Craft
The handful of craft decisions that make the biggest difference to how a reader — or an agent, or a first-pass editor — experiences your work. Not a theory of fiction; a set of practical choices.
What belongs on page one
The signals an agent or editor is really reading for, and how to audit your own opening.
Opening lines that earn the next page
What a strong first line actually does — it isn't mystery for its own sake.
"Show, don't tell" — the useful version
When showing is right, when telling is right, and why the rule as usually stated is unhelpful.
Choosing point of view
First, third-close, third-omniscient, second person — what each makes easy and what each forbids.
Dialogue that does more than fill space
Attribution, subtext, beats, and the trap of writing how people actually talk.
A sane revision process
The order to revise in — structure first, scene second, line last — and how to stop tinkering.