” by Jhumpa Lahiri, the first sentence sets up a scenario in a way that let’s the reader know that something worth reading will occur:
“The notice informed them that it was a temporary matter: for five days their electricity would be cut off for one hour, beginning at eight pm.”
From the outset we know that the characters are being thrust into unusual circumstances, and we are wondering who these characters are and how these circumstances will lead to a fundamental change in their lives.
Question: In what ways do the first sentences of other stories fulfill these requirements? Can you write an interesting and engaging first sentence that contains the seeds of a potential story?
The Power of Literature
“I think that the power of art is the power to wake us up, strike us to our depths, change us. What are we searching for when we read a novel, see a film, listen to a piece of music? We are searching, through a work of art, for something that alters us, that we weren’t aware of before. We want to transform ourselves…” —"Teach Yourself Italian" by Jhumpa Lahiri in The New Yorker
“A book must be the axe for the frozen sea within us.” —Franz Kafka
Question: Does the story move you in any way? Does it make you view life any differently? Does it inspire you in any way?
Flash Prose (Fiction & Nonfiction) - Tips from On Voice, Concision, and 20 Years of Flash Nonfiction by Dinty W. Moore
Notes from Refuse to Be Done by Matt Bell
Notes from The Making of a Story by Alice LaPlante
Notes from Bird by Bird by Anne Lamott
Notes from On Writing by Stephen King