Getting to grips with your central character, and adding layers of depth.
Having hit a wall in her writing, Sarah considers the publisher’s suggestions: cutting back gloriously vivid secondary characters, and writing more for an uncertain main character.
Learning to accept constructive feedback is an art in itself.
Sarah learns what her publishers think of her novel, and gives three top tips for handling feedback.
"I’ve become aware that my handful characters are moving through an empty landscape."
Sarah looks at how to flesh out her cast of secondary characters.
Having the idea is just the beginning. Now to sit down and actually write the novel.
Also, a guide to the best writing manuals, from Stephen King to Fey Weldon.
Sarah looks at creating her main character. What went wrong before, and what she needs to do right this time around.
How to make interesting and original characters – and have the reader care about what happens to them.
This week, Sarah goes through her problems with story, and how to add character and complexity to the novel.
In a story of your own invention, how do you work out what will happen next?
Sarah begins her novel by deciding upon one crucial element – the idea.
“It came to me fully formed, as if someone had just handed me a kicking, breathing baby.”
From pen to publication