Thanks for posting this.

Thank you, this is one of the best videos on the topic of writing I have ever seen.

This was the best discussion of point of view I have seen

BEST talk on scenes I've ever heard, thanks!

Sir I greatly enjoyed this. Nice, clear-cut and straight-forward, you know your stuff. And it's really rare that you can say that about a creative-writing instructor, most videos you see here are just non-sense non-practical lectures that actually achieve nothing but romanticizing the whole process of writing.

Such a great video. Thanks Matt!

>> Matt is somewhat mistaken on gun silencers. Silenced (suppressed) revolvers are pure Hollywood. A great amount of their noise comes out of the revolver's cylinder-to-barrel gap where the muzzled suppressor has no effect over. Semi-automatics hand guns are more closed and much quieter. 56:00

Thank you so much for sharing! This has been very helpful.

Thank you for sharing this, very helpful and very generous.

Love this! Thank you for the info!

Its a good reminder To keep asking questions, answering questions and having scenes be small stories within the large stories , thank you

I'm from Saskatchewan and this video might have just changed my life. THANK YOU

Great!

thanks!

Some helpful information. Not all of it is advice I'd use, he even said there are exceptions himself, but it's definitely stuff to think about when writing.

Lucid, and common-sense. Thanks, Mr. Hughes! (BTW I enjoy your fiction very much.)

Good teacher.

The head hopping convention that is forbidden in North America is to prevent reader confusion. That is my understanding.

Very helpful but I would like to have seen more explanation about the difference between the omniscient and limited POV. This was glossed over very quickly and no clear examples were given. Where can I find examples about this?

Hi, I'm researching so I can be a storyteller/writer, I am lost when it come so character WANT. The main character is not ready to do the thing he's going to need to do at the end. As the story progresses scene by scene, the storyteller is going to be developing the character, the main character is going to undergo trials, tribulations, ordeals, journeys, struggles, all to do with CONFLICT, all of which will grow the character, to the point where he or she will make the big choice at the end that propels the ending of the story. Yet something originally, either before the story or during, or both, urged the character to WANT something. How do we determine what this WANT should be for our character? Should it be related to the lesson/message, the goal, the theme, what? What I am having trouble knowing is how and WHY the Want fits in. Is there a method or reasoning we writers should use to determine what our characters WANT should be? The character may go on these inner and outer journeys and face obstacles and conflict along the way, they will transform over time, but how does their WANT factor in to that? Or stem from that? SHOULD they WANT something that will best tell the story the writer is writing? Should their past, or should the theme, or the arc, be considered when picking out what our character's WANT will/should be? They can't just want anything, correct? they have to want something that is related to one of these story elements: arc, theme, plot, etc? My story has most of the bare-bones concepts in place: theme, arc, setting, obstacles, characters, etc. But theoretically I can give them any WANT and I feel like that's wrong -there should be a way to choose what's the best want to give them to tell THIS tale. They could be wanting to paint, or wanting to fix trucks, or wanting to buy bakery, etc. But I feel their WANT needs to matter, not just for outer goal/plot purposes, but it needs to matter because their WANT should be meaningful to them or to the story. I feel like there should be a meaningful decision made my be the writer when giving the character their WANT -both their want when this story begins, and when the story gets going (such as after the incident incident or first plot point). I'm not even talking about give them a Want they think they want, which proves to be wrong and they learn what they really need instead. That may be the case sometimes but not all. Should I ask myself WHY a character WANTS their WANT? Will knowing that inform me in this decision making? For instance, what if someone misses a loved one, maybe their WANT will be to reunite with them? I may feel that my character would WANT that, but I also feel like I should compare/contrast that WANT to other elements of the story to make sure everything is connected -not just plot connections, but the story as a whole: theme, arc, plot, etc. If you change the WANT of a character, If Bilbo wanted to do nothing but go on adventures, he'd have a completely different arc, and the story would be way different. See what I mean? I get hung up on this because a character wouldn't' really want what's outside their comfort zone, and their comfort zone is made up of how they're identifying and relating to the world and their life now. Of course Bilbo wouldn't WANT to go with the dwarfs on the quest and leave the shire. that makes sense as it's kind of the opposite of what he does and what he learns by adventuring. But what about guy who wants the girl - why does he want that instead of a truck or a vacation or fame? How do we decide what they want? Should their want come from something missing inside them? doubtful, because if they want it then on some level they recognize their flaw or misbelief. Should their want be the opposite of what the ending will prove? Please help!

Isn't what Steven Erickson does in his Malazan series head-hopping? He is Canadian but gets away with it for some reason. I found it a bit off-putting.

I guess you don't know anything about guns, silencers work best on Autos, not revolvers. They work by slowing the escaping gases to a lesser speed. With a revolver the gaps around the cylinder makes a silencer less effective. By the way, there is no bullet that will throw a person "back" when they are hit by it, that is a movie device.