Master Fiction Writing

Stuart Wakefield

With 25+ years in theatre, media, and coaching, I’ve honed the art of storytelling. Now, I’m thrilled to share that expertise with you on “Master Fiction Writing.” Whether you’re crafting memorable characters or building gripping plots, each episode is backed by examples from literary pros. Recognised as a top book coach, my mission is to help your stories shine. Ready to master the craft? Subscribe today!

  1. 1d ago

    The Aftermath Scene: What Happens After Something Happens

    You've spent chapters building towards a huge moment in your novel. A betrayal, a death, a shocking revelation, or perhaps a long-awaited victory. It happens, it's dramatic, and you're rather pleased with yourself... but what happens afterwards? In this episode of Master Fiction Writing, I'm exploring the aftermath scene. Those moments when characters have to live with, make sense of, or respond to something significant that's happened. Because sometimes what happens after the big moment is just as interesting as the moment itself. We'll look at examples from The Hunger Games, Harry Potter and the Order of the Phoenix, and Pride and Prejudice, as well as an original scenario involving a woman who discovers that her sister, missing for eighteen years, is alive but doesn't want to be found. Along the way, we'll explore why characters don't always react as we'd expect, how their interpretation of events can create new conflicts, and why an aftermath doesn't necessarily mean bringing the story to a halt for several pages of emotional reflection. After all, sometimes the most revealing response to a life-changing event is to put the kettle on ( I see you, my fellow Brits). If you're wondering whether your characters are properly experiencing the events of your novel, try asking yourself these five questions: What has changed for the character because of this event? Think beyond their immediate circumstances. Has anything shifted in their understanding, priorities or relationships? Does their response make sense for who they are? Not how you think somebody ought to react, but how this particular character might respond. What might they be feeling, believing or interpreting that they aren't expressing? Is there a difference between what's happening internally and what they're showing the world? What does their response reveal that the event itself didn't? Are we learning something new about the character or their relationships? How does the aftermath influence what happens next? Does it lead to a decision, a new goal, a misunderstanding or a change in how the character sees things? Remember, not every significant event needs its own aftermath scene, but if something important happens in your novel, it should matter to the people experiencing it. A quick spoiler warning: This episode discusses significant plot developments in The Hunger Games, Harry Potter and the Order of the Phoenix, and Pride and Prejudice. Got a story problem you can't quite solve? My Story SOS service offers a focused, one-to-one coaching session where we spend an hour untangling a specific problem with your novel. Whether it's character development, plot, structure or something that simply isn't working, we can tackle it together. Find out more: ⁠https://www.thebookcoach.co/story-sos⁠ Find out more about my book-coaching services: https://www.thebookcoach.co If you enjoy Master Fiction Writing, please follow the podcast and share it with another writer who might find it useful.

  2. Oct 21

    Why Characters Who Make Bad Decisions Are Often Better Characters

    Ever found yourself shouting at a fictional character because they're about to do something spectacularly stupid? We've all been there. But why do some terrible decisions make characters more compelling, while others leave us wondering what on earth the writer was thinking? Struggling with a story problem of your own? My Story SOS service offers a focused, one-to-one coaching session where we spend an hour untangling one specific problem with your novel, whether that's character motivation, a plot that's gone off the rails, or something that simply isn't working. Find out more or book a session: https://www.thebookcoach.co/story-sos In this episode of Master Fiction Writing, I'm exploring why bad decisions can be brilliant for character development, provided they make sense for the person making them. We'll look at characters including Jane Austen's Emma Woodhouse, Boromir from The Lord of the Rings, and Walter White from Breaking Bad, and examine how their fears, beliefs, desires and personal blind spots influence their choices. I'll also introduce Helen, a fictional theatre director whose determination to protect her company leads her into an increasingly disastrous series of decisions. The important distinction? Readers don't have to agree with a character's decisions. They just have to understand why that character would make them at that particular point in the story. If you're wondering whether a character's questionable choices are helping or hurting your novel, try these five questions: Does the decision make sense for this character at this point in the story? Consider what they know, believe, want and fear. Why does the character believe this is the right choice? Even if the reader can see they're mistaken. What would making the sensible decision cost them? What makes the alternative emotionally difficult? Have I established enough for the reader to understand their reasoning? The explanation needs to exist on the page, not just in your head. What happens because of the decision? Does it create meaningful consequences that influence what happens next? Remember, a character making a bad decision isn't necessarily a problem. A character making a decision purely because the writer needs something to happen probably is. Find out more about my book-coaching services: https://www.thebookcoach.co If you enjoy Master Fiction Writing, please follow the podcast and share it with another writer who might find it useful. The Bad Decision Test

  3. Oct 14

    Unreliable Narrators: How to Mislead Readers Without Cheating Them

    Unreliable Narrators: How to Mislead Readers Without Cheating Them Can your readers trust the person telling them the story? And if they can't, how do you make that part of the storytelling rather than a cheap trick? In this episode of Master Fiction Writing, I'm exploring the wonderful, complicated world of unreliable narrators. Inspired by a listener's question about a locked-cabin murder mystery, we'll look at how to mislead readers without making them feel cheated, and why unreliable narration is about much more than characters who tell lies. We'll explore the differences between deliberate deception, selective storytelling, mistaken assumptions and self-deception, and how each creates a different reading experience. I'll also explain how point of view affects what you can reasonably conceal, how to plant clues that take on new meaning after a revelation, and why sometimes revealing a secret earlier can make your story even more compelling. And unreliable narrators aren't just for mysteries and thrillers. From romance to historical fiction and family sagas, we'll look at how the gap between what characters believe and what's actually true can create emotional depth, dramatic tension and powerful character arcs. There's also a practical writing exercise to help you explore the difference between what happened, what your character believes happened, and what they're willing to admit. Because the best unreliable narrators don't just make us question what happened. They make us reconsider the person who's been telling us what happened. In this episode: What makes a narrator unreliable (and why they don't have to be lying) How to conceal information without breaking your point-of-view contract Planting clues that reward readers rather than tricking them Deciding when to reveal the truth Using unreliable narration for emotional depth and character development A practical exercise you can apply to your own manuscript Mentioned in this episode: The Remains of the Day by Kazuo Ishiguro Previous Master Fiction Writing episodes: The POV Contract: What You Owe the Reader in Scene 1 and The Reveal Is Not the Secret: How to Control What Your Reader Knows Need help with a tricky story problem? If you're struggling with point of view, an unreliable narrator, a revelation that isn't landing, or another aspect of your novel, my Story SOS sessions offer focused, one-to-one coaching to help you work out what's going wrong and what to do next. Find out more at https://www.thebookcoach.co/story-sos

  4. Sep 2

    The Hawksian Woman: What Writers Can Learn About Chemistry, Competence, and Equality

    What makes some characters instantly compelling to one another? Sometimes it isn’t vulnerability, physical attraction, or even conflict. Sometimes it’s the moment one character looks at another and thinks: Oh. You’re good. In this episode of Master Fiction Writing, I explore the Hawksian woman, the confident, capable, quick-witted female character associated with the films of director Howard Hawks, and ask what this classic Hollywood archetype can teach contemporary fiction writers about creating characters with agency and relationships with genuine chemistry. Using examples from To Have and Have Not, His Girl Friday, Much Ado About Nothing, Pride and Prejudice, Star Wars, The X-Files, Killing Eve, Mad Max: Fury Road, The Hunger Games, Firefly and more, we’ll look beyond the archetype itself to uncover the storytelling principles underneath it. We’ll explore why competence can be attractive, why banter alone doesn’t create chemistry, how characters earn one another’s respect, and why some of the best relationships are built through mutual reassessment. We’ll also look at the limitations of the traditional Hawksian woman and how writers can take what works about the archetype without falling into the tired idea of the woman who earns respect simply because she’s “not like other girls.” There’s also a practical exercise to help you examine an important relationship in your own story. You’ll identify what your characters initially believe about one another, find the actions that force them to reconsider those assumptions, and explore what becomes possible in the relationship as recognition turns into trust and intimacy. Because sometimes the most powerful relationship progression isn’t: They hated each other. Then they fell in love. It’s: They learned how to operate together. And sometimes the most romantic words in fiction aren’t I love you. They’re I trust you. If you enjoy Master Fiction Writing, please follow or subscribe and leave a rating or review. It helps other fiction writers discover the podcast.

4.6
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About

With 25+ years in theatre, media, and coaching, I’ve honed the art of storytelling. Now, I’m thrilled to share that expertise with you on “Master Fiction Writing.” Whether you’re crafting memorable characters or building gripping plots, each episode is backed by examples from literary pros. Recognised as a top book coach, my mission is to help your stories shine. Ready to master the craft? Subscribe today!

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