what if it's not the beginning or the end that is the key to a successful book? What if, amazing as it may seem, the place to begin writing your novel is in the very middle of the story? According to writing teacher James Scott Bell, that's exactly where you'll find your story's heart and heat. Bell's "Mirror Moment" is the secret, and its power is available to any writer, at any stage of the writing process...Bell presents a truly unique approach to writing a novel, one that will stand the test of time and serve you all your writing life.

There is one sure-fire way of improving your novel fast...You may know the fundamentals of how to write fiction. You may be more than competent in plot, structure and characters. But if your dialogue is dull it will drag the whole story down...Don't sabotage your chances of selling your work to readers or publishers because the dialogue is unexceptional. Dazzle them with what the characters say. How to Write Dazzling Dialogue will give you the tools to do it.

Super Structure represents over two decades of research on what makes a novel or screenplay entertaining, commercial, original, and irresistible. Contrary to what some may think, structure is not a nasty inhibitor of creativity. Quite the opposite. Properly understood and utilized, structure is what translates story into a form audiences are wired to receive it.

Have you written a story with an exciting concept and interesting characters - but it just isn't grabbing the attention of readers or agents? It's time to look deeper into the story beats that create realistic and compelling character arcs. Internationally published, award-winning novelist K.M. Weiland shares her acclaimed method for achieving memorable and moving character arcs in every book you write.

There's a mantra real writers know but wannabe writers don’t. And the secret phrase is this: "Nobody wants to read your shit." Recognizing this painful truth is the first step in the writer's transformation from amateur to professional.   

Most people think the way to write a best seller is to have a lot of talent and even more luck. As you will learn, there is a recipe for success, and luck may be the least important ingredient in creating a best seller. No one has cracked the code better than James Scott Bell. A best-selling author himself, and the author of the number-one best seller for writers, Plot & Structure, Mr. Bell has been teaching the principles of best-selling fiction for over 20 years, principles that apply to any genre or style.

While writers might disagree over showing versus telling or plotting versus pantsing, none would argue this: If you want to write strong fiction, you must make your readers feel. The reader's experience must be an emotional journey of its own, one as involving as your characters' struggles, discoveries, and triumphs are for you. That's where The Emotional Craft of Fiction comes in. Veteran literary agent and expert fiction instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience in readers.

There are three kinds of feelings when reading a story: boredom, interest, and wow! To become a successful writer, you must create the wow feeling on as many pages as possible, and this requires writing that engages the reader emotionally. In his best-selling book, screenwriter Karl Iglesias explored the working habits of A-list Hollywood scribes. Now, he breaks new ground by focusing on the psychology of the reader.

Learn the inner secrets of selling fiction to an ever-increasing audience of readers! Bestselling author and writing coach James Scott Bell brings you powerhouse techniques and strategies in this collection, much of which is from his popular posts at The Kill Zone blog. If you're serious about selling your fiction, Fiction Attack! is your battle plan for breakthrough.

Why do some stories work and others don't? The answer is structure. In this IPPY and NIEA Award-winning guide from the author of the bestselling Outlining Your Novel, you will discover the universal underpinnings that guarantee powerful plot and character arcs. An understanding of proper story and scene structure will help you to not only perfectly time your story's major events, but will also provide you with an unerring standard to use in evaluating your novel's pacing and progression.

Let outlines help you write a better book! Writers often look upon outlines with fear and trembling. But when properly understood and correctly wielded, the outline is one of the most powerful weapons in a writer's arsenal.

It's every novelist's greatest fear: pouring their blood, sweat, and tears into writing hundreds of pages only to realize that their story has no sense of urgency, no internal logic, and so is a page-one rewrite. The prevailing wisdom in the writing community is that there are just two ways around this problem: pantsing (winging it) and plotting (focusing on the external plot). 

Writing fast is the most important skill you can develop as a writer. While it seems hard to hit high word counts, the secrets are easier than you think. In this writer's guide, prolific author M. L. Ronn pulls back the curtain on the process that he uses to write six to eight novels a year. He has kept this pace while juggling responsibilities as a husband, father, manager at a Fortune 100 company, and a law school student. The result is a catalog of over 40 books and counting.

Do you know that it’s almost impossible to find a successful writer who has published only one book? Virtually every widely acclaimed author has an extensive catalog of books. To join the elite ranks of those who write consistently, you need to learn how to stay prolific over the long term. And for that, the number one ingredient is self-discipline.

The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. 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).