Angela Ackerman's Blog: Writers Helping Writers, page 12

Phenomenal First Pages Contest – Guest Editor Synopsis Edition

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. This is a special synopsis edition! So, if you need a bit of help with your synopsis, today’s the day to enter for a chance to win professional feedback! (We’ve had past winners tell us they’ve found their dream editors through this contest, and even ended up with offers of representation!)

Entering is easy. All you need to do is leave your contact information on this entry form (or click the graphic below). If you are a winner, we’ll notify you and explain how to send us your synopsis.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Five winners will be drawn. We will email you if you win and let you know how to submit your synopsis (up to 1500 words). Please have your synopsis ready in case your name is selected. Format it with��1-inch margins, 12pt Times New Roman font.��All genres are welcome. The editor you’ll be working with:Julie Artz

Julie Artz has spent the past decade helping writers like you slay their doubt demons and get their novels and memoirs reader-ready. She���s worked with both award-winning and newer authors across the publishing spectrum from Big Five to small and university presses to indie and hybrid. She is an Author Accelerator-certified Founding Book Coach, a sought-after speaker and writing instructor, and a regular contributor to Jane Friedman and Writers Helping Writers, and a regular instructor for AuthorsPublish, IWWG, and more. Her work as a Pitch Wars and Teen Pit mentor, a former SCBWI Regional Advisor (WWA), and her memberships in The EFA, the WFWA, AWP, and the Authors Guild keep her industry knowledge sharp. A consummate social and environmental justice minded story geek, Julie lives in by an enchanted stream in Fort Collins, Colorado with her husband, two strong-willed teenagers (when they���re not off at university!), and two naughty furry familiars. She���s built a thriving book coaching business based on her values, her editing chops, and her knowledge of story. 

Julie���s stories have been published in Crow Toes Weekly, the Sirens Benefit Anthology Villains & Vengeance, and the speculative anthology Beyond the Latch and Lever. Subscribe to Julie���s weekly newsletter, Wyrd Words Weekly, or connect with her below:

Facebook | Instagram | YouTube | Substack 

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If you���d like to be notified about our monthly Phenomenal First Pages contest, subscribe to blog notifications in this sidebar. 

Good luck, everyone. We can’t wait to see who wins!

PS: To polish up your synopsis, check out this amazing post from Julie Artz.

The post Phenomenal First Pages Contest – Guest Editor Synopsis Edition appeared first on WRITERS HELPING WRITERS��.

Five Fears of Writers (and How to Defeat Them)

When I first started working on this post, I thought, only five? But as I compiled my worst writer nightmares, I realized they do fall under five general headings.

Fear of Wasted Time

Anyone who has either written a novel or been in the querying trenches understands this one all too well. Nothing moves quickly. Not the novel itself, which takes numerous revisions before it starts to sound readable, and not the querying process. Agents and publishers can easily take six months or longer to get back to you���if they ever do. And in the end, you can spend years writing, polishing and sending out a novel, all to receive��� nothing. No advance, no publication, no interest.

But has it really been a waste of time? If you���re only focused on the result, then yes, it can look as though years of work + no published novel at the end (unless you self-publish) = a waste of time. But if you shift your focus to the process, suddenly everything looks different. Writing is, and always will be, a learning process. Every novel you write is destined to teach you something new. It should. If it doesn���t, that means you���re working according to a formula and repeating the same book over and over���and not moving forward.

The learning curve for novel writing is much steeper than most people realize. A lot of my clients are stunned to learn that two or three drafts aren���t enough to produce a publishable novel. Not even close. These writers are even more shocked to hear that many well-known authors throw work out and start over. No one would ever have such unrealistic expectations about learning to play the violin. Why should writing a novel be any different?

Here���s the thing: if you���re only doing this for the results, you���re in for a rough ride. If you don���t love the process���if the process isn���t the reason you write in the first place���then I highly recommend you do something else. The process is everything. The results are gravy.

Fear of Failure

Related to the fear of wasted time is the fear of failure.

What if I���m not good enough?What if I���ll never be anything more than ordinary/mediocre/average?

No one starts out being good enough. And once again, cue the violins. Imagine you���re embarking on a lifelong dream to learn how to play that wretched instrument. How long do you think it will take to get good at it? I wasn���t sure myself, so I asked Reddit. The consensus seems to be: years. Maybe as many as ten, and then you���ll be decent���though not great���depending on how much work you���ve sunk into it.

Talent plays a surprisingly small role in this process. What���s key? Hard work and dedication. As with any skill, the people who make it look easy are the ones who���ve put in all the work.

In her wonderful book, The Creative Habit, Twyla Tharp exposes this myth of talent when she talks about both Mozart and Baryshnikov.

According to her, Mozart said, ���People err who think my art comes easily to me. I assure you��� nobody has devoted so much thought to composition as I. There is not a famous master whose music I have not industriously studied through many times.���

And Baryshnikov, even after he was the most admired dancer in the world, was still the hardest worker. Always.

You want to be better than ordinary, average, mediocre? You want to vanquish the fear of failure? Then get to work. Study the novels of great writers. Figure out what they���ve done and how. Practice. Swallow your pride. Get feedback and listen to it. Be prepared to throw work in the garbage. Learn. Read. Work harder.

This is the process. There is no other.

Fear of Humiliation

Let���s say you do work hard and get published. Don���t worry, success comes with its own set of fears.

I write (among other things) historical fiction. When my first novel came out, I was terrified that some history buff would come along and find errors in my work. Luckily, that fear had been motivating me for some time, so it caused me to be ridiculously meticulous about my work. Not only did I read numerous books, I also hired an expert to double-check my manuscript and used several beta readers who���d lived through the experience of East Germany.

Then I planned ahead for the dreaded experience of public speaking by taking every opportunity to get up on stage: going to open mics to read my work aloud, volunteering to introduce other writers���anything to rid myself of the fear of speaking to a crowd. It can be done.

Fear of Judgment

This is another one that might follow on the heels of success: what if people are offended by what I write?

Yes, your parent/spouse/whomever might be upset by your book. If you���re writing directly about someone you know and you���re worried they���re going to be offended, you have three choices: don���t do it, ask them first and get their approval, or tell it slant and deny deny deny.

Regardless, once the work is out there, you can���t control people���s reactions to it. You have to be okay with that���or else consider using a pseudonym.

Bad reviews are an offshoot of this fear���and some of them will be bad. Again, that���s out of your control. All you can do is write the best book you can���and then steer clear of the reviews.

Fear of the Blank Page/Screen

Part of dismantling this fear involves not believing in it in the first place. Part involves understanding that writer���s block is not really a fear of not being able to write; it���s a fear of not being able to get it right the first time (i.e., what if I���m wasting my time?).

Perfectionism is the enemy of productivity. First drafts aren���t meant to be perfect. They���re meant to be finished. It might be helpful to think of your first draft as an exploratory draft. I���ve also heard people call it the barf draft, but that might be a little too colorful for some folks. The point is, the first draft is all about figuring out what your story looks like. It involves trying things, taking chances, getting to know your characters. There���s no right or wrong here.

If you���re still worried that when tomorrow comes, you won���t be able to get started, try Hemingway���s trick of leaving off the day���s work in the middle of a sentence. Personally, I reread the previous day���s work to give myself a running start.

Any writer who is paying attention to the world around them and doing a lot of reading shouldn���t worry about running out of ideas. Ideas are everywhere. All you have to do is write them down. Keep an ideas file. Eavesdrop on conversations. Be an observer of human nature. Read���both within and outside your genre.

In Conclusion

Most of us are afraid of the same things���and most of these fears are within our control. When we expose them to the light and then deconstruct them, we see that in reality, there is nothing to fear��� except hard work, that���s scary.

The post Five Fears of Writers (and How to Defeat Them) appeared first on WRITERS HELPING WRITERS��.

2024 Black Friday Deals for Writers

It’s time for our favorite round-up: Black Friday Deals for Writers! We love finding ways to save you money because we all need to know how to stretch a dollar in this industry.

Investing in the right tools can help with success, so hopefully you can take advantage of some of these current and upcoming deals (including a sweet little discount from us).

Writing, Editing, Publishing & Marketing Deals

Publisher Rocket ($30 off Publisher Rocket + a Free Course)

Your book deserves to be read! Join other authors using Publisher Rocket to sell more books by optimizing keywords, categories, and ad campaigns. This deal runs from November 28th to December 3rd.

ProWritingAid Annual & Lifetime Subscriptions (Save 50%)

ProWritingAid is the essential toolkit for storytellers, helping you to craft your story and bring it to life. Real-time feedback and in-depth analysis will show you how to strengthen your story, give your characters depth, add impetus to your plot and so much more. This deal runs from Nov 18 – Dec 3rd.

Fictionary Storyteller (or Bundled with Storyteller Live) 40% off

Fictionary’s StoryTeller Software and Live Courses offer a comprehensive process to improve story structure, pacing, character development, and settings. StoryTeller Software: Visualize your plot, identify key story arc scenes, and ensure a satisfying resolution. StoryTeller Premium with Fictionary Live!: Enjoy unlimited writing courses, live instruction, weekly editing tasks, and personalized feedback. Save 40% on subscriptions between Nov 18- Dec 12th.

Novlr Writing Software (30% off any subscription)

Novlr is the first writer-owned creative writing workspace that lets you focus on what’s most important; your words. The smart design is distraction-free, writing streaks and goals keep you motivated, the advanced analytics provide insights into your best writing times, and automatic cloud syncing keeps your work safe. Ready to be more productive? Use the code BLACKFRIDAY24 to save on all subscriptions until December 31st.

Write | Publish | Sell (40% off Instagram for Authors Course)

���Instagram for Authors is a power-packed course providing authors with the tools they need to successfully use Instagram to market and grow their author platforms. Save 40% by using the code 40OFFIGBF at checkout until December 2nd.

K.M.Weiland’s Products for Writers (Save 25%)

Save 25% off K.M. Weiland’s popular writing resources, including her books on plot, character, and story structure. Take it a step further with interactive workbooks (including the Outlining Your Novel Workbook software), and the Creating Character Arcs and the Shadow Archetypes courses. Her Archetypal Character Guided Meditations can also help you dive into your characters’ minds and dream up new story ideas. Deal valid November 18th – December 2nd.

BookFunnel Mid-List & Bestseller Plans (Save $50)

The fundamental tool for your author business, BookFunnel delivers reader magnets, delivers direct sales ebooks & audiobooks, and helps authors reach new customers through group promos and author swaps. Take advantage of our best-in-the-industry support and take $50 off an annual subscription to our Mid-List Author and Bestseller Author plans from November 25th to December 2nd.

Atticus Software (Free Course with Purchase)

Transform your writing journey with Atticus.io���the all-in-one powerhouse for book writing and formatting. Forget juggling multiple tools; Atticus brings you a sleek, intuitive platform that takes you from draft to publish-ready masterpiece effortlessly. Get a free Publishing for Indie Authors course with each purchase between November 28th and December 2nd.

Getcovers (25% off cover design packages)

On a tight budget for a book launch? Getcovers is a book cover design company that provides book cover design packages for a shockingly low price – just $10-$35, depending on the package you choose. Use the code BLACKDEALS at checkout from November 25th to December 2nd.

Book Brush Social Media Management (2 bonus months with a 6-month plan)

Your schedule is jam-packed and Book Brush services can help lighten your load with your choice of two all-inclusive social media plans: Meta Plan: We���ll manage your Instagram and Facebook, creating eye-catching graphics and reels to build a strong, branded presence in the author niche and keep your fans engaged. Video Plan: We���ll produce 15 custom reels each month for your TikTok and YouTube channels, tailored to capture your unique style and audience. Get this 8 for 6 deal by booking a consultation call by Dec 6th.

Shut Up and Write the Book by Jenna Moreci
(.99 ebook sale at Amazon)

Shut Up and Write the Book is a step-by-step guide to crafting a novel from your first spark of an idea to the final edit. Enjoy bestselling author Jenna Moreci���s no-nonsense guidance and saucy sarcasm as she walks you through every step of the writing process. Grab it on Amazon for $.99 from November 27th to December 2nd. (affiliate link)

Novel Factory Software (Save 30%)

The Novel Factory app is designed to help writers turn their ideas into fully developed, captivating novels. With powerful planning tools, in-app guidance, and a simple, intuitive design, it���s everything you need to bring your story to life���from first draft to final edit. Save 30% on an annual plan with code BLACKRIDAY2024 between November 18 to December 2nd.

Last but not least, a story support tool that helps you write friction that stands out from the rest:

One Stop for Writers 6-Month Plan (Save 35%)

Ready for a game-changer? Look no further than One Stop for Writers, your ultimate storytelling companion. Designed by story experts Angela Ackerman & Becca Puglisi, these groundbreaking tools help you craft characters with true depth, devise fresh plots, and construct immersive worlds that your readers won’t want to leave.

Your One Stop Toolkit includes:

SHOW-DON’T-TELL DESCRIPTION DATABASE (Containing 18 Thesauruses)
CHARACTER BUILDER
CHARACTER ARC BLUEPRINT
TIMELINE TOOL
STORY AND SCENE MAPS
WORLDBUILDING SURVEYS
IDEA GENERATOR
TEMPLATES AND WORKSHEETS
THE STORYTELLER’S ROADMAP
INSIGHTFUL CRAFT TUTORIALS, TIP SHEETS & MORE

Say goodbye to writer’s block, telling, and frustration. One Stop for Writers supports you at every step as you plan, write, and revise, so only your best writing makes it to the page. Use the code BLACKFRIDAY24 to unlock a 35% discount for our 6-month plan.

We hope you find a few things on this list that help you on your journey. Happy writing & saving!

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The Building Blocks of a Synopsis

By Julie Artz

A writer once told me they���d created their query list specifically to avoid agents who asked writers for a synopsis because writing one was harder than getting a whole novel reader-ready. I laughed at the time, but since then I���ve encountered a lot of fear and trepidation about writing a synopsis, especially as the move toward Query Manager has made asking for a synopsis common practice. But the synopsis is a powerful tool to assess story structure via the convergence of plot arc and character arc, so creating one that is accurate not only makes your pitch package stronger, but it can help you better understand your story and know when it���s truly ready for readers.

So what even is a synopsis? James Scott Bell has some great information about what a synopsis is and what it���s for in his post, Synopsis Writing Made Easy. But essentially, it���s a 2-3 page snapshot of your plot and how it moves your main character(s) through their change arc. This is exactly why I ask all my clients to write a synopsis as part of their planning and/or revision process���because, as Michelle Barker described in her post, The Dreaded Synopsis, doing so will help you identify story-level problems before you send your novel out into the world. That���s exactly why agents and editors ask for one: they can assess quickly whether your story hangs together well enough for them to take the time to read the pages.

So let���s walk through the building blocks of the synopsis! I���ve also created this handy downloadable workbook to help you work through the process step-by-step.

The Four Essential Questions

The first building-block of your synopsis (and your story as a whole) is what I call the four essential questions. These big-picture questions are the foundation of your synopsis and your story:

What is the main character���s story goal? What do they really want?What is the external plot? What does the main character do to try to achieve that goal and what obstacles stand in their way?What is at stake if they do not achieve that goal? What are they risking or what might they lose?What is their internal arc? How do the events of the plot change the main character over the course of the story as they work to achieve their goal?

These four questions may seem simple, but if you can���t answer them in a few sentences each, your story may be too complicated. If you can���t answer them at all, you may have a weakness in plot, character, motivation/goal, or stakes that needs to be addressed at the manuscript level before you pitch.

The Key Turning-Point Scenes

Once you have a big-picture idea of what your plot, character, and stakes are all about, you can identify the key turning-point scenes that move your main character through their change arc in pursuit of their story goal. 

Opening Scene: Poses a question to hook the reader.Inciting Incident: A scene that sets the plot in motion.Midpoint: The moment that changes everything for the main character.All is Lost Moment: A major plot setback for the main character and her gang.Dark Night of the Soul: Something goes very wrong in the character���s internal arc, often related to or as a result of what happens in the All is Lost moment.Climax: The events of the All is Lost and Dark Night force the main character to dig deep and learn whatever it is they needed to learn so they can save the day in the final (metaphorical or actual) battle.Resolution: And now that the main character has achieved some version of their story goal at the climax, they live happily ever after.

Weave these key turning-point scenes into the answers to the four essential questions above to create an outline for your synopsis. Try to keep this under 500 words because we still have a few more pieces to add.

The Connective Tissue

If you write out a sentence or two for each of the key turning-point scenes above, the overall narrative might not make sense without some additional connective tissue. The good news is that you���ve got room: submission guidelines can vary from 500-1500 words or more, so I generally recommend shooting for a 750 word synopsis.

The connective tissue can be things like introducing subplots and side characters. Stick to no more than five named characters in the synopsis if possible and focus on the main ones like love interests, antagonists, best friends, or sidekicks that have a major role in the action of the story. A good rule of thumb is that these are the folks who are there at the climax!

Depending on your genre, the connective tissue might also include mystery elements, red herrings, and breadcrumb trails, world-building elements like cultural norms and power structures that create obstacles for your main character, and moments in the story that raise the stakes or complicate the plot.

Note that connective tissue does not include backstory or a great deal of world-building. It also doesn���t include voice or dialogue. That said, you do want your synopsis to give a sense of tone and atmosphere appropriate for your chosen genre. This can also help the agent or editor determine if this is primarily a plot-driven or character-driven story (either is fine, but readers will have preferences on that score).

If Your Synopsis Exposes a Story Problem

So you���ve written out the answers to the four essential questions, woven them in with the Seven Key Scenes, and added the connective tissue that makes sense for your story. But one of your key scenes or four essential questions feels a little weak. This might mean there���s a big-picture problem with your story. If that happens to you, don���t despair���you���ve discovered a fixable issue before you sent this to your dream agent or editor and that���s a very good thing.

For a deeper dive into story structure, check out these helpful articles on Writers Helping Writers:

Story Not Behaving? Try Going Deeper into StructureAdapting Story Structure for Any ProjectStory Structure as a Fractal

If you���ve read all these posts, downloaded my Synopsis Step-by-Step Workbook, and are still feeling really stuck, watch this space on November 21 for a chance to win a synopsis consult from yours truly���we can figure out a solution together!

Julie Artz has spent the past decade helping writers like you slay their doubt demons and get their novels and memoirs reader-ready. She’s worked with both award-winning and newer authors across the publishing spectrum from Big Five to small and university presses to indie and hybrid. She is an Author Accelerator-certified Founding Book Coach, a sought-after speaker and writing instructor, and a regular contributor to Jane Friedman and Writers Helping Writers, and a regular instructor for AuthorsPublish, IWWG, and more. Her work as a Pitch Wars and Teen Pit mentor, a former SCBWI Regional Advisor (WWA), and her memberships in The EFA, the WFWA, AWP, and the Authors Guild keep her industry knowledge sharp. A consummate social and environmental justice minded story geek, Julie lives in by an enchanted stream in Fort Collins, Colorado with her husband, two strong-willed teenagers (when they���re not off at university!), and two naughty furry familiars. She���s built a thriving book coaching business based on her values, her editing chops, and her knowledge of story. 

Julie���s stories have been published in Crow Toes Weekly, the Sirens Benefit Anthology Villains & Vengeance, and the speculative anthology Beyond the Latch and Lever. Subscribe to Julie���s weekly newsletter, Wyrd Words Weekly, or connect with her below:

Facebook | Instagram | YouTube | Substack 

The post The Building Blocks of a Synopsis appeared first on WRITERS HELPING WRITERS��.

Four Things That Make Your Writing Boring (and how to fix them!)

Why is it that some books get gobbled up by readers, and others don���t? It���s easy to get stuck in a revision cycle when you aren���t sure if a scene is working, so you rewrite it, and rewrite it again, and again, going by gut feel, and not knowing if you���re making your book better, or worse. If this has happened to you, you���re not alone.

Often, writers focus on ���fixing��� their writing by correcting spelling and grammar, or by trying to optimize sentence structure. And while all those things are important (you don���t want your reader tripping over errors), if you focus in on this too soon, you���ll run the risk of missing the bigger picture���Is your writing interesting?

Now, before you comment below to say that interesting is in the eye of the beholder, let me be specific. I can guarantee that the idea for your book is interesting, and that there are readers in the world that will agree with you. After all, you���ve spent hundreds, possibly thousands of hours on your writing already. You���re reading this article. You���re doing the work because your idea is good enough to keep you interested.

But if those beautiful ideas in your mind are falling flat on your pages, your reader will get bored. Luckily, it���s entirely fixable.

If you have the following four issues in your writing, it will stop readers from seeing what you���re hoping to say with your writing. Fix them if you want your book to make the maximum impact that it can.

Problem #1: Using Writing Clich��s

Clich��s are phrases or situations that are so overused that they become an eye roll for readers. I���m not talking about these phrases (although you should avoid them too, in favor of fresher ideas!). But Writing Clich��s are situations that are so overused they will be a snore for your readers, and believe it or not, can mark your writing as amateur for editors, agents, or publishers who���ve worked in the industry for a while. Some examples include:

Starting a scene with a character waking upEnding a scene with a character falling asleep, or everything fading to blackA character looking in a mirror to describe themselves

Now, before you freak out, because you���re like, But Suzy, I have all of these clich��s in my pages. Why didn���t I know this? Let me explain.

There is absolutely nothing technically wrong with these situations, and there���s no way that you could know they���ve overused. Why? Because these tired bits of writing usually get edited out of books before they���re published, so you won���t see them in many books on the shelf of your local bookstore.

But they are very common in first drafts. Why? They are simply the easiest way for a writer to start or end a scene, or to show readers what a Point of View (POV) character looks like. Because of this, thousands of writers come to write scenes in a similar way, writing the first thing that comes to mind. If you have these problems in your book���s draft, you���re in good company. But the easiest way to write something is not often the most effective way to engage readers.

Luckily, these problems are easy to fix, and you don���t even have to rewrite your whole scene to do it.

If your character wakes up at the beginning of a scene? Simply eliminate the sentences where they wake up, starting the scene a few moments later, when your character is already awake.If your character falls asleep, passes out, or is knocked unconscious at the end of your scene? End it just before.If your POV character looks themselves up and down in a mirror to describe what they look like? Instead, get creative with how you share a few details about their appearance when we first meet them. We don���t need it all at once. Instead, aim for 2-3 details you can share, the more specific, the more effective they will be.  Is there something they like or dislike about their appearance? Share that. Do they share a hair color or nose shape with a family member who���s also in the book? Share that. And share these details sooner rather than later. Giving a description of what your character looks like in Chapter 5 is frustrating to the reader, because it will undoubtedly be different than they���d imagined. Slip it into the opening pages.   Problem #2: ���Draining the Well Dry���

One of the toughest things for writers to learn is how to smoothly manage the passage of time in their story. Like in Problem #1 above, where writers have naturally gravitated to the path of least resistance, they end up describing everything that happens to a character during each day, zooming in on conversations, watching them eat, drink, or go about their day. The problem with this is that it���s unfocused, and can feel rambling. You as the writer may need all this information to get your timeline straight, but don���t make the mistake of including it all in your scenes, because it���ll take forever for your reader to wade through. 

Unless this minutia directly relates to the message you���re trying to convey with your book, skip it. We probably don���t need to watch your character brush their teeth, for example. If your book is contemporary, readers will assume that they did. If you���ve got scenes like these, take a step back and consider which moments readers really need to witness to get a feel for what your character is going through. Being able to make these decisions is where your writing skill comes in. Cut the rest by ending the scene or chapter earlier, with a scene break, then taking us to the next important moment in the next chapter or scene.

Problem #3: Writing Exhaustive Dialogue

In my opinion, some of the worst advice out there for writers (although it���s very commonly passed along) is this: To learn to write dialogue well, sit in a coffee shop and eavesdrop. Write down phrases as you hear them, then use them in your writing to make your dialogue more realistic.

Uh��� no. Why? Because if you���re not careful, you���ll end up with pages of this drivel, and you���ll put your reader to sleep.

Consider this exchange, which might happen in an everyday coffee shop:

���Hi, I���m Rob.���

���Sorry, did you say Bob?���

���No, Rob.���

���Oh, sorry. Nice to meet you, Rob. I���m Larry.���

���Nice to meet you too, Larry. I���ve never been to this coffee shop, have you?���

���No, I haven���t.���

Are you sleeping after reading that? I almost fell asleep writing it. Dialogue in books doesn���t have to accurately reflect how we speak in real life, unless you���re ironically trying to show how pedantic it can be, as in a comedy series like The Office, where they slow down everyday office occurrences to poke fun. In most books, aim for dialogue that sparkles a little brighter than the mundane conversations people have.

Ask yourself, Which moments will help the reader see my characters in action?  What they are thinking or feeling as the conversation is happening, that will move your story forward?

There are many problems with the example dialogue above, but here are some guidelines to start with:

Skip introductions or summarize instead of making us wade through them whenever possible. A simple, The man introduced himself as Rob, would be just fine here.Eliminate prompting dialogue. This is where one character asks a question (���did you say Bob?���), or prompts another character to repeat themselves. Watch for this in your dialogue, and collapse it down to eliminate the feeling of redundancy.Problem #4: Not Enough Exciting Showing Details in Your Scenes

Implementing each of the tips above will inevitably reduce the word count in your scenes, and that doesn���t always feel great, when you���ve fought hard to get the words down and watched your book grow. But be ruthless, eliminating boring elements that will stop your reader from getting hooked on your story, because this reduced word count will give you breathing room to add in details that will really make your writing pop.

Every scene in your book should have a balance of showing, and telling. Drawing out important moments by sharing a specific showing detail or two will always draw readers in, making your story come to life for them.

Not sure what I mean by showing, or telling? You can get more information on that here.

Click here for a wealth of show-don’t-tell resources!

Making Your Writing Exciting for Readers

Eliminating the boring writing habits listed above will increase your book���s impact on your reader, making them stay up late into the night to finish your pages, fall in love with your story, and share it with their friends.

Not sure if you���ve developed some boring writing habits along the way? Get a writing assessment! Until Black Friday, I���m offering an introductory Writing Assessment, where I���ll evaluate a sample of your writing and coach you where to focus to make your writing as impactful to your reader as it can be. Get details at www.suzyvadori.com/10pagereview

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Character Secret Thesaurus: Choosing Cowardice Over Bravery

What secret is your character keeping? Why are they safeguarding it? What’s at stake if it’s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character’s secrets���and they will have secrets, because everyone does. They’re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can’t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

Maybe your character is…

Choosing Cowardice Over Bravery

ABOUT THIS SECRET
In difficult moments, it���s easy for a character to allow fear or uncertainty to keep them from the harder work of doing what���s right. Some situations that fall into this category are when a character doesn���t stand up for someone being bullied, pretends to agree with others to conceal their true beliefs, or knows someone is in danger but doesn���t help them.

Whether it was an active choice or because they were paralyzed in the moment, regret and shame can set in afterwards, feeding their insecurity. Everyone wants to be seen as brave and capable, so it���s natural for a character in this situation to hide what they���ve done (or didn���t do) so they won���t be perceived as cowardly.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Judged, Being Unable to Achieve a Dream, Failure, Humiliation, Letting Others Down, Losing the Respect of Others, Persecution, Rejection

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
No longer trusting their instincts
Feeling incapable and untrustworthy
Avoiding leadership roles

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Distancing themselves from anyone who may have witnessed their cowardice
Changing the narrative around the event to cast themselves in a better light
Seeking to discredit or silence witnesses
Shifting blame by shaming the person they failed; trying to make it their fault
Becoming a zealous supporter of the ideal or person they let down (compensating for their failure)
Jumping too quickly into action (to avoid becoming paralyzed by indecision again)
Calling out cowardice in others

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Getting defensive when the event is brought up
The facts about the event changing with each retelling
Obviously avoiding the event���the place where it happened, the people who were there, talking about it, etc.

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 

Other Secret Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, then give our Free Trial a spin.

The post Character Secret Thesaurus: Choosing Cowardice Over Bravery appeared first on WRITERS HELPING WRITERS��.

Writing a Novel, Scene by Scene

Writers come in a variety pack of processes. The most common types ��� regardless of genre ��� are pantsers, plotters, and plantsers. We know these terms well, right?

Pantsers sit down at the keyboard and see what falls out of their fingertips for a while to figure out how the story will take shape.Plotters lay everything out in advance, so they have a guide for their story.Those rebel Plantsters do a little bit of planning ��� maybe the inciting incident and the turning points, possibly the All Is Lost moment ��� but not too much before they write away.And Then There Are Story Quilters Like Me

These storytellers might do one or all of the three methods above, but probably not in the same way. Story Quilters are writers who divide books into individual scenes that they stitch together later into a cohesive story.

If I want this brain of mine to make continual progress, I must take a story down to a bite-sized chunk of writing. I am not alone in this.

Some writers like Diana Gabaldon, Lorna Landvik, and Janet Fitch (and little old me!) don���t see their stories from beginning to end. Instead, we see glimpses and glimmers that we write down until the whole fabric of the story becomes clear. Janet Fitch originally wrote White Oleander as a series of short stories. Lorna Landvik (Angry Housewives Eating BonBons) has been known to string a clothesline down her hallway during the editing phase, with every scene on an index card. She walks the hall, shuffling the cards around, until the story feels right to her.

The idea of doing it this way gives most of my fellow scriveners hives but hear me out. I have good reasons for this.

Sometimes a Book Just Feels Way Too Big

For some writers, the idea of an entire novel can paralyze you and send your muse back under the covers for the day.

Maybe it���s an ADD thing, or our executive function is too unreliable for a project as big as a book. Maybe focus is a monumental achievement some days. Maybe you are sandwiching writing in between all the other things you must do and you only have a tiny slice of time.

All I know is that I tried a gajillion ���linear��� beginning-to-end ways in my quest to get a book off the ground and finished and none of them worked. I could start a story, but I couldn���t seem to keep my focus and finish the darn thing. I tried many many fancy things: Fast Draft, the W-Plot, the Snowflake Method. They all helped me be a better writer, but none of them got me to “The End.”  

The only thing I’ve found that can get this brain to the end of a story is to embrace my inner scene writer and let her lead the way.

Let���s get this scene-writing ball rolling with some definitions.

What Is a Scene?

I love how Margaret Dilloway describes it in this post:

Each scene is an event that changes the character���s situation in a meaningful way.

Every scene needs something to happen.Each scene produces a change achieved through conflict.Each scene shows how the character responds under pressure.

The hard part: If the scene doesn���t meet these criteria, take it out.

Further reading: C.S. Lakin did a post here at WHW with 10+ questions to consider when crafting a scene. Awesome stuff.

How Long Is a Scene?

Scene length varies depending on a lot of factors, including the genre, pacing preferences for the scene, and the author���s personal style. While thrillers and action-adventure stories often have shorter, snappier scenes���say, in the 1,000-word range���the word count typically goes up in literary fiction, historical fiction, and fantasy stories. So let���s take an average and say our scenes will run around 2,000 words long.

Here���s some math on this (knowing the numbers will change for longer scenes):

If each page is 250 words, that maps out to roughly 4-20 pages per scene.

Doing the math for novel-length fiction, you will end up with 50-60 scenes per novel if you keep your scenes at about 2,000 words.

Keep in mind that just as white space draws the eye down the page, shorter scenes tend to keep your readers turning pages. ���Only four or five more pages? I can keep reading������

We���ve all done that. So if shorter scenes work for your story, they can also have the added benefit of encouraging that page-turning effect for readers.  

What Does It Mean to Be a “Scene Writer?” (Aka Story Quilter)

As I mentioned above, all those cool linear “big picture” methods I mentioned above aren’t small enough for me to stay focused. My busy brain says, “Ooooh…GLITTER!” And I’m off doing something else, instead of writing those 50-ish scenes that make up a novel-length story.

It was Diana Gabaldon who shined light on scene-writing as a possible writing process. I read some articles about Gabaldon and how she wrote the Outlander series.

In her own words:

Anyway, yes; I write just about everything piecemeal, including nonfiction articles, book reviews and essays. It���s effective because it works; I���m never held up stewing about What Comes Next��� I don���t care what comes next, I just care about something I can see happening. The order of the happening has a logic to it (often, more than one), and that will become clear to me as I work.

When I read about Gabaldon, a light went on in my head. I finally accepted the truth: I���m a scene writer.

The scenes don’t even have to be in order, they just have to be finite. I need to be able to open a writing program, create a document, and save it in the correct folder. I don���t have to see anything except that scene during the writing session.

How Can YOU Use Scene Writing to Your Advantage?

Scene writing isn���t just a way of life for Story Quilters, it���s a powerful weapon in any writer���s creative arsenal.

One of my writing friends, Laura Drake, is a linear writer who gets stuck in the middle of every book. As a pantser, she comes to that terrible predictable place, that muggy limbo land, where her story is going nowhere and she doesn���t know what to do. She wonders if she should quit writing the story altogether. Every. Single. Book.

When she calls me from Limbo Land, you already know what I tell her to do: write a throwaway scene.

Examples of out-of-order scenes:An interview with your main character.A character engaging in a hobby you make up on the spot.A quick trip through their closet, car trunk, or underwear drawer.Figure out their favorite song, and why it���s their favorite.Head over to One Stop for Writers and use some of those cool tools. (Character Builder fun, anyone?)

The point of this exercise is to invite your muse to take you to the next place in your story. And even if you don���t use the scene in your book, you can use it as a marketing tool. Readers adore Bonus Scenes.

Final Thought

Everyone must learn their own process and lean into it to bring their stories into being. For some, that learning journey is the hardest part of being a writer.

You might be part of the triple threat writing process variety pack I mentioned at the top of this post, or a quirky Quilter like me, but I hope you experiment until you discover what gets you to ���The End.��� Your process doesn���t have to look like anyone else���s.

Whether you���re a Pantser, Plotter, Plantser, or Story Quilter, every single one of us has to embrace our stories one scene at a time.

The post Writing a Novel, Scene by Scene appeared first on WRITERS HELPING WRITERS��.

How to Avoid Author Intrusion in First Person

Author Intrusion happens when the author butts into the story to address the audience directly, interrupting the character who’s supposed to be narrating. Sometimes this can be used deliberately to create a certain effect. CS Lewis, Jane Austen, Lemony Snicket���it works for them because it���s purposeful. Deliberate.

As with so many writing problems, intrusion becomes an issue when it���s accidental���when we, the author, meander outside of our character���s viewpoint and start sharing things the character wouldn���t share. For instance���

I tucked my curly black hair into its cap.

This description won���t quite ring true because every narrator is intimately acquainted with the color and texture of their own hair. When they���re talking or thinking, they���re not going to reference the particulars. If I inject those details into the story in this way, the character is no longer narrating. It���s me, the author, interrupting the true storyteller to get information across to readers.

Here���s another example:

And that���s when my neighbor, Rob, burst into the room.

Here, the narrator wouldn���t think of Rob as ���my neighbor��� because they already know this about him. It���s obvious this information has been included by me, the author, as I try to introduce a new cast member.

So What���s the Big Deal with Intrusion?

In every story, one of your main jobs is to help readers develop a relationship with the viewpoint character. This happens when readers see things from the character���s perspective��� sharing in their struggles, identifying with their motivations, wanting them to evolve and be well. All this draws the two close together, and an empathy bond is formed that puts the reader firmly in the character���s corner.

Author intrusion has the opposite effect. Instead of encouraging that close connection, it creates distance between the reader and character. It pulls readers out of the narrative because they realize, even on a subconscious level, that someone else has hijacked the story.

This creates a problem in first-person because there are times when the author needs to pass along information the character wouldn���t typically share. How do we do that from the shadows, in a way that doesn���t pull the reader���s attention?

Slip the Details into What���s Already Happening

Anytime we stop the character���s story to share stuff, we create drag, and the pace suffers. Instead of interrupting story events to relay information, share those details through what���s already happening. Look for a scene where it would be natural for the character to reference those particulars while events are unfolding. In the case of our curly-headed character, maybe as she���s headed outside on a blustery day:

The wind snatched at my hair and whipped it into a tangled mess. I could only imagine what it looked like���a curly black storm cloud scaring away potential suitors, children, and pretty much anyone with eyes.

This rendering mentions the same details (curly black hair), but because they���re shared as part of the story���via the setting (weather), in fact���they���re not intrusive. The reader���s experience isn���t interrupted.

Use Viewpoint Filtering

Another reason this example works is because we���ve stayed true to the character���s viewpoint. Everything is being filtered through her unique perspective. The details she focuses on, her thoughts, the words she uses���her voice is consistent because the author is getting out of the way and letting the character tell the story.

Use Other Characters

Personal appearance details are notoriously tricky to write in first person because they���re not usually things the character would think about. So no matter how you write the passage, it may not sound natural if the character mentions them. An easy workaround is to get someone else to notice those things.

The wind whipped my hair into a frenzy, and Ma groaned. ���Gracious, Jess, do something with this curly mop.��� She slapped a cap on my head and started shoving my hair into it. ���Bad enough it���s black as a dung beetle. Why won���t it lay flat?���

BONUS TIP: Find Each Character���s Voice

One reason intrusion doesn���t work is because the facts are so baldly stated. Every character���s unique personality bleeds into their voice, and when you include observations that lack personality (or sound too much like you), it���s obvious those observations aren���t coming from the character.

If you���ve taken the time to get to know your cast, you���ll know how each person talks, what turns of phrase they would use, and what comparisons they might make���such as comparing someone���s hair to a dung beetle. That will allow you to write in that character���s voice (not your own) while revealing much more than just a few physical details.

That last example, with one short paragraph and a carefully chosen simile, tells us a lot about the speaker; we can infer that Jess���s mom is pushy, outspoken, seems hard to please, and doesn���t much like her daughter���s hair. We get a glimpse into what their relationship is like, and we can imagine a certain twang to her voice that hints at a rural address or upbringing.

We���re able to draw these inferences because the author kept her nose out of the story and just let the characters speak.

What we���re basically talking about here is show-don���t-tell. As authors, we shouldn���t be telling the audience what they need to know. We should be showing it through the characters and what���s already happening in their story. Writers Helping Writers has a ton of resources on how to show effectively, so check those out for more practical tips.

This post is a response to a question from one of our readers, which I originally replied to via a quick video in one of our newsletters. If you have writing- or industry-related questions you���d like us to answer, we���d love to address them. And to receive our occasional newsletter that contains answers to these questions along with other helpful writing advice, sign up here.

The post How to Avoid Author Intrusion in First Person appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: Coveting Someone Else’s Life

What secret is your character keeping? Why are they safeguarding it? What’s at stake if it’s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character’s secrets���and they will have secrets, because everyone does. They’re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can’t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

Maybe your character…

Coveting Someone Else’s Life

ABOUT THIS SECRET: Few things are equal, including advantages, opportunities, burdens or struggles. So, when others have more luck, support, or success, it���s easy to envy them and what they have, even to the point of bitterness. If anyone finds out though, pity follows, so your character will try to keep what they covet a secret.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Becoming What One Hates, Being Judged, Being Pitied, Being Unable to Achieve a Dream, Failure, Having No Purpose, Humiliation, Losing the Respect of Others, Mediocrity, Never Finding Happiness

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Being unable to appreciate the good in life because they can only see what is lacking
Causing loved ones to feel ���not good enough��� because the character is never happy
Creating a self-fulfilling prophecy from the belief that their life can never be as good as another���s
Becoming increasingly pessimistic
Not living their own life because they���re obsessed with someone else���s

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Avoiding the person who has what the character wants
Changing the topic if the conversation begins to highlight the great life someone else has
The character deflecting questions that could reveal insecurities
Working hard to control their emotions when the other person is around

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Moodiness (especially when the other person is around or mentioned)
A habit of minimizing the other���s accomplishments by attributing them to luck
Overcompensating; being overly warm or complimentary to hide envy
Trying to force opportunities in hopes of changing their life to be like another’s
Passive-aggressiveness (talking behind the person���s back, sarcasm, back-handed compliments)

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Falling in love with that other person’s partner or spouse
Seeing luck favor the other person and the perceived unfairness of it carrying the character to a breaking point
Discovering the person they envy is a fraud or unworthy in some way (disillusionment)
Suffering yet another disappointment that seems unfair or unjust

Other Secret Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, then give our Free Trial a spin.

The post Character Secret Thesaurus Entry: Coveting Someone Else’s Life appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: Covets Someone Else’s Life

What secret is your character keeping? Why are they safeguarding it? What’s at stake if it’s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character’s secrets���and they will have secrets, because everyone does. They’re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can’t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

Maybe your character…

Covets Someone Else’s Life

ABOUT THIS SECRET: Few things are equal, including advantages, opportunities, burdens or struggles. So, when others have more luck, support, or success, it���s easy to envy them and what they have, even to the point of bitterness. If anyone finds out though, pity follows, so your character will try to keep what they covet a secret.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Becoming What One Hates, Being Judged, Being Pitied, Being Unable to Achieve a Dream, Failure, Having No Purpose, Humiliation, Losing the Respect of Others, Mediocrity, Never Finding Happiness

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Being unable to appreciate the good in life because they can only see what is lacking
Causing loved ones to feel ���not good enough��� because the character is never happy
Creating a self-fulfilling prophesy from the belief that their life can never be as good as another���s
Becoming increasingly negative and pessimistic
Not living their own life because they���re obsessed with someone else���s

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Avoiding the person who has what the character wants
Changing the topic if the conversation begins to highlight the great life someone has
Masking negative feeling by being complimentary
Avoiding talking about themselves; deflecting questions that could reveal insecurities
Working hard to control their emotions when the other person is around

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Moodiness (especially when the other person is around or mentioned)
A habit of minimizing the other���s accomplishments or advantages by attributing them to luck
Overcompensating; being overly warm or complimentary to hide envy
Trying to force opportunities in hopes of changing their life to be like someone else���s
Passive-aggressiveness (talking behind the person���s back, sarcasm, back-handed compliments)

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Falling in love with that other person’s partner or spouse
Seeing luck favors the person even more, carrying the character to a breaking point
Discovering the person they envy is a fraud or unworthy in some way (disillusionment)
Suffering yet another disappointment that seems unfair or unjust

Other Secret Thesaurus entries can be found��here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, then give our Free Trial a spin.

The post Character Secret Thesaurus Entry: Covets Someone Else’s Life appeared first on WRITERS HELPING WRITERS��.