-Bram Stoker Award®-Winner-
Michael Knost
Writing Classes on Video
CREATING CHARACTERS READERS CONNECT WITH
It’s no secret that the reader connects to your story via the characters. So the better developed your characters are, the stronger the connection your reader has to the story. We are going to discuss several methods that will build living, breathing individuals your reader wants to follow and live through during the life of the story. These methods will also turn the usual cardboard-flat characters into well-rounded humans, monsters, entities, which will turn your cardboard story into something the reader cannot easily put down.
WEAVING MULTIPLE NARRATIVES INTO ONE STORY
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We will learn the intricacies of crafting multiple (seemingly standalone) story threads into one novel. We will focus on a subtype of parallel narrative called Fractured Tandem where, step by step, the connections of outwardly independent stories are revealed in your novel.
We will learn how to:
* Best weave these stories into one epic tale.
* How and when to transition to and from one another.
* How to make each thread not only relevant to the whole, but also to each and every other thread.
THE IMPORTANCE OF TONE & VOICE
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We are going to learn the differences between tone and voice when it comes to writing fiction. We will also discuss the importance of each as most up-and-coming writers overlook these aspects of the craft more so than any other. And then we will learn valuable techniques on how to better utilize tone and voice to add depth and layers to your character, storyline, setting, and everything in between.
SETTING UP INTERVIEWS, AND DOING THEM WELL
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After working over 35 years in the broadcasting industries, including radio, television, and newspapers, I wanted to take my experience and teach authors how to get excellent spotlight via these media outlets. But, also how to maximize your performance once you have landed them. What's better than FREE marketing where thousands to millions could be reached? We'll learn how easy it is to do it.
INTERNAL DIALOGUE & DEEP POINT OF VIEW
This class goes far beyond the normal point of view class I have taught for a few years, this goes much deeper. Pun intended. We are going to cover the immersive POV technique, showing how it creates a much deeper connection between readers and characters, which creates a closer bond between reader and story. This will be two classes in one, but since they are so closely related, I wanted to do them together. So the second-half of the class we will delve into direct internal dialogue and indirect internal dialogue, we’ll talk how to structure it, and how to use it along with POV to make sure the reader forgets he or she is reading a story. Warning: this is an advanced writing class.
SELF-EDITING FOR THE FICTION WRITER
We are going to delve into a number of things most writers overlook when it comes to self-editing. We will focus on every aspect of editing a manuscript for story content. We will also have tips and tricks for copyediting, but the focus will be on the meat and potatoes of the story itself. There are so many aspects that writers don’t think of or don’t want to deal with. We are going to do a complete inventory of our editing toolbox to equip the writer so he or she will not only have the tools to write better, but will have the tools to improve that writing from head to toe.
CREATING GOOD CHARACTERS—EVEN IF THEY ARE NOT GOOD PEOPLE
Creating characters your readers care about is important, and sometimes we need characters that aren’t so loveable or relatable, but we need the reader to care about them—or at least find them interesting. Creating good characters is important. But this class is not about writing good bad people, it’s about writing good characters regardless of integrity or intentions or motives. This class is also going to go in-depth as to how to do this without the reader realizing what the writer is doing. But I need to warn you, this is NOT a beginner class—this is for writers who are ready to take the next step.
DIALOGUE: THE HEART OF CHARACTER, THE BLOOD FLOW OF STORY
When it comes to writing fiction, most think dialogue is just two or more characters talking in the scene. However, communication is only a small portion of what good dialogue is about. There are a number of things dialogue should do to build better characters and strengthen the story. And it’s one of the biggest reasons many up-and-coming writers get rejection over and over again. We are going to go through those things this Wednesday evening in a new class so we can create dialogue that serves the character, thereby moving a better story forward.
SHOW, DON’T JUST TELL
Ninety-five percent of all students taking this class cannot correctly identify a sentence I read to them beforehand as SHOWING or TELLING. But they walk away from the lesson knowing beyond a shadow of a doubt which is which, and why both are so important to story. The best way to allow your reader to experience the story is by showing them those aspects that need experienced, and telling those that work best when told. Then we will learn how the two work as a complete team.
Building A Better Short Story
No matter the genre or medium, a short story requires certain elements to actually be a story. But there are particular elements that can take your tale from average to acceptance. In this online class, Bram Stoker Award-winning editor Michael Knost will layout a blueprint for a better, stronger story. And you don’t have to wear pants while taking the class.
* Download links will be emailed with 24-hours of order
DOWNLOAD THE PDF SPREADS FROM WEST VIRGINIA SOUTH MAGAZINE'S INTERVIEW WITH MICHAEL KNOST BY CLICKING THE FILE BELOW!
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MY BOOKS
