August 19, 2025 • 11 mins
Have you ever sat down to write a novel and thought, “Where do I even begin?” Or maybe you’ve started writing, but something feels... off. The story isn’t coming together the way you imagined, and you’re not sure why.
You’re not alone. Most writers struggle with this because they’re missing the foundational elements that make a story work. It’s not about writing beautiful sentences or having a brilliant idea—it’s about knowing how to build a story that readers can’t put down.
In this episode, I’m breaking down the five key elements every successful novel needs to hook agents and readers. Whether you’re just starting your first draft or revising for querying, this episode will help you craft a story that works and keeps readers turning the pages.
Tune in to learn:
- [02:40] Why beautiful prose isn’t enough to get published—and the real reason agents reject manuscripts
- [03:45] The 5 essential elements every successful novel needs to hook agents and readers
- [04:15] How to create characters readers care about—even if they’re not “likable”
- [05:20] Why stakes and conflict are the backbone of every compelling story (and how to get them right)
- [08:25] The secret to crafting an emotional journey that keeps readers turning pages
If you’ve been focusing on perfecting your prose but struggling to create a story that works—or if you’ve faced rejection despite positive feedback on your writing style—this episode will transform how you approach novel writing and the publishing process.
⭐ Follow & Review
If you loved this episode, please take a moment to follow the show and leave a review on Apple Podcasts! Your review will help other writers find this podcast and get the insights they need to finish their books. Thanks for tuning in to The Fiction Writing Made Easy Podcast! See you next week!
🔗 Links mentioned in this episode:
- Ready to finally write the novel you’ve been dreaming of? Join Notes to Novel—my 8-week live coaching program where I’ll guide you step-by-step to craft a compelling story agents request, and readers devour. Enrollment is open now, but doors close soon—grab your spot today!
👉 Looking for a transcript? If you’re listening on Apple Podcasts or Spotify, scroll down below the episode player until you see the transcript.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Agents receive thousands of queries each year,
but they only take on a handfulof new clients, and those are
brutal odds, right?
But here's what might surpriseyou it's rarely the quality of
the writing that determines therejection.
Over the last 10 years, I'vespoken with dozens of literary
agents and editors and they allsay the same thing Even
beautifully written manuscriptswill get rejected when they're
(00:22):
missing this fundamental thing.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:42):
you can implement in yourwriting right away.
So, whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, we're divinginto a topic that I know so
many of you care about, and thatis what agents and readers
(01:05):
actually want in a novel and howyou can write a story that
stands out.
If you've ever wondered whybeautifully written manuscripts
still get rejected, or whyagents don't seem to fall in
love with your work, despite allthe effort you've put into it.
This episode is for you.
I'm going to break down thefive things that agents and
readers are really looking for,plus five specific techniques
you can use to make your novelrise above the rest.
(01:25):
And, of course, I'll share afew examples from some of my
favorite books to show youexactly how these elements work
in action.
Now, a lot of writers aresurprised when I say that I can
spot a manuscript that doesn'twork within the first five pages
, sometimes even within thefirst paragraph.
And it's not because thewriting is bad.
In fact, I see gorgeous proseall the time, beautiful
(01:47):
metaphors, lyrical descriptions,sentences that could make you
cry, but those manuscripts stillget rejected.
So why is that?
Well, beautiful writingattached to a story that goes
nowhere is like a gorgeous framearound a blank canvas.
It doesn't matter how prettythe frame is if there's no
picture inside.
Let me give you an example ofwhat I mean by this.
(02:08):
One of my notes to novelstudents Amanda.
She had spent three yearsperfecting every sentence in her
manuscript.
She worked with a copy editorwho helped her correct her
spelling and grammar, and herbeta readers raved about her
quote-unquote stunning prose andlyrical voice.
And because of all of this, shewas certain that agents would
love her manuscript.
But when she started querying,she heard nothing back, just
(02:30):
crickets.
She didn't get one singlerequest for pages.
So, fast forward to a little bitlater, we looked at her
manuscript together and I sawthe problem in her pages right
away.
Her writing was actuallybeautiful, but there was nothing
happening.
Her characters weren't changing, there were no stakes, there
was no tension.
It was really just a bunch ofpretty words describing people
(02:51):
having conversations and goingabout their everyday life.
And so what I told Amanda isthat agents and readers don't
fall in love with beautifulwords.
They fall in love withcompelling stories first.
And if she wanted to make thismanuscript work, then we were
going to have to go back to thedrawing board and reconstruct it
from the ground up.
If you can relate to Amanda'sstory, or if you've been focused
(03:12):
on perfecting your sentenceswhile your big picture story
sits unfinished or unfigured out, I want you to know that you're
not alone, and in today'sepisode, I'm going to tell you
how to fix that.
Alright, now let's talk aboutrejection for a second, because
it's something every writerfaces.
The truth is, the vast majorityof manuscripts submitted to
agents and publishers will getrejected.
(03:33):
Agents receive thousands ofqueries each year, but they only
take on a handful of newclients, and those are brutal
odds, right.
But here's what might surpriseyou it's rarely the quality of
the writing that determines therejection.
Over the last 10 years, I'vespoken with dozens of literary
agents and editors and they allsay the same thing Even
beautifully written manuscriptswill get rejected when they're
(03:55):
missing something fundamental.
And that fundamental thingthey're missing, well, it's the
story underneath the beautifulwords.
So let's break down what agentsand readers actually want and
how you can give it to them,because it all really boils down
to this, and that is thatagents and readers, they just
want to feel something.
Agents really do put theirreputations on the line with
(04:16):
every single manuscript theypitch, and when it comes down to
which manuscript they're goingto back, it really all comes
down to which one is going toemotionally engage the reader.
If an agent has to pick betweentwo different manuscripts and
let's say that one has gorgeousprose but no story arc and the
other has a compelling narrativethat maybe needs some line
editing or polishing, the agentsare going to choose the one
(04:39):
that has a compelling story arcevery single time, and that's
because they can help you polishyour sentences and your prose,
but they can't help youmanufacture that kind of
emotional engagement that yourreaders are looking for.
So if it all boils down to thiskind of emotional engagement,
then what creates emotionalengagement?
Well, there are five keyelements.
(05:00):
Number one is a character worthcaring about.
And here's the thing Agents andreaders.
They don't need to love yourprotagonist, but they do need to
care what happens to them.
How do you make them care?
By creating a character whofeels real, flawed and human,
someone who wants somethingdesperately and whose want
matters to us because weunderstand it.
(05:21):
As an example, take Evelyn Hugofrom the Seven Husbands of
Evelyn Hugo.
Evelyn isn't always likable.
She's manipulative, sometimesselfish and willing to do
whatever it takes to control hernarrative.
But we care about her becauseshe's deeply human.
Her flaws make her relatableand her need to reclaim her
story after a lifetime of beingdefined by others is something
(05:42):
we can all understand.
And that's the key.
Your protagonist doesn't haveto be perfect, but their journey
has to matter to us.
Here's a simple way to test ifyour protagonist is worth caring
about.
I want you to write down theirbiggest flaw, their deepest fear
and the one thing they wantmore than anything else.
If you can't answer thosequestions, then that's a sign
it's time to dig deeper intoyour character.
(06:04):
Alright, so that's the firstkey element a character that's
worth caring about.
The second key element is stakesthat actually matter, and what
I mean by this is that yourprotagonist needs to pursue
something difficult withconsequences that feel
significant, because here's thething we can only feel tension
if we believe that somethingimportant can be lost.
(06:24):
So, without real stakes, eventhe most action-packed or
exciting plots are going to feelboring, because nothing truly
matters.
If you think about a story likewhen the Crawdads Sing.
On the surface, kaya's fightfor survival in the marsh is
compelling enough, but the realstakes involve her right to
exist as she is, while she'salso yearning for love and
(06:45):
belonging, those universal fearsof being abandoned, of being
judged.
Those are what make us deeplyinvested in her journey.
So I want you to ask yourselfwhat's at stake for your
protagonist and why shouldreaders care, and that'll help
you flesh out this second keyelement, which are stakes that
actually matter.
All right, now the third keyelement are obstacles that test
(07:08):
character.
And here's something reallyimportant I want you to know the
challenges and obstacles thatyour character face.
They can't just be externalproblems to solve.
Ideally, they would also forceyour character to grow, change
or reveal who they really are.
And the reason this is soimportant is because readers
don't just want to watch yourcharacters do things right.
They want to watch characterswho are changing, growing and
(07:31):
becoming who they're meant to be.
If you take Katniss Everdeenfrom the Hunger Games as an
example, she doesn't just facephysical survival.
Each obstacle or challenge shefaces forces her to choose
between self-preservation andprotecting others, and over the
course of time, these challengesreveal her true nature.
She's someone who willsacrifice herself for those she
(07:51):
loves, even when she claims tobe selfish or even when she sees
herself as kind of a selfishperson All right.
So ideally, every obstacle orevery challenge should strip
away another layer, helping toreveal those deeper truths about
who your character really is.
If you want a quick exercise tohelp you check this element in
your story, just take any scenefrom your story and ask how does
(08:13):
the conflict or the obstaclesin this scene force my character
to make a difficult choice orreveal something about who they
really are.
If it doesn't, then I want youto think about how you can add
more emotional weight towhatever obstacles or challenges
that your character is facingin that scene.
Okay, so that's key elementnumber three obstacles that test
your character.
(08:33):
Key element number four is anemotional journey, and we talked
about this a little bit already.
Right, readers, they don't justwant to know what happens, they
want to feel it too, and soyour story needs to take them
through a range of emotions,building to key moments that
feel earned.
If you think about a story likeBeach, read by Emily Henry, we
feel January's grief, hercreative frustration, her
(08:54):
reluctant attraction to Gus, herfear of vulnerability and,
ultimately, her joy in findingboth love and her creative voice
.
Again, the plot serves theemotional journey, not the other
way around, all right, so askyourself how does your story
make readers feel, and are thoseemotions earned, and are they
being delivered at the righttime?
All right, so that's keyelement number four an emotional
(09:15):
journey.
Finally, key element number fiveis a satisfying resolution.
So the ending of your storyneeds to feel both inevitable
and surprising.
It should resolve the externalplot while completing the
character's internal arc as well.
Now notice, I said satisfying,not happy.
So you need to have asatisfying ending, not
necessarily a happy one.
(09:36):
If you take something like theGreat Gatsby as an example, the
ending is definitely not happy,right.
It's satisfying because itdelivers on the story's theme of
longing, illusion and the costof chasing the American dream.
Jay Gatsby's tragic end feelsinevitable, but it still hits us
like a gut punch, right?
So that's what you're aimingfor an ending that feels true to
(09:58):
your story and leaves readersthinking about your book long
after they've finished it.
And as a quick little exercisehere you can ask yourself does
my ending resolve both theexternal plot and the internal
character arc, and does it tieback to the themes I've been
exploring throughout my story ornot?
If the answer to either ofthese questions is no, then it
might be time to revisit the endof your story.
(10:19):
All right, so that's the fifthkey element you want to deliver
a satisfying resolution.
Now remember Amanda, who I toldyou about in the beginning of
the episode.
Well, after we identified whather manuscript was missing, she
went through my notes to novelprogram and learned the specific
techniques for creatingcharacter depth, raising stakes
and structuring her story formaximum emotional impact.
(10:41):
About six months later, she hadfinished her revisions and she
went to a writing conferencewhere she pitched three
different agents and got threefull requests.
So not only did she learn whatmakes a compelling story, but
she learned exactly how tocreate one too, and that got the
attention of three differentagents All right.
So if you're struggling tofinish your novel, or if you've
(11:01):
been facing rejection despitepositive feedback on your
writing, I want you to know onething Just like Amanda, you are
capable of writing a story thatstands out.
The publishing industry ishungry for great stories, and
agents and readers want to fallin love with your characters.
They want to feel invested intheir journeys and they want to
come away from your book feelingchanged.
So what I really want you toknow is that your job isn't to
(11:24):
write the most perfect story.
It's to write a story that's socompelling that even imperfect
prose can't diminish its power,and if you're ready to take the
next step towards doing this, Iwould love to help you make it
happen.
My Notes to Novel course is openfor enrollment this week only,
and inside you'll discover theexact process for creating
characters.
Readers can't help but careabout my proven framework for
(11:47):
building stakes that keep pagesturning and how to structure
your story for maximum emotionalimpact.
Doors close on August 28th andthis is your last chance to work
with me in 2025.
So if you're ready to stoppolishing sentences and if you
want to learn how to write astory that agents and readers
can't resist, go tosavannahgilbocom forward slash
(12:07):
yes, to grab your spot in thecourse, because your story
deserves to be finished and itdeserves to be read, and I would
love nothing more than to helpyou write it All right.
So that's it for this episode ofthe Fiction Writing Made Easy
podcast.
Head over to savannahgilbocomforward slash podcast for the
complete show notes, includingthe resources I mentioned today,
(12:27):
as well as bonus materials tohelp you implement what you've
learned.
And if you're ready to get morepersonalized guidance for your
specific writing stage.
Whether you're just startingout, stuck somewhere in the
middle of a draft, drowning inrevisions or getting ready to
publish, take my free 30 secondquiz at savannahgilbocom forward
slash quiz.
You'll get a customized podcastplaylist that'll meet you right
(12:49):
where you're at and help youget to your next big milestone.
Last but not least, make sureto follow this podcast in your
podcast player of choice,because I'll be back next week
with another episode full ofactionable tips, tools and
strategies to help you become abetter writer.
Until then, happy writing.
Agents receive thousands of queries each year,
but they only take on a handfulof new clients, and those are
brutal odds, right?
But here's what might surpriseyou it's rarely the quality of
the writing that determines therejection.
Over the last 10 years, I'vespoken with dozens of literary
agents and editors and they allsay the same thing Even
beautifully written manuscriptswill get rejected when they're
(00:22):
missing this fundamental thing.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:42):
you can implement in yourwriting right away.
So, whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, we're divinginto a topic that I know so
many of you care about, and thatis what agents and readers
(01:05):
actually want in a novel and howyou can write a story that
stands out.
If you've ever wondered whybeautifully written manuscripts
still get rejected, or whyagents don't seem to fall in
love with your work, despite allthe effort you've put into it.
This episode is for you.
I'm going to break down thefive things that agents and
readers are really looking for,plus five specific techniques
you can use to make your novelrise above the rest.
(01:25):
And, of course, I'll share afew examples from some of my
favorite books to show youexactly how these elements work
in action.
Now, a lot of writers aresurprised when I say that I can
spot a manuscript that doesn'twork within the first five pages
, sometimes even within thefirst paragraph.
And it's not because thewriting is bad.
In fact, I see gorgeous proseall the time, beautiful
(01:47):
metaphors, lyrical descriptions,sentences that could make you
cry, but those manuscripts stillget rejected.
So why is that?
Well, beautiful writingattached to a story that goes
nowhere is like a gorgeous framearound a blank canvas.
It doesn't matter how prettythe frame is if there's no
picture inside.
Let me give you an example ofwhat I mean by this.
(02:08):
One of my notes to novelstudents Amanda.
She had spent three yearsperfecting every sentence in her
manuscript.
She worked with a copy editorwho helped her correct her
spelling and grammar, and herbeta readers raved about her
quote-unquote stunning prose andlyrical voice.
And because of all of this, shewas certain that agents would
love her manuscript.
But when she started querying,she heard nothing back, just
(02:30):
crickets.
She didn't get one singlerequest for pages.
So, fast forward to a little bitlater, we looked at her
manuscript together and I sawthe problem in her pages right
away.
Her writing was actuallybeautiful, but there was nothing
happening.
Her characters weren't changing, there were no stakes, there
was no tension.
It was really just a bunch ofpretty words describing people
(02:51):
having conversations and goingabout their everyday life.
And so what I told Amanda isthat agents and readers don't
fall in love with beautifulwords.
They fall in love withcompelling stories first.
And if she wanted to make thismanuscript work, then we were
going to have to go back to thedrawing board and reconstruct it
from the ground up.
If you can relate to Amanda'sstory, or if you've been focused
(03:12):
on perfecting your sentenceswhile your big picture story
sits unfinished or unfigured out, I want you to know that you're
not alone, and in today'sepisode, I'm going to tell you
how to fix that.
Alright, now let's talk aboutrejection for a second, because
it's something every writerfaces.
The truth is, the vast majorityof manuscripts submitted to
agents and publishers will getrejected.
(03:33):
Agents receive thousands ofqueries each year, but they only
take on a handful of newclients, and those are brutal
odds, right.
But here's what might surpriseyou it's rarely the quality of
the writing that determines therejection.
Over the last 10 years, I'vespoken with dozens of literary
agents and editors and they allsay the same thing Even
beautifully written manuscriptswill get rejected when they're
(03:55):
missing something fundamental.
And that fundamental thingthey're missing, well, it's the
story underneath the beautifulwords.
So let's break down what agentsand readers actually want and
how you can give it to them,because it all really boils down
to this, and that is thatagents and readers, they just
want to feel something.
Agents really do put theirreputations on the line with
(04:16):
every single manuscript theypitch, and when it comes down to
which manuscript they're goingto back, it really all comes
down to which one is going toemotionally engage the reader.
If an agent has to pick betweentwo different manuscripts and
let's say that one has gorgeousprose but no story arc and the
other has a compelling narrativethat maybe needs some line
editing or polishing, the agentsare going to choose the one
(04:39):
that has a compelling story arcevery single time, and that's
because they can help you polishyour sentences and your prose,
but they can't help youmanufacture that kind of
emotional engagement that yourreaders are looking for.
So if it all boils down to thiskind of emotional engagement,
then what creates emotionalengagement?
Well, there are five keyelements.
(05:00):
Number one is a character worthcaring about.
And here's the thing Agents andreaders.
They don't need to love yourprotagonist, but they do need to
care what happens to them.
How do you make them care?
By creating a character whofeels real, flawed and human,
someone who wants somethingdesperately and whose want
matters to us because weunderstand it.
(05:21):
As an example, take Evelyn Hugofrom the Seven Husbands of
Evelyn Hugo.
Evelyn isn't always likable.
She's manipulative, sometimesselfish and willing to do
whatever it takes to control hernarrative.
But we care about her becauseshe's deeply human.
Her flaws make her relatableand her need to reclaim her
story after a lifetime of beingdefined by others is something
(05:42):
we can all understand.
And that's the key.
Your protagonist doesn't haveto be perfect, but their journey
has to matter to us.
Here's a simple way to test ifyour protagonist is worth caring
about.
I want you to write down theirbiggest flaw, their deepest fear
and the one thing they wantmore than anything else.
If you can't answer thosequestions, then that's a sign
it's time to dig deeper intoyour character.
(06:04):
Alright, so that's the firstkey element a character that's
worth caring about.
The second key element is stakesthat actually matter, and what
I mean by this is that yourprotagonist needs to pursue
something difficult withconsequences that feel
significant, because here's thething we can only feel tension
if we believe that somethingimportant can be lost.
(06:24):
So, without real stakes, eventhe most action-packed or
exciting plots are going to feelboring, because nothing truly
matters.
If you think about a story likewhen the Crawdads Sing.
On the surface, kaya's fightfor survival in the marsh is
compelling enough, but the realstakes involve her right to
exist as she is, while she'salso yearning for love and
(06:45):
belonging, those universal fearsof being abandoned, of being
judged.
Those are what make us deeplyinvested in her journey.
So I want you to ask yourselfwhat's at stake for your
protagonist and why shouldreaders care, and that'll help
you flesh out this second keyelement, which are stakes that
actually matter.
All right, now the third keyelement are obstacles that test
(07:08):
character.
And here's something reallyimportant I want you to know the
challenges and obstacles thatyour character face.
They can't just be externalproblems to solve.
Ideally, they would also forceyour character to grow, change
or reveal who they really are.
And the reason this is soimportant is because readers
don't just want to watch yourcharacters do things right.
They want to watch characterswho are changing, growing and
(07:31):
becoming who they're meant to be.
If you take Katniss Everdeenfrom the Hunger Games as an
example, she doesn't just facephysical survival.
Each obstacle or challenge shefaces forces her to choose
between self-preservation andprotecting others, and over the
course of time, these challengesreveal her true nature.
She's someone who willsacrifice herself for those she
(07:51):
loves, even when she claims tobe selfish or even when she sees
herself as kind of a selfishperson All right.
So ideally, every obstacle orevery challenge should strip
away another layer, helping toreveal those deeper truths about
who your character really is.
If you want a quick exercise tohelp you check this element in
your story, just take any scenefrom your story and ask how does
(08:13):
the conflict or the obstaclesin this scene force my character
to make a difficult choice orreveal something about who they
really are.
If it doesn't, then I want youto think about how you can add
more emotional weight towhatever obstacles or challenges
that your character is facingin that scene.
Okay, so that's key elementnumber three obstacles that test
your character.
(08:33):
Key element number four is anemotional journey, and we talked
about this a little bit already.
Right, readers, they don't justwant to know what happens, they
want to feel it too, and soyour story needs to take them
through a range of emotions,building to key moments that
feel earned.
If you think about a story likeBeach, read by Emily Henry, we
feel January's grief, hercreative frustration, her
(08:54):
reluctant attraction to Gus, herfear of vulnerability and,
ultimately, her joy in findingboth love and her creative voice
.
Again, the plot serves theemotional journey, not the other
way around, all right, so askyourself how does your story
make readers feel, and are thoseemotions earned, and are they
being delivered at the righttime?
All right, so that's keyelement number four an emotional
(09:15):
journey.
Finally, key element number fiveis a satisfying resolution.
So the ending of your storyneeds to feel both inevitable
and surprising.
It should resolve the externalplot while completing the
character's internal arc as well.
Now notice, I said satisfying,not happy.
So you need to have asatisfying ending, not
necessarily a happy one.
(09:36):
If you take something like theGreat Gatsby as an example, the
ending is definitely not happy,right.
It's satisfying because itdelivers on the story's theme of
longing, illusion and the costof chasing the American dream.
Jay Gatsby's tragic end feelsinevitable, but it still hits us
like a gut punch, right?
So that's what you're aimingfor an ending that feels true to
(09:58):
your story and leaves readersthinking about your book long
after they've finished it.
And as a quick little exercisehere you can ask yourself does
my ending resolve both theexternal plot and the internal
character arc, and does it tieback to the themes I've been
exploring throughout my story ornot?
If the answer to either ofthese questions is no, then it
might be time to revisit the endof your story.
(10:19):
All right, so that's the fifthkey element you want to deliver
a satisfying resolution.
Now remember Amanda, who I toldyou about in the beginning of
the episode.
Well, after we identified whather manuscript was missing, she
went through my notes to novelprogram and learned the specific
techniques for creatingcharacter depth, raising stakes
and structuring her story formaximum emotional impact.
(10:41):
About six months later, she hadfinished her revisions and she
went to a writing conferencewhere she pitched three
different agents and got threefull requests.
So not only did she learn whatmakes a compelling story, but
she learned exactly how tocreate one too, and that got the
attention of three differentagents All right.
So if you're struggling tofinish your novel, or if you've
(11:01):
been facing rejection despitepositive feedback on your
writing, I want you to know onething Just like Amanda, you are
capable of writing a story thatstands out.
The publishing industry ishungry for great stories, and
agents and readers want to fallin love with your characters.
They want to feel invested intheir journeys and they want to
come away from your book feelingchanged.
So what I really want you toknow is that your job isn't to
(11:24):
write the most perfect story.
It's to write a story that's socompelling that even imperfect
prose can't diminish its power,and if you're ready to take the
next step towards doing this, Iwould love to help you make it
happen.
My Notes to Novel course is openfor enrollment this week only,
and inside you'll discover theexact process for creating
characters.
Readers can't help but careabout my proven framework for
(11:47):
building stakes that keep pagesturning and how to structure
your story for maximum emotionalimpact.
Doors close on August 28th andthis is your last chance to work
with me in 2025.
So if you're ready to stoppolishing sentences and if you
want to learn how to write astory that agents and readers
can't resist, go tosavannahgilbocom forward slash
(12:07):
yes, to grab your spot in thecourse, because your story
deserves to be finished and itdeserves to be read, and I would
love nothing more than to helpyou write it All right.
So that's it for this episode ofthe Fiction Writing Made Easy
podcast.
Head over to savannahgilbocomforward slash podcast for the
complete show notes, includingthe resources I mentioned today,
(12:27):
as well as bonus materials tohelp you implement what you've
learned.
And if you're ready to get morepersonalized guidance for your
specific writing stage.
Whether you're just startingout, stuck somewhere in the
middle of a draft, drowning inrevisions or getting ready to
publish, take my free 30 secondquiz at savannahgilbocom forward
slash quiz.
You'll get a customized podcastplaylist that'll meet you right
(12:49):
where you're at and help youget to your next big milestone.
Last but not least, make sureto follow this podcast in your
podcast player of choice,because I'll be back next week
with another episode full ofactionable tips, tools and
strategies to help you become abetter writer.
Until then, happy writing.
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