Saturday Night Write is a writing craft discussion group led by Amber Royer or a guest discussion leader. We meet on the third Saturday of each month to provide instruction and encouragement to writers in the community surrounding UT Arlington . . . and now anyone else who wants to join us on Zoom. Our regular attendees currently range throughout the states.
Our discussion leader presents a structured topic and background research to spark interactive participation, focusing on various aspects of craft. Amber usually leads these discussions, but other members have lead discussions on their favorite topics as well. Occasionally, other authors stop by as guests.
Everyone is welcome to join us for these FREE events.
Saturday Night Write meets virtually on Zoom.
Time: 4:30-6:30 PM
Date: 3rd Saturday of each month
For The Link: Contact Amber or Join the Saturday Night Write Facebook Group
Topics for 2026:
January — Generating Exciting Plot Elements
This month we will discuss Generating Exciting Plot Elements. Sometimes writers get stuck in the middle of their books, looking for exciting plot points and re-defining plot twists. You want to generate exciting plot elements – without losing the heart of your story, and the shape of your initial vision. Join the discussion to consider: How do you brainstorm ideas without losing the central focus of your story? How do you make your ideas unexpected – yet logical? What are some general categories for exciting plot elements?
February — Elements of Science Fiction
This month we will discuss the difference between science fiction and other speculative genres. These all relate to exciting genres, but what makes a book or a film specifically science fiction? Join the discussion to consider: Just how much science does a work need to qualify as science fiction? How can you have believable worldbuilding in science fiction? How can you make sure your characters stay front and center of the story?
March — More Creative Writing Exercises from Famous Authors
This month we will consider a number of creative writing exercises proposed by famous authors. Many writers are also teachers. In this interactive session we will take a go at some of the exercise. Join the discussion to consider: Which writing exercises are effective for you? How can you deepen different aspects of your writing? How can you open yourself up to new writing experiences?
This month we will consider a number of creative writing exercises proposed by famous authors. Many writers are also teachers. In this interactive session we will take a go at some of the exercise. Join the discussion to consider: Which writing exercises are effective for you? How can you deepen different aspects of your writing? How can you open yourself up to new writing experiences?
April — How to Tighten Up a Story
This month we will discuss How to Tighten Up a Story. Readers want there to be enough to a story to keep them reading — but sometimes narratives meander with too little plot, or try to shove too much plot into the amount of pages allotted. (Ex. — the short story that feels like it should be a novel, the novel that could easily be a trilogy.) How do you determine how much plot to include in a story? How do you decide which plot events are important? Join the discussion to consider: How do you structure a short story versus a novel? How do you decide which plot points will give the most emotional impact? How can you cut elements from a story without the reader getting lost?
This month we will discuss How to Tighten Up a Story. Readers want there to be enough to a story to keep them reading — but sometimes narratives meander with too little plot, or try to shove too much plot into the amount of pages allotted. (Ex. — the short story that feels like it should be a novel, the novel that could easily be a trilogy.) How do you determine how much plot to include in a story? How do you decide which plot events are important? Join the discussion to consider: How do you structure a short story versus a novel? How do you decide which plot points will give the most emotional impact? How can you cut elements from a story without the reader getting lost?
May — Plotting from the Mirror Moment
This month we will discuss Jame Scott Bell’s Write Your Novel From the Middle, and how he and other writers/instructors have used the concept of the mirror moment to explain story structure. It is not necessary to read the book beforehand, but doing so will help you add to the discussion. Join the discussion to consider: Why is self-reflection necessary for the audience to understand a character’s arc? Why do these Mirror Moments happen right at the middle of a book? How can the core of a story idea be encapsulated in a Mirror Moment?
June — Through the Sagging Middle: How to Finish Your Story
This month we will discuss how to complete a work in progress. The first act of a story is the easy part — introducing main characters, laying out the plot problem. Developing that beginning into an effective story is the hard part. Many writers complain about getting lost in the “sagging middle,” where decisions on plot and character development aren’t obvious, and it’s easy to follow threads that complicate the story in all the wrong ways. Join the discussion to consider: How do you decide what should happen in the middle of your story (especially if you already know the end)? How can you keep track of plot threads, so that they are all well-developed and nothing gets dropped mid-way through? How can you use the things you’ve introduced in the first part of your story in interesting ways in the second part? And how can you finish your story, even when it seems tough?
This month we will discuss how to complete a work in progress. The first act of a story is the easy part — introducing main characters, laying out the plot problem. Developing that beginning into an effective story is the hard part. Many writers complain about getting lost in the “sagging middle,” where decisions on plot and character development aren’t obvious, and it’s easy to follow threads that complicate the story in all the wrong ways. Join the discussion to consider: How do you decide what should happen in the middle of your story (especially if you already know the end)? How can you keep track of plot threads, so that they are all well-developed and nothing gets dropped mid-way through? How can you use the things you’ve introduced in the first part of your story in interesting ways in the second part? And how can you finish your story, even when it seems tough?
July — Understanding Catharsis in Fiction Writing
This month we will discuss catharsis, and how it connects readers to your work. What makes one work memorable, and another work with similar setting and themes forgettable? Part of the answer lies in whether or not the reader/viewer reaches catharsis. Catharsis is what happens when a book gives you all the feels. It’s easy to know when you experience catharsis, but how can you intentionally write to help a reader connect on that level? Join the discussion to consider: How does character attachment relate to catharsis? How do you design plot elements to build towards catharsis? How does the complexity off the story relate to catharsis?
This month we will discuss catharsis, and how it connects readers to your work. What makes one work memorable, and another work with similar setting and themes forgettable? Part of the answer lies in whether or not the reader/viewer reaches catharsis. Catharsis is what happens when a book gives you all the feels. It’s easy to know when you experience catharsis, but how can you intentionally write to help a reader connect on that level? Join the discussion to consider: How does character attachment relate to catharsis? How do you design plot elements to build towards catharsis? How does the complexity off the story relate to catharsis?
August — Applying Robert McKee’s Story to Fiction Writing
Robert McKee structured Story to appeal to screenwriters, but the knowledge on how story structure and character development work together is sound advice for fiction writers too. This month, we will discuss favorite gems and writing tips from this book. It is not necessary to read the book beforehand, but doing so will help you add to the discussion. Join the discussion to consider: What really is a scene? How can we learn about your character through your plot? How does structure help create meaning?
Robert McKee structured Story to appeal to screenwriters, but the knowledge on how story structure and character development work together is sound advice for fiction writers too. This month, we will discuss favorite gems and writing tips from this book. It is not necessary to read the book beforehand, but doing so will help you add to the discussion. Join the discussion to consider: What really is a scene? How can we learn about your character through your plot? How does structure help create meaning?
September — Tragedy in Fiction Writing
This month we will discuss tragedy in fiction writing. Not all stories have a happy ending, and sometimes stories that do have characters who face tragedy along the way still have a happy ending. Join the discussion to consider: What are tragic flaws, and how can you design flaws the emphasize your chosen theme? What kind of plots are suited to a tragedy? How can you subtly foreshadow to the reader that they are in for a tragedy?
This month we will discuss tragedy in fiction writing. Not all stories have a happy ending, and sometimes stories that do have characters who face tragedy along the way still have a happy ending. Join the discussion to consider: What are tragic flaws, and how can you design flaws the emphasize your chosen theme? What kind of plots are suited to a tragedy? How can you subtly foreshadow to the reader that they are in for a tragedy?
October — Choosing the Most Effective Setting For Your Story
Every story is set somewhere. The best stories give a real sense of place, weaving the plot into the setting, so that it feels like this story HAD to take place in the specific setting. Of course, there may be more than one suitable setting for your story, as evidenced by retellings that place classic stories in a different time/place. So how can you “audition” settings to find the one that will be the most compelling for readers of your specific tale? Join the discussion to consider: What changes if you move your story to a given time/place? How do you include enough detail to make the setting feel real, without slowing the pacing or overwhelming the reader? How do you write a place you’ve never been to, or one that you are inventing from scratch?
Every story is set somewhere. The best stories give a real sense of place, weaving the plot into the setting, so that it feels like this story HAD to take place in the specific setting. Of course, there may be more than one suitable setting for your story, as evidenced by retellings that place classic stories in a different time/place. So how can you “audition” settings to find the one that will be the most compelling for readers of your specific tale? Join the discussion to consider: What changes if you move your story to a given time/place? How do you include enough detail to make the setting feel real, without slowing the pacing or overwhelming the reader? How do you write a place you’ve never been to, or one that you are inventing from scratch?
November — Getting to Know Your Hero
This month we will discuss Getting to Know Your Hero. If you want readers to care about your story, you need us to care about your protagonist. How well do you know the person you’ve put in charge of your story? If you find the character uninteresting or “cardboard,” or worse inconsistent, then probably not well enough. Join the discussion to consider: How do you develop and weave in backstory? How do you uncover your character’s secrets and obsessions. How do you create a consistent psychology for the character?
This month we will discuss Getting to Know Your Hero. If you want readers to care about your story, you need us to care about your protagonist. How well do you know the person you’ve put in charge of your story? If you find the character uninteresting or “cardboard,” or worse inconsistent, then probably not well enough. Join the discussion to consider: How do you develop and weave in backstory? How do you uncover your character’s secrets and obsessions. How do you create a consistent psychology for the character?
December — Fun with Simile and Metaphor
This month we will discuss two literary devices that can innovate a piece of writing – or can make readers cringe. We will look at some effective comparisons – and some that fall flat. For those that don’t work, we will have a go at re-writing them. Join the discussion to consider: What is the danger of choosing cliched comparisons for your writing? How can you brainstorm an effective metaphor? How can you use a simile or metaphor to convey theme, especially in a longer work?
This month we will discuss two literary devices that can innovate a piece of writing – or can make readers cringe. We will look at some effective comparisons – and some that fall flat. For those that don’t work, we will have a go at re-writing them. Join the discussion to consider: What is the danger of choosing cliched comparisons for your writing? How can you brainstorm an effective metaphor? How can you use a simile or metaphor to convey theme, especially in a longer work?
Want more writing advice from Amber?
