I Took Brandon Sanderson's Fantasy Writing Class - Here's What I Learned

I first took Brandon sanderson's fantasy writing class back in 2017 when I was a young unpublished writer who was studying as an architecture student in London at the time I had such a desire to write and I had this desperate craving to tell stories but despite this craving I felt like I just didn't have the tools or the understanding to make this dream into a reality and then I discovered Brandon Sanderson the author of this stuff every year he teaches a 14-week fantasy and sci-fi writing class at BYU university and he puts out the entire lecture series for free on his YouTube channel so I took the class and devoured those lectures and is no exaggeration to say that those writing classes were life-changing for me as a fantasy author since discovering Brandon sanderson's lectures six years ago I've now gone on to write and publish three fantasy stories along with a interactive fiction game sanderson's advice has helped mode writing maybe more than anyone else in the world and currently he is my favorite author of all time after he raised over 30 million dollars on Kickstarter for his fantasy novels I would also put fourth the argument that he is perhaps the most successful fantasy author who is working today so in this video I'll be sharing the best lessons I took from Brandon sanderson's writing class compressing 14 hours worth of lectures down into only his absolute best advice and at the end of the video I'll be sharing my number one takeaway from these 14 hours of lectures I'll be structuring sanderson's lessons into seven key sections mindset and habits plot outlining and structure Magic World building character and prose let's do this [Music] mindset and habits the first idea I want to share here is the 10-year mindset as an aspiring writer you've probably been told that becoming a successful published author is a one in a million shot you have probably been told many many times you can't do that but Sanderson says it's actually not one in a million if you can write consistently and grow over a period of 10 years the chances are better than you think they are in fact Sanderson says that about every one out of 20 of your students ends up turning pro for me personally when I first heard this idea of the 10-year mindset it was actually very liberating to know that I had 10 years to try to progress and develop my craft as a writer and it didn't have to happen overnight and that if it didn't happen after a year or even after two years it didn't mean that I was a failure it just meant that I had to keep going which brings me to sanderson's next Point developing a consistent habit the goal is consistency if you can find four hours a week you can write 2 000 words your average novel is around a hundred thousand words that's actually a little long for your average novel which means that that one year you're gonna write a book try to find a job that makes writing easier I worked a graveyard shift at hotel um I I wrote from uh 11 pm until 5 a.m every day and that's how I wrote books while I was going to school full-time and working full-time for me this advice really influenced my choice of a day job and currently I work three days a week fully remotely at a financial technology startup which provides me with the perfect balance to have plenty of time to pursue my writing on the site now Sanderson also brings up a very good point here about overcoming the despair that you might not make it which is definitely something that I struggled with years ago how do I overcome the sense of Despair that you're not going to be able to make it there are a lot of writers who toil in obscurity for a long time and then eventually sell don't let anyone tell you that if you haven't made it in your in in 10 years that you just will never make it go ask George R Martin what people said to him when he was a midlister for 30 years and barely was able to get people to read his books for a long time writing great books and then send finally he became the best-selling fantasy author in the world another is for me learning to focus on am I satisfied with the writing am I proud of what I've done um and making sure that I am because it's a real achievement to finish things the fall off percentage of people who never finish a novel is much larger than the fall between those who finish novel and get published and so if you finish a novel you are already in a more select crowd focus on what you have power over you have power over whether you finish your stories you have power over whether you're consistent you have power over whether you know you are excited and interested in the stories you're creating you do not have as much power over whether you're going to make it or not um that helped me a great deal plus Sanderson says that there are three pillars of Storytelling plot character and setting and these three pillars are glued together by conflict in terms of plot Sanderson says that there are kind of three p's that you can think about with this there is promise progress and payoff promise is where you establish reader expectations and get them hooked stories I'll make a promise in fact they usually make several at the beginning of the story and being in control of your promises and what you're making is a sign of Mastery of the art number one thing you're going to want to look to in your promise is your tone another thing you're going to want to look to in your your early promises is you're going to want to promise us if possible your character Arc um you don't have to promise what the ark is going to be but you do want to promise the thing missing in a character's life that they cannot have and the obstacles that lead to them being unable to have it right you want to show us your characters desires and what's what's preventing them and then the third thing you want to you'll want to do is kind of indicate what kind of plot um you're going to be giving us this is something I explored in more detail in my video about how to hook readers on page one of your story which I will link to in the description down below so you might want to check that out after this video personally I find that the best way to craft an effective promise is to actually think about the ending of your novel how do I want my story to conclude What epic moment will I leave my readers with then once I've got that I can actually go back to the very beginning of my novel and craft the perfect opening to foreshadow this awesome climax the last thing I'll say about promises is that a lot of early writers are often quite concerned with how original or unique their promises and their plots are you know I recently started this writing coaching program and one of my clients came to me with this issue about his own book he was basically asking Jed I'm not sure if my magic and my plot is unique and original enough it feels like people might say it's derivative of other stuff in this genre what do I do and I told him that he really doesn't have to worry because he's going to be bringing his own unique interests and Curiosities to this story in a way that takes his plot takes his magic and crafts it in a Direction that no other writer would be capable of producing simply because no one else is going to have the exact influences that he had his style and his unique sense of voice will naturally lead to an original expression of this sort of progression magic fantasy system that he was developing and I'd say that that same advice extends to plotting as well you can be with your plot a little more predictable than you think as long as you are giving interesting setting and characters we care about the truth is almost every plot that has been done uh our adversary plot that you can see has been done most of the time you want to do subtle inversions of of the the promises you want to have your story film familiar but strange at the same time and oftentimes what you do is you take a new spin on a familiar idea or you take two familiar ideas and mash them together in a way that doesn't feel like it would make sense but is intriguing by the way if you're interested in joining my writing coaching program you can apply using the link in the description down below it's an intensive one-on-one program where we'll work closely together and it is for you if you are a fantasy Rider with sort of beginner or intermediate experience looking to get yourself publication ready the goal of the program is to get you set on the path to publication within the next 12 months and we'll work really closely together to help you achieve that goal I've already got a few writers in this program and because it is a very intensive one-on-one program where you get a lot of my personal time and attention I can only accept a very small handful of clients so it is quite selective but if you're in a position where you're a fantasy writer and you're ready to level up with your writing then please apply using the link in description down below because I would love to work with you and see what kind of stories that you can create if I think you're a good fit I will provide a free critique on your writing and we'll also get on a free coaching call to discuss the ways that you can kind of level up and improve your writing as well as if the program is a good fit for you even if you don't join the aim of this call is to give you a ton of actionable advice that you can use to quickly improve your story so once again link is in the description down below now we talked about promises the next step in your plot is the progress this is the the most important of them I think progress is basically where you show your character struggling towards their goal this is a really powerful sensation in readers and it is part of what draws people to books and why they read the page Turner mentality is about you indicating to your reader that progress is happening and giving them a sense that it is building towards something that they want to see you look at what your what Your plot is and you say well what are small increments I can make along this path that will be really interesting to the reader that will show we're making progress or occasionally backsliding one of sanderson's key points is that you should keep your progress laser focused on the promises that you made at the start of your story where writers go wrong and why their stories can get boring um even though they're exciting is when they give a promise and then go in a different direction for their plot art okay so that's the promises the progress and then the last step is the payoff this is where you resolve the character's progression towards their goal payoff is where um you make good on all of this the trick is you don't always make exactly good on it right now your classic archetype which is still perfectly valid is to make it promised at the beginning work hard through the progress to show that it's working then have things start to fall apart and start at three with the character thinking it's just not going to work at all they've tried and they've failed um and then at the start of act three they find new uh inspiration a new bit of information um or you know a new clue or just you know uh the strength to try again and then this time it works now Sanderson says there's actually nothing wrong with that structure but if you're concerned that that makes your story too predictable Sanderson also gives this kind of secret tip for creating better payoffs he calls this plot expansion and this is basically where the promise at the beginning is intentionally smaller than you know you're going to deliver on and you work hard to hook them on this one of the big twists for mistborn is your promises you're going to get a heist and as you experience the story as our progress goes through you see how terrible life is for people here and you start to think man I do want these cool thieves to pull off their Heist but the thing is if they just enrich themselves and run they're going to leave behind all these other people and I actually want something more I kind of wish this was Star Wars and they were going to overthrow the Empire holy crap they overthrew the Empire right outlining and structure so writers exist on a spectrum on one side you have outliners who like to plan and map out their stories before they begin and on the other side you have Discovery writers who prefer to just kind of figure it out as they go along there are different writers and there is no one way to do this now working out where you kind of fit on this spectrum is hugely important for me personally I really struggled with my first book because I didn't have a coherent structure I didn't outline beforehand and it took me 360 days to write the very first draft when I moved on to working on to my second novel I actually began with an outline and as a result I was able to write that first draft in only 60 days instead of 360 days and the story was a lot better for it similarly to me Sanderson is a big fan of outlining as well an outline Works a little bit like that for me in that I can offload some of the work that I would have to be doing while I'm sitting and writing to a planning session before I start the book so how does Sanderson outline most of my outlines will look like this they will start with a heading for character then they'll have a heading for setting and then they'll have a heading for plot and then underneath character there will be the names of each of the characters so I will give each main character their own their own heading um and then I will have a separate heading for Side characters underneath it and then there'll be some bullet points under there that are a different outline level um so the character one is I start out saying what is the character's Arc so it'll be like this is where they're starting this is where they're going I'll get into How I build those arcs in a minute um under setting I will have large headings that will talk about things like the magic uh or the tech the Set the World building like the physical setting and the cultural setting when I am building my plot in my outline for a book I am looking for a couple of things one of the main things I'm looking for are my promises my progress and my payoff and the most important thing generally for me to determine is the progress part because once I understand the progress part in my outline I can figure out the correct promises and how to make good on that and when I'm doing that I am usually looking for some sort of plot archetype that I can use Sanderson defines a plot archetype as a certain type of plot when I was building mistborn uh there are a couple things that made me excited to write the book the first was that it was going to be a heist this was one of my primary plot archetypes uh Heist is a type of story um it is a story that you can go find other Heist type stories and learn what they did you can research them you can figure them out and you can start using them I also knew in my outlining that there was going to be a master Apprentice plot right um that there was going to be this story about Vin learning to become a mistborn this is the My Fair Lady side of it right then trains under kelsier to learn to move among the nobility and also to learn how to use um alamancy right um and then I also knew there was going to be what I'll call an information plot info um this is a plot it's a mystery right there are certain things we don't know about the history of the Lord ruler that are going to be teased as Clues um so I look at these three things and I say how do I build a story around these ideas I really like this idea of building your story around a central plot archetype especially for New Riders it gives you such a good initial scaffold to base your ideas upon for example I'm a big fan of the sort of Master and Apprentice style plot and I adore stories where the Masters this grumpy old man who is having to kind of grudgingly bring this Apprentice along and teach him or her the ways of the world Logan is a great example of this you have this really grumpy old Wolverine who has to begrudgingly help his sort of young daughter across the countryside in order to help her get to this place of safety that may or may not exist while pursued by enemies as well basically what they're doing there is it's a must and Apprentice style story crossed with a quest plot I actually like that plot archetype so much that it's sort of what I base the structure on for across the broken stars and modeling this story after the basic structure of Logan gave me a really good initial scaffold to work on and then as I progressed with developing that it started going in its own unique and original directions and kind of changing in a lot of ways from Logan but still having that initial structure to kind of inspire me was very useful so my recommendation to you is when you're doing this when you're breaking down a plot one of the things I would recommend you do is ask yourself these questions why do people love this why do I love this why do I really like taking one of these plots um and watching them or playing with them uh what are the elements I have to make sure I don't get rid of one of the cool things about starting to look at plots like this is also you can strip a plot down to its archetype and you can apply then genre trappings to it let's take what works really well in this genre and let's apply other trappings to it um so that I have a familiar framework again Logan is a great example it's a superhero story crossed with Western and as a result it creates something fresh and interesting lastly Sanderson concludes this section by talking about different types of story structures that you can outline too he talks about the hero's journey three-act structure danwell's seven point plot structure I won't really get into the details of all these different structures in this video because I'm actually planning on doing a lot more videos about plot structures in the future Magic Sanderson is super well known for his incredible magic systems this is my thing he sets magic into two different categories you have soft magic where the rules aren't really that explained and then you have hard magic where the rules are very clearly communicated to the reader the way I see it I kind of Continuum a sliding scale that you can be on and on one side is a sense of wonder about the magic specifically right and on the other side is problem solving with magic or you know magic s science what happens is as you move toward solving problems with magic and your magic working more like a science you move away from a sense of wonder or mystery to that magic personally I prefer hard magic and the way that it sort of operates as a science and so does Sanderson he says that it's more satisfying when readers understand how your magic works because then it doesn't feel like you're cheating when you use it to solve story problems and this brings us to sanderson's three laws for creating good magic systems the first law is that your ability to solve problems with magic in a satisfying way satisfying way is directly proportional to how well the reader understands said magic inventing new magical abilities in the late part of your story in order to get your characters out of problems will often feel unsatisfying instead clearly establishing the limitations and restrictions of your magic system makes for more interesting plots if you give your characters some tools and then why get to watch the characters use those tools to escape problems and uh to solve problems and Escape situations then you as a reader will feel really satisfied about that let's look at sanderson's Second Law sanderson's Second Law is that flaws or limitations are more interesting than powers for instance if I said to you you can fly that might send you along um some interesting path to telling a story um if I said you can fly but only as long as your parents are both sleeping then suddenly you're like oh it's a very different story right he also emphasizes how important it is to establish meaningful costs for using the magic it's just kind of A good rule of thumb to ask yourself what is your magic cost but you can also deal with this in character by saying if character takes this action what is the cost to them emotionally physically mentally these sorts of things you can set up that if character makes this decision it's going to be very difficult for them and cost them something and that's really good tension this is something I really appreciated about the obsidian path series by Michael R Fletcher which I talked about in this video basically in this world you have demonology which is a way where you can basically sacrifice The Souls of humans to Demons in order for the demons to then bind themselves to an object to give you for example a flaming sword or a cloak that is impervious to arrows but the only way to actually get those magical items is you have to sacrifice a certain number of souls from real living people in order to forge these artifacts that right there is a genuine cost for using the magic and brings up a lot of moral complications when it comes to kind of the character using this magic sanderson's third law is maybe the one that is the most useful for newer writers starting out so sanderson's third law is where I realized that before adding something new to your magic and I will put your setting in general see if you can instead expand what you have this is about learning to dig deeper into a concept and explore the the different ramifications of it instead of just throwing everything you can think of into a book now overlaid on all of these three laws though is what Sanderson calls his zeroth law sanderson's zeroth law is where stories begin sanderson's zeroth law is always err on the side of what is awesome and I really like that because ultimately your story should prioritize emotional resonance with readers over all these other factors and if that means that sometimes you need to break the rules then go for it World building World building is all about creating a setting that enhances the story you're trying to tell now Sanderson talks about World building with a very important caveat for us fantasy writers so of the three sort of things I talk about that make up our stories our setting our plot um and our character your time is best spent learning how to make engaging and interesting characters followed by learning how to tell a really good plot with in third place your ability to have a really great setting now ideally you want to learn to do all three however I think there is a a tendency to have what we sometimes call World Builders disease yes this is where you become so enthralled with building the world of your story that you never finish World building and never start your story and if you do start your story you have spent so much time on your awesome World building that you want to fill every nook and cranny of your story with that World building and by so doing you undermine the story that you're actually telling World building is obviously awesome but I also totally agree with Sanderson that World building must be explored in service to your story I consider the grand skill of writing science fiction fantasy the single most important thing to learn for sci-fi fantasy as opposed to other genres is learning to convey information about your world in a way that is interesting and not boring sanderson's first trick for doing this is to see if you can find a way that you can convey your setting information Through The Eyes of your characters in a way that exemplifies who that character is so that the point of the sentence or the paragraph is actually to give us more information about the character but you as a side effect tell people about the world it's what you want to do for example let's say you have a character from the desert come into a sea and she sees a well of water in the city and it's totally unguided anyone can come up to it and grab water from it for free she is probably going to be describing and viewing that well in such a different way to all the other characters in the city and that instantly tells you what the city is like how different to the desert and what the life of this character is normally like in her desert home another very useful tip Sanderson shares is the Pyramid of abstraction which I explained to one of my coaching clients the other day kind of blew his mind and for me as well this was a game changer for my own writing basically the idea is that you want most of your descriptions to be concretely describing things that are happening in the real world so you're describing what the street looks like while the character walks down it and then once you have enough concrete grounding to immerse the readers in their physical choreography of your world that's when you can allow yourself to start getting more abstract and have discussions about characters thoughts or feelings so grounding people in these scenes showing them the ideas you want pulling down on the Pyramid of extraction good to start grounding Your World building and you will find if you start to do this then you will have more space in your story to kind of talk about now and then slipping in World building details this whole approach of kind of drip feeding information rather than dumping it on you is so critical let's go ahead and move on to this idea of um how you actually do this this is all great sort of a lot of what we've been talking about here is kind of the abstract stuff so how do you Brandon Sanderson sit down and build a system where this all works where your world building is done in service of your story how do you begin and I usually divide My World building into two general categories I have what I call the physical setting and the cultural setting physical setting is stuff like weather Landscapes and Magic cultural settings are things like language religion myths and social conventions a key Point Sanderson makes is that you rarely have the chance to go deep on every single aspect of physical and cultural World building you're not going to do all of this for every book in fact you're gonna do highlight a few of these things in a given story generally I pick one from this side ah very big surprise for anyone who has read my books um from this side hey we're gonna have a really strange weather pattern in this world and we're going to then let that very strange weather pattern let us spiral into a few of these other things but they're all coming off of the interesting weather pattern and then I will pick a couple of these and I will really focus on them elantris I focused a lot more on the Linguistics why because the Linguistics was was the same as the magic and so I spent more time understanding what deliberate languages people would speak and mistborn no time on list Linguistics almost none at all this way when you describe briefly the odd aspects Raiders will just assume that you've put the same amount of thought and depth into those as well we could take one of these things and we can Riff on it to the point that that one thing changed in an interesting way can make your whole fantasy story one of these done really well is almost always better than trying to do five percent of all of them character Sanderson traits character differently from plot and setting the pieces of what makes a character work are a little more ephemeral for me I as a writer I've told you before I generally outline my setting and my plot ahead of time and my characters I cast meaning I say all right I'm going to try writing a character in this world I'm gonna see where this person goes what their passions and dreams and hopes and fears are as I write them and if that works great I'm going to keep going with that and that becomes my character if that doesn't I put that aside and I try something very different this costing approach is something that I found super useful in my riding it kind of takes the pressure off knowing that you don't actually have to commit to a character being in your story but you can Instead try out a few different ones and then pick the one that is the best and how do you define which characters the best Sanderson says that there is one fundamental question you must answer when you're writing these characters how do we make people care uh and so as I've thought about this and how to kind of talk about it I've I've divided it into kind of three ideas of how we make people care about our characters the first method is to establish empathy now this is really really important because I think that a lot of people who write science fiction fantasy come to it from a World building background and you spend a lot of time on your world building you think about how cool would be if x y or Z happen you come up with a creative and Innovative magic system and all of these things but a magic system is only as interesting as the people using it an action sequence is generally going to be meaningless if you don't care who lives and who dies the second method is to establish routing interest so what I mean by establishing rooting interest is that you're going to show that what the um the character wants is interesting to us so this is basically giving the character and motivation [Music] you're going to show us what the character wants characters who want things are naturally more interesting to us than characters who don't you want a character who wants something out of life that they generally can't have and that's another thing is uh what do they want why can't they have it this is going to kind of spiral into their flaws or their handicaps or their limitations right why can't the character have this thing that they want um you also can generally establish in rooting interest you can establish the personal connection of the plot all right um Luke doesn't really want to become a Jedi he doesn't really hate the Empire till they kill his parents figures and suddenly it's personal the third method is showing a sense of progress It's relating back to the plot stuff we said establish the progress the sense of progress that you're going to have with the character in other words what is how are they going to change you do this by showing a flaw that they have or you establish some sort of Journey they're going to go on Sanderson also shares this idea that you can use these three sliding scales to create interesting characters I could really describe a lot of characters um on a sliding scale uh with with three different toggles right three different slogging sliding skills I wrote one over there but I'm gonna do on this board so the first was likability the second one was proactivity and the third one was uh competence right um and that characters tended to fall somewhere on a scale um of these three ideas and what I realized is um I could have characters moving on any one of these actual scales to create a sense of motion and progress for the story for instance a character who is growing less and less likable through the course of the story can be a really interesting story it's a different story however than a character who is growing increasingly in likability through the course of a story and the idea is that your motion here is part of how you're telling your story next Sanderson gives us a look at flaws limitations and handicaps which are also really useful for kind of fleshing out your characters now I do divide in my head what these three things are as different things a flaw is something that the narrative is indicating that is wrong with the character that they should have fixed by now right something that they would they were capable of fixing before hadn't quite managed to do it um and through the course of this story you were indicating that flaw they're either going to learn to fix this thing or it's going to be their downfall a handicap I said I put as something that must be overcome absolutely must be overcome but is something that is not the character's fault and they have no power over whether this thing can be changed a limitation for me is a thing that is not to change not to even overcome it is a constraint you work within think about limitations flaws handicaps and ask yourself how does that create motivation for the character and how does that create story prose so you've crafted compelling characters you have created an engaging setting and you have made a very Pacey suspense-filled plot that is going to keep readers hooked but how do you actually get to the sentence by sentence construction of your story that's what prose is all about and it's the last topic I'll be covering in this video so congratulations if you made it all the way here books stories short stories they basically are made up of four SEC types of things four types of writing you're going to be doing you're going to be doing dialogue description beats and introspection let's start with sanderson's advice on writing dialogue dialogue generally is one of the most active ways that you can convey information and characterization particularly when there are multiple characters speaking the first thing you want to avoid if you can if you can avoid it is avoid having your dialogue sound like monologues here's the thing you don't want to do big dialogue uh chunk then other character says Ah and then big dialogue chunk and the character says um right um you will find yourself doing this naturally and this reads pretty poorly Sanderson describes dialogue as a tool for expressing character the way to do this is to use dialogue 2 either convey likability for a character convey proactivity for a character convey The Arc the characters on their flaws in other words um to convey their competence and their motivation right if you can get those five things into your dialogue for your characters suddenly your dialogue is going to start to pop off the page I found this attitude towards dialogue to be very helpful for me I consider dialogue as a tool that characters use to pursue their goals in this regard I view it as the art of verbal action some characters might use aggressive verbal action to pursue their desires while other characters might be more subtle in how they use verbal action now one little thing to mention about dialogue is there is a lot of discussion in uh writerly circles about how much you should modify your dialogue generally the rule of thumb is that pieces of dialogue should have what we call said um bookisms at the end right he said that said or um said and asked should be rule of thumb 90 of your attributions um the reason this is a rule of thumb is that said and asked are invisible to the reader and it doesn't draw Focus away from the dialogue oh boy this advice is so important one of the biggest signs of amateurish writing I see is people using all sorts of weird dialogue tags sometimes writers try to be too clever with these things and the problem is when you need like a very in your face dialogue tag like that it's probably because the dialogue itself wasn't clear enough what it was expressing if you aren't leaning on these things then you often will naturally make your dialogue sharper all right so that's dialogue what's a beat a beat is basically a description that comes in between dialogue for instance he slammed his hand on the table I am done talking to you here the beat is that he slammed his hands on the table beats are a really good way to break up dialogue with some physical action and ground readers back into the concrete level of the Pyramid of abstraction the longer your characters talk without interacting with the setting the longer your character spends an introspection without uh interacting with the setting the more danger your reader starts to be of imagining that this is all happening in a white room with no actual setting around it all right so what about description every description is going to say something about the character that is doing the describing and the character being described a common theme you'll notice with Sanderson is he's emphasis on trying to achieve multiple things at the same time so here he's using description as a way to describe what's happening in a story as well as something that you can use to develop and characterize your characters the other thing Sanderson says with the script is to use all five sensors a lot of writers tend to over emphasize sight and hearing but it's also really important to make sure you're bringing in details from smell from touch and from taste another thing I like about sanderson's approach to writing is how he approaches action scenes he says that you should kind of use the three principles of Promise progress and payoff on a micro level within each action scene that you write most action sequences variation of this you've established a character motivation you show them come up with something they want to do you show you lead the reader to the uh the points of progress and then the payoff which is success or failure my biggest takeaway at the start of the video I promise to share my number one takeaway from watching 14 hours worth of Brandon sanderson's lectures and it would be this you need to define success as loving the process of writing novels Sanderson wrote 13 unpublished novels before he finally made it and got his big break if he had defined success as publishing novels then he would have given up after the first failed attempt but because he focused on his love for telling stories he was able to develop the endurance and the passion to keep going and now he's become one of the most successful and beloved fantasy writers of all time and certainly my favorite writer of all time as well so thank you for these lectures Brandon they have been an absolute gift to me and so many other authors out there and to you watching this video if you're with me in the pursuit of telling great stories then to USA keep striving and keep writing I'll see you in the next video cheers foreign

Channel: Jed Herne

Views: 102,785

Keywords: writing, writing advice, writing craft, story, fantasy, author, jed herne, authortube, booktube, wizards warriors words, self-publish, indie, publishing

Id: mcmQmyu4Aok

Length: 38min 49sec (2329 seconds)

Published: Sun Jan 29 2023