Most writers are terrified of the gap between scenes. So they build little bridges. “She drove home, made dinner, watched some TV, and went to bed. The next morning…” Three sentences of nothing to get the reader from Tuesday to Wednesday. Cut all of it. The white space is the bridge. Readers are smarter than…
Most self-published books die in a category they never should have entered. Writers pick “Fiction > Literary” because it sounds prestigious, then wonder why nobody finds the book. The category isn’t a label. It’s the shelf Amazon decides to stock you on, and the wrong shelf is invisible. Here’s what watching authors for years taught…
Most science fiction worlds fail because the writer explains them. You can tell within a page. Two scientists explain quantum drives to each other though they both already know. The seams show. The world feels like a museum exhibit with little placards. After 25 years of reading student manuscripts, here’s the rule: a believable world…
Most first drafts are full of sentences that tell us what characters are like. “She was generous.” “He was stubborn.” Those sentences do zero work. Character lives in what people do when nobody’s watching. The reader needs to infer the trait from behavior, not receive it pre-labeled. That’s the difference between a character who feels…
Most character arcs end at the climax. That’s where the protagonist demonstrates new behavior under pressure — the big moment. But the scene most writers skip comes right after. I call it the last temptation scene. The moment when the old way of being becomes available again: the old lover shows up one more time,…
Most writers confuse subject with theme. Subject is what the story is about. Theme is the question it refuses to stop asking. “My story is about grief” isn’t a theme. It’s a filing cabinet category. The theme is closer to: does surviving loss mean holding on, or letting go? Every scene in your book is…
Most writers have the pacing backwards. A fight scene gets every punch described in slow motion. A character discovers her husband has been lying for 20 years, and the writer gives it one sentence: “She felt betrayed.” The fight takes 800 words. The realization that rewires her whole life takes 12. Narrative time should slow…
Every story is told by someone. The question is: who’s doing the telling, and how much do they know? Viewpoint—or point of view (POV)—is one of the most powerful decisions you’ll make as a writer. It determines what the reader sees, what they feel, and what they’re allowed to know. Get it right and the…
Most writers assume the manuscript works like reading—start at page one and go until “The End.” That assumption kills more novels than any craft problem. The draft isn’t the story. It’s the excavation. And no one starts an excavation at the exact edge of the site and works right to left. When you hit a…
Writers confuse argument for conflict. They’re different things with different effects on readers. Argument is one character wanting something while another objects; that’s an obstacle wearing a person’s face. Real conflict is two people who are both completely justified. Take the mother who refuses to let her daughter leave town—she buried her husband eight months…
Most chapters end too quietly. The writer finishes a scene, wraps it up cleanly, and moves on. Readers set the book down. A chapter ending has one job: make setting the book down feel like a small act of self-harm. The tool is an open loop—a question the reader’s brain can’t close. But “she heard…
Your narrator is lying to you. The question is whether it’s on purpose. Every narrator is unreliable to some degree—they can only report what they notice, and what they notice reveals what they believe. The dangerous kind is the narrator who doesn’t know they’re wrong. Here’s the tell: your narrator never questions their own interpretation…
Sign up and get the 25-point checklist my students use — plus the writing resources you choose.