Angela Ackerman's Blog: Writers Helping Writers, page 13

Why Every Writer Should Try Their Hand at a Horror Story

By Savannah Cordova

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It���s that time of year again: the leaves are changing color, the wind is getting chillier, and pumpkins are decorating doorsteps. And given that today is Halloween, there���s no better time to pen a spooky story of your own ��� even (perhaps especially!) if you���ve never done it before.

True, horror stories might not be everyone���s cup of tea��� but as they say, variety is the spice of life, and attempting to write horror can be incredibly valuable for writers looking to refine their abilities. So light a candle and sharpen your quill ��� here are three essential reasons why every writer should try their hand at writing a horror story.

Horror Teaches You to Build Great Tension

Knowing how to properly build tension is a must for any writer, no matter your genre of choice. At its core, creating narrative tension requires you to understand your reader���s expectations; they may know that something bad is coming, but it���s your job to make them wonder when, where, and how. This is no easy feat ��� in order to properly scare your readers, you���ll need a strong understanding of how to methodically build anticipation, gradually raising your story���s stakes until its dramatic crescendo.

If you���re searching for inspiration, look no further than Edgar Allan Poe���s classic The Tell-Tale Heart. In this tension-building masterclass, Poe immediately puts the reader on edge by having the narrator insist on his sanity, despite clear evidence to the contrary. The anticipation builds as the narrator patiently (and then not-so-patiently) watches the old man ��� the sound of the man���s heartbeat acting as an auditory indicator of the ballooning tension ��� and the erratic commentary creates a pervasive sense of unease throughout the story.

Your tale may not be as twisted as The Tell-Tale Heart, but there���s still plenty to be learned from Poe���s sinister style. Tension comes in many forms, depending on the kind of climax you���re leading up to. For example, when writing romance, you might draw out the ���will-they-won���t-they��� moments between your characters to hook your readers. Much like how a horror writer will add a creak in the floorboards or a bump in the night to put readers on edge, romance authors can sprinkle in small conflicts or misunderstandings to create emotional investment and keep readers guessing.

Similarly, if you���re writing sci-fi or speculative fiction, you might not fully explain certain parts of your worldbuilding in order to increase the tension ��� i.e., readers might know that a certain element exists in your world, but they don���t know why until the critical moment. These kinds of unanswered questions are great for engaging readers in all genres, but it may be particularly useful to practice posing them in horror, wherein the stakes are often high.

You Can Practice Weaving Internal and External Conflicts

Horror also offers a whole host of classically creepy phenomena you can draw on to spook your readers ��� silence, darkness, isolation, etc. These elements are all effective on their own, but you can elevate the fear factor and introduce some characterization by linking your character���s internal conflicts and vulnerabilities with the external horrors they���re exposed to. This will make things all the more terrifying for the character, and far more gripping for the reader.

The characterization of Rosemary Woodhouse, from Ira Levin���s Rosemary���s Baby, is an excellent example of this tactic in action. In the novel, Rosemary becomes pregnant shortly after moving into a new apartment with her husband. Rosemary���s internal struggles ��� her longing for motherhood, human connection, and social acceptance ��� become a source of vulnerability that the novel���s antagonists are able to take advantage of, as her greatest fears slowly become her nightmarish reality.

On paper, Rosemary���s story would still work even with less insight into her character; the horrors she faces are unnerving enough to disturb your average reader. However, it’s the intersection of those external terrors and her deepest internal fears that makes her experience so profoundly terrifying ��� and makes Levin���s novel such a paragon of the horror genre.

Mastering this technique will add another notch to your own writing toolbelt. Every story has some kind of conflict, and understanding how to intertwine that conflict with something personal for your protagonist is sure to level up your characterizations (again, in horror and beyond).

It Tests Your Ability to Write Believable Dialogue

Writing dialogue is one of the trickiest things for any author to master. Readers will be able to recognize when dialogue sounds fake or unrealistic, so understanding how to make your characters sound authentic is essential for immersion.

And writing a horror story puts this skill to the ultimate test ��� when you���re trying to construct a life-or-death scenario, the dialogue needs to feel authentic in order to keep readers engaged. After all, nothing makes a terrifying scene fall flat more than forced or unnatural dialogue!

In order to sell your readers on the stakes of the scenario at hand, you need to understand how people really communicate when they���re under a lot of stress. When characters are in danger, they aren���t going to wax poetic or remain highly logical. Instead, their dialogue needs to be raw, emotional, even incoherent at times. Still, you need to be careful not to go too far in the other direction, as overly-dramatic dialogue can also break immersion. Writing horror forces you to walk that tightrope between authentic panic and forced dramatics.

The ability to write realistic dialogue in high-stress, emotionally-charged situations will help build your characters��� authenticity ��� regardless of genre. For instance, if you���re a mystery writer, you can use your experience in horror to craft a gripping interrogation scene between detective and suspect. The key principles remain the same: understanding how people actually speak when emotions are running high, rather than how we imagine they might speak.

As you can see, horror isn’t all about crafting scares ��� it’s an excellent way to brush up on some fundamental writing skills that you can use across all genres. So, embrace the darkness and face your writing fears! You might just find that your writing becomes a little more thrilling along the way.

Looking for the perfect setting for your dark fiction scene?
Along with hundreds of other locations, you can find lists of sensory description for a Haunted House, Graveyard, Ghost Town, Mausoleum, Medieval Castle, Abandoned Mine + more inside our Setting Description Database at One Stop for Writers.

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world���s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories. You can read more of her professional work on Litreactor and the Reedsy blog.

The post Why Every Writer Should Try Their Hand at a Horror Story appeared first on WRITERS HELPING WRITERS��.

Best Communities for Marketing Your Writing

By Eleanor Hecks

Whether you publish traditionally or independently, getting the word out about your books requires a lot of work and monetary investment. Social media is an obvious choice for promoting your writing because you can zone in and target your reader base.

You also don���t have to spend a fortune for a chance to succeed. However, knowing which social media platforms work best for your particular genre can be a bit trickier.

Making the situation even more complex is the fact that many authors cross genres with their work. For example, a writer might create a science fiction novel with some elements of romance. Effectively branching out into other genres’ communication channels can expand your reader base and bring you more sales, catapulting you onto bestseller lists.

Fantasy/Paranormal/Science Fiction

Out of the thousands of writers in America, fantasy and paranormal writers have a very narrow niche in which to attract readers. Promoting your books where your target audience spends the most time is crucial to success in a saturated marketplace. For this genre, the best places to promote include:

Reddit: The amount of fantasy and sci-fi conventions available for readers of these genres proves that people who love fantasy often enjoy engaging with other fans. These readers want to discuss the complex worlds authors have built in-depth. Finding a communicative audience is easy if you join the right subreddit ��� for example, r/Fantasy, r/horrorlit and r/scifiwriting all boast large communities on the platform. Be careful about how and where you post as some subreddits frown on any type of self-promotion.Discord: Discord is a platform with a chatroom format that makes it perfect for encouraging readers to chat about your fantasy worlds or roleplay as your characters. You can even create your own section to directly interact with your readers.Mystery/Suspense

Mystery has several subcategories, such as cozy, suspense, true crime and hard-boiled. Figuring out where you fit can help you narrow down the best places to market your writing.

Facebook: The largest demographic of mystery readers are those over the age of 65, so it���s important to build your community around platforms that older readers navigate towards. Since Facebook is the most popular social platform among this age group, it���s beneficial to join Facebook groups aimed at mystery readers. Be sure to read the group rules to make sure you are allowed to self-promote. Once you get a feel for the group and participate in some other posts, it���s okay to share your own special offers and new releases.YouTube: YouTube is the second most popular social media platform frequented by older adults, so you might consider marketing your writing towards YouTube���s vast reader community. As of 2024, YouTube attracts around 2.49 billion active users each month. Consider creating a thrilling video trailer for your book or film a series of live or uploaded book readings for your audience.Romance

Romance is one of the most varied genres with subgenres such as historical romance, sweet, steamy, suspenseful and inspirational. Finding the right place to promote your books may boil down to tapping into reader emotions.

Romance is a genre marked by emotion, so your social media efforts should likewise pull at readers��� heartstrings and create emotional bonds with your audience. Since emotion often has the most significant impact on customer loyalty, doing so could help you develop lifelong readers who anticipate every future romance novel you release.

Instagram: The age range of romance readers is especially broad ��� while the average age range is between 35 and 39 years old, half of frequent romance readers are ages 34 and below. Thus, it���s important to find a social platform that appeals to a wide audience. Instagram is one such app in the top social platforms among both millennials and Gen Z readers. Posts could be aesthetic images that encapsulate the vibe of your novel or a video sharing your book���s synopsis.TikTok: In recent years, many romance authors have turned to TikTok���s #BookTok community to spread the word about their books. A short video clip that plays like a movie trailer can attract readers. Look at the types of posts going viral, which hashtags the users included and try different tactics to attract new readers.Horror

If you think of Stephen King when you hear the horror genre mentioned, you aren���t alone. However, there is a huge range of possibilities you might have as a horror writer. Some books focus on realistic crimes while others add paranormal or supernatural elements.

X (formerly known as Twitter): The Horror Writers Association has a strong presence on X, so it makes sense you’ll find a lot of posts and engagement from horror writers. Keep posts short and to the point. Also, because of horror���s particularly political nature, X is a great place to keep up with current events and trends related to your work.Goodreads: Goodreads is an Amazon-owned platform that allows readers to review books and interact with authors in the form of polls and discussion threads. You���ll find numerous groups dedicated to the horror genre in particular, such as Horror Aficionados and Paranormal and Horror Lovers, which makes the platform a particularly good place to market your writing and communicate with fans.Children���s/Young Adult

Knowing where to reach younger audiences for your books can be a bit tricky. If you write picture books, you���re promoting more to the parents than the kids. However, young adult novels can be taken directly to Gen Z.

TikTok: A vast audience of millennial parents and young adult Zoomers frequent the video-based app. This audience is also the most likely to buy a product directly from a social media app, so a sponsored post or TikTok Shop ad could go a long way with this target market.Snapchat: Millennials, in particular, seem to enjoy Snapchat���s immediacy. While you will have to promote a bit differently on Snapchat���s platform than on others, if you can gain a following with engaging content, you���ll make regular sales by adding details on there.

Pssst…Mindy popping in to say that there’s an amazing, rapidly growing kidlit community on BlueSky–plus gatekeepers such as teachers and media specialists! If you’re new to BlueSky, check out these helpful tips.

Finding Your Niche

Creating a personal brand as an author takes time and trial and error. Try different platforms and ideas until you hit the ways that drive the most traffic to your books. Over time, you���ll grow your reader base and wind up selling more books each time you release something new.

Eleanor Hecks is Editor in Chief at Designerly Magazine, as well as a freelance writer who’s passionate about helping other writers of all genres grow their following and community. You can find her work featured on publications such as IndependentPublishing.com and Self-Publishing Review, or connect with her on LinkedIn to keep up with her latest work.

The post Best Communities for Marketing Your Writing appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: Being a Serial Killer

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.

For instance, let’s see what it might look like if your character…

Being a Serial Killer

ABOUT THIS SECRET
By necessity, a serial killer would need to hide their activities to keep from being caught, jailed, and possibly put to death. But a character may also harbor this secret to protect the important relationships in their life and maintain a facade of normalcy. While there are some commonalities between serial killers, they’re also driven by different motivations, fears, personality factors, and mental health considerations. So if this secret pertains to your protagonist, build that character carefully to make sure all the pieces align.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Separated from Loved Ones, Failure, Losing Autonomy, Losing the Respect of Others, Not Being in Control

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Not receiving help that could improve their mental health
Desiring relationships with others but being unable to relate to them emotionally
Always feeling isolated because no one truly knows them
Prioritizing flying under the radar, which could keep them from pursuing certain professional or personal goals
Being paranoid about getting caught, always looking over their shoulder

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Adopting normalizing habits so they’ll fit in with others and won���t stand out
Feigning empathy and other emotions that aren���t natural for them
Creating a fake identity (a new name, false paperwork, etc.)
Compartmentalizing: keeping their desires and criminal activities distinctly separate from their day-to-day life
Creating cover stories to hide where they���ve been and what they���ve been doing
Using charm to disarm people

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
A loved one catching them in a lie
The character always being “out of town” when killings happen
A stash of trophies being discovered
The killer having knowledge of the crimes that they shouldn’t have

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Increased scrutiny (being a witness in a legal case, achieving success that garners media interest, a suspicious spouse hiring a private investigator, etc.)
An injury or illness that makes it harder for them to successfully subdue a victim
Being questioned by police
A growing subconscious desire to get caught

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 a Serial Killer appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: Is a Serial Killer

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.

For instance, let’s see what it might look like if your character…

Is a Serial Killer

ABOUT THIS SECRET
By necessity, a serial killer would need to hide their activities to keep from being caught, jailed, and possibly put to death. But a character may also harbor this secret to protect the important relationships in their life and maintain a facade of normalcy. While there are some commonalities between serial killers, they’re also driven by different motivations, fears, personality factors, and mental health considerations. So if this secret pertains to your protagonist, build that character carefully to make sure all the pieces align.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Separated from Loved Ones, Failure, Losing Autonomy, Losing the Respect of Others, Not Being in Control

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Not receiving help that could improve their mental health
Desiring relationships with others but being unable to relate to them emotionally
Always feeling isolated because no one truly knows them
Prioritizing flying under the radar, which could keep them from pursuing certain professional or personal goals
Being paranoid about getting caught, always looking over their shoulder

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Adopting normalizing habits so they’ll fit in with others and won���t stand out
Feigning empathy and other emotions that aren���t natural for them
Creating a fake identity (a new name, false paperwork, etc.)
Compartmentalizing: keeping their desires and criminal activities distinctly separate from their day-to-day life
Creating cover stories to hide where they���ve been and what they���ve been doing
Using charm to disarm people

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
A loved one catching them in a lie
The character always being “out of town” when killings happen
A stash of trophies being discovered
The killer having knowledge of the crimes that they shouldn’t have

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Increased scrutiny (being a witness in legal case, achieving success that garners media interest, a suspicious spouse hiring a private investigator, etc.)
An injury or illness that makes it harder for them to successfully subdue a victim
Being questioned by police
A growing subconscious desire to get caught

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: Is a Serial Killer appeared first on WRITERS HELPING WRITERS��.

How to Hook Readers with Character Descriptions

I think we can all agree that characters are the heart of a novel. We build worlds around our story���s cast, spend dozens of hours plundering their psyche to understand needs, motivations, and beliefs, and even envision complete backstories. Then, of course, we go on to produce tens of thousands of words about their vulnerabilities and strengths as they rise, fall, and rise again on the path to their goal. We also revise, dedicating yet more hours to ensure readers understand and care about our characters as much as do.

Yes, it���s fair to say we work hard to make sure our characters live and breathe on the page. But here���s the irony���in all that effort, many of us overlook or underutilize another important area of character description: their physical appearance.

It���s true, a character���s features and physicality can be hard to convey. We may not have a strong mental picture of them ourselves, or if we do, how to sum it all up economically. After all, at the start of the story when we need to provide details on a character���s appearance, we���re also juggling everything else we must show like the action, setting, circumstances, plus the character���s motivation, underlying problem, emotion, and so on.

So we find ourselves asking, does the character���s looks really matter? Isn���t it what���s inside that counts?

Yes���and no.

Obviously, we want to start a story with action, pulling readers in by showing what a character is doing and why. But including some physical description is also necessary, too. Without it, readers may fail to create a mental image and struggle to connect with the character.

Avoiding physical description and leaving it up to the reader will also create a minefield for the writer because if they mention a physical detail (like a character���s pink hair) later on in the story and it clashes with the image the reader has created on their own, well, it breaks the storytelling spell. Worse, the reader loses confidence in the author���s skills and may be unable to fully suspend disbelief from that point on.

The Goldilocks Approach

We all remember that break-and-enter deviant, Goldilocks, right? Well, to take a page from her book, just like avoiding porridge too hot or too cold, we want to avoid both descriptive sparseness and information overload. Dumps of description of any kind hurt the pace and cause readers to skim, so we should make it our goal to offer enough to point readers in the right direction and then drip in more as needed. The rest they can fill in themselves.

Even more important than quantity is the quality, however. If we choose the right details, we open a gateway to great characterization and hook readers at the same time.

Choose Details that Do More

To avoid disrupting the pace it can be tempting to just give a quick overview of a character���s general features and move on, but unless the character is unimportant to the story, this wastes a valuable opportunity to show-not-tell. Whenever description is needed, we want to think about how to ���spend��� our word currency in the best way possible. Even with physical description, we want to choose details that will push the story forward, reveal characterization, and show readers what���s hidden.

Try using your character���s appearance to allude to… Personality

Is your heroine the type to wear bright yellow to a funeral? Does your groom show up to his wedding in a tux t-shirt and flip-flops? Is it a toss-up between which is tighter ��� the pearls strangling Aunt Edna���s wattle or her disapproving glare as a neighbor���s children run amok? Written with purpose, details about your character���s clothes can say much about their personality and attitude, priming readers to see them in the exact light you want them to.

Occupations and Interests

Does your protagonist have the perma-stained grease hands of a mechanic or the meticulously clean ones of a model or physician? Is there a smudge of paint above one eyebrow or a clod of potter���s clay in his hair? Small details can hint at what a character does for a living and the passions they may have.

Perceptions and Self-perceptions

Does the hero fixate on his beard so much he carries a comb and smoothing gel with him everywhere he goes? Does his socially oblivious sidekick have a habit of scratching his leg with too-long toenails at the beach, grossing everyone out? Does your heroine ask friends what they plan to wear before choosing herself or does she throw on whatever is clean? The time and attention a character gives to their appearance can show how comfortable they are in their own skin and whether they care about the opinions of others.

Health

Is your character disconcertingly underweight, does she have a bluish tinge to her lips, or is she always hiding her hands so others don���t see the tremors? Does she carry an inhaler or epi pen? A well-placed detail about her appearance can hint at an underlying condition, hereditary health issue, or lay the ground for an unfortunate diagnosis that will upend the character���s life.

Hidden Lineage

Does your character have a unique eye color, rare skin condition, or sun sensitivity? A physical peculiarity can help you set the stage to reveal your character is the long-lost descendant of a royal family, lead them to finding their birth parent, or shock them with the discovery that they belong to a race of magic users believed to have died out long ago.

Pedigree, Station, Education, and Wealth

Rather than a hidden lineage, your character���s appearance can show-not-tell their importance within society. Wearing colors only a sect of assassins is sanctioned to use, the quality of their garments or adornments, observing the latest fashion, or showing a character���s bearing, posture, and manners can allude to their upbringing, economic status, or caste.

Secrets

Whether it���s a dried blood drop on the face of their watch, a strange tattoo behind their ear, or the fact they are carrying a concealed weapon at a bridal shower, details that are mysterious or out of place show readers there���s more to a character than meets the eye.

Backstory Wounds

Does your character have an odd bite mark on one shoulder, a chemical burn scar, a missing finger, or they walk with a limp? You can be sure that if it���s important enough to describe, readers will be intrigued about what happened that led to that peculiarity and want to read on to find out.��

Talents and Skills

Does your villainess have throwing knives strapped to her sleeves, chest, and back? Or does your hacker protagonist always carry a backpack full of electronic gadgets and a laptop? If a character���s skills require certain supplies, tech, weapons, or tools, it���s likely they will keep them on hand, a neon sign to readers that they have a special talent.

Emotional Mindset and Comfort Zone

Body language, mannerisms, posture, and the buffer of space the character keeps around them (or not) will all help readers understand what a character may be feeling and how comfortable they are in a location. A character who feels utterly uncomfortable may be pulling at their clothes, sweating, and choosing dark corners over conversation. A character standing tense and watchful, ready to grab the knife at his hip is clearly expecting danger. Someone who loves to be the center of attention will be doing exactly that, confidently working the crowd, smiling and telling jokes, making people feel welcome and basking in the attention.

Motivation

A character who tests the release button on his poison ring before heading out to shake hands with his enemy makes it clear what his goal is, just as a grieving widow will by practicing tearing up in the mirror so she���s ready for her police interview to go over where she was when her husband was mugged and killed. Mission-oriented people dress, behave, and act in alignment with their goal, so describing them in the moment will focus the reader���s attention right where you want it to go.

This is by no means a complete list, but it hopefully gets the idea ball rolling. So, the next time you need to describe a character���s physical features, use it to reveal something extra that activates a reader���s need-to-know mindset, hooking them to read on.

Do you find it easy to write physical description, or is it a bit of a struggle? Let me know in the comments!

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How to Write Unputdownable Psychological Thrillers

���I read your pages,��� said my critique partner. ���And I think it���d really increase the tension if you tore the one page out of the book that your main character needs.���

It was a great suggestion. My main character was poring over hospital records, searching for a clue about her daughter���s disappearance. In my original draft, she discovered that the records for the day in question simply didn���t exist. But if that crucial page had been torn out instead, the stakes and tension would skyrocket.

I thought about it for a few days, and finally decided against making the change. Why?

Because adding tension for tension���s sake can backfire, creating a shallow narrative that doesn���t resonate with readers.

Avoiding the Trap of the ���Plastic Novel���

We���ve all read them. Stories that don���t quite hold together. They feel lightweight, with no substance. The characters are paper-thin, and the plot is easily breakable.

In psychological thrillers, the last thing you want to do is write a “plastic novel”���a story that feels artificial, breakable, and lacking substance. This genre demands depth. Readers expect stories that dig into the human psyche, unearth dark secrets, and explore emotional turmoil. A plastic novel may hook readers temporarily, but it won���t keep them invested, leading to poor reviews, lower sales, or disinterest from publishers.

So how do you avoid this trap? By ensuring your thriller has depth, complexity, and, most importantly, substance.

The Pillars of a Suspenseful Thriller

To craft a thriller that not only has substance but also that unputdownable quality of bestsellers, several key elements are essential.

Let���s dive in.

Atmosphere

Weather has a lot of sway with readers in a suspenseful thriller. Why? Extreme conditions amplify tension. A lingering heatwave frays nerves, pushes characters to their breaking points, and creates an undercurrent of unease. Often, this oppressive heat will culminate in a climactic storm, breaking the tension alongside the story���s dramatic finale.

Incorporating weather into your story is like adding a character���one whose sole purpose is to amplify the conflict. Freezing temperatures add physical risk. Approaching storms introduce a ticking clock element, adding urgency. Heat breeds impatience and irritation. Even drought can symbolize a slow burn of desperation. Use weather to mirror and heighten the emotional stakes of your story.

Fast Pacing

While some suspense novels build slowly, creeping under your skin (thinking of you, Silence of the Lambs), most thrillers pick up speed quickly and never let go. Pacing in thrillers should never stall. A few ways to maintain a breakneck pace?

Shorter chapters: This encourages readers to keep turning the pages.Staccato sentences:�� Quick, punchy language mirrors the intensity of the unfolding action.Every scene drives the story forward: No wasted conversations or unnecessary exposition���every word should push the plot toward its climax.High Personal Stakes

When I first started writing thrillers, the main conflict always ended in the threat of physical harm for my main character.

But in psychological thrillers, the danger is often more insidious. The true threat lies in the character���s mental and emotional state. While the body can heal, a fractured mind may not.

So, what vulnerabilities does your character have? What emotional wounds could the antagonist exploit to torture them on a deeper level? Target these areas and it will immediately increase the personal stakes for your character.

Secrets

In an earlier post, I covered in detail how to layer secrets into your suspense to increase tension, so here I���ll just cover it lightly.

Secrets are the lifeblood of suspense, particularly in the early stages of the story. Your first Act should be packed with them, creating intrigue and setting the stage for revelations later on. Act 2 gradually unravels these mysteries, offering tantalizing hints that keep the reader hooked. By the time you reach Act 3, the secrets should be exploding into the open, transforming the story and its characters.

Unreliable Characters

Trust no one in a psychological thriller. Assume that your characters, even your protagonist, are always lying or withholding the full truth. Readers of this genre expect deception, so take advantage of their mistrust. Who in your story is clearly untrustworthy? Who appears honest but has hidden layers? Play with these expectations to keep your audience guessing.

A Masked Antagonist, With A Relatable Agenda

One of my favorite parts of writing in this genre is creating an antagonist that is irredeemable yet relatable. The more human and understandable they are, the more chilling their actions become. To deepen the suspense, often the true identity of the antagonist remains a mystery until the middle or end of the story. In some cases, there are multiple suspects, and part of the challenge for the reader is to figure out the villain���s identity before the protagonist does.

Conclusion

An unputdownable psychological thriller needs more than just surface-level tension and twists. It requires depth, substance, and a careful balance of fast pacing, high stakes, and well-crafted characters. By focusing on atmosphere, secrets, unreliable characters, and a chilling yet sympathetic villain, you���ll create a story that truly is unputdownable.

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Character Secret Thesaurus Entry: Monitoring Someone Without Their Knowledge

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…

Monitoring Someone Without Their Knowledge

ABOUT THIS SECRET: While there are legitimate uses of monitoring (say, placing a legal wiretap on a suspect���s phone, collecting intel as a private detective or undercover cop, etc.) privacy laws and heavy regulation usually require it be disclosed or in plain view (but never in a private space such as a bathroom). However, what���s legal and what isn���t doesn���t concern characters on the unsavory end of the spectrum���criminals, Peeping Toms, captors, hackers, stalkers, cyberbullies, blackmailers, or other characters who operate outside the law. This entry focuses on these character types.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: A Secret Being Revealed, Being Attacked, Being Unsafe, Discrimination, Government, Persecution

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Having to keep people at arm���s length so their activities are not discovered
Being torn over monitoring another if feelings become involved
Developing an obsession that takes over their life
Being unable to have genuine relationships (due to a fear of discovery)
Not seeking help for mental and emotional conditions that may be lurking beneath the surface

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Avoiding friendships and personal connections
Having a secure area to plan and store items needed to monitor (computers, hard drives, etc.)
Taking precautions to stay undetected and not raise suspicions
Being disciplined (resisting temptation to take things too far or get close enough for discovery)
Following certain protocols to stay undetected
Being someone forgettable (being polite but not memorable, seeing boring and harmless)

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Being a recluse, causing others around them to wonder what the character is up to
Carelessness (sloppy hacking, obvious daytime survellience, etc.) that is noticed
A cold, detached demeanor (that makes the character memorable to others)
Being discovered in a place they are not supposed to be
Not hiding monitoring equipment well enough, leading to its discovery

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 
Circumstances that suddenly change (like a loss of privacy)
An unforeseen challenge that the character is unprepared for
Needing to take in a roommate to keep up with costs
Having a nosy neighbor or family member
Becoming attached to a target

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: Monitoring Someone Without Their Knowledge appeared first on WRITERS HELPING WRITERS��.

Phenomenal First Pages Contest – Guest Editor Edition

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 five pages, 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 five pages.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Seven winners will be drawn. We will email you if you win and let you know how to submit your first five pages.Please have your pages ready in case your name is selected. Format it with��1-inch margins, double-spaced, and 12pt Times New Roman font.��It would help to supply a synopsis up to 500 words (a rough one is fine) so Michelle has context for her feedback.The editor you’ll be working with:Michelle Barker

Michelle holds an MFA in creative writing from UBC and has been a senior editor at��The Darling Axe��since its inception.��She has experience with��both developmental and line editing and��loves working closely with writers to hone their manuscripts and discuss the craft.��Many of them have gone on to win publishing contracts and honors for their work.��

You can find Michelle on��Twitter��and��GoodReads.

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 – Guest Editor Edition appeared first on WRITERS HELPING WRITERS��.

Three Ways You���re Losing Your Reader���s Trust

There���s no better feeling than being in the hands of a great storyteller. They have command of the details we need to know, the scenes we need to see, and there���s a lock-step feel to the way the story advances. Strong storytelling isn���t just a unique premise or a character we love.

Strong storytelling is rooted in trust.

Trust in the person who has crafted the story, but also trust in the viewpoint character. If we feel as though the character shares with us everything they know and allows us to be along for all critical moments of their story, we can feel as though we are that character.

Let���s discuss three very simple ways you might be breaking your reader���s trust, intentionally or not. We���ll also cover what to do so your reader feels like those strong storytelling hands they���re in are yours.

Trust Violation #1: When we allow the character to react before we���ve shown the reader what they���re reacting to.

Example: Holly stumbled backward. What she saw made her gasp. Could it be? There stood the man she thought was dead.

Notice how in the example, we have two lines of body language that point to surprise and shock, not to mention a third line where it���s clear she���s questioning whatever she���s seeing. All of these lines tell the reader how Holly (and how they) should feel before they even know what they���re seeing. On a small scale, this type of writing distances the reader from the character. The reader feels frustration for those three lines, waiting to see whatever it is that Holly���s seen. It backfires on Holly, the narrator, and even the writer because the reader starts to wonder why they aren���t being told what they need to know. In that span of time, they feel other���like they���re not Holly, which is what we don���t want at all. Instead, we want the reader to be in every moment with her, processing all her senses are processing in real time. That reinforces the feeling that the reader knows as much as she knows, and it shows the reader respect in leaving room for them to deduce how to feel when they first observe what the character does.

Bottom line: Present sensory-based action and observation first, and build in character reaction second.

Trust Violation #2: When we withhold a character���s name/identity just to perpetuate tension.

Example: Julie watched the figure make their way down the staircase. The way they moved was slow and sleek, commanding the attention of everyone below. Julie focused on the drink in her hand, determined not to let him control her the way he controlled everyone else. This was exactly why she left her ex-boyfriend in the first place.

In this example (somewhat like the first), we���re getting the character���s reaction before we���re entirely certain who or even really what they���re reacting to. To be fair, we do get movement and sensory-based action prior to Julie���s clear emotional reaction. But notice how for many lines, we have no idea who the ���figure��� is and Julie and the narrator do. Clearly, the space is well-lit based upon the details. Julie obviously knows who the figure is because she reacts in a specific way. And yet, we don���t get access to that same information in real time. A feeling creeps in from this type of withholding, and it���s something along the lines of being manipulated for the sake of drawing out the tension. The writer reveals themselves as the ���man behind the curtain��� and the writing draws attention to itself. When we use this type of writing, we aren���t keeping the figure���s identity unknown for a reason rooted in logic or plot. The figure isn���t wearing a disguise or hidden for some other reason. It���s evident Julie (and the writer) knows who he is. So why not just use their name? Why not tell us all that the character knows when she knows it? The answer is that there isn���t a reason, and readers will inherently know we���re pulling strings to tap into their curiosity.

Bottom line: Let us fully know all your viewpoint character knows the moment they know it. Avoid using tricks that withhold names or other information for the sake of making your reader curious because the reader will know they���re being manipulated.

Trust Violation #3: When we catch the reader up on what the character did since we last saw them.

Example: Brian snuck through the front door, clenching the keys to his dad���s truck. Sometime overnight, Brian had come up with a plan. If Dad was going to insist that drinking and driving was perfectly fine, Brian would take charge of things.

There are absolutely times in storytelling when we want to compress time and leap over what happens in a character���s life. Sleeping, eating, traveling���These are often spots where nothing important and plot-bearing is happening, and we can bypass them altogether. But when the character has seemingly made a choice during a gap of time���a choice that relates to the pursuit of their goal���we should have access to it as it occurs. Plan-making should be born out of active scene. In other words, we should be in the scene whereby the threads of the new decision start to emerge, and we should even see hints of what the character might do next. Or, we should simply and fully know what they plan to do by the time we leave one scene and get ready for the next one. In the example above, unless Dad came home drunk the night before and we saw Brian eyeing Dad���s keys with a sense of hope rising in him���all clues that would logically allow us to predict what Brian might do next���then we feel like he���s made a decision without us. On his own and apart from us. And that separation causes us to not only lose trust in the character, but also the writer. As basic as it sounds, a feeling emerges like the character has been off doing important things without us, and we���re a bit bummed to have been left out. This type of writing makes your reader stop and ask, ���Wait, what?��� because the character���s decision has been made off-the-page without enough clues to feel logical or predictable.

One way you can tell when this sort of thing happens is that there hasn���t been time for the character (or the reader) to weigh the cost of the choice the character is ultimately going to make. We don���t know what Brian is knowingly losing in taking his dad���s truck, the risks specific to his character, or what���s at stake that he���s choosing to risk in pursuit of this goal. We don���t get the benefit of being with him as he makes the decision itself. There���s a feeling like it���s happening too fast and somewhat suddenly, and that makes us doubt Brian���the character we want to feel like represents us.

Bottom line: When your character makes a crucial decision toward their goal, make sure that it���s made (even partially via context clues) during active scene so that your reader feels like the character���s ally in every moment of the story.

What types of craft choices do you experience as a reader that break your trust? Do you struggle with these types of choices as a way of drawing out or generating tension? What other ways do you find help maintain that writer-character-reader trust?

Happy writing!
Marissa

The post Three Ways You���re Losing Your Reader���s Trust appeared first on WRITERS HELPING WRITERS��.

Three Ways You���re Losing Your Reader���s Trust (And How to Avoid Them)

There���s no better feeling than being in the hands of a great storyteller. They have command of the details we need to know, the scenes we need to see, and there���s a lock-step feel to the way the story advances. Strong storytelling isn���t just a unique premise or a character we love.

Strong storytelling is rooted in trust.

Trust in the person who has crafted the story, but also trust in the viewpoint character. If we feel as though the character shares with us everything they know and allows us to be along for all critical moments of their story, we can feel as though we are that character.

Let���s discuss three very simple ways you might be breaking your reader���s trust, intentionally or not. We���ll also cover what to do so your reader feels like those strong storytelling hands they���re in are yours.

Trust Violation #1: When we allow the character to react before we���ve shown the reader what they���re reacting to.

Example: Holly stumbled backward. What she saw made her gasp. Could it be? There stood the man she thought was dead.

Notice how in the example, we have two lines of body language that point to surprise and shock, not to mention a third line where it���s clear she���s questioning whatever she���s seeing. All of these lines tell the reader how Holly (and how they) should feel before they even know what they���re seeing. On a small scale, this type of writing distances the reader from the character. The reader feels frustration for those three lines, waiting to see whatever it is that Holly���s seen. It backfires on Holly, the narrator, and even the writer because the reader starts to wonder why they aren���t being told what they need to know. In that span of time, they feel other���like they���re not Holly, which is what we don���t want at all. Instead, we want the reader to be in every moment with her, processing all her senses are processing in real time. That reinforces the feeling that the reader knows as much as she knows, and it shows the reader respect in leaving room for them to deduce how to feel when they first observe what the character does.

Bottom line: Present sensory-based action and observation first, and build in character reaction second.

Trust Violation #2: When we withhold a character���s name/identity just to perpetuate tension.

Example: Julie watched the figure make their way down the staircase. The way they moved was slow and sleek, commanding the attention of everyone below. Julie focused on the drink in her hand, determined not to let him control her the way he controlled everyone else. This was exactly why she left her ex-boyfriend in the first place.

In this example (somewhat like the first), we���re getting the character���s reaction before we���re entirely certain who or even really what they���re reacting to. To be fair, we do get movement and sensory-based action prior to Julie���s clear emotional reaction. But notice how for many lines, we have no idea who the ���figure��� is and Julie and the narrator do. Clearly, the space is well-lit based upon the details. Julie obviously knows who the figure is because she reacts in a specific way. And yet, we don���t get access to that same information in real time. A feeling creeps in from this type of withholding, and it���s something along the lines of being manipulated for the sake of drawing out the tension. The writer reveals themselves as the ���man behind the curtain��� and the writing draws attention to itself. When we use this type of writing, we aren���t keeping the figure���s identity unknown for a reason rooted in logic or plot. The figure isn���t wearing a disguise or hidden for some other reason. It���s evident Julie (and the writer) knows who he is. So why not just use their name? Why not tell us all that the character knows when she knows it? The answer is that there isn���t a reason, and readers will inherently know we���re pulling strings to tap into their curiosity.

Bottom line: Let us fully know all your viewpoint character knows the moment they know it. Avoid using tricks that withhold names or other information for the sake of making your reader curious because the reader will know they���re being manipulated.

Trust Violation #3: When we catch the reader up on what the character did since we last saw them.

Example: Brian snuck through the front door, clenching the keys to his dad���s truck. Sometime overnight, Brian had come up with a plan. If Dad was going to insist that drinking and driving was perfectly fine, Brian would take charge of things.

There are absolutely times in storytelling when we want to compress time and leap over what happens in a character���s life. Sleeping, eating, traveling���These are often spots where nothing important and plot-bearing is happening, and we can bypass them altogether. But when the character has seemingly made a choice during a gap of time���a choice that relates to the pursuit of their goal���we should have access to it as it occurs. Plan-making should be born out of active scene. In other words, we should be in the scene whereby the threads of the new decision start to emerge, and we should even see hints of what the character might do next. Or, we should simply and fully know what they plan to do by the time we leave one scene and get ready for the next one. In the example above, unless Dad came home drunk the night before and we saw Brian eyeing Dad���s keys with a sense of hope rising in him���all clues that would logically allow us to predict what Brian might do next���then we feel like he���s made a decision without us. On his own and apart from us. And that separation causes us to not only lose trust in the character, but also the writer. As basic as it sounds, a feeling emerges like the character has been off doing important things without us, and we���re a bit bummed to have been left out. This type of writing makes your reader stop and ask, ���Wait, what?��� because the character���s decision has been made off-the-page without enough clues to feel logical or predictable.

One way you can tell when this sort of thing happens is that there hasn���t been time for the character (or the reader) to weigh the cost of the choice the character is ultimately going to make. We don���t know what Brian is knowingly losing in taking his dad���s truck, the risks specific to his character, or what���s at stake that he���s choosing to risk in pursuit of this goal. We don���t get the benefit of being with him as he makes the decision itself. There���s a feeling like it���s happening too fast and somewhat suddenly, and that makes us doubt Brian���the character we want to feel like represents us.

Bottom line: When your character makes a crucial decision toward their goal, make sure that it���s made (even partially via context clues) during active scene so that your reader feels like the character���s ally in every moment of the story.

What types of craft choices do you experience as a reader that break your trust? Do you struggle with these types of choices as a way of drawing out or generating tension? What other ways do you find help maintain that writer-character-reader trust?

Happy writing!
Marissa

The post Three Ways You���re Losing Your Reader���s Trust (And How to Avoid Them) appeared first on WRITERS HELPING WRITERS��.