The course is done, it’s in the shop, and it’s available now.

So… what’s in Page-Turning Scenes?

• The two critical parts EVERY scene must have? (Page 13)
   
• The FIVE types of conflict that will make writing your stories easier, and keep your readers hooked. (Page 14)
   
• The short, simple story PLAN technique that will keep you from writing the wrong book. (page 16)
   
• The TWO absolutes that apply to every form of conflict and every scene. (page 23)
   
• The special scene technique that lets you grab your reader’s attention and totally mislead him WITHOUT cheating.(page 25)
   
• The great conflict trick that lets your reader see something go wrong, and know it’s gone wrong, and makes him NEED to keep reading to find out why. (page 26)
   
• Internal conflict that shows your reader your hero’s anguish–and that makes him empathize–WITHOUT resorting to a bad replay of Hamlet’s monologue. (page 28)
   
• 28 types of conflict between your characters that AREN’T arguing. (page 33)
   
• Conflict between characters on the same side of your issue. (page 35)
   
• The ONE kind of conflict that can provide your entire story and everyone in it with a reason to go on. (page 37)
   
• The way to know which are good scenes and which are bad scenes BEFORE you write them. (page 43)
   
• An answer to the problem of TOO MANY ideas. (page 58)
   
• The easiest way to spread out the good stuff over an entire book, and not show your whole hand in just one scene. (page 60)
   
• A step-by-step method for getting your hero OUT of the corner you got him stuck in. (page 64)
   
• Straightforward directions on how to dump your boring scenes while identifying and saving what matters in them. (page 71)
   
• TWO simple, fun, easy ways to write in "breathers" for your readers that DON’T include letting them put the book down. (page 75)
   
• Five ways to write scenes that suck readers in even when your story is NOT about life-or-death issues. (page 81)
   
• TWO types of great transitions that will spice up your pages and let you leap all of time and space (or as much of it as you need to) in two sentences? Just two. (page 86)
   
• The SIMPLE way to use flashbacks, flashforwards, dream sequences, and other scenes that jump your story through time. (page 91)
   
• THE FOUR SECRETS to when and how you’ll use step-by-step action to make your scene gripping, urgent, and must-read…and when you must NEVER use step-by-step action. (page 92)
   
• The FIVE STEPS to misdirecting most of your readers most of the time? (Though Abraham Lincoln was right. You CAN’T fool all of the people all the time.) (page 95)
   
• The FOUR ways to choose the right viewpoint character for every scene. (page 98)
   
• The HOW, WHEN, and WHY behind introducing and using secondary characters. (page 100)
   
• SEVEN ways for getting real emotion from your head into the scene. (page 107)
   
• The dialogue technique that will save you (and your readers) from the dreaded Talking Heads Syndrome. (page 107)
   
• Description that readers NEED, that creates OPPORTUNITIES for plot twists, and that keeps your story moving without EVER bogging it down. (page 109)
   
• The FIVE senses–plus any others you can invent–used the right way, at the right time, and for the right reasons. (page 112)

I’ve kept it as lean and to the point, I’ve done everything in my power to answer every question you asked, and I think you’ll be excited by what it can help you do with your writing.

Pick Up Your Copy Now

E-book, 118 pages, and lots of techniques, explanations, examples, and exercises to show you EXACTLY how to make your scenes compelling, exciting, and critical to your story.

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