Claim OwnershipEssential Guide to Writing a Novel
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© 2026 Essential Guide to Writing a Novel
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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.
217 Episodes
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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. Support the show Buy the master class.
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...
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. Support the show Buy the master class.
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...
How can we get readers to admire and respect our hero, maybe even to fall in love with him? Our hero can save the cat. Here is how the screenwriters' save the cat technique can apply to our novels. Also, best seller Lawrence Block on how we can use our pleasure reading to improve our fiction writing skills. Support the show Buy the master class.
Keeping a tight point of view is critical for our story. Here's how we can stay inside the mind of our main character yet learn what others in the scene are thinking. Plus, how John Grisham works. And: how we can reveal what a character is thinking through facial expressions. 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 foc...
Sometimes writing can be a grind. Here are things that are fun while writing that'll give us energy and keep us at our desks and allow us to pour joy into our words. Also: we should avoid vanilla, meaningless word packages. And here's how Kate Chopin worked. Support the show Buy the master class.
Folks new to fiction may think because there are a million stories and dozens of genres, plots can be presented in any way imaginable. But successful plots have time-tested patterns, and these are discussed here. Plus, M.M. Kaye's lovely setting descriptions, so elegant her writing might be called the voice of magic. And: how the best-selling romance novelist Emily Henry lives and works. Here is a 20-episode master class on fiction writing—a start-to-finish course covering p...
How and why should we avoid our character traveling? And how does Orson Scott Card not make blunders in his novels? Here is his tool for having a mistake-free novel. Also: here is why our scenes--almost all scenes--should have some action, and how to write that action. Support the show Buy the master class.
Writing is magic. We type on a keyboard, and then the words we type create powerful images in readers' minds. Here is a discussion of our main tool for creating vivid images: detail. Which details, how to use them, and examples from a detail master, Jean Shepherd. And another angle: detail is as important in dialogue as it is in character and setting descriptions. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, charact...
Sometimes an unreliable narrator can be great fun to create, and great fun to read about. Here are techniques for developing a protagonist the reader learns not to trust. Also, how can we avoid dull interior monologue and instead show readers what a character is thinking? Support the show Buy the master class.
Novelist John D. McDonald said he had more plot ideas than time to write them. That's not the case for most of us writers. We usually are in chronic need of more plot, more story. Here are techniques for inventing plot from James Scott Bell and Lester Dent. Also: vivid character descriptions from Jean Shepherd, showing us how to create unforgettable characters. Here is a 20-episode master class on fiction writing—a start-to-finish course covering plot, characters, dial...
Sometimes we are full of ambition to write. Yet we don't. We put off our writing, then put it off again. Why do we do that? And what can be done to get us in front of the keyboard? Here are thoughts on what we can do to get us producing. Also, powerful first sentences drop the reader into the story after the action is already underway. Here's how to do it, with examples from excellent writers. Support the show Buy the master class.
Some words don't add anything to a sentence other than confusion. Here are several modifiers that our story is better without. Also, is cutting ten percent of our manuscript a good goal when editing? What should we cut to reach that ten percent? 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. &nbs...
Dialogue lets the reader become part of the story, as if the reader is standing next to the characters listening to them talk. Not all conversation between characters is equal: argument is the most engaging dialogue. An argument between characters in our story--the back and forth, the accusations and denials, the evasions and justifications--can be riveting. Here are thoughts on writing the big argument scene. Support the show Buy the master class.
Writing fiction is work but it doesn't need to be a grind. Here's how we can have fun while we write, things that'll give us a joyful kick, maybe even make us laugh. Also: the important technique of the mini-backstory, which reveals so much about our character in so little space. 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...
Physics loves formulas: E=MC2. How about writing? Here is a formula for writing strong sentences, ones that are clear and have energy. Our setting and character descriptions can also benefit from a formula, one that shows how to engage the reader. That formula is talked about here, too. Support the show Buy the master class.
Do we have the skill to write a novel or short story? Here are early clues that may let us know. Also, top writers' ten best rules of writing. And J.R.R. Tolkien's techniques for writing fascinating settings. 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 availab...
Sometimes in our story we'll have a scene filled with people where everyone is moving all at once, such as a battle scene or mob scene or festival scene or street scene. Here are techniques on crafting the scene so there's no confusion so readers can focus on the hero. Also, what is the rule of exceptions? And, can something bad happening to us make us better writers? Support the show Buy the master class.
Readers love dialogue, the chance to eavesdrop on the characters. Here is a good way to make that dialogue really worth listening to. Also, here are techniques that can tie our scenes together, which Jack Bickham calls transitions and sequels. In a story, what is a transition and what is a sequel? 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 epis...
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I'm currently working on a novel (about Biohacking, seduction, and philosophy), and, being my first foray into fiction, I don't want it to suck! So, I searched high and low for the best podcast about novel writing: this one, hosted by James Thayer, author of over ten books, is it! I've learned so much from him, like deleting every instance of "a bit" from my manuscript. What I love about the podcast is that he doesn't spend half the listener's time pitching VPNs, Better Help, or his Patreon. He just barely mentions his own books, which I do plan on picking up and reading. Talk about a go-giver! If you think you have a novel in you, listen to this podcast.