A/N: Just an additional chapter. Not really part of the guide.

List of things that're good to know:

You need to know what you're writing before you write.

You need a plot.

Dialogue isn't really that hard. It's either something that the characters need to get information across to another character, or just a remark, which is just an extension of their thoughts. If it's a whole conversation, then either make it about something interesting, or make it short. Readers don't want to read boring dialogues. (Unless it is relevant to the story, like in "American Psycho" by Bret Easton Ellis.) Good passing dialogue is something that to you, is interesting. That's why it's easy. Just think of what you would say if you were that character. If the dialogue needs to happen, but it's meaningless and adds nothing to the story, just say, "And they talked about nothing for a long time." or something like that. Don't forget to describe a character in between lines, but don't go overboard, destroying the pace.

There are slow paced things, and there are fast paced things. Keep that in mind. Not everything has to be described in detail, but you can't have a story with a lot of action but no description. A lot of (children-ized and Grimmified) fairy tales and fables have a noticeable lack of description and character substance, but they make up for that with a clear cut traditional structure. (As well as parables, and other genres.) This guide is not on how to write those types of stories. This guide is on how to write something like most of the fiction you see on here, and on FF. net.

Different styles aren't really that hard. Try writing poetry. (Which is pretty easy, if you have questions, please ask them in a review.) Then try writing something by the instructions given in this guide. Combine the two, and now you have a different style. Combine the guide's style with another poem's style, and now you have a different style. And so on.

For different styles, try reading your story aloud, in different accents and dialects.

Flesh out your characters. Make them real in your head. (Again, pretty simple, if you don't think so, tell me and I'll write another guide.)

Try to make your story character driven. What would your charrie do in a given situation? If they wouldn't do anything, this is where the plot comes in. What could possibly propel a completely lazy character to take action? (Example: "Wonderfalls", a TV series that doesn't belong to me. Jaye Tyler is a completely apathetic woman who just wants the world to leave her alone. But the plot comes in, and makes inanimate objects with faces talk to her. They won't stop talking to her, until she does what the plot needs her to do. But she doesn't really care much about the outcome of her actions, since she's apathetic. She just wants the objects to stop talking to her, and for the world to leave her alone.)

Tip for strong female character: Jaye Tyler is a strong character, because she has her own personality. She is an interesting character because she has certain unique traits. Her thoughts and opinions are not stereotypical, and her actions defy the laws of TV female characters. She can not supernaturally kick ass, (past the occasional punch in the nose), and usually solves her problems by wit and sheer doggishness. Her fashion sense is not bad, but she is apathetic about that as well.

By making your story character driven, I think that makes them more real in the reader's head. I'm not sure, since I'm not really up to that point yet. One thing I've noticed in fiction is that writing out the character's thoughts, their observations about random things, and at the same time staying in character, makes them more real than anything else. Let their past effect their decisions. Let their personal experiences effect their opinions. Think about what you would do in your character's place. Make things make sense. Unless:

You want the character to be a stereotype, for comedic purposes. In that case, list all of the character traits this stereotype has, and apply liberal doses of them to the plot. Preferably with a more realistic character nearby, to comment on the stereotypicalness of your sterry charrie.