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

How to Deepen a Story with Thematic Echoes

While shallow stories can be enjoyable, we often strive to add depth to our storytelling. Deeper stories can ���say��� more to readers, evoking more emotions and leaving a bigger impression.

We have many options for how we can deepen our stories, from creating layered characters or heartrending emotional journeys to exploring complex dilemmas. But a primary way of adding depth to our story is by using and expanding our story���s themes.

Themes are meant to communicate to readers by provoking them to consider a certain view of the world (such as what to value, believe, hope for, aim for, etc.), so themes inherently provide plenty of opportunities for us to say more to readers. Themes that interact on some level create even more depth, as they take a simplistic belief (���love is powerful���) and turn it into a more purposeful idea (���love is powerful when we learn to trust others���).

Today, let���s look at how we can set up themes that resonate with each other, and thus add up to a deeper story than possible with just a standalone theme.

Themes 101: What Creates a Theme?

First, we need to understand how our story can (and likely will) contain multiple themes. For that, we need to know what creates themes within our story and how the different aspects and elements of our story each contribute to the impression of ���what our story is about���:

Story Themes: What���s the premise of the story? Who���s supposed to win or lose���and why?Character Themes: How does the protagonist change over the course of the story? What do they learn?Plot Themes: During the plot���s turning points, what do the characters attempt? Do they succeed or fail���and why?Choices Themes: What choices are the characters making? Do the results match the Story or Character Themes (choices that agree with the themes should succeed and vice versa)?Villain Themes: Are the villain���s beliefs reinforced or disproved by plot events?How Will Our Story���s Themes Interact?

Obviously, with all those different sources of themes, our story will likely share multiple messages with readers (whether intended or not). Those messages can interact in various ways, as they could:

conflict with one another,each be independent (and essentially ignore each other),align despite being unrelated,echo similar ideas, orresonate with repetition and deeper similarities.How Can We Make Themes Work Together?

Let���s look at a few options for integrating multiple themes, from techniques that inherently result in the least resonance to those with the most:

Option #1: Multiple Independent Themes with No Connection

As long as the ideas from our story���s various themes don���t undercut each other, there���s nothing ���wrong��� with unrelated themes.

For example, a story could be about both justice and love. Perhaps the main plot focuses on the protagonist ensuring a killer is brought to justice, while a subplot focuses on the protagonist resolving a relationship issue.

While those themes don���t echo or resonate with each other, they also don���t specifically interfere with each other. They are simply each standalone themes, and for some stories, that approach works fine.

SPECIAL TIP FOR UNCONNECTED THEMES:
Watch Out for Conflicts

Avoid using multiple themes that conflict or interfere with each other, except for cases where an exploration of that conflict is part of the story���s premise.

For example, a theme about ���the value of friendship��� expressed through the protagonist relying on their friends would struggle to cooperate with a second theme of ���the value of rugged independence.��� Those themes undermine the messages of each other, so our storytelling would be weaker unless an aspect of the story focused on the protagonist deciding how to prioritize or embody each of those ideals. That exploration of the conflict would create a connection between the themes (pushing it into the Option #2 approach below).

Option #2: Multiple Independent Themes with Some Connection

Sometimes with unrelated themes, we can reference the ideas of one theme in the story elements that explore another theme.

As an example, given that same story idea from Option #1 above with the themes of justice and love, the ideas or lessons learned from one theme could inform the resolution of the story events of the other theme. With our above example, the protagonist���s desire for justice could carry over to be related to the relationship issue, such as if a too-strict adherence to justice prevents the protagonist from being sympathetic with their love interest. Or a lesson learned from the relationship could help the protagonist understand and track the killer, such as through stretching their empathy ���muscles.���

While the themes themselves in this Option #2 don���t connect directly, the story elements exploring each theme can overlap. Those overlaps can create echoes adding depth to the story, as the theme���s ideas are revisited in other circumstances, or as they examine the story world from unrelated-but-parallel perspectives.

Note that the examples above illustrate that the only difference between Options #1 and #2 is whether we choose to create overlapping references. In other words, virtually any Option #1 story could become an Option #2 story if we consciously make a few narrative tweaks, such as by having one theme���s ideas mentioned in another theme���s story elements or by having one theme inform the other, and so on.

Option #3: Multiple Somewhat-Related Themes

Some themes can be different-but-similar to other themes, exploring ideas along comparable or related lines.

For example, a story exploring the theme of love could also include themes of related ideas: trust/distrust, friendship, rejection, etc. (all touching on a character���s emotional journey with relationships). To go deeper into that example, a protagonist may experience relationship love in one aspect of the story, but a subplot may explore their pain of a parental rejection, or them learning to accept that rejection, or them learning to appreciate those who do love them despite that rejection.

A few other themes with somewhat-related ideas include:

survival / learning to trust yourselflove / learning to trust othersjustice / survivaljustice / oppression

In other words, themes with related (or opposite) ideas can often resonate with each other, as the lessons learned from one theme can often carry over and help in the exploration of the other theme. Or from a reader perspective, what the story says through these somewhat-related themes add together to create a bigger cohesive ���message��� or perspective, such as ���learning to trust yourself can help you survive.���

Option #4: Multiple Explorations of the Same Theme

Some stories allow us to explore a single theme idea from multiple perspectives or circumstances.

For example, a story about trust could explore that theme in various ways, as the plots/subplots and other story elements could all focus on the benefits of learning how to trust. Or a story about the power of love could explore romantic love, friendship love, sibling love, parental love, etc., all in different aspects of the story. Or a story with multiple protagonists could explore the theme of romantic love through each character���s relationship.

Final Thoughts: The Benefits of Connecting Themes

Note that Option #4 is not ���better��� than Options #2 or #3 for creating connections across the thematic elements of our story, especially as that style won���t work for most stories. The point is to identify our various themes and see what they have to say (if anything) about each other. While echoes and resonances may happen more automatically with Option #4, as long as we ensure that we create or emphasize those resonances with Options #2 or #3, all three of those approaches can work equally well for using thematic echoes to deepen our story.

That said, the unconnected themes of Option #1 can also work for our story just fine, depending on the story we���re trying to tell. However, those unconnected theme ideas are almost like the thematic version of episodic storytelling, as they don���t add together to create a bigger idea. Yet for some stories, that style is a good match for our storytelling goals.

In contrast, themes with some level of connection ��� whether Option #2, #3, or #4 ��� help the story feel not only deeper, but more epic, as the echoes and resonances weave on a single, common canvas to give readers the sense of a bigger story with more meaning. With Options #2, #3, and #4, the more we���re able to create those connections between the various themes of our story, the deeper and more layered our story will feel, as our story will ���say��� more to readers. *smile*

Have you thought about how stories contain multiple themes, and therefore how those themes interact may affect the sense of depth (or ���epicness���) of a story? Have you struggled to know how to make themes interact in helpful ways? Does this post give you ideas for working with themes? Do you have any questions about themes or how they can interact?

PRO TIP: Your characters��� traits, experiences, and personal biases will influence how they approach the story theme, so it���s important for you to know these driving factors in your cast members.

For this reason, we���ve structured the entries of One Stop for Writer���s Theme and Symbolism Thesaurus so you can explore these aspects for your characters and make smart decisions about their thematic statements. View an example here.

The post How to Deepen a Story with Thematic Echoes appeared first on WRITERS HELPING WRITERS��.

Deepening a Story with Thematic Echoes

While shallow stories can be enjoyable, we often strive to add depth to our storytelling. Deeper stories can ���say��� more to readers, evoking more emotions and leaving a bigger impression.

We have many options for how we can deepen our stories, from creating layered characters or heartrending emotional journeys to exploring complex dilemmas. But a primary way of adding depth to our story is by using and expanding our story���s themes.

Themes are meant to communicate to readers by provoking them to consider a certain view of the world (such as what to value, believe, hope for, aim for, etc.), so themes inherently provide plenty of opportunities for us to say more to readers. Themes that interact on some level create even more depth, as they take a simplistic belief (���love is powerful���) and turn it into a more purposeful idea (���love is powerful when we learn to trust others���).

Today, let���s look at how we can set up themes that resonate with each other, and thus add up to a deeper story than possible with just a standalone theme.

Themes 101: What Creates a Theme?

First, we need to understand how our story can (and likely will) contain multiple themes. For that, we need to know what creates themes within our story and how the different aspects and elements of our story each contribute to the impression of ���what our story is about���:

Story Themes: What���s the premise of the story? Who���s supposed to win or lose���and why?Character Themes: How does the protagonist change over the course of the story? What do they learn?Plot Themes: During the plot���s turning points, what do the characters attempt? Do they succeed or fail���and why?Choices Themes: What choices are the characters making? Do the results match the Story or Character Themes (choices that agree with the themes should succeed and vice versa)?Villain Themes: Are the villain���s beliefs reinforced or disproved by plot events?How Will Our Story���s Themes Interact?

Obviously, with all those different sources of themes, our story will likely share multiple messages with readers (whether intended or not). Those messages can interact in various ways, as they could:

conflict with one another,each be independent (and essentially ignore each other),align despite being unrelated,echo similar ideas, orresonate with repetition and deeper similarities.How Can We Make Themes Work Together?

Let���s look at a few options for integrating multiple themes, from techniques that inherently result in the least resonance to those with the most:

Option #1: Multiple Independent Themes with No Connection

As long as the ideas from our story���s various themes don���t undercut each other, there���s nothing ���wrong��� with unrelated themes.

For example, a story could be about both justice and love. Perhaps the main plot focuses on the protagonist ensuring a killer is brought to justice, while a subplot focuses on the protagonist resolving a relationship issue.

While those themes don���t echo or resonate with each other, they also don���t specifically interfere with each other. They are simply each standalone themes, and for some stories, that approach works fine.

SPECIAL TIP FOR UNCONNECTED THEMES:
Watch Out for Conflicts

Avoid using multiple themes that conflict or interfere with each other, except for cases where an exploration of that conflict is part of the story���s premise.

For example, a theme about ���the value of friendship��� expressed through the protagonist relying on their friends would struggle to cooperate with a second theme of ���the value of rugged independence.��� Those themes undermine the messages of each other, so our storytelling would be weaker unless an aspect of the story focused on the protagonist deciding how to prioritize or embody each of those ideals. That exploration of the conflict would create a connection between the themes (pushing it into the Option #2 approach below).

Option #2: Multiple Independent Themes with Some Connection

Sometimes with unrelated themes, we can reference the ideas of one theme in the story elements that explore another theme.

As an example, given that same story idea from Option #1 above with the themes of justice and love, the ideas or lessons learned from one theme could inform the resolution of the story events of the other theme. With our above example, the protagonist���s desire for justice could carry over to be related to the relationship issue, such as if a too-strict adherence to justice prevents the protagonist from being sympathetic with their love interest. Or a lesson learned from the relationship could help the protagonist understand and track the killer, such as through stretching their empathy ���muscles.���

While the themes themselves in this Option #2 don���t connect directly, the story elements exploring each theme can overlap. Those overlaps can create echoes adding depth to the story, as the theme���s ideas are revisited in other circumstances, or as they examine the story world from unrelated-but-parallel perspectives.

Note that the examples above illustrate that the only difference between Options #1 and #2 is whether we choose to create overlapping references. In other words, virtually any Option #1 story could become an Option #2 story if we consciously make a few narrative tweaks, such as by having one theme���s ideas mentioned in another theme���s story elements or by having one theme inform the other, and so on.

Option #3: Multiple Somewhat-Related Themes

Some themes can be different-but-similar to other themes, exploring ideas along comparable or related lines.

For example, a story exploring the theme of love could also include themes of related ideas: trust/distrust, friendship, rejection, etc. (all touching on a character���s emotional journey with relationships). To go deeper into that example, a protagonist may experience relationship love in one aspect of the story, but a subplot may explore their pain of a parental rejection, or them learning to accept that rejection, or them learning to appreciate those who do love them despite that rejection.

A few other themes with somewhat-related ideas include:

survival / learning to trust yourselflove / learning to trust othersjustice / survivaljustice / oppression

In other words, themes with related (or opposite) ideas can often resonate with each other, as the lessons learned from one theme can often carry over and help in the exploration of the other theme. Or from a reader perspective, what the story says through these somewhat-related themes add together to create a bigger cohesive ���message��� or perspective, such as ���learning to trust yourself can help you survive.���

Option #4: Multiple Explorations of the Same Theme

Some stories allow us to explore a single theme idea from multiple perspectives or circumstances.

For example, a story about trust could explore that theme in various ways, as the plots/subplots and other story elements could all focus on the benefits of learning how to trust. Or a story about the power of love could explore romantic love, friendship love, sibling love, parental love, etc., all in different aspects of the story. Or a story with multiple protagonists could explore the theme of romantic love through each character���s relationship.

Final Thoughts: The Benefits of Connecting Themes

Note that Option #4 is not ���better��� than Options #2 or #3 for creating connections across the thematic elements of our story, especially as that style won���t work for most stories. The point is to identify our various themes and see what they have to say (if anything) about each other. While echoes and resonances may happen more automatically with Option #4, as long as we ensure that we create or emphasize those resonances with Options #2 or #3, all three of those approaches can work equally well for using thematic echoes to deepen our story.

That said, the unconnected themes of Option #1 can also work for our story just fine, depending on the story we���re trying to tell. However, those unconnected theme ideas are almost like the thematic version of episodic storytelling, as they don���t add together to create a bigger idea. Yet for some stories, that style is a good match for our storytelling goals.

In contrast, themes with some level of connection ��� whether Option #2, #3, or #4 ��� help the story feel not only deeper, but more epic, as the echoes and resonances weave on a single, common canvas to give readers the sense of a bigger story with more meaning. With Options #2, #3, and #4, the more we���re able to create those connections between the various themes of our story, the deeper and more layered our story will feel, as our story will ���say��� more to readers. *smile*

Have you thought about how stories contain multiple themes, and therefore how those themes interact may affect the sense of depth (or ���epicness���) of a story? Have you struggled to know how to make themes interact in helpful ways? Does this post give you ideas for working with themes? Do you have any questions about themes or how they can interact?

PRO TIP: Your characters��� traits, experiences, and personal biases will influence how they approach the story theme, so it���s important for you to know these driving factors in your cast members.

For this reason, we���ve structured the entries of One Stop for Writer���s Theme and Symbolism Thesaurus so you can explore these aspects for your characters and make smart decisions about their thematic statements. View an example here.

The post Deepening a Story with Thematic Echoes appeared first on WRITERS HELPING WRITERS��.

Meet Our New Bookstore (& Save 50% off a Thesaurus!)

Welcome to 2025…and say hello to a brand new Writers Helping Writers�� bookstore!

Like many other authors, Becca and I have switched to a Shopify storefront so we can provide a better experience for everyone wanting to buy direct.

We’re excited to launch this store, both for the flexibility to eventually branch out with our offerings and the fact that it’s a vast improvement over the system we’ve wrangled with up until now.

But first, what does “Buy Direct” mean?

Buying direct means instead of purchasing a book from an etailer like Amazon, Kobo, or Apple (who take a big chunk of each sale) you buy straight from the author. When more of a book’s revenue lands in the author’s pocket, they’re more likely to make a livable wage…meaning the freedom to write more books, offer discounts, and more. It’s a win-win for the author and their readers.

But buying direct also means YOU GET MORE.

Buying Direct can better protect your books

A problem with buying a digital copy from someone like Amazon is they have control over that book file, not you. If it disappears from your Kindle library due to a glitch, syncing issue, or because they decided you did something wrong, getting it restored can be hard (or impossible). When you buy direct, our partner Bookfunnel always keeps your digital book safe and accessible. You own the book.

Buying Direct means early access

Our bookstore will allow us to offer new releases before they are available elsewhere. Often Becca and I have a new book in hand for weeks prior to a book launch but we have to wait for the official release date. Now, we can pop a new guide into our store when it’s ready and minimize waiting.

Buying Direct keeps you in the loop (and saves you $$$)

Right now our store is set up to offer digital formats (ebook and PDF), but print is coming! And we’re looking to expand to other things as well. If you sign up for store notifications we’ll pop a quick message into your inbox whenever a cost-saving bundle, special workshop, on-demand webinar, discount, or something else becomes available. (But that’s it–no ‘hard sell’ stuff. That’s not us.)

Ready to check the new WHW store out?

Take this celebratory discount code with you: WHWTHANKSYOU

This one-time code is a buy one, get the second ebook single at a 50% discount. You’ll see a place to enter the code when you checkout. (And a tippy tip: if you sign up for store notifications, you’ll get a bonus code that discounts your entire order a further 10%!) Add that second code at checkout to use both in the same order.

We’d also love your feedback. This is a simple store to start, and we have improvements in mind. But you guys are the pros here–you know what you want to see when buying a book, and you may have ideas on what will make this store better. If you’d like to leave us impressions or suggestions, zip over here. (It’s anonymous.) And thank you!

Don’t forget to redeem your buy one, get one code by January 15th, 2025, and happy writing!

The post Meet Our New Bookstore (& Save 50% off a Thesaurus!) appeared first on WRITERS HELPING WRITERS��.

Happy Holidays – Some Gifts for You

Angela, Becca and I hope you���re having an amazing holiday season full of family, friends, good food and special memories. We are so grateful for your visits, kind words of support, and trust in us. We love serving the writing community through this blog, One Stop for Writers, books, and teaching.

We���re tucking Writers Helping Writers in for a well-earned rest until 2025. But we want to make sure you have plenty to read during our break���so we���ll leave you with delicious recipes to try and helpful posts to browse.

Did You Get Your Stocking Stuffers?

*Polishing a manuscript
*Story stakes tracker

Thank you for making 2024 extra-special!

We can’t thank each of you enough for visiting, commenting, entering our contests, and being a special part of the Writers Helping Writers Family.

Huge thanks to our amazing Resident Writing Coaches, guest editors for contests, and guest posters. With your help, we’ve been able to share a huge variety of topics and some incredible prizes. We can’t wait to see what 2025 will bring for everyone.

Into Some Bite-Sized Learning Over the Holidays? Try These:

Writing Tools
Checklists and Tip Sheets
First Page Resources
Characters
Plot and Structure
Worldbuilding and Setting
Show-Don���t-Tell
Other Story Elements (including theme and symbolism, point of view, voice, pacing, dialogue, etc.)
Revisions and Editing
Creativity & Mindset
Business of Writing
Resident Writing Coach posts

We���re Each Gifting a
Favorite Recipe to You

We can���t wait to find out what you think of some of our favorite recipes! You���re welcome to share some of your own, too. It���s always fun to test out new recipes.

Angela���s Recipe Becca’s Recipe Mindy’s Recipe

This came out amazing! Next time, I’ll make it with full candied cherries up top instead of the fruit mix.

Paying it Forward

One of my favorite things about Angela and Becca is how much they do to help others. They���ve always had a��pay-it-forward��mentality, which is why this site is loaded with free tools, downloads, and resources. But helping beyond the writing community is something they believe in as well. Each year they select a specific charity (or two) and donate a portion of their book revenue to it. For more information on this year���s recipient, see��this blog post.

Here���s the 2024 Recipient

This is only possible through your generosity, so know when you buy books, subscribe to One Stop for Writers, or attend a workshop, you are an important link in the chain. Thank you for helping to make the world a better place!

Happy holidays!

The post Happy Holidays – Some Gifts for You appeared first on WRITERS HELPING WRITERS��.

Phenomenal First Pages Contest

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. So, if you need a bit of help with your first page, 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 first page.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Three winners will be drawn. We will email you if you win and let you know how to submit your first page. Please have your first page ready in case your name is selected. Format it with 1-inch margins, double-spaced, and 12pt Times New Roman font. All genres are welcome except erotica.Sign Up for Notifications!

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 amp up your first page, grab our  First Pages checklist from One Stop for Writers. For more help with story opening elements, visit this Mother Lode of First Page Resources.

The post Phenomenal First Pages Contest appeared first on WRITERS HELPING WRITERS��.

Three Ways a Talent or Skill Can Set Your Character Apart From the Rest

Your Characters’ Skills

Memorable characters often have skills or talents that set them apart … but these abilities need to serve a purpose in the story.

So, how do we know whether we are writing a character with a completely random skill, or one that will make them three-dimensional and compelling?

Why Skills Are Essential to Characterization

In the 2020s, nuanced and layered characterization is a non-negotiable. This means a character’s skills contribute to their depth, relatability and memorability.

As an example, for the past few decades female leads are frequently exceptional archers, especially in movies and TV. Characters such as Katniss Everdeen (The Hunger Games), Susan Pevensie (The Lion, The Witch & The Wardrobe) and Kate Bishop (Marvel’s Hawkeye) all demonstrate their exceptional skills in this way.

The best stories link a character’s abilities to the plot, making their skills feel integral and part of that storyworld:

Katniss Everdeen is an archer out of necessity. She hunts for food for her family, plus she sells carcasses and skins as well. This is not allowed, which means she is risking her freedom to do it. This skill will be integral when she is in the arena. ��Susan Pevensie arrives in the fantasy world of Narnia. Here, there is little technology and modern equipment or weapons, such as guns. This means a bow and arrow is an obvious choice to help defend herself and her friends. She is also known for being a ‘straight arrow’, so it is good for her characterization, too.��Kate Bishop is the proteg�� of Clint Barton, AKA Hawkeye from�� The Avengers . His story revolves around him being an exceptional archer himself. He will mentor Kate, the very first female Hawkeye in the comics so that she too, takes the archer crown.��

These characters and their plotting arcs demonstrate how character and plotting are inextricably linked, which means their skills are too. The last thing we want to do is make such a skillset feel random or pointless.

Linking Skills to Plot

Plot and characterization should be linked. This is because a main character has a need, goal or want. In going for that need, goal or want, that character will go through many different events. That’s plot and character, interlinked.

In turn, this means a character’s abilities should help advance the story. Whilst stories can technically be anything, this can generally happen three ways:

i) Solving Problems

A character’s skillset should help them deal with whatever the plot throws their way. In crime fiction, a police officer or detective – like Sherlock Holmes or Miss Marple – will break down all the clues. This character will do this according to their experiences, training and innate abilities.

ii) Conflict Creation

In contrast, losing skills can create obstacles or tension for a character. Marvel’s Doctor Strange loses his hands in a car crash, so learns the mystic arts instead. By facing adversity like this, Doctor Strange becomes a hero. We can do this lots of different ways. To illustrate, in a reimagination of his story, the What If? animated TV series asked: What If Doctor Strange Lost His Heart Instead of His Hands?

iii) Symbolic Resonance

In the blockbuster movie Gravity, Doctor Ryan Stone must deal with extreme adversity in space to get back to Earth. As a trained astronaut, she has many skills to help her do this. She must fight space debris, fires, lack of oxygen, cold and lack of power.

Ryan must also fight herself, because she’s not sure whether she wants to survive. All her colleagues are dead, plus her daughter died back on Earth. Through the narrative, she decides she WILL survive and get back to earth … or die trying.

Whilst most of us will never go into space, there’s a strong symbolic resonance for the audience here. All of us will have faced adversity of some kind in our lives. Seeing Ryan fight so hard, using her skills to get out of trouble, can be very inspiring for those viewers going through hard times themselves.

Making Skills Believable

Authenticity is also super-important to modern readers. This means research is key, especially when it comes to specialized skills. It’s always obvious when a writer does not understand what they are writing about!

Many characters have to gain skills as the story progresses. This is particularly obvious in transformative arcs like The Hero’s Journey, where a character has to do ‘zero to hero’. The protagonist must train and learn how to wield their power – supernatural or literal – against a villain AKA ‘The Big Bad’.

But sometimes ‘everyday’ skills have to be under the spotlight, too. I don’t have a driving license and haven’t had a formal driving lesson in more than twenty years. However, characters in my novels frequently drive (because most adults do). This means I always research where everything is in a car and remind myself how it works.

In writing crime fiction, my characters may break into and/or steal cars as well. In the case of one novel, one character had to do this with a broken arm. I am a big fan of what I call ‘deep research’, so I broke into my husband’s car using only one hand to see if it worked. It did! (Of course, this didn’t stop one reviewer claiming this was ‘impossible’! But you can’t win ’em all, plus doing that research means peace of mind as I know it IS possible).

Last Points

Whatever it is, a character’s skillset needs to feel integral, authentic and real. We can achieve this by linking their skills to the plot and ensuring we do our research. Next time you write, ask yourself: does your character���s skill truly serve your story?

Good Luck! Would you like to learn more about adding talents and skills to your stories?

Hop over to One Stop for Writers to check out the Talents & Skills Thesaurus (plus tons of other helpful description collections and writing resources).

The post Three Ways a Talent or Skill Can Set Your Character Apart From the Rest appeared first on WRITERS HELPING WRITERS��.

Three Ways A Talent or Skill Can Set Your Character Apart From The Rest

Your Characters’ Skills

Memorable characters often have skills or talents that set them apart … but these abilities need to serve a purpose in the story.

So, how do we know whether we are writing a character with a completely random skill, or one that will make them three-dimensional and compelling?

Why Skills Are Essential to Characterization

In the 2020s, nuanced and layered characterization is a non-negotiable. This means a character’s skills contribute to their depth, relatability and memorability.

As an example, for the past few decades female leads are frequently exceptional archers, especially in movies and TV. Characters such as Katniss Everdeen (The Hunger Games), Susan Pevensie (The Lion, The Witch & The Wardrobe) and Kate Bishop (Marvel’s Hawkeye) all demonstrate their exceptional skills in this way.

The best stories link a character’s abilities to the plot, making their skills feel integral and part of that storyworld:

Katniss Everdeen is an archer out of necessity. She hunts for food for her family, plus she sells carcasses and skins as well. This is not allowed, which means she is risking her freedom to do it. This skill will be integral when she is in the arena. ��Susan Pevensie arrives in the fantasy world of Narnia. Here, there is little technology and modern equipment or weapons, such as guns. This means a bow and arrow is an obvious choice to help defend herself and her friends. She is also known for being a ‘straight arrow’, so it is good for her characterization, too.��Kate Bishop is the proteg�� of Clint Barton, AKA Hawkeye from�� The Avengers . His story revolves around him being an exceptional archer himself. He will mentor Kate, the very first female Hawkeye in the comics so that she too, takes the archer crown.��

These characters and their plotting arcs demonstrate how character and plotting are inextricably linked, which means their skills are too. The last thing we want to do is make such a skillset feel random or pointless.

Linking Skills to Plot

Plot and characterization should be linked. This is because a main character has a need, goal or want. In going for that need, goal or want, that character will go through many different events. That’s plot and character, interlinked.

In turn, this means a character’s abilities should help advance the story. Whilst stories can technically be anything, this can generally happen three ways:

i) Solving Problems

A character’s skillset should help them deal with whatever the plot throws their way. In crime fiction, a police officer or detective – like Sherlock Holmes or Miss Marple – will break down all the clues. This character will do this according to their experiences, training and innate abilities.

ii) Conflict Creation

In contrast, losing skills can create obstacles or tension for a character. Marvel’s Doctor Strange loses his hands in a car crash, so learns the mystic arts instead. By facing adversity like this, Doctor Strange becomes a hero. We can do this lots of different ways. To illustrate, in a reimagination of his story, the What If? animated TV series asked: What If Doctor Strange Lost His Heart Instead of His Hands?

iii) Symbolic Resonance

In the blockbuster movie Gravity, Doctor Ryan Stone must deal with extreme adversity in space to get back to Earth. As a trained astronaut, she has many skills to help her do this. She must fight space debris, fires, lack of oxygen, cold and lack of power.

Ryan must also fight herself, because she’s not sure whether she wants to survive. All her colleagues are dead, plus her daughter died back on Earth. Through the narrative, she decides she WILL survive and get back to earth … or die trying.

Whilst most of us will never go into space, there’s a strong symbolic resonance for the audience here. All of us will have faced adversity of some kind in our lives. Seeing Ryan fight so hard, using her skills to get out of trouble, can be very inspiring for those viewers going through hard times themselves.

Making Skills Believable

Authenticity is also super-important to modern readers. This means research is key, especially when it comes to specialized skills. It’s always obvious when a writer does not understand what they are writing about!

Many characters have to gain skills as the story progresses. This is particularly obvious in transformative arcs like The Hero’s Journey, where a character has to do ‘zero to hero’. The protagonist must train and learn how to wield their power – supernatural or literal – against a villain AKA ‘The Big Bad’.

But sometimes ‘everyday’ skills have to be under the spotlight, too. I don’t have a driving license and haven’t had a formal driving lesson in more than twenty years. However, characters in my novels frequently drive (because most adults do). This means I always research where everything is in a car and remind myself how it works.

In writing crime fiction, my characters may break into and/or steal cars as well. In the case of one novel, one character had to do this with a broken arm. I am a big fan of what I call ‘deep research’, so I broke into my husband’s car using only one hand to see if it worked. It did! (Of course, this didn’t stop one reviewer claiming this was ‘impossible’! But you can’t win ’em all, plus doing that research means peace of mind as I know it IS possible).

Last Points

Whatever it is, a character’s skillset needs to feel integral, authentic and real. We can achieve this by linking their skills to the plot and ensuring we do our research. Next time you write, ask yourself: does your character���s skill truly serve your story?

Good Luck! Would you like to learn more about adding talents and skills to your stories?

Hop over to One Stop for Writers to check out the Talents & Skills Thesaurus (plus tons of other helpful description collections and writing resources).

The post Three Ways A Talent or Skill Can Set Your Character Apart From The Rest appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: Being Pregnant

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…

Pregnant

ABOUT THIS SECRET: While a pregnancy is often cause for celebration, a character who becomes pregnant accidentally or under adverse circumstances���as the result of an affair or a rape, without a partner���s support, or even against her own wishes���might be desperate to keep it a secret. She might struggle with fear or shame, not only about the pregnancy itself but also by what could follow if the news gets out.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Becoming a Parent, Being a Burden to Others, Being Capable of Harm, Being Judged, Being Unable to Achieve a Dream, Change, Humiliation, Losing Autonomy, Losing Financial Security, Losing the Respect of Others, One’s Genetics, Regret, Relational Commitment, Repeating a Cycle of Abuse

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Having to avoid close friends and family (because they���re the most likely to notice something has changed)
Losing access to the people who would offer advice and support; having to go through the situation alone
Not being able to pursue desired career opportunities
Being consumed by guilt and shame (for being pregnant to begin with, from constantly lying to loved ones, etc.)

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Wearing baggy clothes
Running the tap in the bathroom to mask signs of morning sickness
Embracing future plans that would be difficult for a pregnant person (scuba diving, extensive travel, etc.)
Not making pregnancy-related plans (buying maternity clothing, taking prenatal vitamins, etc.)

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Gaining weight
Giving up smoking or alcohol
A pregnancy test being found in the garbage
The character suddenly wanting a commitment from her partner

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 
Having to change clothes in front of others (in a locker room, hotel room, etc.)
Canceling a big event that will take place after the baby is born (one that will be hard or impossible to attend with a baby)
Developing a pregnancy-related condition that requires bedrest or hospitalization
Sharing the secret with someone who proves to be untrustworthy (the boyfriend, a close friend, a family member, etc.)

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: Being Pregnant appeared first on WRITERS HELPING WRITERS��.

The Ripple Effect: How to Weave Plot with Character

Actions have consequences���that���s what makes a story tick. A story begins when events around a character push them into action. Those actions create new situations, and those situations push the character into even tougher choices. Watching this chain reaction unfold is what keeps readers glued to the pages.

When we call a story “entertaining,” we���re really talking about something deeper: the chance to step into someone else���s experience. We want to understand their choices and see how their decisions mirror our own journey.

We���re not reading strictly to find out what happens, but neither are we reading only to understand why. Instead, we���re fascinated by the ripple effect of how one dynamic feeds the other.

A satisfying story does two things at once. It sweeps us into an absorbing plot while simultaneously easing us into the vicarious experience of a character���s inner transformation. Plot events shape the character���s options, and their choices then create new situations���a self-perpetuating cycle of action and reaction that creates the story.

Are stories plot-based, or are they character-based? The answer is yes.
Story is the synthesis of both. Plot shapes characters, and characters drive plot. Stories draw their power from the interplay between the two.

Here���s how plot and character organically wind together in classic Western storytelling, act by act.

Act 1: Welcome to the Ordinary WorldKey Concepts

Act 1: The first quarter of the story

Plot Keywords: status quo, the normal world, the ordinary world

Character Keywords: disunity, inauthenticity

The story opens on a character living in disunity and inauthenticity, although they don���t realize that yet. Something about their life is lacking, internally or externally or both.

The first act introduces the character, builds the story world and its time, place, and rules, and plants the seeds of change. This sets the chain of action and reaction that drives everything to come, creating the plot that the character will spend the rest of the story pursuing and wrestling with.

Act 1: This act is a story about how inauthenticity and disunity arrive in this character���s life.

Turning Point 1 (end of Act 1): This is how the character resolves to fix the problem created by inauthenticity or disunity.

Act 2: The Easy Way OutKey Concepts

Act 2: The second quarter of the story from 25% to 50%; in three-act structure, this is the first half of Act 2, the part before the midpoint

Plot Keywords: reactive response, the easy way

Character Keywords: deconstruction

The character steps into this quarter of the story ready to tackle their problem, but they’re going about it all wrong. They’re reacting to their new reality without truly understanding it, chasing solutions that look promising but won’t really work. They’re still operating from old patterns and incomplete understanding.

This initial approach begins to crumble as they discover the problem runs deeper than they thought. Their responses slowly deconstruct their familiar worldview, forcing them to question what they believe about themselves and their situation.

Act 2: This act is a story about how the character reactively responds to the problem.

TP2 (end of Act 2���the midpoint): This is the moment the character realizes their reactive response isn’t working. The problem has grown more complex than they imagined, their old worldviews are deconstructing piece by piece, and they must find a new path forward.

Act 3: The Hard RoadKey Concepts

Act 3: The third quarter of the story from 50% to 75%; in three-act structure, this is the second half of Act 2, the part after the midpoint

Plot Keywords: proactive progress, the hard way

Character Keywords: reconstruction

The character enters this act with a new understanding: It’s time to stop reacting and time to start acting. They begin approaching their problem head-on, using newfound tools or information or wisdom, but success doesn’t come easily. The obstacles they face grow to match their increasing capacity.

As they make proactive progress toward their goal, they gradually reconstruct a new worldview to replace what was torn down. But this reconstruction comes at a cost���each step forward requires more from them than the last.

Act 3: This act is a story about how the character makes proactive progress toward solving their problem.

TP3 (end of Act 3): This is the moment when the character’s proactive approach seems to fail despite everything they’ve learned. Though they’ve been reconstructing a stronger sense of self, they hit what appears to be an insurmountable obstacle or dead end.

Act 4: Bringing It All TogetherKey Concepts

Act 4: The final quarter of the story, from 75% to the end

Plot Keywords: final push, climax, resolution

Character Keywords: synthesis, unity, authenticity

This is where all threads converge. The character faces their goal and whatever stands in their way, and now they’re armed with something new: authenticity. The climactic breakthrough isn’t just about solving the external problem���it’s about achieving unity between who they are and who they need to be.

Act 4: This act is a story about how the character achieves synthesis, finding their authentic self and moving forward with a new sense of unity.

Climax: This is the moment when the character’s newfound authenticity or unity enables them to solve their problem in a way that would have been impossible before their transformation.

Finding Your Story���s Flow

Each story finds its own rhythm within the cycle of these four acts. Stray too far from their natural flow, though, and the story loses its power. A weak setup leaves readers adrift; without real struggle, victory rings false.

What matters isn’t following a rigid structure but creating a transformative journey. Readers come to witness your character’s evolution from disunity to unity���this is what lingers in their minds long after the final page.

The post The Ripple Effect: How to Weave Plot with Character appeared first on WRITERS HELPING WRITERS��.

Stocking Stuffers for Writers Gift #2 Is Here!

Good news! Your Secret Santa (Godzilla) has dropped another writerly gift into your stocking.

(And, if you missed the first gift he left for you, no problem. Just click through to this link to find Gift #1.)
We hope you enjoy it!

Ready to see what he’s left in your stocking?
Click the image below to collect your gift:

Also, I have to warn you:
Godzilla’s been reading again.

You know what this means–another book review. Lord help us. Here it is . . .

Godzilla Reviews The Occupation Thesaurus

As the all-powerful Godzilla, I have a unique perspective on occupations���after all, “Kaiju” isn’t your typical 9-to-5. But I tell you, as a reader, nothing causes me to incinerate a book faster than a character with a job that seems ‘slapped on.’

Like my relentless obliteration of enemies who threaten the natural balance, any true-to-life character is gonna spend a lot of time working, so of course their chosen job should fit their identity and circumstances. A well-thought-out choice gives a character depth, so steer clear of jobs that feel cliche, act as a plot device, or come across as a character quirk.

The Occupation Thesaurus: A Writer’s Guide to Jobs, Vocations, and Careers has helpful breakdowns of different job types, making it easy to find matches for the character���s skills, personality, moral code, or even a passion–like my passion for using atomic breath and destruction to keep puny humans and inferior titans in line.

A big problem with this book? While it covers an impressive range of possible occupations and shows how this characterizing detail can generate radioactive story conflict and mess up even the strongest relationship, WHERE was the entry on Kaiju? What, a city-stomping behemoth isn���t GOOD ENOUGH to profile as a career in this guide? Sure, there is only one Godzilla. But you ask me, laying waste to buildings, destroying battleships with a fist, and body-slamming monsters into oblivion should be the dream job of every character!

~Godzilla

Well, there you have it. Godzilla’s review of The Occupation Thesaurus. Um…thanks, I guess?

If you’re looking for a Christmas Gift…

The Occupation Thesaurus: A Writer’s Guide to Jobs, Vocations, and Careers dives into the type of work your character does…and how this important choice will give your story depth and meaning.

A character���s job is powerful, allowing you to convey a lot of characterization about them in a single punch: traits, skills, priorities, and more. Yet, many writers don’t think much about their character’s occupation���or worse, they pick something randomly, and miss out on what that job can reveal.

Researching specific careers takes time, so we’ve done the work for you. Part how-to, part brainstorming tool, this guide showcases over 120 jobs and breaks each down so you can find the perfect match and write about it with authority. 

More about this book
View the list of job profiles
Buy the book
Read Amazon reviews (4.8/5 Stars)

We hope you find gift #2 helpful, and keep your eyes peeled for the next Stocking Stuffer and *sigh* probably more Godzilla book reviews.

Angela, Becca, & Mindy

Happy writing, everyone!

Stocking Stuffer #1 can be found here.

The post Stocking Stuffers for Writers Gift #2 Is Here! appeared first on WRITERS HELPING WRITERS��.