So, you’ve figured out how to write a story that works. You know you need a character, in a setting, with a problem. You know you need a series of try/fail cycles, followed by a climactic scene and the resolution. The structure is simple, but it’s not always easy.

In particular, it can be challenging to sustain and escalate the story’s momentum through those try/fail cycles. And it would be nice to have something that could give your story a delicious ribbon of flavor, instilling brilliance and meaning.

Here’s the good news—there is such a technique. It’s called situational irony, and in this article, we’re going to take a look at what it’s made of and how to construct it in your own work.

Atmosphere matters. People will pay a premium to eat at a restaurant with a certain ambience or buy a house in a setting that supports a particular feeling. In like manner, your reader won’t remember every word you wrote, but if you infuse the story with atmosphere, they will remember the way it made them feel. And readers read in order to feel something.

As writers, we want to capture our readers’ attention, rivet them to the page, and leave them clamoring for more. We want to create something that moves people, deepens their understanding, and keeps them thinking about our story long after they’ve devoured the last word.

You may have noticed how I used sets of three in my opening paragraph, and if you didn’t consciously register it, your subconscious mind certainly did. Using the Rule of Three in your writing is one way to meet reader expectations and engage reader interest.

You’ve written some stories, maybe even published a book or two. You dream of being a successful author. But how much do you want it? What does it take to be a writer?

As writers, we are artists. We create through inspiration—a spark brought to fruition through discipline, hard work, and practice. And we draw inspiration from everywhere around us.

That includes the singing competition The Voice. Singing is a different art form from writing, but there are many lessons we writers can draw from it.

Have you ever tried to have a conversation with someone who mumbles his responses, doesn’t make eye contact, and slouches in his chair? You have to work hard at it, and it’s often unrewarding.

Isn’t it easier to talk with someone who sits up and gives you his attention, looks right at you, and speaks his answers clearly? It requires less effort on your part and is primed to yield results.

Weak writing is like that first guy. It makes it harder for readers to follow the story and doesn’t hold out much hope for a satisfying experience. It’s tempting for readers to close the book and move on.

Strong writing commands attention and respect, setting up the expectation of a good story to come.

You craft your story, scene by scene and sentence by sentence, stringing one word to the next with loving care. But what if, when your reader picks it up, the whole thing falls apart?

You don’t want that happening. Continuity is the thread that stitches your story into a coherent package, holding it together and making it a pleasure to read. So how do you make your writing flow?

The scene is the fundamental unit of story. It’s what drives the story forward, instilling purpose, drama, and emotion. It’s critical to understand the elements that make it effective and know how to employ them. In this article, that’s what we’ll examine—plus, how to use Scrivener to make sure all those elements are present.

Consider this: as writers, we employ words. We harness their power and send them out to do a job. So, just like any productive employer, we must choose our operatives effectively and manage them well. In this article, we’ll take a look at some of the ways words can fail and how to avoid that.

Are you wondering what Dan Brown’s MasterClass is like and if signing up would be a good move for you? Do you want to learn how to craft a thriller that works or add suspense to your writing? I recently had the opportunity to take a MasterClass from the man who wrote one of the world’s best-selling novels, The Da Vinci Code, and I’m here to share my thoughts about the experience and give you a peek into what I learned.

Have you ever been told by some well-meaning soul that writing can’t be taught? Have you heard that the ability to create beautiful sentences and convey a heart-wrenching story is inborn, and you either have it or you don’t?

The Argentine writer and poet Jorge Luis Borges said, “Art is fire plus algebra.” That flame blazes in all of us, and can be fanned by passion and dedication. What’s more, we can apply the algebra through deliberate study and practice.

I believe writing can absolutely be taught and learned. Here’s how.

Are you making the most of your writing, sharing it in all possible formats and getting it in the hands of readers? Your writing is more expansive than you might imagine. Here’s how to make the most of it.

So you wrote a novel. Now what do you do with it? The life of an indie writer is rife with challenges. When it comes to publishing and marketing a book you’ve written, there are countless decisions to be made and lots of work to be done.

Why are games of Hide and Seek or Tag so appealing? I think it’s because they play with our emotions and instincts as hunters and hunted. They stir the elemental embers of our flight response. As an adult, you may not indulge in actual games of tag, but I’ll bet you still love to participate by proxy in the pages of a thrilling book or on the screen.

As a writer, learning to use a chase story, also known as the pursuit plot, will strengthen and diversify your toolbox and may help you create an awesome book.

Imagine The Shining taking place in a shopping mall. Or the movie Se7en set in sunny Florida. It just wouldn’t work. Setting plays a vital part in the success of these stories, and it should in your stories, as well.

A thriller is not just a rollercoaster ride, but like a whole day at a theme park with head-of-the-line privileges. Ride after wild ride with maybe just enough down time to eat a corndog and take a bathroom break. The necessary ingredients for a thriller include conflict, tension, and suspense, all tied up in a nice, twisty package.

What do readers demand from the stories they read? They expect to be entertained, to learn something, to be intellectually challenged, charmed, or tickled. Readers want to have questions raised and answered and they love action, chases, and puzzles. But above all, readers read to feel something, to be stirred emotionally.

That’s why learning to craft an emotion-baited hook can be one of the most powerful tools in your toolbox. So let’s take a look at how to do that.

Surprise! In real life, some folks love surprises and others hate them. But one thing is certain—in fiction, you need them. If you want your reader to be captivated by your story, unable to put it down, you need to learn how to write a hook that will draw him through. Grab your reader with something totally unexpected, and you harness his attention to the story you’re telling. At least for that moment.

If you want your readers to not just pick up your book, but keep turning the pages, you need to learn how to write a hook that will draw them through the story so they never want to put it down. Try baiting your hooks with the thrill of danger to keep your readers on the line.

If your aim is to write engaging fiction—stories that people will read and clamor for, even shell out their hard-earned cash to acquire—there is something very important you need to understand. You are an entertainer. And that means you need to know how to write a hook that will capture your reader and keep her turning the pages.