What I Learned: Writing Course for Authors (Lesson 5)
Apr 30
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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
By this point, you should have your brand and setup all finished. Now it's time to start brainstorming what you are going to write.
This is where content strategy meets creativity.
Think like your readers. What are they struggling with? Their problems should mirror the challenges your book solves.
A question reveals a need, but the emotion behind it is where you connect.
Do a quick Google search of what’s already out there in your niche. What’s missing? It could be a tone shift (maybe more humor), better formatting, or advice that’s actually useful.
Ask yourself: What can I offer that others aren’t? That’s your angle.
Make your blogs easy to read, easy to share, and easy to act on.
Focus on what your audience needs, hit the emotional notes, and deliver the kind of content they didn’t even know they were looking for—but can’t stop sharing once they find it.
Novel 101
The key to a compelling plot lies in its characters. Readers stay hooked because they care about the characters or want to know what happens next. Plot and character aren’t separate; they’re intertwined. A strong plot pushes the character to grow, typically through difficult decisions that force them to evolve.
To build your plot, think about what your main character wants—their goals and true desires. Then, make it as hard as possible for them to achieve those goals. A character’s path is shaped by the obstacles they face, and that’s where the plot comes from.
The biggest mistake writers make when struggling with plot is not knowing their characters well enough. Always start with character development, and the plot will follow.
Every story needs a beginning (change), middle (challenge), and end (resolution).
A satisfying plot has a clear structure, where events are connected and move in a sequence.
How much you plan depends on your writing style. Some writers prefer to plot everything out (planners), while others dive in and see where the story takes them (pantsers). Most writers fall somewhere in between, balancing structure with creative freedom.
Writing YA Novels
Avoid adopting an adult’s perspective of wisdom and hindsight when writing a teen protagonist. Teens are still figuring things out, so their mistakes, actions, and decisions must feel real and authentic. If you write the story to “teach a lesson,” your teen audience will see right through it. It’s crucial not to set up your characters to fail just to make a moral point.
Ask yourself:
Am I capturing my character’s emotional truth?
Am I trying to teach my readers what not to do?
The key to good YA fiction is emotional truth—creating characters that feel authentic even when they make mistakes. Don’t write to “teach”; write to show the genuine struggles and growth of the characters, just as teens experience them.
Writing Short Stories
So, you've finished your story and are pumped to share it with the world. Stop right there. Take a breath. Seriously, pause before you publish.
Rushing to release a half-baked draft won’t help your writing career, growth, or readers. No one benefits from a story that’s not ready.
If you want to see your story clearly, you’ve got to forget why you included every little detail. What feels necessary to you might read as repetitive or unnecessary to your audience. Trust them—they’re smarter than you think.
A break gives you time to reflect and improve. Much writing happens off the page, and that space makes room for better storytelling.
Publishing too early cheats you out of the most crucial part of writing—revision. If you want to get good, you have to get into the habit of reworking your drafts. It’s not sexy, but it’s essential.
Don’t chase quick validation. Build discipline. Revisit your work with fresh eyes. That’s the real path to becoming a great writer.
Writing Dialogue: Plot & Character Development
Every character should sound like themselves. Whether you're writing a heated argument or a slow scene, their voice—how they speak—helps define who they are.
A character’s voice can reveal:
Their personality
Mood or mental state
Background and culture
How they differ from others (which creates tension or attraction)
The takeaway?
Word choice, rhythm, and speech patterns matter
Slang, idioms, and accent can add realism and variety
Even subtle shifts in speech can signal a character’s transformation or instability
Make your characters sound like individuals—not just through what they say, but how they say it. That’s how you create an immersive, emotionally rich story. Ready to send the next one?
Point Of View
We have read all about first-person narration, and now we are going into third-person narration—specifically, limited third-person. Instead of being in the character’s head like in the first person, you’re following them closely, like a camera crew on a reality show. You're not them, but you're right over their shoulder.
This POV gives you the best of both worlds: You still get emotional insight and a deep connection to one character, but with a slightly broader scope, like being able to describe their appearance or pick up on something they don’t notice. It feels close, but not claustrophobic.
One of its biggest perks? It often reads as more objective and credible than 1st person because it isn’t filtered entirely through one character’s emotional lens.
But here’s the catch: narrative distance. This is all about how “zoomed in” you are. You can write close, sharing thoughts, physical sensations, or zoom out to give a wider view of the scene. Done well, this creates depth. Done poorly, it feels shaky.
Mastering that "zoom" is the key. Smooth transitions and clear intention are how you keep your readers grounded and immersed.
Turn Up The Heat
Every good romance needs conflict—it’s what gives the story heat, tension, and depth. No conflict = no stakes = no chemistry. What do we need?
1. Intrapersonal Conflict > This is the internal struggle. Think commitment issues, identity crises, or emotional baggage. In romance, this often looks like the classic “I want to love you, but I’m terrified to” arc. These inner battles add layers to your characters and make their emotional growth believable.
2. Interpersonal Conflict > This is all about people clashing—enemies-to-lovers, lovers-to-exes-to-lovers, or rival coworkers. It's juicy, dramatic, and perfect for building sexual tension. Most romantic plots will tap into this at some point, especially if there's a suspense subplot or emotional stakes tied to another person.
3. External Conflict > Stuff out of their control: war, illness, layoffs, natural disasters—you name it. These are plot-shaking events that force characters to adapt, grow, or finally confront their internal drama. External conflict often pushes your characters closer together… or pulls them painfully apart (before the big finale).
So why does conflict matter in steamy romance? Tension creates anticipation. Conflict stirs desire, makes stakes feel real, and sets the scene for explosive emotional (and physical) payoff. That moment when everything comes to a head? That’s the goal.
Show Don't Tell
If readers don’t care about your characters, even the most thrilling plot won’t land. To hook them emotionally, make your characters relatable—and one of the best ways to do that is through body language.
Don’t just say your character is “angry” or “sad.” Show it. Their body will talk: eye rolls, stiff posture, clenched fists, or a tight smile all say more than a label ever could. Think less "He was nervous," and more "He tugged at his collar and avoided her eyes."
Showing illustrates, while telling jumps straight to the facts.
Writing Poetry
Poetic form refers to the rules that structure a poem, like rhyme scheme, meter, and length.
The Villanelle > A 19-line poem with a specific rhyme scheme (ABA) and repetition of lines. The first line repeats in lines 6, 12, and 18; the third line repeats in lines 9, 15, and 19. This creates a sing-song quality that can emphasize a speaker's emotional struggle or determination.
The Haiku > A traditional Japanese form with no rhyme, just a strict 5-7-5 syllable structure. Often focuses on nature and human connection, and includes a shift or contradiction in the final line. The haiku's brevity pushes you to make every syllable count, making it a great form for starting poetry.
Free Verse > No rhyme or meter restrictions. It’s become popular in contemporary poetry because of its flexibility and accessibility.
Each form offers different possibilities—whether you love structure or prefer the freedom of free verse, the form you choose sets the tone and direction for your poem.
Writing a Children's Book
Teen’ books are technically written for 12–13-year-olds, but they’re usually about characters who are 1–2 years older. Because younger kids want to read about slightly older kids—it’s aspirational.
Bookstores and publishers don’t really use “Teen” as a category. You’ll usually need to pick a side: Middle Grade (MG) or Young Adult (YA). Here's how to figure out where your story belongs:
Length: MG caps at ~50K words. YA starts around 60K.
Independence: Does your main character still feel close and comforted by home? That’s MG. If they’re desperate to break away and find freedom? YA vibes.
Humor: MG humor = big, bold, cartoonish (think Wimpy Kid). YA humor = more sarcastic, subtle, even dark. If your book is a bit absurd, you’re likely in MG territory.
Pictures: If your book has illustrations, it’s MG. Graphic novels skew either MG or crossover (teen/adult). YA = text-driven.
POV & Plot: MG usually sticks to one main character and one linear story. If your story juggles multiple POVs or characters, you're leaning toward YA.
Content: MG handles crushes and butterflies. YA can touch on early sexuality and real emotional stakes, as long as it’s not too explicit.
Pick a lane. Booksellers need a category, and readers need expectations. That said—if you’re self-publishing or writing something unique—don’t force it. Write your story well. Market it smart. Let the right audience find it.
Character Development
Your main character doesn’t have to be perfect — they just need something relatable. And your villain? Give them depth, not just evil vibes.
Ask yourself the important stuff:
What do they fear?
What do they love, hate, and crave?
How do they handle stress?
What’s their biggest desire in life?
That last one is huge — because what your character wants drives the plot. Conflict often comes from the friction between what they want and what stands in the way.
Reminder: People are messy. Make your characters messy, too. Realistic characters are full of contradictions. Avoid making your hero flawless or your villain a cartoon. Complexity is the key.
Build characters that feel human. Use traits from yourself, people you know, or characters you love. That’s how they’ll stick with readers.
How to Plot a Novel
Act Two is the bulk of your novel—starting where Act One ends and going all the way to about 75-90% of your story.
The first half of Act Two is called the Pre-Midpoint Rising Action (up to the 50% mark). This is when things start to heat up.
Act Two = Opposition. Your protagonist is no longer just discovering the world—they’re now meeting resistance. Everything gets more intense here, whether it’s an antagonist, roadblocks, or internal struggles.
Your hero is reactionary. At this point, they’re not charging ahead with a clear plan. They’re overwhelmed, unsure, and mostly trying to survive the challenges thrown at them.
Conflict is everywhere. Tension with friends, growing fear, and increasing pressure from enemies or circumstances—all of this builds as they chase their goal.
Act Two begins the tug-of-war between what your protagonist wants and everything standing in their way. It’s messy, emotional, and essential.
How to Write Romance
Romance readers want a happy ending, sure—but more than that, they want to enjoy the familiar ride that gets them there. Think: second chances, opposites attract, surprise baby. These plot beats are what make the genre feel like home. Tropes create comfort and excitement. They’re part of the fantasy—and your job is to deliver them well.
Readers don’t get tired of tropes. What they do need is a fresh spin. It’s not just what happens, it’s how it affects your characters. Take “unplanned pregnancy” as a base. Now ask:– Does the heroine even want kids?– What if the hero doesn’t?– What if they’ve experienced loss before?– What does this change force them to confront?
A trope isn’t a plot plug—it’s a tool for transformation.
Focus on tropes that bring change:– Moving home after years away– Inheriting property or business– Becoming a guardian after a death– Family illness that changes priorities
These situations stir the pot and open the heart.
Use tropes to guide the emotional arc. Romance is about the path—use familiar beats in unexpected ways, and you’ll keep your story fresh, grounded, and satisfying.
How to Write YA Novels That Sell
In YA, the heart of the story isn’t the setting or the plot—it’s the characters. A good character can make or break a YA novel. YA stories are all about figuring out who you are and what you want, and characters drive that.
What Makes a Good YA Character?
Desire: They want something, big or small. Wanting something creates emotion, and emotion keeps readers engaged.
Need: They also need something they don’t realize they need—this adds depth and makes for a more compelling story.
Imperfection: Characters shouldn’t be perfect. Readers want to see flaws and struggles they can relate to.
Quirks: A little uniqueness—whether it’s a habit, interest, or catchphrase—makes them memorable.
What Makes a Not-So-Great YA Character?
Perfection: Characters that are flawless can be boring. Readers need flaws and struggles to feel invested.
Over-Capability: Teens are still figuring things out. A character who’s too perfect or capable can feel unrealistic.
Stereotypes: Diversity matters. Avoid relying on clichés or offensive portrayals of characters from different backgrounds.
Cardboard Cutouts: If your character feels flat and lacks development, they’ll fail to pull the reader in, no matter how exciting the plot is.
Craft characters with depth, flaws, and desires that readers can relate to and care about, and your YA novel will have a stronger chance of standing out.
If you have been reading and following this blog, then you know this is just another post in the ten lessons series of the writing courses for authors.
