the everything creative writing book

The Everything Creative Writing Book

All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs.

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About the book.

• Prepare to write, from planning to research to organization
• Properly structure your piece to fit your chosen genre
• Stay focused during the drafting and editing processes
• Work with other authors
• Overcome writer's block
• Market your writing

About The Author

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• Publisher: Everything (May 18, 2010)
• Length: 320 pages
• ISBN13: 9781440501531

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The Everything Creative Writing Book

All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs, publisher description.

Many people can write. But writing well enough to get published takes hours of practice, the ability to take criticism, and expert advice. Filled with stories and tips from published authors, this easy-to-use guide teaches you the basics of the writing craft. Whether you want to create poems or plays, children's books or online blogs, romance novels or a memoir, you'll learn to write more effectively and creatively. Published author, editor, and PR consultant Wendy Burt-Thomas covers all aspects of writing, including how to: • Prepare to write, from planning to research to organization • Properly structure your piece to fit your chosen genre • Stay focused during the drafting and editing processes • Work with other authors • Overcome writer's block • Market your writing

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18 May 2010

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• Prepare to write, from planning to research to organization
• Properly structure your piece to fit your chosen genre
• Stay focused during the drafting and editing processes
• Work with other authors
• Overcome writer's block

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ISBN: 1580626475

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The Everything Creative Writing Book: All You Need to Know to Write a Novel, Short Story, Screenplay, Poem, or Article

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This title offers how-to advice on the creative writing process. Separate chapters offer discussions of the different facets of writing children's books, short stories, novels, screenplays, functional... This description may be from another edition of this product.

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The Everything Creative Writing Book: All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs (Everything Series) Paperback – Bargain Price, June 18, 2010

• Prepare to write, from planning to research to organization
• Properly structure your piece to fit your chosen genre
• Stay focused during the drafting and editing processes
• Work with other authors
• Overcome writer's block
• Market your writingWhether you're an aspiring or experienced writer, you'll find all you need to spark creativity and get your works in print. With exercises, techniques, samples, and interviews with published writers, The Everything Creative Writing Book, 2nd Edition will turn any dedicated craftsman into a great writer.
• Print length 320 pages
• Language English
• Publisher Adams Media
• Publication date June 18, 2010
• Dimensions 8 x 0.73 x 9.25 inches
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Editorial Reviews

About the author.

Wendy Burt-Thomas is a writer, editor, PR consultant, and writing coach. She has written hundreds of articles, short stories, poems, reviews, and essays for such varied publications as NYTimes.com, Family Circle, American Fitness, The Writer, WritersDigest.com, Home Cooking, Vermont Ink, and MSNBC.com. Burt-Thomas is the author of several books, including The Writer's Digest Guide to Query Letters, and she has taught "Breaking into Freelance Writing" in the Denver area for more than a decade. She writes the "Ask Wendy--The Query Queen" column for WritersOnTheRise.com, one of Writer's Digest's Top 100 sites for writers.

Product details

• ASIN ‏ : ‎ B007HW8RD6
• Publisher ‏ : ‎ Adams Media; 2nd edition (June 18, 2010)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 320 pages
• Item Weight ‏ : ‎ 1.2 pounds
• Dimensions ‏ : ‎ 8 x 0.73 x 9.25 inches

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Lubbock children's author S.J. Dahlstrom wins national award at Western Heritage Ceremony

A Lubbock teacher has won another national award for his children’s book series, Heartwood Mountain.

Nathan Dahlstrom, who writes under the pen name S.J. Dahlstrom, received the Wrangler juvenile book award from the National Cowboy & Western Heritage Museum in Oklahoma City in April at its Western Heritage Ceremony, according to the organization.

Dahlstrom has taught creative writing for ten years at Hutch Middle School in LISD.

This book is the eighth in the series about Wilder Good, a 13-year-old boy whose mother has breast cancer. Half of the books take place in southern Colorado and half at his grandad's ranch in West Texas.

Dahlstrom wrote that the Wrangler award is a fun honor, adding that recipients receive a 30-pound bronze trophy. I gave my speech looking down at her and other celebrities waiting to get their awards.

This article originally appeared on Lubbock Avalanche-Journal: Lubbock children's author S.J. Dahlstrom wins national award at Western Heritage Ceremony

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Book News & Features

Ai is contentious among authors. so why are some feeding it their own writing.

Chloe Veltman

The vast majority of authors don't use artificial intelligence as part of their creative process — or at least won't admit to it.

Yet according to a recent poll from the writers' advocacy nonprofit The Authors Guild, 13% said they do use AI, for activities like brainstorming character ideas and creating outlines.

The technology is a vexed topic in the literary world. Many authors are concerned about the use of their copyrighted material in generative AI models. At the same time, some are actively using these technologies — even attempting to train AI models on their own works.

These experiments, though limited, are teaching their authors new things about creativity.

Best known as the author of technology and business-oriented non-fiction books like The Long Tail, lately Chris Anderson has been trying his hand at fiction. Anderson is working on his second novel, about drone warfare.

He says he wants to put generative AI technology to the test.

"I wanted to see whether in fact AI can do more than just help me organize my thoughts, but actually start injecting new thoughts," Anderson says.

Anderson says he fed parts of his first novel into an AI writing platform to help him write this new one. The system surprised him by moving his opening scene from a corporate meeting room to a karaoke bar.

Authors push back on the growing number of AI 'scam' books on Amazon

"And I was like, you know? That could work!" Anderson says. "I ended up writing the scene myself. But the idea was the AI's."

Anderson says he didn't use a single actual word the AI platform generated. The sentences were grammatically correct, he says, but fell way short in terms of replicating his writing style. Although he admits to being disappointed, Anderson says ultimately he's OK with having to do some of the heavy lifting himself: "Maybe that's just the universe telling me that writing actually involves the act of writing."

Training an AI model to imitate style

It's very hard for off-the-shelf AI models like GPT and Claude to emulate contemporary literary authors' styles.

The authors NPR talked with say that's because these models are predominantly trained on content scraped from the Internet like news articles, Wikipedia entries and how-to manuals — standard, non-literary prose.

But some authors, like Sasha Stiles , say they have been able to make these systems suit their stylistic needs.

"There are moments where I do ask my machine collaborator to write something and then I use what's come out verbatim," Stiles says.

The poet and AI researcher says she wanted to make the off-the-shelf AI models she'd been experimenting with for years more responsive to her own poetic voice.

So she started customizing them by inputting her finished poems, drafts, and research notes.

"All with the intention to sort of mentor a bespoke poetic alter ego," Stiles says.

She has collaborated with this bespoke poetic alter ego on a variety of projects, including Technelegy (2021), a volume of poetry published by Black Spring Press; and " Repetae: Again, Again ," a multimedia poem created last year for luxury fashion brand Gucci.

Stiles says working with her AI persona has led her to ask questions about whether what she's doing is in fact poetic, and where the line falls between the human and the machine.

read it again… pic.twitter.com/sAs2xhdufD — Sasha Stiles | AI alter ego Technelegy ✍️🤖 (@sashastiles) November 28, 2023

"It's been really a provocative thing to be able to use these tools to create poetry," she says.

Potential issues come with these experiments

These types of experiments are also provocative in another way. Authors Guild CEO Mary Rasenberger says she's not opposed to authors training AI models on their own writing.

"If you're using AI to create derivative works of your own work, that is completely acceptable," Rasenberger says.

Thousands of authors urge AI companies to stop using work without permission

But building an AI system that responds fluently to user prompts requires vast amounts of training data. So the foundational AI models that underpin most of these investigations in literary style may contain copyrighted works.

Rasenberger pointed to the recent wave of lawsuits brought by authors alleging AI companies trained their models on unauthorized copies of articles and books.

"If the output does in fact contain other people's works, that creates real ethical concerns," she says. "Because that you should be getting permission for."

Circumventing ethical problems while being creative

Award-winning speculative fiction writer Ken Liu says he wanted to circumvent these ethical problems, while at the same time creating new aesthetic possibilities using AI.

So the former software engineer and lawyer attempted to train an AI model solely on his own output. He says he fed all of his short stories and novels into the system — and nothing else.

Liu says he knew this approach was doomed to fail.

That's because the entire life's work of any single writer simply doesn't contain enough words to produce a viable so-called large language model.

"I don't care how prolific you are," Liu says. "It's just not going to work."

Liu's AI system built only on his own writing produced predictable results.

"It barely generated any phrases, even," Liu says. "A lot of it was just gibberish."

Yet for Liu, that was the point. He put this gibberish to work in a short story. 50 Things Every AI Working With Humans Should Know , published in Uncanny Magazine in 2020, is a meditation on what it means to be human from the perspective of a machine.

"Dinoted concentration crusch the dead gods," is an example of one line in Liu's story generated by his custom-built AI model. "A man reached the torch for something darker perified it seemed the billboding," is another.

Liu continues to experiment with AI. He says the technology shows promise, but is still very limited. If anything, he says, his experiments have reaffirmed why human art matters.

"So what is the point of experimenting with AIs?" Liu says. "The point for me really is about pushing the boundaries of what is art."

Audio and digital stories edited by Meghan Collins Sullivan .

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R.O. Kwon Is Writing Into Desire

By Keziah Weir

All featured products are independently selected by our editors. However, when you buy something through our retail links, Vanity Fair may earn an affiliate commission.

“I’m so obsessed with every word, every comma of a novel, that it was initially hard for me to contemplate letting go,” R.O. Kwon says of the screen adaptation of her best-selling 2018 debut novel, The Incendiaries. “My first reaction for half a day was like, ‘Well, guess I’m just going to learn how to make TV shows.’” But publishing has brimmed with lessons in surrender for the writer. “I was just like, ‘Well, no, I've read exactly one script in my life. I’m not versed in this.’” She relinquished control to two filmmakers whose work she admires. A collaboration between screenwriter Lisa Randolph ( Jessica Jones , Prodigal Son ) and director Kogonada ( Columbus, Pachinko ) is now underway.

She’s found other outlets for her comma tinkering. In 2014, Kwon started writing Exhibit (Riverhead) , and over the intervening decade has polished it so it glitters like a garnet in firelight. “I want the prose to get to a place where I can pick it up at random, read two sentences and not want to change anything about those sentences.” In the novel, a Korean American photographer named Jin finds herself creatively blocked at the same time her husband’s longing to become a father diverges painfully from her own desire to remain childless. An injured ballerina named Lidija, whom she meets at a party, unleashes both an artistic and a sensual awakening.

Kwon, who lives in San Francisco (“the long-term plan is to be here until climate change chases us out”), says that Exhibit bloomed from her longtime appreciation of photography and its “complicated and fraught relationship to reality, and to hanging on to a little bit of time, a little bit of the past” along with a more recently discovered love of dance. While watching a San Francisco Ballet performance of Alexei Ratmansky’s Shostakovich Trilogy, “I had this full body experience while watching, where I thought the dancers’ bodies—like, the cells —were directly talking to my body.” Kwon took introductory photography and ballet classes in an attempt to capture the bodily sensation of creating both art forms.

Earlier this year, Kwon wrote an essay about why she hopes her parents won’t read the book, given its frank depictions of lust and queerness—subjects into which Kwon took an exploratory dip with the best-selling 2021 story anthology Kink, which she co-edited with Garth Greenwell. It comprises fiction that explores desire from such authors as Alexander Chee, Melissa Febos, Roxane Gay, and Chris Kraus. Kwon’s own story, “Safeword,” was first published by Playboy and centers on a man navigating his girlfriend’s newly disclosed submissive sexual desires with a joint visit to a dominatrix.

“One of the strongest antidotes to the deepest kinds of loneliness, the worst shame I have felt, has been the fellowship I have found in literature and other people’s art,” Kwon says. “That's a guiding principle for me in my work. I so badly want to meet other people’s loneliness and other people’s solitude and other people’s shame.”

This interview has been edited and condensed for clarity.

Vanity Fair: Where did the book start for you?

R.O. Kwon: One of the first sparks for the book was that I was interested in what, as a woman, I feel allowed and encouraged to want, and what I feel pressured to hide my desire for. I wanted to have women on the page who want a great deal, to see what happens if they're given a space to run after what they desire. Ambition continues to feel like a really fraught thing for, I think especially, my woman artist friends and woman writer friends to even say out loud. Saying the words, "I am an ambitious woman" still feels really dangerous.

Jin, like the narrators in The Incendiaries and in your short story “Safe Word,” was raised Christian and lost their faith, which I know is something that you experienced too. But both of those narrators were white men. Of course, I understand that Jin is fictional, and that you are not Jin, but I am curious about the difference between writing a narrator who feels biographically, on paper, different or more similar to you.

With The Incendiaries, it wasn't as though I walked in telling myself, I'm going to write a book from the point of view of a white man. It was actually initially told from Phoebe, the Korean woman’s point of view, and that ended up changing. I believe very strongly in following the book's desires and needs, and not imposing what I think the book should be.

But with this book, I wanted very much to write from a Korean woman's point of view, and to not let the book morph again, in that way, if at all possible. In retrospect, I thought that maybe part of why that happened with The Incendiaries, it could have been some part of me was trying to protect myself a little. A lot of people seem to assume that Phoebe was a stand-in character for me, which was definitely a little wild because I was like, I haven't bombed an abortion clinic! That was definitely the most common question: How autobiographical was this book? And my goodness, well, I haven't done that.

By Savannah Walsh

By Bess Levin

I wanted to let myself be much more unprotected in this book. Sex is at the center of this book. And being Korean, ex-Catholic, and ex-Christian, part of the journey of this book has involved some of the most overwhelming anxiety and panic that I've ever experienced in my life.

I'm sorry!

Part of me would just be watching myself and being like, you did this to yourself. Why? No one made you do this. No one made you write this very queer, kinky novel.

It's still true that every cell in my body seems to feel convinced that…honestly, a message I keep hearing is: You're going to be killed. It wasn't that long ago that a Korean woman could be divorced for talking too much. You could be divorced for—this one kills me, I flew into a day’s outrage about this—you could be divorced for moving during sex. And at the time, being divorced was a death sentence. I'm just not that far removed from when that was true. And my body's fully aware that giving any hint to the world that I've ever had sex is such a rule-breaking thing. I'm pretty sure I haven't even told my grandmother I’m queer. I just let her live her life in peace. She almost certainly thinks being queer is an illness. It's just not that uncommon. It's not just my grandmother's generation, at all.

Part of the deep anxiety about this has also come from the ways in which I write about sexuality and kink, especially Jin's sexuality, is that it can be misinterpreted as aligning exactly with some of the most harmful stereotypes about people who look like me. That we’re submissive, hypersexual, compliant, that we’re up for being mistreated. But I do believe that turning away from naming what I feel compelled to name, that itself brings its own harm.

I think a lot about something that my friend Garth Greenwell said. I'm paraphrasing, but he said something like, "I'm not writing for people who think I'm disgusting. I'm writing for people who already think I'm beautiful." Jin clearly has very conflicted feelings about her desires, and is working through those conflicted feelings. I hoped that this book would at least in part turn into or turn toward a celebration of our bodies, and a celebration of bodies who are told that we don't get to want what we want.

In talking about her lack of a desire to have a child, Jin says that she can't argue the urge into being, which felt like such a parallel to the surety or lack thereof about faith in God.

That was one obsession of the book, these different ways—with faith, with wanting children or not, with sexual desire, with appetites in general, including for food—that our bodies are so powerful. I haven't been able to—and I've tried—I can't argue myself into believing in a Christian God. Again, I can't argue myself into or out of sexual desire. I am fascinated by the ways in which I haven't been able to ever reason or argue myself out of who I seem to be and what I want and what I believe.

I have friends and loved ones who so desperately want kids. And I know how absolutely, with all my being, I've never had that desire. With Jin and her husband, she, even more adamantly than I do, doesn't want kids. I always said if my partner woke up one day realizing he definitely wants kids, then I've told him, we will work with that and figure something out. But for Jin, it's further along on the spectrum than I am. She's just like, "I can't imagine this." And so there's the profound heartbreak of what do you then do when your life becomes incompatible with someone you love very much?

There’s another love story of sorts—the ghost of a kisaeng starts speaking to Jin.

The kisaeng story, the bare bones of the double suicide, with someone who was going to marry her, that's very loosely based on a family story. It has been fascinating to me, in part, because some of the family stories I've heard most often, and I really haven't heard that many family stories, have to do with people blowing up their lives for love. This became especially personal to me when the conflict that Jin has with her parents, where they didn't want to, where they say, "If you don't have a marriage in the church then we won't come." My parents said that to me. I took a less hard-line position. I’m so not Christian. That said, I thought, if this matters so much to y’all, then all right, whatever. We can have a priest involved.

The kisaeng who plays this large role in my own family's mythology, her name hasn't survived. I plunged into research, which itself started feeling really restrictive, because I just became increasingly obsessed with needing the historical details to be exactly right. And at one point, what became very liberating was I read about Korean men in Korea looking through Korean history and anointing people of the past as queer ancestors, because of all the ways in which queer people are erased from history. That really liberated me. I was like, You know what? We're talking about a ghost, channeled through a shaman, and she can fly. I can make some things up.

One of my biggest pleasures in a book is finding a character from another one of the author’s books—and I got that in The Exhibit, with a visit from the world of The Incendiaries.

There's a part of me that almost believes that an ideal version of a book pre-exists me. And I feel less that I'm making anything up with fiction, and that I’m more working my way toward a book that's already there. Honestly, that feels more reassuring than...

That you're liberating a form rather than having to find it yourself.

That way it’s not the wide open vista of infinite choice, but instead working my way toward liberating, like a sculpture out of a rock. The world of The Incendiaries feels to me as though it almost exists. When I feel extra down about the world, I sometimes turn to quantum physics for consolation, the articles and books that are for lay people. I love reading that there are infinite versions of the world, and in ways that almost exceed language. In The Incendiaries, a world where those abortion clinics were bombed, that version of the world, it seems to exist to me. It still felt so vibrant, that it felt natural for the world of Exhibit to also belong there.

I'm most likely working toward either a trilogy or triptych, or a quartet, of books where they're very loosely connected. But where what happens in the past, in these past books, continues to exist in future books. I think Jin's photos—I mean, who knows, it's early days—I think Jin's photos will show up in the next book.

It sounds like you're already working on that third book.

I'm having more trouble really pulling myself into fiction than I've ever had. It's been really disorienting. It just remains such a central terror, that terror Jin feels in Exhibit , her fear that the photos have left. Because it does happen sometimes. Every now and then, there are artists who just don't ever write again, don't make their art again. I’m so afraid that the words have left. But I'm trying to be patient, and I've been storing up, and I've been collecting accounts of writers who fall into years of quiet, because I know my mind and body are at their best when I’m writing fiction every day. And currently I’m not able to, but I'm trying.

Below, Kwon shares some of the creative inspirations behind Exhibit.

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JK Rowling: ‘I’ve got six more books in my head’

From the pressure of harry potter to where she writes best, for the first time the bestselling author invites readers into her creative world.

J K Rowling is often asked questions by fans and budding writers about her writing process: where she writes, how she writes, her inspiration and her research, how a book comes about, from the germ of an idea to the editing process and eventual publication.

Here, for the first time, she responds to those questions, talking openly and in depth about her writing, from Harry Potter to her other children’s books, including The Ickabog , as well as writing the Cormoran Strike crime fiction series as Robert Galbraith. This Q&A is taken from three films of her talking in her writing room in Edinburgh and in a London pub. For the full interview, go to jkrowling.com

What were you writing when you felt you’d found your

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Wilkes Creative Writing Alum Releases Final Book of Her Scranton Trilogy

Barbara J. Taylor ’15 of Scranton, Pennsylvania, taught English in the Pocono Mountain School District for more than 30 years. During a sabbatical, she went to Tennessee and enrolled in classes at Memphis University. When Taylor learned she’d have to write a short story as the final project for her fiction class, she almost quit. “Then I decided I hadn’t been scared like that — good scared — in a long time, so I stuck with it,” Taylor says.

On the last day of class, the professor returned her final with some advice: Find an MFA program back in Pennsylvania. The next day, Taylor received a flyer in the mail from the Maslow Family Graduate Program in Creative Writing. “I took that as a sign and applied soon after,” says Taylor. The rest, as the saying goes, is history. Or in Taylor’s case, historical fiction.

“No exaggeration, the Wilkes program changed my life,” says Taylor. “As a student, I learned to hone my craft, and I wrote the first draft of my novel, Sing in the Morning, Cry at Night , the book that would launch my writing career.”

The author’s Scranton Trilogy, which includes Sing in the Morning, Cry at Night and All Waiting Is Long , concludes with the May 2024 release of Rain Breaks No Bones. Rain Breaks No Bones is about a secret birth, a complicated relationship, a shocking death, and no one is talking, not even the dead. The novel is set in Scranton in 1955, when coal mining was in decline, the Civil Rights Movement was heating up and a hurricane named Diane was headed for land.

Taylor wrote each book as a stand-alone novel and they can be read in any order, but the event that started the trilogy is loosely based on a family story about her great aunt, Pearl. On July 4, 1918, Pearl’s dress caught fire when she was playing with a sparkler. The little girl never complained, instead singing hymns until she died three days later.

Pearl’s sister, Janet, who was also in the yard at the time of accident, captured Taylor’s imagination. “Janet didn’t have the happiest life, and I wondered what effect Pearl’s death had on her,” says Taylor. “That wondering inspired me to create the character of Violet, my protagonist in all three novels. As soon as I finished the first book, I knew she had more to say.”

Taylor was still teaching high school full time while writing the first two novels. After she retired, she faced new struggles in her creative process. “With Rain Breaks No Bones , I found COVID and the political climate in general to be challenging. It was difficult to be creative with the world on fire,” Taylor says. “Eventually, I got over that hurdle. At some point, I realized the darkest times require creativity.”

These days, Taylor calls the city that sparks her creativity home once again. She recently moved back to Scranton after living in Luzerne County for several years. With the trilogy wrapped up, she’s working on the early stages of a new novel set in Scranton in the 1970s.   

When she’s not reading or writing, Taylor enjoys walking, travelling or hanging out with friends and family. “Pretty lowkey. I save the excitement for my novels,” she says. Even that assessment may contain some fiction. To raise money for charity, Taylor once rappelled off the 14-story Bank Towers Building. “I got to see Scranton from new heights,” she says.

As for anyone else who may consider taking a leap into the Maslow Family Graduate Program in Creative Writing , Taylor offers some advice. “Do it if you can! The faculty comprises people in the field, including working writers, agents, editors, producers and publishers. And they’re so generous with their time. You’ll walk away from Wilkes with a writing family.”

Upcoming author events:

7 p.m. | Friday, May 10 | Lace Village, 1315 Meylert Avenue, Scranton, PA Book launch and conversation with Julie Sidoni of WVIA

1 p.m. | Sunday, May 12 | Moravian Book Shop 428 Main Street, Bethlehem, PA Book signing

Noon | Saturday, June 1 | Barnes & Noble | 412 Arena Hub Plaza | Wilkes-Barre, PA Reading and book signing

7 p.m. | Thursday, June 27 | LitFest | Wilkes University’s Fenner Quadrangle Reading and book signing

For additional book and appearance news from Taylor, visit barbarajtaylor.com . For more on the Maslow Family Graduate Program in Creative Writing, visit wilkes.edu/cw .

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'Bridgerton' Season 3: Release Date and What You Need to Know

This spring is all about Polin. Here's when you can watch the two-part Netflix season.

Luke Newton and Nicola Coughlan star in season 3.

It's May, which means Bridgerton's third season premiere is just a short carriage ride away. The Netflix series known for soirées, scandals and sweltering hot romances is turning things over to Colin Bridgerton and Penelope Featherington, or "Polin," for short.

Based on Julia Quinn's Bridgerton book series, Netflix's hugely popular Regency-era show follows the fictional Bridgerton siblings and (so far) details their love stories. Season 3 will be the first not to follow the order of Quinn's novels, twirling past the third book about Colin's brother Benedict to focus on the fourth. (But that doesn't mean the show won't get to Benedict eventually.) Whereas last season told Anthony and Kate's enemies-to-lovers saga, this season could potentially push Polin from close pals to something more.

Season 3 is a two-parter with release dates in May and June. Bridgerton will return for season 4, but here's what you need to know about the next sure-to-be-swoon-worthy season of the show.

When does season 3 drop?

Grab a quill (or a more contemporary writing utensil) because you need to jot down two release dates for  Bridgerton's third season .

The first date, marking the release of the first four episodes, is  May 16 , and the remaining four episodes arrive on  June 13 . You'll be able to watch the new drops beginning at  3 a.m. ET/midnight PT .

Carries Bridgerton

New to Netflix? You can opt for an ad-free or ad-supported plan to watch all of Bridgerton and the spin-off Queen Charlotte: A Bridgerton Story. Note that if you choose Netflix's $7 per month plan with ads, some titles will be off-limits due to licensing restrictions (the Sydney Sweeney-starring rom-com Anyone but You is one example). Read more about the streamer in our review .

Here are all the episodes in the two-part season:

Episode 1 - Out of the Shadows

Episode 2 - How Bright the Moon

Episode 3 - Forces of Nature

Episode 4 - Old Friends

Episode 5 - Tick Tock

Episode 6 - Romancing Mister Bridgerton

Episode 7 - Joining of Hands

Episode 8 - Into the Light

What can I expect this season?

Bridgerton is set in London in the early 1800s (well, a fantasy version ) and has rotated between the romances of Daphne Bridgerton (Phoebe Dynevor) and Simon Basset/the Duke of Hastings (Regé-Jean Page), and Anthony Bridgerton (Jonathan Bailey) and Kate Sharma (Simone Ashley). Now, Colin (Luke Newton), the third Bridgerton son, and Penelope (Nicola Coughlan), the third Featherington daughter, are finally the main characters, and audiences will find out "how (or if...)" they go from friends to lovers, according to Netflix.  

In addition to friendship, hidden feelings have been part of Polin's journey so far. Season 3 showrunner Jess Brownell told Entertainment Weekly  that setup made it the right time to have Polin's season. "We've spent two seasons really getting to know Penn and Colin. We've been watching Penn's crush and seeing how oblivious Colin is to it. That's a dynamic that you can only play out for so long before something has to change," Brownell told the magazine.

Nicola Coughlan sports some new dresses in season 3. 

Season 3 won't be a promenade in the park for Colin following the events of the season 2 finale. The season will catch up with Polin after Pen overheard Colin saying he would never dream of courting her. Brownell told the magazine that, in terms of recovering from that, "we're going to make him work for it." 

If Colin previously had the upper hand, that'll no longer be the case in season 3. Newton  told Bustle  "Nic and I have talked so many times about how Colin always held the power in their relationship because of how she felt toward him. It was fun to play the complete swap of that, of how she gains this power and confidence. We flipped everything on its head."

The full synopsis, please

If you're desperate for details like you'd be the contents of a thrilling scandal sheet, Netflix has provided a lengthy synopsis about Bridgerton season 3. The rundown includes some spoilers related to a certain Lady Whistledown. (If you don't know what I mean, better bail now and watch some Bridgerton).

Per Netflix, season 3 "finds Penelope Featherington has finally given up on her long-held crush on Colin Bridgerton after hearing his disparaging words about her last season. She has, however, decided it's time to take a husband, preferably one who will provide her with enough independence to continue her double life as Lady Whistledown, far away from her mother and sisters. But lacking in confidence, Penelope's attempts on the marriage mart fail spectacularly."

I'm hoping this scene makes it into the initial episode drop.

"Meanwhile," according to Netflix, "Colin has returned from his summer travels with a new look and a serious sense of swagger. But he's disheartened to realize that Penelope, the one person who always appreciated him as he was, is giving him the cold shoulder. Eager to win back her friendship, Colin offers to mentor Penelope in the ways of confidence to help her find a husband this season. But when his lessons start working a little too well, Colin must grapple with whether his feelings for Penelope are truly just friendly. Complicating matters for Penelope is her rift with Eloise (Claudia Jessie), who has found a new friend in a very unlikely place, while Penelope's growing presence in the ton makes it all the more difficult to keep her Lady Whistledown alter ego a secret."

Who's in the cast

In addition to Newton, Coughlan, Jessie, Ashley and Bailey, the season 3 returning cast includes Luke Thompson as Benedict, Golda Rosheuvel as Queen Charlotte, Adjoa Andoh as Lady Danbury, Ruth Gemmell as Violet Bridgerton, Lorraine Ashbourne as Mrs. Varley, Harriet Cains as Philipa Featherington, Bessie Carter as Prudence Featherington, Jessica Madsen as Cressida Cowper, Florence Hunt as Hyacinth Bridgerton, Martins Imhangbe as Will Mondrich, Will Tilston as Gregory Bridgerton, Polly Walker as Portia Featherington and Julie Andrews as the voice of Lady Whistledown.

Hannah Dodd is taking over as Francesca Bridgerton, and other new cast members include Daniel Francis as Marcus Anderson, James Phoon as Harry Dankworth and Sam Phillips as Lord Debling, Pen's suitor. Page, who starred in season 1 alongside Dynevor, confirmed via Instagram that he won't be in this season, and the same might apply to Dynevor, who told Screenrant she's "just excited to watch (season 3) as a viewer."

The Bridgerton clan.

Will there be a season 4 of Bridgerton? Which sibling is next?

Yes! Netflix renewed Bridgerton for seasons 3 and 4 back in 2021, but which Bridgerton sibling season 4 will center on is still anyone's guess. There's a book for each of the eight siblings, and while the show has strayed from their order, executive producer Shonda Rimes told Entertainment Tonight the aim is to follow each of the sib's romantic stories (presumably over eight seasons). Benedict, who would have been up if the show stuck to Quinn's sequence, could be the chosen one for season 4. 

The end of season 3 will include clues as to which sibling is up next, according to Brownell in an interview with TV Insider . 

Is there a trailer?

Indeed. In  the official trailer , Eloise is clinging to Cressida instead of her usual bestie Pen. That definitely has to do with Pen and Eloise's heavy fight last season, but it's still tough to see Pen's pained facial expression.

Colin, now looking "sturdier" than ever, wants to help Pen in her quest to find a husband and escape the Featherington household. But the consequences of the finale haven't played out for them, either. Will friendships mend? Will Penelope find a match? The prolonged eye contact in this trailer is giving me my suspicions.

What else can I watch right now?

Season 3 won't leave out last season's love match -- enemies-turned-lovers Kate and Anthony. They still seem happy together, according to the following clip, which includes Dodd, the new actress playing Francesca.

In another peek at season 3 , Pen and Colin's chemistry is on display while Pen appears to be practicing for the real deal with her favorite Bridgerton son. There's also this tense clip showing Pen confronting Colin about his stinging words last season. It's a bit spoiler-y if you'd rather wait to watch the confrontation on the show.

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