What I Learned: Writing Course for Authors (Lesson 4)
Apr 23
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At this point, you should know the drill. This is day 4 of a 10-lesson series of blog posts. I am not teaching the courses; I am just sharing what I learned and what stood out to me the most. Think of the previous three blog posts (1-3) and the following six (5-10) as a journal with notes and personal advice from yours truly.
If you found my notes on these courses interesting and want to learn more, then go to Reedsy and look for these courses. They are free and they are really easy to follow as they, in addition to using visuals, give you examples that you can quickly understand the theory. In most lessons, there are writing exercises, perfect for those of you who are looking to apply them to your novel and who value a hands-on methodology.
Writing Courses for Authors:
How to Build an Author Blog
Novel 101
Writing YA Novels
Writing Short Stories
Writing Dialogue: Plot and Character Development
Point of View
Turn Up The Heat in Romance
Show Don't Tell
Writing Poetry
Writing a Children's Book
Character Development
How to Plot a Novel
How to Write Romance
How to Write YA Novels That Sell
How to Build an Author Blog
Once you have decided on your brand and your CMS platform (WordPress, Wix, Squarespace), you will need to get it up and running.
How? Well, you will need to follow these 5 very important steps.
Choose your host > You have to pick a service that will store your website's files
Select your theme > choose the appearance of your blog
Set up CloudFlare > protect yourself from spammers and bots.
Back up your site (multiple places)
Map out your homepage> choose how your visitors will look at your homepage. What is the layout going to be like?
Try to stay consistent with fonts, colors, and other branding elements because your website is an extension of what you are selling. If your website stays consistent, then visitors will clearly understand what your blog is about and will reinforce your brand.
Important things to consider having in your Top Menu:
3-5 themes to separate your content
Home or About Page
Any sales pages > I called mine Portfolio, this is where I sell my books
An email opt-in section > mailing list so your readers can sign up and be notified whenever new projects are published
If you are like me and like having all things in one place instead of separate, then WIX is your choice; it can handle most (if not all) of the steps above. After all, WIX is an all-in-one platform, and that is why I love it.
WIX takes care of your host services
Offers hundred of templates and you can modify them however you want
CloudFlare is not necessary with WIX because it has built-in security parameters
WIX has a built-in backup and version history
WIX gives you full control of mapping out your homepage
If you don't like WIX, another CMS platform that is also all-in-one is Squarespace. It meets the five major steps to getting your blog up and running.
Novel 101
Characters and plot aren’t two separate things—they complement and feed each other. Great stories happen because of great characters, and great characters evolve because of what they go through (plot).
When coming up with characters for a story you can either create them from:
Autobiographical → Drawn from your own life and experiences
Biographical → Inspired by people you know, read about, or research
Imaginative → Built from scratch, fully invented
Most characters are a mix of all three—a little you, a little someone else, and a touch of fiction.
Let your characters surprise you. It's not fun when the author and reader know everything. Mystery and surprises are what make life exciting and adventurous. That is when your character comes to life.
Knowing your characters inside and out is crucial to your story. They have to feel real. The more you understand them, the more confidently and consistently you’ll write them.
Physical Appearance might sound silly because now we are all about personality. That is what endures; looks change. But when writing a character, you want to be detailed so your readers can picture them. It might not be the same picture, but they will feel drawn because they are imagining their "book boyfriend." Some authors draw from actors and actresses, and if they feel lost in writing the plot or character development, looking back at their pictures can snap them back into the storyline.
There are two reasons why your audience will keep reading your books:
They care about who the story is about > they fell in love with the FMC/MMC
They care about what happens to them > invested in the plot, and their involvement
Nail both character and plot, and you’ve got a book readers won’t want to put down.
Writing YA Novels
Rule #4: Do Not Shy Away From Mature or Dark Experiences
A lot of writers think their YA stories are too heavy because they cover topics like sex, drugs, mental illness, violence, or death. But teens are living in that world already. Sure, we have to protect children and teens from certain dangers, but that doesn't mean taking away their right to be informed. They have to learn to make the right choices, even if that means taking wrong turns from time to time.
Reading about mature topics through the eyes of teenagers will help them not only understand, but it is also a great way to prepare them for how their life might pan out. Even if they’re not going through it directly, they’re surrounded by it—online, at school, in life.
YA isn’t afraid of darkness. Some of the most well-known YA books tackle the hard stuff head-on. Take a look at "The Fault in Our Stars", a book which was later made into a movie. This book was about two main characters going through terminal illness, something that the characters had to learn how to appreciate life, and what was left of it they had. They found friendship, love, went through heartbreak, and joy. Thirteen Reasons Why, a TV series that can be found on Netflix was all about suicide, bullying and rape culture.
The key isn’t avoiding the topics—it’s writing them with intention. Nothing good comes from avoiding our issues. Sure, we can bury them, but in the end, they will surface, and we might not be better for it.
So when you are writing your YA story, ask yourself:
What am I really trying to say with this storyline?
Does the swearing, sex, or violence serve the story or just feel extra?
If you’re going to go dark, make it meaningful. Stay grounded in the real emotional world of your YA protagonist. Teens can handle it. The question is—can you write it in a way that matters?
Writing Short Stories
Short stories are very different from novels. For one, you don’t have 400 pages to ramble— you’ve got (maybe) 20,000 words to tell the reader everything that matters. Character, plot, conflict, emotion, stakes, resolution—all of it. Every word has to earn its place.
Trust me, once you get going, 20,000 words will seem short. So, how to tackle all of the elements in your story and still be under the word count?
Overwrite if you need to—but only in the first draft. This might seem counterintuitive, but if you do it correctly, it might help you. The overwrite is mostly for you, so you figure out your characters and their world. Now its time to revise it and shave some of those words down. Think of the Icebery Theory, let the depth be felt, not shown.
Start close to the end. What I mean is that short stories don’t have time to warm up. Drop the readers right into the action. Get to the heart of the conflict fast. If the story’s about a fistfight, open with the punch, not the drive to the bar.
Nowadays people want to get to the good stuff fast. Attention spans are short. If you spend too long meandering toward the good stuff, your reader’s already moved on. Keep it sweet and short.
Short story rule of thumb? Start strong, stay sharp, finish tight.
Writing Dialogue: Plot & Character Development
Conflict in dialogue adds tension, suspense, and the “texture of lived life” readers crave. It’s not just bickering—it’s about revealing what’s simmering under the surface.
Conflict is not just there for shits and giggles. It brings the "damn" factor.
Conflict reveals character. We see who people really are when they’re under pressure.
It deepens the plot and moves the story forward.
It shows the clash of desires, values, or goals, without having to spell it all out.
Dialogue is there to balance your story and bring more of that human factor. Let the dialogue do its thing: show emotion and expose character motives. Use physical descriptions and metaphors to add texture. If you are adding contradicting dialogue, it should feel like a push-and-pull, create tension, and let the story unfold.
Whatever your storyline or trope, you are using in your story, remember to use conflict in dialogue to reveal, intensify, and transform your characters and plot.
Point Of View
So far, I have mentioned Traditional First-Person POV (Day 2) and Peripheral First-Person POV (Day 3). Now, let's explore what it means to write with an Unreliable First-Person POV.
Unreliable narrators can be super fun—but they’re also tricky to master. Unlike your standard first-person narrator (traditional), this one sees the world through a warped lens. They’re your main character, yes, but you can’t take their word at face value.
So why are they unreliable?:
They might not be mentally stable
They could be a child with limited understanding
They might not even be human (hello, alien POV!)
Or they’re just straight-up lying to you
In truth, all first-person narrators are somewhat unreliable. Their worldview is tinted by their experiences and emotions. But a truly unreliable narrator takes that to the next level— the reader has to sift through the mess to find what’s real.
As writers, you have to give the reader something to hold onto. Even if the narrator is distorting reality, the reader still needs a baseline to compare it to. Otherwise, it all becomes chaos. Your target audience will have a hard time following.
Some authors solve this by using alternating POVs—showing the same event from different perspectives to highlight what doesn’t add up (see Gone Girl or The Affair).
Same event through the eyes of different characters present in the same scene.
If you are writing in a fantasy or sci-fi world, please, I beg of you, make sure the rules of the world are clear. Otherwise, readers won’t know when the narrator is being shady versus when the world is just weird.
The bottom line? The unreliable narrator is like a puzzle—done well, it keeps your readers guessing, engaged, and flipping page after page. Just don’t leave them in the dark with no map.
Turn Up The Heat
If your characters are trying not to fall for each other, it’s the perfect setup for sizzling, tension-filled dialogue. Banter is a classic romance device — just read The Hating Game by Sally Thorne if you want to know how to balance that tension.
Let's grab our pot and add a little bit of that flirty banter, then a little bit of conflict (think tension, chemistry), some innuendo never hurt nobody, and last but not least, subtext.
Having all of these will make your romance that much hotter and interesting for your reader.
Why does it work? Banter is quick, clever, and often has a sexual undercurrent. Conflict brings tension, which in romance, equals chemistry (When one pushes buttons and the other pretends not to care (but totally does)? Innuendo keeps the reader and character guessing. You know how less is more, apply it here. Sexy talk doesn't need to be obvious, double meanings are more fun and playful. Subtext. This is your slow-burning tool. This is all about what isn't said. The more the characters deny their attraction, the more tension you create.
Show Don't Tell
The " Show, Don't Tell rule also applies to dialogue. In fact, dialogue is the perfect opportunity for you to work on character development and emotional subtext.
For example, instead of your character saying, "There is a pothole,” try showing how the character feels about the pothole.
"Jesus Christ, Damian, when are you going to fix that pothole? I feel like I’m entering a demolition derby just trying to visit you."
This shows frustration, their relationship, and a little sass.
Every conversation your characters have should reflect their relationships and goals.
Sound like them (word choice, sentence length, quirks)
Reflect how they relate to each other (are they tense, flirty, or annoyed?)
Have a goal — What does the character want in this moment? To connect? Win? Leave?
Too much uninterrupted dialogue = snooze fest. Mix it with action beats or inner thoughts.
What’s unsaid can hit harder than what is. Subtext!
Dialogue isn’t just people talking — it’s people revealing. Use it to show who your characters are, what they want, and what’s going on with them.
Writing Poetry
Poetry is beautiful, where thoughts and emotions are written in such a way that you can feel them. Within the realm of poetry, there is something called "Figure poetry," where visuals and verse meet. It’s not just about what the words say, but how they look on the page.
We learned about lines and stanzas. That sometimes lines are broken down in certain places to bring out an emotion, just like that purpose, the shape of a poem can reflect its theme or even contradict it for a deeper meaning. An example of this is George Herbert's poem "Easter Wings".
Other forms of figure poetry include calligrams, which are handwritten curved lines that create images with words, and concrete poetry, which involves the use of graphic art. They are all forms of figure poetry where you not only feel the emotions but can also visualize the poem. Let's not forget space. Even small tweaks in spacing can create rhythm, tension, or intimacy in your poems.
Writing a Children's Book
Does anybody remember their middle school years? You know, that awkward stage in your life when you are trying to figure yourself out, see where you fit, and learn to regulate your emotions?
If you have decided to write about middle school experiences, then you know your audience is between 11- 14 years old. What would be an appropriate length for this type of audience? 30,000 - 50,000 words. It is shorter than a YA novel, but it still has enough of a word count that you can pack enough adventure into it.
In terms of characters, you want to create them with a strong voice, a bit rebellious, and full of curiosity. After all, they are in the stage where they are arguing about everything and questioning the world. When writing this type of book, you want to delve into themes like good vs. evil, chaos, romance (keep it PG), tackling issues, and, of course, happily ever after.
Character Development
Before your character hits page one, you’ve got to know where they’ve been. Backstories shape behavior, reactions, opinions, and fears—so understanding their past helps you figure out their present and future.
Every major character should have a childhood, defining moments, and at least one major inciting incident that shaped them. You might not use every detail in the actual story, but readers need to feel like these characters existed before the book began.
You might be asking yourself, How do you create a backstory? There are different methods; I will mention three.
If you are a visual person, the Bubble Method is the best (grab a paper, put your character in the middle, and then branch out). If you love structure, try the Q&A Method (What scares them the most?). If you are more of a free spirit, more of a go-with-the-flow person, then try the Stream of Consciousness Method (keep key questions in mind but just let the floodgates open).
How to Plot a Novel
The First Plot Point is the point of no return—when your protagonist fully commits to the journey. It usually shows up around the 15%-25% mark of the story.
It’s not just a twist—it’s a choice. This is the moment where your character decides (or is forced) to step into the action. There’s no going back after this.
Some things to keep in mind:
Sometimes the Inciting Incident and First Plot Point are the same, especially if the stakes are high enough that the protagonist has no real choice.
Other times, there's a delay—scenes where we deepen character, world, and stakes before the First Plot Point drops.
If your protagonist resisted the call before, this is where the pressure builds and they can’t afford to say no anymore.
Examples:
The Hunger Games → Katniss volunteers as a tribute. She’s officially in the Game.
The Fault in Our Stars → Augustus surprises Hazel with a trip to meet her favorite author. A door opens, and she walks through it.
Once the First Plot Point hits, Act One wraps up. The protagonist is officially in the thick of it, and the story starts to heat up.
How to Write Romance
POV matters. Get it right from the start so you don’t end up rewriting your whole book later. Ask yourself: whose story is this? And more importantly—who’s telling it?
In romance, the protagonist role is shared between the hero (MMC) and heroine (FMC). Hence, a dual POV (usually limited to third person) is used. Readers want to live in both heads—to feel the tension, attraction, and emotional stakes from each side of the relationship. This helps the story feel balanced and avoids “taking sides.”
How do you achieve a dual POV?
You switch perspectives based on who has the most at stake in the scene.
Make their voices distinct. Readers need to know who’s talking (or thinking). Avoid giving both characters the same favorite words, tone, or mannerisms (you don't want the reader confused).
Use the third-person limited for flexibility and to show a deep emotional connection.
Stick to the past tense—it’s what's common when writing romance.
How to Write YA Novels That Sell
The author queries for agents, then the agent looks for an editor. When editors pitch a YA novel, they also need to answer, “What kind of story is this?” Identifying the tropes in a YA novel is a great start to answer the question.
Tropes are familiar storytelling devices — think characters, situations, and plotlines that show up again and again. They're not rules, and they don’t box you in. Tropes give your story instant recognizability — it might even be how the reader chose your book.
Readers may want to read stories that are unpredictable, but they also want familiarity.
Tropes are that comfort.
Common Tropes that are constantly selling over and over: love triangle, fairy tale (telling Cinderella in a new way), the chosen one.
Writing Courses for Authors.
