Angela Ackerman's Blog: Writers Helping Writers, page 19

Three Emotion Problems to Avoid in Your Story Opening

As I���m sure you���ve heard roughly a gajillion times, your story���s first pages are very important. Editors and agents typically request just a portion of your story���s opening, and potential buyers read only a sampling when they���re looking for books to buy. So whichever publishing route you take, those first pages are the only chance you get to win over the gatekeepers���to introduce your story in a way that sucks them in and makes them realize they simply have to have it. 

There are a lot of elements you want to include in your story opening, but I���d like to focus on the one that plays a huge part in winning over readers: emotion. If you���ve hung around Writers Helping Writers at all over the past ten years, you���ve heard Angela and I nattering on about the importance of character emotion in our stories. That���s because we believe it���s��the key to triggering the reader���s emotion. The character is the one readers will relate to, the one who will make the reader��feel something as they���re turning pages. So we have to convey the character���s emotions as early as possible, in a way that will engage readers. Otherwise, that first sampling is all they���re going to see.

Thanks to the Phenomenal First Pages contest that runs monthly at our blog (subscribe here if you’d like contest notifications), I���ve read quite a few story openings, and I see the same emotion-related problems cropping up over and over. I���d like to address those today.

Not Enough Emotion

It���s not uncommon for me to get all the way through someone���s first page and realize that I have felt���nothing. My emotions haven���t been stirred at all. And when I look back over the sample, I realize it���s because the character hasn���t felt anything, either. If the reader can���t tell what the character is feeling, how are they supposed to know how to feel themselves? And if a scene event doesn���t affect the character���s emotions, why does it matter?

The key here is that the author needs to make sure something impactful is happening. Maybe this comes in the form of a conversation, where the protagonist is reacting to the information being shared or the character who���s sharing it. It could be a moment between friends that shows how important the BFF is to the protagonist. Maybe it���s an actual event or occurrence that has meaning, such as a wedding, a job interview, or the cat yucking on the carpet when the character���s running late for work. 

Once you���ve ensured that meaningful things are going on, the character will need to respond appropriately to what���s happening, even in a small way. Which leads us to problem #2.

Emotion that Has Been Told

While it���s important to get the character���s emotional state across to readers, that���s unfortunately not enough. We have to do it in a way that engages their emotions. Engagement rarely results from telling, because telling doesn���t pull readers in. It takes them out of the active role of a participant in the character���s story and puts them at a distance, just sitting back and listening to events being told to them.

On the other hand, when we��show that emotion, it seems more real to readers. They feel like they���re involved in the character���s experience. Their own feelings are stimulated and a bond begins to form, one that will pull the reader further into the story. For instance, here���s an example of emotion that has been told:

He was afraid.

And here���s the same emotion being shown:

His skin felt like it was trying to glide to the back of his body. (Tad Williams, Otherworld series)

Both of these descriptions express the same emotion. But the second one gives you an impression of what that character might physically be experiencing in that moment. We���ve all had that ���crawling flesh��� sensation; when we see the character going through it, it triggers our own emotional memories and helps us to associate better with the character, inviting us into his experience.

Here���s another example of emotion that has been shown, from Gennifer Choldenko���s��Al Capone Does My Shirts:

My face burns. My ears heat up like two heaters attached to my face.

The author doesn���t need to say that the boy is embarrassed; the physical indicators do that for her. We���ve experienced that feeling before, and we get a hint of it through the use of the bodily cues associated with that emotion.

It���s important to keep in mind that emotional responses don���t have to be big to be effective. Maybe��a vocal cue can be used, such as the volume of the voice increasing or decreasing. The character���s hands may start to fidget, or their body posture may shift. Even something as minor as a sigh or an eyebrow being raised can indicate a stirring of emotion. Use the character���s voice, body language, or even their thought process to help you show their emotional state in small ways, which can help you sidestep another emotion-related problem.

Too Much Emotion

Just as too little emotion is problematic, so is an overabundance of it. Melodrama happens when a character���s emotional responses are over the top and don���t make sense for the situation. This is a problem because it���s not authentic, and anything inauthentic is going to create distance for the reader as they realize something is ���off��� and subconsciously pull back. 

The best way to avoid melodrama is to know your character���s emotional range. Each person has a unique range of emotions, meaning, you can have two people in the same situation and they���ll express themselves differently. Knowing what this looks like for your character will enable you to write their responses in the way that best fits their personality.

So think of that range as a spectrum���a straight line with demonstrative on one end and reserved on the other. Ask yourself: Under normal circumstances, where will my character fall on this spectrum? If you can figure this out in advance, you���ll have a snapshot of how they���re likely to respond to everyday scenarios, and you can write their reactions consistently.

It���s also good to remember that emotions don���t bounce all over the place; they follow a continuum. So, if your character starts the scene contented but will become angry at some point, you���ll need to move him gradually toward that end emotion. Maybe you start by adding something that causes him to become irritated. Then he moves to frustration. And finally���anger. A character shouldn���t jump from contentment to rage unless there���s a psychological reason for doing so. Knowing the natural progression of emotions will enable you to write your character���s responses logically and keep you from falling into the melodrama trap.

Listen, I understand the pressure to get our first pages right. There���s a lot riding on them, but the emotion piece can definitely contribute to success. With these tips, you should be on your way toward strengthening your opening and encouraging readers to become more fully invested in the character and the story. For more information on how to write character emotion well, you can also reference the second edition of The Emotion Thesaurus.

This edition of The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last. View the list of 130 emotions
included in this book

The post Three Emotion Problems to Avoid in Your Story Opening appeared first on WRITERS HELPING WRITERS��.

A Mother Lode of Resources on Emotion Amplifiers

Angela and I have been busy bees the past few months, creating as much content as we could surrounding emotion amplifiers���a little-known storytelling element that’s great for elevating a character’s emotions and setting them up for overreactions, misjudgments, mistakes, and increased conflict.

The information we’ve learned about amplifiers could fill a book, so that’s what we did���published an actual, real-live book that’s chock full of this content and is available for purchase. The Emotion Amplifier Thesaurus is the only resource in existence that covers this topic, so that’s the best place to go for more information.

But if you’re curious about a certain aspect of amplifiers or you’d rather get your info in bite-sized pieces, you might find the following links helpful.

Posts, Podcasts, and PDFs

What is an Emotion Amplifier?
The Connection between Amplifiers and Emotional Stress
Why You Want Your Character to Lose Control (and How Amplifiers Get Them There)
Build Reader Empathy by Using Amplifiers to Create Common Ground
Does Your Scene Need More Tension? Add an Amplifier!
How Amplifiers Can Create Much-Needed Inner Conflict
Use an Amplifier to Help Your Character Resolve Their Inner Conflict
Using Amplifiers to Show Character Growth
Use Amplifiers to Motivate Emotionally Challenging Characters
Why Amplifiers Should be Your Antagonist’s Go-To Weapon
10 Ways Amplifiers Benefit Your Story

We���ve also added the appendix tools from this book to��our Tools page��for your own personal use:

Using Emotion Amplifiers to Destabilize a Character . A brainstorming list of ideas on how emotional volatility can alter your character���s responses and put them on a crash course with regret Emotional Reasoning: Weigh-And-Measure Questions . Questions your character may ask themselves (or avoid asking) when they’re struggling with cognitive dissonanceDecision-Making Crossroads��Tool. Use this to explore the biases, personal beliefs, emotional considerations, and other factors that will drive your character’s decision making process when they’re facing a challengeOther Mother Lode Posts

If you found this collection of resources helpful, you might be interested in some of our other compilation posts.

How to Write about Character Occupations
How to Show (Not Tell) Character Emotions
How to Create Phenomenal First Pages
How to Write Conflict that Has Maximum Impact
How to Write about Your Character���s Pain
How to Write about a Character���s Emotional Wounds
How to Use Talents & Skills to Further Your Story & Individualize Characters

The post A Mother Lode of Resources on Emotion Amplifiers appeared first on WRITERS HELPING WRITERS��.

How Are Character Archetypes Different from Tropes?

What exactly is a character archetype? How many are there? And how are they different from character tropes?

These are the questions that were keeping me up at night as Angela and I started to research this thesaurus at our blog. So, as I often do when I���m confused by terminology, I started with a generic definition.

Archetype: a prototype that can be copied, adapted, or used to create other versions

Okay, so a character archetype is a common kind of character that others are fashioned after. That led to my next question: if there are certain prototypes off which other characters are patterned, what are those original archetypes? I went looking and got buried in a deluge of contradictory information. So many lists, each with its own variety of characters. Some people called them archetypes, others called them tropes, and there was very little documentation or references to verify what I was seeing.

As a truth-seeker, the lack of consensus was driving me crazy. So I armed myself with chocolate and did a deep dive into psychology���directly to the source of where character archetypes began and how they evolved. I���m clear on this now, and I���m excited to share what I���ve learned with you.

Archetypes in Psychology

The term ���archetype��� has been referenced in various historical documents all the way back to the time of Christ, so it���s by no means a new concept. But it wasn���t until the early 1900s that Carl Jung, a cohort of Freud���s, applied the term to psychology and brought it into the mainstream.

Jung had studied many myths, fairy tales, stories, religions, and dreams throughout history and realized that there were repeated events, figures, and motifs in these narratives���despite them coming from wildly disparate cultures and time periods. After a ton of research and discussion on the subject, he deduced that there are 12 archetypical figures that are common to the human experience and have become part of the stories we tell. Definitions vary, but here are Jung���s character archetypes.

The Caregiver: Caregivers are helpers���typically categorized as supportive, selfless, and nurturing.The Creator: Imaginative and driven, creators are the artists, inventors, and scientists who are driven to come up with something new and innovative.The Explorer: Explorers are adventurous and are intrigued by the unknown. Where others quail, explorers are keen to explore new places and ideas and go where no one has gone before.The Hero: Heroes are driven to right wrongs and prove their own worth. They often achieve their goals by employing their own specific mix of strengths, talents, and skills.The Innocent: Morally upright and blind to the evils of the world, innocents are dreamers and optimists who have good intentions and tend to do the right thing.The Jester: As comedians and tricksters in the story, jesters make light of serious things and provide comic relief. They often impart wisdom through their shenanigans.The Lover: Lovers are romantics who are all heart. They’re highly relational and are guided by their passions.The Magician: For magicians, the pursuit of knowledge isn’t enough; fulfillment only comes through understanding and mastering the seemingly unknowable. For this reason, they make great shamans, seers, and wise men and women.The Orphan: Orphans are characterized by trauma, neglect, and/or rejection. Having lost their own family (or never having one to begin with), they’re driven by a need to belong and will go to great lengths to find acceptance.The Rebel: Rebels are out-of-the-box thinkers who like to push boundaries and are undaunted by chaos. They���re often the catalyst for change.The Ruler: Rulers are leaders with a measure of control over others. Their intentions���good or bad���and the level to which they desire power will determine the kind of ruler they are.The Sage: Sages are wise, always seeking knowledge, but they also desire to impart their learnings to others. This makes them ideal mentors and parental figures.

According to Jung, character archetypes are recurring figures that show up in the dreams of all people and the stories of all cultures. They can be part of any narrative, regardless of the time period or audience. This universality is what makes a character an archetype. It���s why these 12 made the cut. 

Jung���s is the original list of archetypes. Since he pretty much invented the concept, I feel good using this as my go-to index. But there���s another list many people like to use, and it has merit because its archetypes are established according to their roles in storytelling.

Archetypes in Storytelling

Forty or so years after Jung, Joseph Campbell was also exploring narratives throughout history and noticed a similar pattern in their structure. He discovered that many of these stories contained the following archetypal structure, which he titled The Hero���s Journey:

���A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.���

~Joseph Campbell, The Hero with a Thousand Faces

Through his exploration of this mythical structure (and greatly influenced by Jung���s teachings) Campbell identified some characters that appear again and again in these stories over time. But while his thoughts on the subject were insightful and inspirational, his writings weren���t the easiest to understand for many lay people. And this is why we all owe a debt of gratitude to Christopher Vogler.

Vogler was a devotee of Campbell���s and used his ideas frequently in his career as a movie script analyst. They were so helpful in troubleshooting and strengthening the stories he read that Vogler wrote a seven-page guide about The Hero���s Journey and began distributing it to his colleagues at Disney. It soon became required reading, and the demand for his pamphlet was so great that he expanded it into a book called The Writer���s Journey: Mythic Structure for Writers. Twenty-five years later, it���s still being sold and has become a foundational text for storytellers.

In this book, Vogler distilled Campbell���s ideas into an accessible list of 8 character archetypes:

Hero: The protagonist who has a goal to achieve, will undergo change or growth along the way, and will need to make some kind of sacrifice to succeedMentor: A positive figure who helps or trains the heroThreshold Guardian: A creature, person, or force who guards the gateway to the new world the hero must enterHerald: Someone who issues a challenge to the hero or informs them of significant change to comeShapeshifter: A character whose nature is shifting and unpredictable, causing uncertainty and doubt for the heroShadow: Someone or something that opposes the hero, often manifesting as a villain, antagonist, or enemyAlly: A character who accompanies, assists, complements, or constructively challenges the hero along their journeyTrickster: A mischievous character who often shares wisdom while dispelling tension through comic relief

These are essentially a reconfiguring of Jung���s archetypes so they���re defined by the role each plays in a story. As writers, we can see how valuable this perspective can be.

When it comes to archetypes, you can���t go wrong with either of these breakdowns. Personally, I prefer Jung���s because his is the original model���the prototype���that everything else is based on. But both are valid for establishing the kinds of characters you���ll want to include in your story.

Now. If these 12 or 8 characters are the only true archetypes, what about all the rest of the character types you find on the internet? There are dozens and dozens of listings containing 25, 50, 200+ characters. The queen bee, the mad scientist, the nerd, the class clown, the hot billionaire���are these archetypes, as well? If not, what are they?

Simply put, these are character tropes, not archetypes. Here���s why.

Character Tropes

A literary trope is a recurring element that���s frequently used across narrative works. This makes character tropes very similar to archetypes. The difference is that archetypes, by Jung���s original criteria, are universal in nature and can be found in any story from any culture and time period. 

If a character couldn���t appear in multiple narratives from multiple time periods for multiple audiences, then that character isn���t an archetype; it���s a trope. And most of the time, the character is a trope because it has been culturally influenced so it only works within a certain culture or timeframe. 

Let���s take the nerd trope as an example.

Conventionally, nerd characters are highly intelligent, socially awkward, and are hyper-focused on topics most people aren���t interested in. They���re also clueless about fashion and style. This rendering is specific to Western culture and wouldn���t translate for certain other people groups. This makes it a trope rather than an archetype.

Class clowns need a classroom or school setting, so this character is a trope.

You wouldn���t find hot billionaires in a culture without an ��ber-rich demographic, so this character is a trope���

It���s a relatively easy litmus test for determining whether a character is trope or an archetype.

Another clue that you���re dealing with a trope is when the character is clearly a derivative or��modified version of an archetype. The class clown, for example, is a trope based on the Jester. The nerd is a form of either the Sage or Magician. The queen bee is a specific kind of Ruler, and so on.��

A Quick Summary

So, to sum all of this up���.

Character archetypes are universal figures that are repeated through narratives across cultures, time periods, and locations.While there are many lists of archetypes, the most commonly accepted are the ones established by Carl Jung and by Joseph Campbell/Christopher Vogler. A character trope is a familiar figure that recurs in many stories, but unlike archetypes, it isn���t universally recognizable.A character trope can also be a modified���often more specific���version of an archetype.

On the surface, it���s not easy to the see the difference between these kinds of characters. But this historical study has helped me understand things better. I hope it also clarifies these important character elements for you.

Check out the Character Type and Trope Thesaurus!

The upside of tropes is that they���re familiar to readers, who will recognize them and immediately know the role they���re meant to play. The downside? They���ve been used so many times that they can easily become clich��d and predictable. But with The Character Type and Trope Thesaurus, they no longer have to be.

Use this resource to familiarize yourself with the commonalities for a certain kind of character while also exploring ways to elevate them and make them memorable, more interesting, and perfectly suited for the story you want to tell.

Additional Resources:
The Archetypes and the Collective Unconscious, CJ Jung
The Hero with a Thousand Faces, by Joseph Campbell
The Writer���s Journey: Mythic Structures for Writers, by Christopher Vogler

The post How Are Character Archetypes Different from Tropes? 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 help with the beginning of your novel, today’s the day to enter for a chance to win professional feedback.

TEN winners will receive feedback on their first five pages!

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

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Ten winners will be drawn. We will email you if you win and let you know how to submit.Please have your first five pages ready in case your name is selected. Format it with��1-inch margins, double-spaced, and 12pt Times New Roman font.��All genres are welcome except overtly religious books The editor you’ll be working with:Erica Converso

I���m Erica Converso, author of the Five Stones Pentalogy (affiliate link). I love chocolate, animals, anime, musicals, and lots and lots of books ��� though not necessarily in that order. In addition to my work as an author, I have been an intern at Marvel Comics, a college essay tutor, and a database and emerging technologies librarian. Between helping adult patrons in the reference section and mentoring teens in the evening reading programs, I was also the resident research expert for anyone requiring more in-depth information for a project.

As an editor, I aim to improve and polish your work to a professional level, while also teaching you to hone your craft and learn from previous mistakes. With every piece I edit, I see the author as both client and student. I believe that every manuscript presents an opportunity to grow as a writer, and a good editor should teach you about your strengths and weaknesses so that you can return to your writing more confident in your skills. Visit my website astrioncreative.com for more information on my books and editing and coaching services.

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��.

Top 10 Tips On Writing A Fantasy Novel

What Makes Up Fantasy As A Genre?

If you want to write a fantasy novel, it pays to understand what goes into this fascinating genre. Fantasy conventions can vary widely, but there are some common elements we can find. Here’s a few key conventions of fantasy novels that I learned writing my own … Ready? Let’s go!

1) Magic

Magic can be a fundamental element of fantasy novels. It is often used by characters to achieve extraordinary feats or interact with the supernatural. One of the top things to remember here is to ensure your magic systems have limitations. If there are no constraints to your magic system, then this can impact the potential conflict of your story. This is where Brandon Sanderson’s 3 Laws For Magic Systems can really help.

2) Fantastic Creatures

Where there’s magic, there’s also monsters. But fantasy novels often feature mythical creatures that are not necessarily evil too. ��Dragons, elves, hobbits, witches, centaurs, unicorns, gigantic sea serpents, sandworms… they can be anything you like. The sky really is the limit!

3) Hero’s Journey

The Hero’s Journey is a classic plotting archetype, charting a protagonist’s growth from ‘zero to hero’.  Many fantasy stories follow the classic hero’s journey, where a protagonist embarks on an adventure, faces challenges, and ultimately undergoes personal growth. Such fantasy novels as Harry Potter, Dune and even my own, The Coven, follow this archetype.

4) Storyworld

Traditional fantasy worlds are often inspired by medieval settings, featuring castles, knights, and kingdoms, creating a sense of timelessness and wonder. However, there’s such a thing as urban fantasy too that does the opposite. Instead of being ‘ye olde’, it might take place in our own world, with a secret underworld of magical people. In short, storyworld can be anything you want … as long as you start as you mean to go on!

5) Epic Battles

Epic battles between forces of good and evil are a common theme in fantasy. Such battles often showcasing bravery, sacrifice, and the triumph of good over evil. A good example here would be Marvel’s Avengers: Endgame which has a fantastic end battle that does all these things.

6) Quests

Quests can be a staple of fantasy literature. The Hero’s Journey (as per #3 on this list) is one large quest in which characters set out on a journey to accomplish a specific goal, facing obstacles and adversaries along the way.

7) Prophecy

Prophecies and foretold destinies play a significant role in many fantasy stories. These prophecies then shape the actions of characters and drive the plot forward. In The Coven, ‘The Proclamation of The Elementals’ starts the book:

“We are all kernels in the earth. We are baptised by fire; fed by the water of life, powered by air. To us, we call The One: connect us through the chain of being and bring us liberation from the ties that bind us.”

This prophecy tells of an all-powerful witch The Elementals call ‘The One’. In this storyworld, Elemental witches have the power of one of the four elements: air, water, fire or earth … but The One has ALL four elements. As the prophecy foretells, The One is powerful enough to free all witches around the world.

8) Parallel Worlds

Fantasy often explores the idea of parallel worlds or alternate realities. In The Coven the world is almost the same as ours … except that up to 50% of women have magic. The leaders of the world don’t like this one bit, especially the President of The United States, Michael Hopkins. He decrees that witches must be locked up for their own safety as well as non-magical peoples’.

I watched a lot of political rallies when I was writing The Coven. I really wanted to make the politics of my parallel world believable, but worried about Hopkins being too jingoistic. Yet every time I sent these scenes off to my editor or beta readers, it always came back with: ‘Still not as bad as the REAL guy!’ That was surprising.

9) Lore and Mythology

Fantasy worlds are rich in lore, mythology, and history, providing depth and context to the setting and characters. I am a big fan of ‘The Power of Three’ in writing. When things come in threes in literature, it’s believed they can be more satisfying, more effective and/or more memorable, than other numbers of things.

I enacted The Power of Three with my witches in The Coven. The ‘Triumvirate’ refers not only to witchcraft generally – Mother, Maiden, Crone – but also the witches themselves.

The vast majority are Kitchen Witches, who don’t have innate magic of their own. Instead they have spell books, cauldrons, poppets, family spells etc rather like our own reality.

Where it changes are the other two types of witches. About 5-8% of witches are Crystal Witches. They do have innate magic in their veins, but can only access it with crystals (as their names suggest). The remaining 2% are The Elemental witches (mentioned in #7).

10) Themes of Good vs. Evil

Fantasy frequently explores themes of morality, ethics, and the battle between light and darkness. Whilst the story may deal with UNreal settings, creatures, magic etc, it may be about very real issues. These UNreal things can offer insights into human nature and society. As The Sun newspaper said of The Coven: ‘A scarily real take on society today … buckle up for a battle like no other’.

Got any questions about writing fantasy? I’m very happy to answer … leave them in the comments and I will get back to you.

Good Luck With Your Own Fantasy Novels!

The post Top 10 Tips On Writing A Fantasy Novel appeared first on WRITERS HELPING WRITERS��.

The Secret to Page-Turning Scene Endings

It���s easy to surmise that propelling readers from one scene to the next relies upon a dramatic closing hook, the evocative or provocative impression at the very end of the scene.

Seemed like everyone was finding someone to pair off with. So when was he going to find a girl of his own?

Or���

Edwina looked the poor sod straight in the eye. ���She���s not coming back, Edgar. Ever.���

But although hooks may tantalize, another underlying force is what truly launches readers into the next scene. This dynamic arises from the final step of scene structure: a new outcome���change.

Scenes are designed to move the story forward by creating incremental change at the plot or character levels. Effective scene structure intrinsically sets up a domino effect: The unexpected outcome of one scene sparks curiosity about how the character will cope in the next, kindling the impulse to turn the page.

This is how complete, fully formed scenes get readers itching to see how the seeds of change will grow.

Scenes Create Change

Let���s review the structure of the two most common types of scenes in a novel:

Action Scenes�������������������� ���������������������������������������������� ������������������������������������ Reaction (���Sequel���) Scenes

Objective                                                                     Emotion

Obstacle                                                                      Deliberation

Outcome                                                                     Decision

Action and reaction scenes share an important factor in common: Their final phases are all about generating change.

In an action scene, change occurs when something (the ���obstacle���) interrupts the viewpoint character���s progress toward their scene objective. This creates an unexpected outcome. Something unanticipated has just occurred, and the inevitable consequences loom just ahead.

One minute they were packed shoulder-to-shoulder in the muggy subway car. The next, the squealing of metal against metal sent the world sideways, and she was tumbling wildly into the dark subterranean depths.

In a reaction scene, the final decision phase reveals the viewpoint character���s change of heart or intentions or plans, telling readers to brace for consequences.

Gripping the zip-tie cuffs, Arjan squeezed his eyes shut against the thrumming pain in his skull. He could walk away from this life of deception and violence once and for all. Or he could seek his revenge.

A dramatic closing hook can focus and magnify this effect, using introspection, foreshadowing, or imagery to hint at the broader struggles, unresolved tensions, or profound transitions the scene has provoked. But that���s the thing���the scene itself should provoke those rumblings. When the scene clearly introduces change, even a glimmer of yearning or glint of optimism can ignite the spark that sets the next scenes into motion.

The Springboard Effect

The unanticipated outcome of each scene pushes the characters urgently into the next, riding the domino or baton-passing effect. Scenes shouldn���t be able to be shuffled about willy-nilly; plucking an effectively crafted scene out of the flow would break the chain of action and reaction that makes one scene lead directly into the next.

Readers rightfully expect the change created by one scene to be addressed promptly in the next. This propagates reader investment: hope or worry, anticipation or suspense.

For example, after a scene ending with Max vowing to leave Jonquil and return to his wife, readers will expect his next scene to begin addressing that tangle. He might be temporarily delayed by other concerns���a delicious way to add tension���but he shouldn���t blithely turn away without further thought. Didn���t that decision matter?

The domino effect of one scene tipping into and kicking off the next forges a chain of progressively escalating complications in the story. This chain is what writers are talking about when they refer to the rising action of a plot, the idea that the conflict (what does happen) and tension (what might happen) spiral to a peak at the climax. The first scene of the story sets off an unstoppable chain reaction, leading to a resolution that feels surprising in the way it happens yet inevitable by virtue of cause and effect.

Think of the scenes as opportunities to drop clues into the links of the story. This may seem like an obvious strategy for a mystery story, but you should exploit this effect in every genre. Scatter breadcrumbs or dangle questions at scene endings, then scoop them up promptly in the next scene, weaving the connective threads into a taut, vibrant storytelling tapestry.

Caveat 1: The Roadblock

Occasionally, a scene might run up against a revelation or cascade of consequences that creates a roadblock with no apparent route forward. This sort of scene���full stop, no way forward���is difficult to pull off if you haven���t planned the story before writing it. When the options are so limited that the character can find no way forward, the plot cannot organically advance���the story is muzzled.

Having the character sit around and wait for a deus ex machina (an outside force to swoop in and solve the problem) frustrates readers, who want stories where the characters solve their problems, not the author. Instead, use a reaction scene to break the deadlock, as the character discovers something new within themselves���an inner breakthrough of some kind.

Some scenes do warrant a note of finality, as a story thread winds to completion. But finality and completion signal endings, and if your story isn���t over yet, you���ll want to maintain the plot���s momentum. Most scenes, especially those at the end of chapters, benefit from a dynamic of change to keep readers turning pages.

Caveat 2: Top Spin

Cliffhanger, edge-of-the-seat pacing frequently leverages a screenwriting technique called top spin. In top spin, the scene cuts off at the peak of tension, just as something interrupts the character���s progress toward their immediate agenda. The scene leaps from this interruption or obstacle directly to the next scene, with no opportunity to show reaction or outcome.

Think of the way TV shows cut off at a cliffhanger before a commercial break, then pick up afterwards in the same stream of action. That���s top spin in action. Top spin creates an extremely strong narrative drive.

���Done well, the drama is then built around confrontation/crisis in a sequence that never seems to stop moving,���  writes John Yorke in Into the Woods: A Five-Act Journey Into Story. ������ Every scene ends on a question���partly ���Where did that come from?��� but more importantly ���How are they going to get out of that?��� By cutting away at the crisis point, a writer thus creates a sequence in which question is followed by (delayed) answer, which is followed by a question once again. ��� The technique of ���come in late, get out early��� simply accelerates this process, forcing every scene to cut off at the ���worst point��� of a scene.���

A brilliant resource in suspense stories, copious amounts of top spin are better suited to the screen than the page. Unlike movies or TV, which can only watch a character from the outside, novels draw readers into the character���s thoughts and perspective. A book that consistently chops off character reactions as soon as scene reaches its peak circumvents this quality, and readers may decide that the book reads more like a screenplay than a novel they can sink into.

Harnessing the Force of Change

Continuity between scenes depends on more than tacking on a provocative closing hook. The hand-off effect arises organically from scene structure, which generates a reversal or change for the viewpoint character. The allure of how the character will deal with this complication keeps readers turning pages long into the night.

Read more:

Goal-driven action scene structure, the building block of stories
Strategies for smooth scene openings

The post The Secret to Page-Turning Scene Endings appeared first on WRITERS HELPING WRITERS��.

How to Fix Big Story Problems

Is there anything more frustrating than knowing there’s a problem with our story, but not being sure how to fix it?

We wish for an easy button in these moments, but sadly, none exist. Occasionally though, we get lucky and discover a versatile story element or technique so useful it can help us navigate past MANY story problems!

So, storytellers…ready to meet your new best friend?

The All-Powerful Emotion Amplifier

Emotion amplifiers are unique states or conditions that act as a challenge, conflict, and emotional destabilizer all rolled into one. They generate internal strain and emotional volatility which can lead to a loss of control, sending your character on a crash course with missteps and mistakes!

Sounds bad, right? Well, it is…for the character. But for your story, it’s great!

Let���s look at a specific amplifier: scrutiny.

Scrutiny: being observed or critically examined.

Now, imagine yourself for a moment, will you?

You’re merrily typing away on your computer, drafting your latest story. Your brain is full of ideas! The words are flowing! And then your mother-in-law appears and begins reading over your shoulder.

Or:

You���re hosting the family barbeque and your sister-in-law arrives, sits at a picnic table, and proceeds to scowl at everything in view. She examines your cutlery as if it has never seen a dishwasher, smells the potato salad before adding it to her plate, and makes a show of picking off the burned bits of her chicken.

Can you hear the lambs screaming, Clarisse?

Face it, scrutiny is not fun. Whether it’s you, me, or a character, it gets in our heads, makes us hyperaware of our flaws, and whatever task we’re working on instantly becomes harder.

Even if an observer is expected–say at a competition–a person will have to have a strong mental focus not to be thrown off their game. So, you can imagine how our character, grappling with the weight of story problems, responsibilities, and emotional struggles, might react if we added scrutiny to the mix. You can just see how it would become that one burden too much, and in their frustration, they’d lash out or do something else that would take their situation from bad to worse.

Pain, exhaustion, hunger, competition, danger, attraction���amplifiers come in all shapes and sizes, and can help with story problems when used strategically.  

Common Story Problems

NOT ENOUGH CONFLICT:

An amplifier is an added challenge to navigate that, when intense enough, will cause our characters to lose control. When they do, they act on emotion, not thought, and this has repercussions: poor decisions that lead to mistakes, choices that carry unforeseen consequences, and new complications they didn’t think about in the heat of the moment. In other words, conflict!

LOW STAKES:

When there’s not enough on the line, readers tune out. One of the best ways to raise the stakes is to make things more personal. Imagine your character poorly navigating an amplifier like danger, competition, or intoxication and making a mistake that hurts someone or puts an important goal at risk. When a character screws up and feels responsible, fixing the situation to undo the harm they did becomes a personal mission. Readers will tune in because 1) they can’t help but empathize over making a costly mistake and 2) they feel tension knowing the character can���t afford to fail or lose control again.

PASSIVE CHARACTERS (NO AGENCY):

Readers are drawn to characters with agency, those who steer their fate and take charge, not ones who let others solve their problems. Emotion amplifiers can help passive characters step up because they inflict urgency, motivating the character to find relief from the strain it causes.

A starving character must find food (Hunger), a character lost in the woods must find their way to safety (Physical Disorientation), and a character suffering from Sleep Deprivation must secure rest before their body gives in.

LOW TENSION:

Tension, that stretchy feeling that comes when a person is unsure what will happen next, is something we want to build into every page. Because amplifiers cause characters to be emotionally unstable, readers feel tension as they read on to see if the character can handle the strain because if they can’t, it will cost them.

HIDDEN EMOTION:

In many situations, characters will hide what they feel because they don’t want to be judged, feel vulnerable, or be viewed as weak. Unfortunately, this makes it harder for readers to get close enough to know what’s going on behind their stony exterior, and feel empathy for what the character is experiencing.

This is why amplifiers are great to deploy. Like a boiling kettle, adding a nice dollop of pain, pressure, exhaustion, or even arousal, and suddenly those repressed feelings bubble up and spill out, putting the very emotions they’re hiding on display!

SHOWING CHARACTER GROWTH:

How well (or poorly) a character responds to problems and stressors can say a lot about them, and reveal how much growth is required for them to achieve their goal. Emotion amplifiers are many things, including tests. If the character handles an amplifier poorly, they face the fallout and deal with the consequences. But it also teaches them what not to do next time, so if you later hit them with the same (or similar) amplifier again and they handle it better, it is a neon sign to readers that the character is evolving.

PERFECT CHARACTERS:

Perfect characters are a turn-off because they don’t feel realistic. Readers are drawn to characters who are true to life, meaning they’ll lose their cool, have bad judgment, and screw things up at times. You can show all this through the poor handling of an emotion amplifier! Characters who don’t handle stress and pressure will feel more authentic, because readers have had their own struggles in that department and know what it’s like. Seeing characters in the same situation is relatable, and makes it easier to cheer them on as they work through the complications in the aftermath.

UNCLEAR MOTIVATION:

In every scene, readers should know the character���s goal and why they are pursuing it. If you need to redirect and show a clear scene goal, amplifiers can help. Whatever it is–pain, stress, pressure, dehydration–it’s causing a form of strain, meaning your character’s goal will be to manage it or free themselves from it.

HAPPY CHARACTERS IN A HAPPY LAND:

Like low-conflict situations, we also don���t want characters to be happy for too long. From time to time, your character will come out on top, ending a scene in a win. An emotion amplifier like an injury, illness, or exhaustion is a great way to give them a new situational problem to focus on.

LACK OF RELATIONSHIP FRICTION:

Stories where everyone gets along and supports one another can elicit yawns from readers. People rub against one another, and it’s not always a bad thing. Sometimes this needs to happen for important realizations to take place for a character to examine boundaries, and expectations, or achieve personal growth.

An amplifier can bring forth friction because if a character mishandles the strain of it, they may lash out, question loyalty or motivations, shut people out, or do other things that will cause misunderstandings. Any damage they do to the relationship will need to be undone, giving the character a chance to see things from the perspective of the one they hurt, and to practice accountability, both of which can strengthen the relationship long-term.

PREDICTABILITY:

Some stories can become predictable if certain plot elements, character types, and other genre expectations strain a writer’s ability to be creative. Emotion Amplifiers come in all sizes and shapes, meaning choosing the right one can easily transform a premise, conflict scenario, or relationship dynamics, elevating it into something fresh. For example, wouldn’t it be great to see a pro-athlete character struggling with sensory overload when he hits it big, a love interest trying to manage her compulsions, or a pregnant police detective hunting down serial killers?

LOW READER ENGAGEMENT:

If an agent, editor, or beta reader has even mentioned that they struggled to connect with your character, chances are two things have happened. One, the character���s emotions are not accessible enough to the reader, meaning they are too well hidden or repressed, or two, there isn���t enough common ground between the reader and your character for empathy to form.

Emotion Amplifiers help with both, bringing emotions to the surface through volatility and by representing a common ground experience readers can bond with characters over.

All readers know what it is like to feel internal strain and, if they give in to it, make mistakes they’ll regret. They empathize with characters having to do the hard work of fixing what they’ve broken. Should the character successfully stay in control of their emotional responses despite the strain an amplifier causes, readers rejoice with the character for mastering the moment and rising above their stress and struggle. Win-win!

If you���ve not yet dove into the wonderful world of emotion amplifiers, I hope you’ll change that. Start by reading this introductory post, checking out this list of amplifiers, and then seeing if The Emotion Amplifier Thesaurus: A Writer���s Guide to Character Stress and Volatility is the life preserver your story needs.  

The post How to Fix Big Story Problems appeared first on WRITERS HELPING WRITERS��.

Flashbacks vs. Dual Timeline: What���s the Difference?

For strong storytelling, we need to focus on what���s important and relevant to current story events. That means we shouldn���t info-dump a bunch of irrelevant backstory just because it���s interesting or it���s something we enjoyed developing about our character, as we instead need to keep this story moving forward.

Yet two advanced writing techniques may seem to go against this advice by focusing on showing readers events in the past: flashbacks and dual timeline stories. What are these techniques, when might it make sense to use them, and what���s the difference between flashbacks and dual timelines?

Backstory 101: Use When Necessary

While we do need to be careful with backstory (due to potentially causing pacing issues, etc.), in most stories, it���s essential to include at least some pre-story information. Well-crafted backstory gives readers the context of a character���s issues (like a backstory wound) and emotions, informing readers about what makes the character tick. Backstory often creates a character���s pain and motivation���helping readers comprehend the why.

That said, our goal shouldn���t simply be to include backstory whenever we think readers ���need��� information. Instead, the most important advice for integrating any style of backstory is that the information must be relevant to the current story events and readers��� understanding of the story.

In general, backstory should be shared:

only when readers need the context for understanding a character���s current choices and emotions (that why information), such as when their actions or behaviors seem out of character or confusing ��� and ���only when that technique is the best way to have readers understand why the character is doing what they���re doing.Advanced Backstory: Flashbacks vs. Dual TimelinesNormal Backstory:

In normal usage, we may allude to backstory in just a phrase or paragraph. Rather than spelling out the details of a character���s history, we may include just a hint, just enough for readers to understand.

For the first time in years, she prioritized her needs over those of her coworker.

That opening 6-word phrase is enough to allude to a past that���s held this character back from standing up for herself. Over the course of the story, readers can get similar hints if necessary to better understand her backstory wound and thus fully understand the story���s stakes and obstacles and her choices and motivations.

Backstory through Flashbacks:

However, sometimes it���s necessary to give readers more information. Maybe during this scene, readers need to know why this is the first time she���s willing to set boundaries. Maybe they need to see for themselves what happened in the past to understand why she was so traumatized and stuck in her mindset���and thus get the importance of this scene.

In that case, rather than contriving a way to share the information within the current story, such as having the character tell someone else about the past event, we may decide to show readers the event itself in a flashback. A flashback gives us a few paragraphs���up to a full scene���to show (rather than tell) a past event.

As her coworker prattled on about yet another emergency that he���d caused���and that required her to give up her weekend off to fix, for the twelfth weekend in a row���she remembered all the hundreds of other times she���d sacrificed for others at her expense. At the front of her mind was the teenage memory of her father demanding that she spend their entire Disney World family vacation watching her infant brother.
Some of the time, sure. All of the time?
At the announcement, she had stared into her parents��� faces, watching for a hint of a wink or smile. They were joking, surely. Her heart dropped as the reality sank into thoughts. No castle, no rides, no fun.
No way.
���But that���s not fair!������

Dual-Timeline Stories:

Many books consist of multiple stories that interrelate to create one story, such as romance stories that feature both love interests or any story with multiple protagonists. For those, we may alternate scenes or chapters between the characters.

However, what if those stories happen at different times? As an example, what if the story we���ve been using above is a case of generational issues? What if we want to explore not only this woman���s story of learning to set boundaries, but we also want to explore her mother���s history of failing to do the same until she���s inspired by her daughter���s growth?

In that case, a dual-timeline story may make the most sense. With just flashbacks, we���d struggle to create an understanding of not only this woman���s history but also her mother���s story of past situations and choices. Instead, we could create dual stories set at different times so that both timelines are fully shown and not told.

A dual-timeline story gives us any number of scenes necessary to tell a complete story that happened in the past that is somehow relevant to the ���present��� story. Like any multiple protagonist story, we could alternate chapters or sections, one set in the ���present��� and one set at the earlier time (but still worded in our usual verb tense).

For our example, we may alternate chapters with the mother and daughter facing similar challenges in asserting themselves. The story set in the past may seemingly end with the mother giving up. Then soon after the daughter finds her backbone in the present, the mother���s story may resume by jumping forward in time to show her inspired to the same, finally leaving her abusive husband.

This time jump at the end is not necessary (or even particularly common) in dual-timeline stories (and in fact, it���s possible to feature the same protagonist in both timelines), but this structure fits with this example. Either way, the dual-timeline story comes together in the end, at least on a thematic level, to illuminate a single story idea.

How Is a Dual-Timeline Story Different from Using Multiple Flashbacks?

Depending on the story we���re trying to tell, the story arc set in the past of a dual-timeline story may also inform the ���present��� story the same way that any type of backstory provides context to readers. For our example, the alternating chapters could echo each other with similar challenges or show the daughter learning unhelpful coping habits from her mother, explaining more about why she is the way she is.

However, it���s important to understand that a dual-timeline story is not the same as a story with a bunch of flashbacks.

Multiple Flashbacks:Only need to be related to current story eventsCan be���but don���t need to be���related to each otherAre triggered by events in the current story, not the previous flashbackDon���t need to tell a story in wholeAren���t leading up to their own dark moment or climax

In other words, the flashbacks aren���t there to work together to tell a separate story from the present story. Instead, the flashback scenes exist solely to illuminate the current story.

Dual Timelines:Each should have their own obstacles and stakes.Each should progress as a complete story, with their own independent structure of acts and turning points (dark moment, climax), etc.Each scene set in the past should follow the cause-and-effect chain of the previous past scene, not the preceding present-story chain.

In other words, even if we cut out every present-setting scene, the story set in the past should still make sense and be a complete story. The past-timeline story exists for its own reasons, and the dual-timeline structure simply allows the two stories to add meaning to each other.

Need More Understanding or Examples of
Flashbacks vs. Dual-Timelines?
Check out Jami���s companion post!

When Should We Use Each Technique?

If we need readers to know aspects of the past to understand the context of the present, our default should be to use our normal backstory techniques, including hints/phrases, characters sharing stories, etc.

Use Normal Backstory to share tidbits of necessary context relevant to current story events with readers.

If we want to use our usual showing techniques to share a specific past event with readers, such as to create a deep point of view (POV) experience, we may want to use a flashback.

Use Flashbacks to show a past defining moment(s), event(s), or scene(s) with the POV character to readers.

If we want to explore a story idea that integrates the experiences of two different timelines to create a single understanding, we may want to use a dual timeline.

Use Dual Timelines to show two stories set at different times that work together to illuminate each other.Final Thoughts about Backstory Techniques

With the right writing techniques, we can ensure our backstory elements don���t slow down or interrupt our current story or feel like information dumps to readers. At the same time, appropriate use of backstory techniques can make our story and characters���and our readers��� connection to those���stronger and more compelling. *smile*

Want to learn how the new Fallout TV series juggles both flashbacks and dual timelines? Visit my companion post!

Have you struggled to understand how to weave backstory information into your story? Have you used flashbacks or written a dual-timeline story and have other insights to share? Do you have any questions about these techniques or how to approach backstory, flashbacks, or dual-timeline stories?

The post Flashbacks vs. Dual Timeline: What���s the Difference? appeared first on WRITERS HELPING WRITERS��.

Top Tips to Help You Get Great Author Photos

If you���ve never had professional author photos taken���or if it���s been ten years or more since you have���it���s time to do it now!

We live in a visual world. Readers want to see and connect with the author. When you invest in professional photos, you are likely to feel confident about sharing your photo wherever you need to.

Updating Your Author Photos: It���s About Who You Are

I got my first professional author photos taken about 11 years ago. I have used those photos so much! I was surprised at how often I was pulling from my ���author photo��� folder. It made it clear to me that it’s worth it to invest in this important tool for your author platform.

We authors often feel uncomfortable with author photos. Many of us would prefer to hide behind caricatures or simply avoid photos altogether. But today���s reader is more demanding. They are visual and used to seeing photos. If you don���t have one���or if you use some other alternative���it looks like you���re hiding, and readers will have a harder time relating to you.

You can help yourself feel more confident by getting professional photos, as they are likely to show you at your best.

Several weeks ago, I got my photos taken again. After a decade, I look different, and I didn���t want my photo to be a lot different from who I am in person.

I was afraid I wouldn���t like my new author photos. More wrinkles! Sagging! Ack! But I was surprised to find that I prefer them.

These more recent photos reflect the person I am now. I look at them and think, Yes, that���s me. The older photos, much as I have liked them, seem distant to me now���I���m not that person anymore.

Even if you���re concerned that you won���t like your new photos, I urge you to make that appointment. You may be surprised!

5 Tips to Help You Get Great Author Photos1. Find a Good Photographer

The right professional photographer can make all the difference in your author photos. Yes, today���s cell phones have better cameras than ever. But that���s not all that it takes to get a good photo.

Today���s photographers are more affordable than you may think. I paid less this time around than last time, and it���s 11 years later!

Check their portfolio first. Look at lighting, locations, and creativity. Once you���ve narrowed it down to your top three, call them and talk to them. Email isn���t good enough. You want to feel like this person knows what they���re doing, and like you will feel comfortable working with them.

2. Choose Your Outfits

Most photographers allow you to use 2-4 outfits in your photo session. I highly recommend you go with at least three. This will give you a variety of photos to use in your branding and increase the odds that you will be happy with at least some of the final photos.

Set out the outfits you���re thinking of using���at least 5-10. Take selfies in each one, then send those to a trusted friend for input. Some of those outfits I thought would look best on me turned out not to be the final outfits I ended up going with.

Look for something that looks good on you. Colors are critical. Choose those that light up your face. The wrong colors can kill a photo shoot!

3. Check Your Hair and Makeup

Make sure your hair looks as you want it to before the photo shoot. This isn���t the time for drastic changes. Go with a style that flatters your face. If you need a trim or color, do it a couple of weeks beforehand. Don���t wait until the day before. Give your hair time to settle in.

It���s likely your makeup will need to be different than it was 10 years ago. Don���t hesitate to go to a makeup counter for help if you need to. And don���t go too heavy���makeup that naturally accentuates your features is best.

4. Be Rested and Calm

Nothing messes up a nice photo like fatigue. Schedule your photo shoot at a time when you���re likely to be relaxed (not right after a big event). In the days beforehand, get enough rest, eat well, and exercise. Take care of yourself���it will show in your photos.

On the day of your appointment, block out some time. You don���t want to feel stressed or like you���re running late. You need time to prepare your outfits, get ready, and feel relaxed before you go.

5. Take Your Time Choosing the Photos

Once the photo shoot is done, your photographer will likely email you a “roll” of the raw, unedited images. This is your chance to go through and choose your final photos.

Most photographers include a certain number of images with the photo session. (Mine included 15.) Be sure to check beforehand so you know how they manage this. You can usually get extras for an additional fee.

I’d suggest you take screenshots of those you like (usually photographers prohibit downloading initially), put them in a file, and let them sit overnight. The next day, look at them again and eliminate those you don’t like as much.

Ask one to three other people to weigh in. It helps to get outside opinions, but you don���t want too many. Opinions are subjective, and too many can be confusing. Choose a select few people whose opinions you value and see what they think.

Through a gradual elimination process, a few photos will rise to the top as those you want to use in your author branding.

Use Your New Photos!

Once you have your new photos, update everything. That includes your website, social media channels, and any new books you���re putting out.

My photo shoot coordinated with the release of my new historical fantasy, The Curse of King Midas. That was on purpose, of course! I dropped my selection in the back right before it went to print, and I���ve been in the process of updating everything else since then.

Don���t hesitate to invest in yourself this way. You���re an author���it���s okay to look like one.

Note: Get a free inside peek at The Curse of King Midas here, along with stories from Colleen���s writing life.

The post Top Tips to Help You Get Great Author Photos appeared first on WRITERS HELPING WRITERS��.

How to Avoid Clich��d Emotional Reactions

The single tear trickling down the cheek.

A kiss that leaves one���s knees weak.

The grin that stretches from ear to ear.

Yawn

Oh, excuse me. I almost fell asleep there.

Why Readers Hate Clich��d Emotional Responses

Clich��s in writing are frowned upon because they���re easy; they���re the sign of a writer who chooses to go with the first idea that comes to mind rather than digging deeper to find the exact phrase to suit the character and scene. They don���t contribute to a unique authorial voice or say anything about who the character is as an individual. Clich��d emotional responses are particularly yawn-worthy because they literally could apply to anyone.

Readers come to each story with different purposes���to be entertained, informed, or to escape the real world, just to name a few. But regardless of why they open up a book, they all have something in common: readers all want to be engaged, to lose themselves in the story world. And the best way to make that happen is to get them feeling as they���re reading.

Consider the stories you���ve read that were thoroughly engrossing, that you couldn���t put down. My bet is that your emotions were engaged along with the character���s. When she was in danger, your own heartbeat increased. When she experienced insecurity, you felt that twinge of uncertainty in your gut. Your spirits lightened just a bit at the moment of revelation, when she finally recognized the changes she had to make to achieve her goal.

When our character���s feelings are clear and logical, they trigger the reader���s emotions, making it harder for them to put the book down. Character emotion is, in my opinion, the most effective and longest lasting hook in our bag of tricks, so it���s imperative that we get it right in our stories. And clich��s that we���ve seen a million times or overuse in our own writing just don���t get the job done.

Each character, like each person, is unique, so their emotional responses should make sense for them individually. Here���s how you can make sure that happens in your story.

Study People

Emotional clich��s are common because we���re so familiar with them; we���ve seen and heard them a million times. To move past them and expand your emotional vocabulary, you just need more ideas for how various feelings can be expressed. This is why Angela and I started The Emotion Thesaurus, so we���d have more ideas to fall back on. Here are some of our favorite ways to gather that emotional data.

Watch Other People. What do the kids at the park do when they���re excited? What���s happening to that woman���s body when she���s annoyed? What���s going on with her face, her hands, her shoulders, her posture? Watching others can be tricky because you don���t want to be creepy about it. But good writers are often a little nosy. Hone those observation skills and notice what happens with other people when they���re experiencing certain emotions.

Better yet, Start with Yourself. Think about what physically happens when an emotion comes on. Take note specifically of the internal reactions, since you can���t study those in other people. What���s happening in your gut, in your muscles, to your pulse and breathing? Where does your mind go?

Analyze Books and Movies. Actors have to convey a character���s emotions believably; it���s what they get paid to do. So movies and TV shows can be a great resource. They���re also easy because we can rewind them or pause to make notes. Yes, literal notes. When you���re watching a movie or reading a book and you see emotions being conveyed uniquely, get out the notepad or laptop and write those examples down. Then you can examine them later to see how the author or actor was able to express the emotion so clearly.

Studying the emotional reactions of others will give you more ideas so you won���t have to rely on the ones you tend to overuse. Then, when you���ve got a good list of brainstorming options, make your character���s response realistic by individualizing it. To do that, you���ll need to know a few things about him or her.

Know Your Character

Personality plays a huge part in how someone conveys emotion. A flamboyant person is going to respond differently than someone who is timid. Likewise, someone who is easygoing will have different reactions than a high-strung character. So it���s important to identify your character���s dominant traits, since they will dictate many of their emotional responses. For help identifying those, check out our downloadable Character Pyramid and Character Attribute Target Resource from our Tools and Worksheets page.

Another factor that plays into this has to do with emotional range. Picture it as a straight line, with RESERVED on one end and DEMONSTRATIVE on the other. On a normal day, when it comes to emotional responses, where does your character fall on this spectrum? Is she pegged at one end? Right in the middle? Leaning toward one side or the other?

The answer to this question will provide you with a baseline for how your character will react so you can write her consistently, enabling readers to become familiar with her responses. That baseline will also help readers see when something is ���off������say, if the character is hiding her true feelings, or when she has a big, overblown reaction to something trivial. Unexpected responses will act like red flags, letting the reader know that something important is going on and they need to pay attention.

A third thing you want to figure out for your character is whether she tends to fight, flee, or freeze in times of stress. These are the common psychological responses to real or perceived threats. Characters often feel vulnerable when their feelings are triggered, and their natural tendency in this area will determine their emotional response to some stimuli.

Use Dialogue

Every character talks and interacts with others in their own way. Volume, tone, timbre, speech patterns, dialect, word choices, and other elements will be specific to him or her. Nonverbal habits will be present as well, since body language always plays a part in our conversations. But these verbal and physical cues will shift with the character���s emotions. When it comes to dialogue, think about how her voice and speech will change when she���s angry, excited, or sad. Make note of those differences and apply them when the specific feeling hits, and the reader will be able to easily track the character���s emotions throughout the story.

To bring it all together, let���s take one situation and show how different characters might respond. Let���s say we have a teen-aged heroine who is being confronted with a subject she���d rather avoid. Below is Character A���s profile, followed by her personalized response to this scenario.

Character A: Dionne
Personality: Respectful, cautious, sneaky
Emotional Range: Reserved
Fight-Flight-Freeze Response: Flight
Emotional Dialogue Cues: Speech gets short and clipped; fidgety hands; doesn���t meet people���s gaze

���So how���d the party go?���

Dionne plastered on a smile and buried herself in her Instagram feed. ���Great.���

���See, I knew you���d have a good time. Who was there?���

Her mouth went dry, but she didn���t dare swallow, not with Dad watching her over his coffee mug. Despite the hour, his eyes were bright and searching, twin spotlights carving through the mocha-infused fog.

She shrugged. ���The usual.��� Nothing to see here. Move along.

���What about Trey? I ran into his mom at the office yesterday and she said he was going.���

���Um, yeah. He was there.��� She scrolled quicker, the images blurring by.

���He sounds like a good kid. Maybe we could have him and his mom over for dinner.���

Her stomach lurched. ���Oh, I don���t know.��� Her phone trembled and she abandoned it, sitting on her hands to keep them still. ���We don���t really hang with the same crowd.���

Dad grabbed an apple from the bowl. ���Couldn���t hurt to branch out and get to know some new people.��� He slid into the chair across from her.

She stood up on legs that didn���t quite want to support her. ���Shoot, I just remembered. I have to finish my history paper. See you tonight?���

Halfway up the stairs, Dionne blew out a shaky breath. How could her dad be so smart at work and so stupid about people?

We see here how Dionne���s personality, emotional range, flight response, and dialogue habits all work together to paint a realistic response to a difficult situation. Now let���s look at the same scenario, but with a different character.

***

Character B: Beth
Personality: Bold, confrontational, impulsive
Emotional Range: More demonstrative than reserved
Fight-Flight-Freeze Response: Fight
Emotional Dialogue Cues: interrupts people; volume rises; defensive physical cues

���So how���d the party go?��� Dad asked, sliding into a chair at the table.

Beth looked up from her phone, her heart rate kicking up a notch. ���Fine.���

���See, I knew you���d have a good time. Who was there?���

She rolled her eyes. ���Sarah, Allegra, Jordan���you know, the usual.���

���What about Trey? I ran into his mom at the office yesterday and she said he was going.���

���I don���t know.��� She got up to dump her dishes in the sink, then leaned against the counter, arms crossed. ���Maybe? There were a lot of people there.���

Dad grabbed an apple from the bowl. ���He sounds like a good kid. Maybe we could have him and his mom over������

���Jeez, Dad!��� He quirked an eyebrow, so she lowered her voice even though she totally wasn���t yelling. ���Stop pushing. He���s not my type.���

���How do you know?��� He rubbed at a bruised spot on his apple. ���Couldn���t hurt to branch out������

���He���s not my type, okay?��� She barked out a laugh. ���I literally could NOT be less interested.��� Especially after last night.

He stared at her, so she glared back at him until he sighed and held up his hands in surrender. ���Point taken. I won���t bring it up again.��� He kissed her on the top of the head on his way out. ���See you tonight.���

He was halfway up the stairs before Beth blew out a shaky breath. How could her dad be so smart at work and so stupid about people?

***

Same situation. Two different reactions. This is how you take your character���s emotional responses to the next level. By spending a little extra time on the front end to get to know who your character is, it���s much easier to personalize their reactions. The end result will be characters that ring true for readers, who are then willing to participate in an emotional journey that carries them further into your story.

The post How to Avoid Clich��d Emotional Reactions appeared first on WRITERS HELPING WRITERS��.