Essential Guide to Writing a Novel
- Épisodes
- 243
- Parution
- hebdomadaire
- Dernier épisode
- 13 Nov 2026
À propos du podcast
Hosted by James Thayer, the podcast is a practical, step-by-step manual on how to craft a novel. It presents a set of tools for large issues such as story development and scene construction (Kirkus Reviews said Thayer's novels are "superbly crafted') and it also examines techniques that will make your sentence-by-sentence writing shine. The New York Times Book Review has said Thayer's "writing is smooth and clear. it wastes no words, and it has a rhythm only confident stylists achieve.
Épisodes 243
Episode 243 - Writing the character study, and the crucible.
Many strong novels focus on character emotions, and can be called character studies. Readers see close up how characters grow and change. Here are thoughts on writing a character study, a story that explores in …
Notes de l’épisode
Many strong novels focus on character emotions, and can be called character studies. Readers see close up how characters grow and change. Here are thoughts on writing a character study, a story that explores in depth a few characters, with the plot perhaps having less goal-oriented action than in other novels. Also: the plotting technique called the crucible.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 242 - Avoiding six big mistakes in our story.
We are writing or editing our story. It's good. We like it. But have we made prospect-killing mistakes early in our story, big errors in the story that work against its success? Here's a discussion of …
Notes de l’épisode
We are writing or editing our story. It's good. We like it. But have we made prospect-killing mistakes early in our story, big errors in the story that work against its success? Here's a discussion of six mistakes we might make in the first few chapters and how to fix them. Also: lovely sentences have rhythm. How can we learn prose rhythm?
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 241 - Riveting first sentences.
Our first sentence's main task is to launch the reader into the story. Here's how to begin our story with a riveting opening sentence. And at the other end of the story, after all the pages how should …
Notes de l’épisode
Our first sentence's main task is to launch the reader into the story. Here's how to begin our story with a riveting opening sentence. And at the other end of the story, after all the pages how should we write the walkaway?
Episode 240 - Make readers laugh out loud.
Not just comedy novels but rather almost all novels will benefit from humor. Here is how to exaggerate to make readers laugh. Also, avoiding dialogue tag modifiers so that our dialogue doesn't become …
Notes de l’épisode
Not just comedy novels but rather almost all novels will benefit from humor. Here is how to exaggerate to make readers laugh. Also, avoiding dialogue tag modifiers so that our dialogue doesn't become unintentionally funny.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 239 - A method for ramping up our dialogue.
We writers should give readers what they want, and readers like dialogue. Here is a technique for making our dialogue more engaging. Also: the ten most beautiful words in the English language. And: how to …
Notes de l’épisode
We writers should give readers what they want, and readers like dialogue. Here is a technique for making our dialogue more engaging. Also: the ten most beautiful words in the English language. And: how to change telling to showing so the scene grips the reader.
Episode 238 - My favorite writing technique.
Among hundreds of fiction writing techniques, here is my favorite, and it involves weeping. Also, a review of a critical skill for us: controlling the point of view.Here is a 20-episode master class on fiction …
Notes de l’épisode
Among hundreds of fiction writing techniques, here is my favorite, and it involves weeping. Also, a review of a critical skill for us: controlling the point of view.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 237 - Read to learn rhythm.
Thomas Cullen writes, "the brains of skilled writers are wired over many years to mimic the rhythms, structures, patterns and prose of their favorite authors.” We can learn lovely rhythms by reading famous …
Notes de l’épisode
Thomas Cullen writes, "the brains of skilled writers are wired over many years to mimic the rhythms, structures, patterns and prose of their favorite authors.” We can learn lovely rhythms by reading famous fiction passages. And: how to overcome the possible grind of writing the middle of the novel.
Episode 236 - Six questions to ask if we want to be a novelist.
Do we have what it takes to write a novel? Here are six questions we can ask ourselves that'll shed light on the issue. Also, when should a writer make an exception to a tried-and-true rule of writing?Here …
Notes de l’épisode
Do we have what it takes to write a novel? Here are six questions we can ask ourselves that'll shed light on the issue. Also, when should a writer make an exception to a tried-and-true rule of writing?
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 235 - Ten small writing techniques.
Here are ten smaller techniques that'll improve our story, each maybe not big enough for a full segment but worthwhile to help make our story gripping and our sentences shine. Also, here are thoughts about …
Notes de l’épisode
Here are ten smaller techniques that'll improve our story, each maybe not big enough for a full segment but worthwhile to help make our story gripping and our sentences shine. Also, here are thoughts about our story's ending; isn't HEA (happily-ever-after) a formula and cliche? And: how to show rather than tell about the weather.
Episode 234 - Creating a character readers will love.
What do Elizabeth Bennett, Anne Shirley, Frodo Baggins, Jo March, Harry Potter, and Huckleberry Finn have in common? Readers love them. We can create such a character, one readers will long remember and maybe …
Notes de l’épisode
What do Elizabeth Bennett, Anne Shirley, Frodo Baggins, Jo March, Harry Potter, and Huckleberry Finn have in common? Readers love them. We can create such a character, one readers will long remember and maybe reread the storyl just to be with the character again. Also, adverbs and adjectives can weaken sentences. Here is why and how to avoid them.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 233 - Peeling the onion.
We writers can train ourselves to peel the onion: to look more deeply at places and people, and so set forth our discoveries in lovely language in our stories. Here's how the masters do it. Also, F. Scott …
Notes de l’épisode
We writers can train ourselves to peel the onion: to look more deeply at places and people, and so set forth our discoveries in lovely language in our stories. Here's how the masters do it. Also, F. Scott Fitzgerald's "action is character" is a strong technique for revealing our characters' personalities to readers, and I talk about "action is character" here.
Episode 232 - More on making our dialogue engaging for readers.
Readers love dialogue. It's as if they are part of the scene, sitting there and listening to our characters argue or romance each other or plan something important. Here are additional techniques to grip …
Notes de l’épisode
Readers love dialogue. It's as if they are part of the scene, sitting there and listening to our characters argue or romance each other or plan something important. Here are additional techniques to grip readers with our dialogue. Also: V.S. Naipaul's rules of writing.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 231 - Techniques to make our dialogue grab readers.
Dialogue is like a Snickers candy bar: it's good. Here are eight techniques for making conversations in our story engage the reader, things we should do and things we should avoid. Also, how did Sue Monk …
Notes de l’épisode
Dialogue is like a Snickers candy bar: it's good. Here are eight techniques for making conversations in our story engage the reader, things we should do and things we should avoid. Also, how did Sue Monk Kidd handle her first rejection? And Meg Cabot on how to keep going so we finish our story.
Episode 230 - Creating a dastardly villain.
The shark. Dracula. Draco Malfoy. Cathy Ames. Annie Wilkes, Hannibal Lecter. Jadis the White Witch. Aren't these villains masterful creations, and don't they keep readers glued to the story? Here are …
Notes de l’épisode
The shark. Dracula. Draco Malfoy. Cathy Ames. Annie Wilkes, Hannibal Lecter. Jadis the White Witch. Aren't these villains masterful creations, and don't they keep readers glued to the story? Here are ideas on how we can create wonderful--is that the right word?--villains. Also, we can keep our first-person narrator from being off-puttingly self-referential.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 229 - Juice up the setting.
Every element of our story should add interest, including the settings. What if--because of the plot or characters--we must place a scene in an otherwise dull place? We can juice it up. We can make it lively …
Notes de l’épisode
Every element of our story should add interest, including the settings. What if--because of the plot or characters--we must place a scene in an otherwise dull place? We can juice it up. We can make it lively and fascinating. Here is how the masters do it.
Episode 228 - Avoiding dullness in our story.
Every element in our story should contribute to entertaining the reader including our settings. We can replace our dull settings with fascinating locations, and here's how to do it. Also: what's wrong …
Notes de l’épisode
Every element in our story should contribute to entertaining the reader including our settings. We can replace our dull settings with fascinating locations, and here's how to do it. Also: what's wrong with this sentence? Running along the street, the purse bounced against her leg. It's a funny dangling modifier. Funny if it doesn't appear in our story. Here are thoughts on dangling modifiers, and how to avoid them. Plus, the rule of exceptions.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 227 - Becoming a close observer.
Almost all successful fiction writers are close observers. We can teach ourselves to be close observers, and use those observations in our characters and settings. And here are examples of close observations …
Notes de l’épisode
Almost all successful fiction writers are close observers. We can teach ourselves to be close observers, and use those observations in our characters and settings. And here are examples of close observations from the masters, those small details that bring their stories to vivid life.
Episode 226 - Ways to make our sentences shine.
Novels that endure not only have bold plots but are also beautifully written. Here are techniques on how to make our sentences shine. Also: should we write our first chapter first and our last chapter last (as …
Notes de l’épisode
Novels that endure not only have bold plots but are also beautifully written. Here are techniques on how to make our sentences shine. Also: should we write our first chapter first and our last chapter last (as does John Grisham) or should we write the chapters and scenes out of order (as did Margaret Mitchell)?
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 225 - Leave it all on the field.
Cliches can offer solid advice. Pedal to the metal. Go big or go home. Leave it all on the field. We should swing for the fences with a bold plot. Also: a setting can be more than facts about the landscape. The …
Notes de l’épisode
Cliches can offer solid advice. Pedal to the metal. Go big or go home. Leave it all on the field. We should swing for the fences with a bold plot. Also: a setting can be more than facts about the landscape. The masters add compelling moods to their stories with their settings.
Episode 224 - Using all the senses to describe our character.
Some of us may describe our characters using only the sense of sight: what the reader sees when imagining the character. But we can also use sound, smell, taste, and texture to make our characters more …
Notes de l’épisode
Some of us may describe our characters using only the sense of sight: what the reader sees when imagining the character. But we can also use sound, smell, taste, and texture to make our characters more memorable. Here are thoughts on how to do so. Also, Janet Burroway on the critical difference between a scene and a summary. And how Francine Prose reads fiction to learn the writing craft.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 223 - Readers can fall in love with our settings.
I talk about ways we can make our settings--the time and place of our story--irresistible to readers. They'll want to live there. Plus: we can use our global search function to almost instantly make our …
Notes de l’épisode
I talk about ways we can make our settings--the time and place of our story--irresistible to readers. They'll want to live there. Plus: we can use our global search function to almost instantly make our sentences more forceful. And: novelist Elizabeth George's plotting technique she calls the plot kernel.
Episode 222 - Small techniques can add up to forceful sentences.
Here are pocket-sized techniques that can result in strong sentences; small--even tiny--things we can add to our prose writing arsenal. Also, Elizabeth George on her use of two outlines: the step outline and …
Notes de l’épisode
Here are pocket-sized techniques that can result in strong sentences; small--even tiny--things we can add to our prose writing arsenal. Also, Elizabeth George on her use of two outlines: the step outline and the running plot outline. And we can make our dialogue stronger by avoiding "Yes" and "No."
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 221 - Writing that is more intense than real life.
For readers, fiction offers escape from their real lives. How can we make our writing intense, and so lift our scenes above real life? Details are a key, and here are ideas on the use of odd and memorable …
Notes de l’épisode
For readers, fiction offers escape from their real lives. How can we make our writing intense, and so lift our scenes above real life? Details are a key, and here are ideas on the use of odd and memorable details to make our prose vivid. Also, here's a good way to practice: write one perfect sentence. And, what made you want to write?
Episode 220 - Cut to the chase.
The phrase "cut to the chase" originated in the film industry. When shooting and editing a movie, if things are getting dull cut to a chase scene. Cut to the chase applies to our novels and short stories, too …
Notes de l’épisode
The phrase "cut to the chase" originated in the film industry. When shooting and editing a movie, if things are getting dull cut to a chase scene. Cut to the chase applies to our novels and short stories, too. Here are ways we writers can make our stories stronger and our sentences more forceful by cutting to the chase. Also, a suggestion on naming characters.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 219 - How to get our story going.
Here is a checklist of things we likely should think about as we begin our first chapter: some elements to have in the beginning pages of our story and some things to avoid. Also: the strong technique of using …
Notes de l’épisode
Here is a checklist of things we likely should think about as we begin our first chapter: some elements to have in the beginning pages of our story and some things to avoid. Also: the strong technique of using contrast in consecutive scenes so that lights shine on both scenes.
Episode 218 - Our writer's voice.
What is a singular attribute that separates Oscar Wilde, Ernest Hemingway, and Edgar Alan Poe? Their literary voices. Here are thoughts on our own voices: if and how we should try to develop them. Also: the …
Notes de l’épisode
What is a singular attribute that separates Oscar Wilde, Ernest Hemingway, and Edgar Alan Poe? Their literary voices. Here are thoughts on our own voices: if and how we should try to develop them. Also: the strong tool of contrast, when the character contrasts with the setting.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 217 - Why and how to practice. And Edgar Alan Poe.
Writing is like learning the violin. We can get better. Here are reasons we should practice, and suggestions how to do so. And what sparked Edgar Alan Poe's imagination? Also: how much of our story should …
Notes de l’épisode
Writing is like learning the violin. We can get better. Here are reasons we should practice, and suggestions how to do so. And what sparked Edgar Alan Poe's imagination? Also: how much of our story should be scenes rather than summary? The answer: should fill our story with scenes that play out in real time in front of the reader like a movie.
Episode 216 - Too many characters is a scene.
What's the problem with having a lot of characters in a scene? Aren't lots of people needed to make street scenes and party scenes and sports scenes and battle scenes credible? I'll talk about …
Notes de l’épisode
What's the problem with having a lot of characters in a scene? Aren't lots of people needed to make street scenes and party scenes and sports scenes and battle scenes credible? I'll talk about the problem of too many characters, and how we can fix the crowded scene so it doesn't lose focus. Also, a quick almost magical way to make our sentences stronger using the global search function on our computer. And lovely setting descriptions from Rachel Joyce.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
Episode 215 - The ratchet, a strong plotting tool.
How can we know if our scene pushes the story forward. Does our scene contribute to the story? The ratchet can test our scene. I talk about the ratchet and show how Cormac McCarthy and F. Scott Fitzgerald used …
Notes de l’épisode
How can we know if our scene pushes the story forward. Does our scene contribute to the story? The ratchet can test our scene. I talk about the ratchet and show how Cormac McCarthy and F. Scott Fitzgerald used it. Plus, a technique for searching for instances of telling in our manuscript so we can change them to showing. And C.S. Lewis's rules of writing.
Episode 214 - Famous writers show us how to write and live.
If we emulate famous authors, won't we get better at writing? Here are how some highly-skilled, best-selling authors write and live. Plus: the three dumbest pieces of advice for writers. And: George …
Notes de l’épisode
If we emulate famous authors, won't we get better at writing? Here are how some highly-skilled, best-selling authors write and live. Plus: the three dumbest pieces of advice for writers. And: George Orwell's rules of writing.
Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dialogue, scenes, sentence-level craft, and much more. Each episode is focused and about 30 minutes. The full class—all 20 episodes—is available now for a one-time price of forty-nine dollars. If you want structured, concise guidance, click the Buy the Master Class link in the show notes to get started.
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