Angela Ackerman's Blog: Writers Helping Writers, page 15

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.

The post How to Write Unputdownable Psychological Thrillers appeared first on WRITERS HELPING WRITERS��.

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��.

Character Secret Thesaurus Entry: Having An Undisclosed Bias

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…

Has an Undisclosed Bias

ABOUT THIS SECRET: A character is biased when they view someone negatively and attribute flaws to that person without proof that those qualities apply. It might result from a negative encounter or traumatic experience with a specific individual, learned behavior from a trusted person, or repeated exposure to hurtful stereotypes (through the media, for example). In an environment where the bias isn���t widely accepted, the character will mask or hide it to avoid judgment, rejection, banishment, discrimination, or reputational fallout.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Taken Advantage of, Being Unsafe, Certain Kinds of People, Persecution, Putting Oneself out There, Trusting Others

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Causing friction with loved ones who don���t agree with the bias
Feeling guilt and shame over what their dark, biased thoughts say about who they are
Being deprived of an enriching or helpful relationship with someone from the biased group
Missing out on the opportunity to gain allies or share resources
The character���s perspective always being limited to align with people who think like them

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
The character entertaining the bias in their mind but not speaking it aloud
The character gravitating toward people who think like them
Justifying their reasons for not engaging with the people they���re biased against
Expressing support for those people but not offering them the same opportunities the character would offer to others
Mentally using labels for certain people but not verbally referring to them that way

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Making jokes about the people they distrust
Passive-aggressiveness (backhanded compliments, talking about a member of this group behind their back, etc.)
Not questioning gossip and rumors that cast certain people in a negative light
Not requiring proof of wrongdoing to the same degree the character requires it from other people
Standoffish behavior around this group

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Making jokes about the people they distrust
Passive-aggressiveness (backhanded compliments, talking about a member of this group behind their back, etc.)
Not questioning gossip and rumors that cast certain people in a negative light
Not requiring proof of wrongdoing to the same degree the character requires it from other people
Standoffish behavior around this group

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: Having An Undisclosed Bias appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus Entry: An Undisclosed Bias

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…

Has an Undisclosed Bias

ABOUT THIS SECRET: A character is biased when they view someone negatively and attribute flaws to that person without proof that those qualities apply. It might result from a negative encounter or traumatic experience with a specific individual, learned behavior from a trusted person, or repeated exposure to hurtful stereotypes (through the media, for example). In an environment where the bias isn���t widely accepted, the character will mask or hide it to avoid judgment, rejection, banishment, discrimination, or reputational fallout.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Taken Advantage of, Being Unsafe, Certain Kinds of People, Persecution, Putting Oneself out There, Trusting Others

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Causing friction with loved ones who don���t agree with the bias
Feeling guilt and shame over what their dark, biased thoughts say about who they are
Being deprived of an enriching or helpful relationship with someone from the biased group
Missing out on the opportunity to gain allies or share resources
The character���s perspective always being limited to align with people who think like them

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
The character entertaining the bias in their mind but not speaking it aloud
The character gravitating toward people who think like them
Justifying their reasons for not engaging with the people they���re biased against
Expressing support for those people but not offering them the same opportunities the character would offer to others
Mentally using labels for certain people but not verbally referring to them that way

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Making jokes about the people they distrust
Passive-aggressiveness (backhanded compliments, talking about a member of this group behind their back, etc.)
Not questioning gossip and rumors that cast certain people in a negative light
Not requiring proof of wrongdoing to the same degree the character requires it from other people
Standoffish behavior around this group

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Making jokes about the people they distrust
Passive-aggressiveness (backhanded compliments, talking about a member of this group behind their back, etc.)
Not questioning gossip and rumors that cast certain people in a negative light
Not requiring proof of wrongdoing to the same degree the character requires it from other people
Standoffish behavior around this group

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: An Undisclosed Bias appeared first on WRITERS HELPING WRITERS��.

A Description Database for Character Relationships

No matter what genre you write, your characters–and their relationships–are the heart of a story. In fact, relationships help us explore our characters’ most meaningful layers while providing readers with the context they need to understand why each character thinks and acts the way they do.

Think about how we all behave in the real world. This looks a bit different depending on who is around, right? It’s no different for a character. Their decisions and choices will be shaped by the type of bond they have with someone. Is the relationship close, or not? Healthy or dysfunctional? Do they play a positive role (a friend, ally, or supporter) or does it run along the lines of something darker, like a rival, enemy, or detractor?

A character’s best and worst qualities may be on display at different times in a relationship, but even better, the type of connection your character has to someone will allow you to seed juicy, show-not-tell clues in your story about their motivations, insecurities, fears, needs, and vulnerabilities.

Relationships come in all shapes and sizes, so Becca and I have built a thesaurus of different common types so you can write them with authority. You can find it at One Stop for Writers, as part of our enormous show-don’t-tell THESAURUS.

The Relationship Thesaurus will help you brainstorm character interactions that feel true to life so you can write them into the story. You’ll also find plenty of ideas on how each relationship can develop your characters and further the plot.

If you’d like a peek at this thesaurus, visit these entries at One Stop for Writers: RIVALS, IN-LAWS, and PROTAGONIST AND CRUSH.

If this is the first time you’ve heard about our THESAURUS Database at One Stop for Writers, think of it like our books on steroids. We’ve released 10 thesaurus books to date, but at One Stop for Writers, the database has 18 thesaurus topics…so far.

Speaking of One Stop for Writers, Don’t Forget…

It’s our birthday!

One Stop for Writers is turning 9 this week, and we’re celebrating with a nice 25% discount on any plan.

If you like, grab this code:

HAPPY9

And follow the instructions below to redeem this discount!

To use this code:

Sign up or sign in. Choose any paid subscription (1-month, 6-month, or 12-months) and add this code: HAPPY9 to the coupon box.Once activated via the button, a one-time 25% discount will apply onscreen.Add your payment method, check the Terms box, and then hit the subscribe button.

New to One Stop for Writers? Join Becca for a quick tour to see how our resources and tools can help you reach your creative goals.

The post A Description Database for Character Relationships appeared first on WRITERS HELPING WRITERS��.

Happy 9th Birthday, One Stop for Writers (Save 25%)

One Stop for Writers‘ BIRTHDAY WEEK is here!

Nine years ago, Becca and I stepped outside our world of book-making and opened the doors of One Stop for Writers, a site filled with one of a kind tools and resources to make writing easier. Year by year, the toolbox at One Stop for Writers has grown and we’ve had the pleasure of helping writers all over the world. We love being part of other writers’ journeys!

25% off all plans

To celebrate NINE YEARS, we’ve cooked up a discount. Whether you’re new to One Stop for Writers or you’ve been using it since the very beginning, grab this code to access our arsenal of tools for less:

HAPPY9

To use this code:

Sign up or sign in. Choose any paid subscription (1-month, 6-month, or 12-months) and add this code: HAPPY9 to the coupon box.Once activated via the button, a one-time 25% discount will apply onscreen.Add your payment method, check the Terms box, and then hit the subscribe button.

And that’s it!

Get ready to put the largest show-don’t-tell database available to writers & the rest of our incredible storytelling tools to work!

New to One Stop?

If you’re not familiar with One Stop for Writers, join Becca for a virtual tour. She’ll show you how our resources can help you write stronger fiction faster.

The post Happy 9th Birthday, One Stop for Writers (Save 25%) appeared first on WRITERS HELPING WRITERS��.

Character Thesaurus Entry: Using a False Identity

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. . .

Uses a False Identity

ABOUT THIS SECRET: A character who has made regrettable choices may need to distance themselves from their old life through a false identity. Perhaps they���re wanted by police, they tried to shake down a vengeful enemy, or they���ve adopted an alter ego to hide criminal behavior. This entry will focus on nefarious reasons for living under a false name.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Being Attacked, Being Judged, Being Returned to an Abusive Environment, Being Unsafe, Death, Government, Losing Autonomy, Losing One’s Social Standing, Losing the Respect of Others, Persecution

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Being unable to have open, honest, and trusting relationships (lest someone finds out)
Needing to avoid certain places, people, and situations where they might be recognized
Never feeling truly safe or at ease (always looking over their shoulder)
Being restricted to activities that will not require a thorough document check
Having to choose a job for its anonymity rather than an interest or skill

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Changing their appearance
Being skilled at lying and deception
Aligning with the expectations of others
Moving from place to place, being nomadic
Moving far away from where they used to live

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Odd behaviors (a tendency to not touch things, pay only with cash, etc.)
Becoming morally flexible when certain opportunities come up
Being caught in a lie, especially over something that seems silly to lie about
A vice being discovered (such as gambling or drug use) that doesn���t fit who they claim to be
Pointing out things the average person wouldn���t know: See that guy? Stay away from him–he���s a pickpocket.

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 
Marrying into a family who have members in law enforcement
Witnessing a crime (or being the victim of one) and being questioned by police
Winning a prize unexpectedly, becoming the focus of local attention
Running into someone from their old life

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.

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