Angela Ackerman's Blog: Writers Helping Writers, page 2

How to Use Weather to Create Mood, Not Clich��s

Are you afraid of using the weather in your writing? If so, you’re not alone. After all, if not careful, weather description can be a minefield of clich��s. The sunny, cloudless afternoon at the beach. The gloomy rainstorm at a funeral. Overdone setting and weather pairings can lie flat on the page.

Then there’s the danger that comes with using weather to mirror a character���s inner emotional landscape. Mishandling this technique can quickly create melodrama. We’ve all read a battle scene where lightning crackles as our protagonist leaps forward to hack down his foe in desperation. And how about that turbulent teen breakup where the character’s tears mix with falling rain? Unfortunately these have been used so much that most readers tilt their head and think, Really? when they read a description like this.

Agents and editors on first page panels never fail to reject a few openings that start with the weather, either. Why? Because done poorly, it comes across like a weather report, and delays the introduction of the hero. Readers are not always patient and we should strive to introduce our characters and what they are up against as soon as possible.

Wow, weather sounds like a recipe for disaster, doesn’t it? It���s no wonder that some writers are so nervous about using it they cut it from their manuscript. But here���s the thing���avoiding weather in fiction can be a fatal mistake.

Make Weather Your Friend

Weather is rich. Powerful. It is infused with symbolism and meaning. And most of all, weather is important to us as people. We interact with it each day. It affects us in many subtle ways. In fact, let���s test this by walking in a character���s shoes.

Think about walking down a street. It���s late afternoon, crystal bright, and a hot breeze blows against you. School���s out and kids run willy-nilly down the sidewalk, laughter ringing the air as they race to the corner store for a grape slush. Your sandals click against the pavement as you turn down between two brick buildings. The side door to an Italian restaurant is just past a rusty dumpster, and your fianc��e���s shift is about to end. You smile, feeling light. You can���t wait to see him.

Now, let���s change the scene.

It���s sunset, and the weather has soured. Dark clouds pack the sky, creating a churning knot of cement above you. The sidewalk is deserted, and the wind is edged in cold, slapping your dress against your legs as you walk. You wish you���d worn pants, wish you���d brought a sweater. In the alley, garbage scrapes against the greasy pavement and the restaurant���s dumpster has been swallowed by thick shadow. The side door is only a few steps away. You can���t quite see it, and while all you have to do is cross the distance and knock, you hesitate, eyeing the darkness.

The same setting, the same event. Yet, the mood and tone shifted, all because of the weather I included in the backdrop. What was safe and bright and clean became dark and alien. This the power of weather–changing how people feel about their surroundings.

Steering Your Reader’s Emotions

Readers bring the real world with them when they enter a story. Avoiding weather description will be noticed as it’s  such a natural part of the everyday, and it becomes a missed opportunity to steer how our readers feel.

Weather is a tool to evoke mood, guiding the character toward the emotions we want them to feel, and by extension, the reader as well. By tuning into specific weather conditions, a character may feel safe, or off balance. Weather can work for or against the character, creating conflict, tension, and be used to foreshadow, hinting that something is about to happen.

Because we have all experienced different types of weather ourselves, when we read about it within a scene, it reminds us of our own past, and the emotions we felt at the time. So, not only does weather add a large element of mood to the setting, it also encourages readers to identify with the character���s experience on a personal level.

How Do We Write Weather in a Clear Way and Stay Away From Pitfalls?

Use Fresh, Sensory Images. In each passage, I utilized several senses to describe the effects of the weather. A hot breeze. Garbage scraping against the greasy pavement. A wind edged in cold, slapping against the legs. By describing weather by sound, touch and sight, I was able to make the scene feel real.

Avoid Direct Emotion-to-Weather Clich��s. There are some pairings we should avoid as I mentioned above, and with so many different types of weather elements we really need to think past the usual ones. Avoid mirroring and instead show the character���s reaction to the weather. This is a stronger way to indicate their emotions without being too direct.

Choose Each Setting with Care. Setting and Weather should work together, either through contrast or comparison. In the first scene, we have beautiful weather and an alley as a final destination. These two are contrasts���one desirable, one not, but I chose to show enthusiasm and anticipation for the meeting to win out. In the second, the weather becomes a storm. Now we have two undesirable elements, and as such, they work together to build unease.

Weather can have a positive or negative effect on setting and change the character���s reaction to it, so don���t be afraid to use it! Just remember that with something this powerful, a light touch is all that is needed.

Would you like help brainstorming descriptions for different types of weather?

Check out our comprehensive Weather Thesaurus at One Stop for Writers. There you can access all sorts of weather phenomenon, and the sights, smells, sounds, tastes and textures that will help you show, not tell, building in the exact emotional mood you want for each scene.

Great news! Check out this post to get 25% off any One Stop for Writers plan through September 25, 2025!

How do you use weather in your stories?

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Win Feedback on Your First 3 Pages & Blurb

Good news, wonderful
writerly people���it���s time for our monthly Phenomenal First Pages contest, where we help transform your story���s opening from good to great!

If you need a bit of help with your opening, 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!)

Five winners will receive feedback on their first 3 pages and blurb!

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 pages and blurb.

How Do You Write an Amazing Book Blurb?

Writing a strong book blurb is important–whether it’s for the back of your book or to entice an agent or editor to read your query.

Here are several helpful posts:
How to Craft a Top-Notch Blurb
Back Cover Copy Formula
Blurbs that Bore, Blurbs that Blare

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Five winners will be drawn. We will email you if you win and let you know how to submit your first 3 pages and blurb. Please have your pages ready in case your name is selected. Format with��1-inch margins, double-spaced, and 12pt Times New Roman font.��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.

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How To Push Past The Fear of Never Getting Published

“What If No One Ever Publishes My Work?”

If you’re worried that no publisher will pick YOUR novel, you’re not alone. This is a fear I’d venture 100% of authors have … and of course, it may even come true. Most of us will have at least one book we query that does not sell!

However, rejection is frequently most painful at the beginning of our writing careers. Not getting off the starter blocks straight away can feel awful, or even like an omen. After all, if we were ‘meant’ to be authors, then agents and publishers would snap up our books … right?

WRONG! Just because your book does not get published does not mean you’re automatically doomed. Plus acknowledging that literally every writer has this worry can help. Normalizing it and talking about it can only help us. Ready? Then let’s go …

Tip # 1: Name The Fear!

The worry you will ‘never’ be published comes from self-doubt. That’s why we need to crush self-doubt wherever possible. We can do this by identifying common thought spirals and rejecting them, such as …

���I���m not talented enough.��� ��Seriously, how do you know this? Authors are notoriously bad at running themselves down. Besides, you may have someone’s favorite book of all time inside you. ���I���ve already failed.����� Authors frequently skip ahead and tell themselves they’ve failed already. They do this because it seems ‘realistic’ and might help ‘manage expectations’. But guess what? This tactic won’t make rejection hurt any less, so you might as well hope for the best outcome! “The gatekeepers are against me”. ��Some authors like to imagine the industry is against them to help fend off disappointment. Whilst the industry is hierarchical, ultimately it wants great stories, well told. That can be YOU, no matter your background.

Naming the fear stops it from controlling you in the background. Don’t let it suck you under and hack your brain.

Tip # 2: ��Redefining What ���Published��� Means

In ye olden days of just 15-20 years ago, publishing was very much a closed shop. You had to get a literary agent, who in turn would take your book to the Big Publishers and a small selection of Indies. That was the only route in.

Yet nowadays, authors have more options than they’ve ever had. The digital revolution with the Kindle, Kobo, KDP etc has changed everything. There are more indie publishers, digital-firsts, micropresses and self-publishing than ever.

This means that in real terms, it’s actually impossible not to get published … because you can learn how and do it yourself!

This fear often comes from a narrow definition of ‘success’, especially when authors see self-publishing as a last resort.

In real terms, self-publishing can be amazing. You can have more control and even make more money than a traditional deal!

Instead of looking at the industry the ‘old’ way, look at it with NEW eyes. Instead of thinking, ‘I want a traditional publishing deal or I am a failure’, think how can I SHARE my writing with the world?

Flipping that mindset switch can make all the difference!

Tip # 3: Building Resilience as a Writer

Persistence is the key skill in any author’s toolkit. Various things will happen in not only writing, editing and submitting your novel, but in the publishing of it as well.

There will even be times you do everything you’re supposed to, but someone else drops the ball. That is inevitable. Cultivating resilience is all about creating strategies to help you keep on keeping on:

Rejections as data, not verdicts.Tracking small wins (shortlists, personalized feedback, finished drafts).Building a writing practice that is not solely outcome-based.

Keep your feet on the ground any way you can. As the saying goes, novel writing is a marathon, not a sprint!

Tip # 4: Community, Not Competition

It’s true that many of our loved ones don’t truly get what it’s like to be a writer. This is why finding peers who do can really help ease the loneliness of the fear.

Writing groups, events and online communities can be great places to share the struggle. Knowing that others have to face climbing the same wall helps you keep climbing it!

Tip # 5: Action Beats Anxiety

Fear can make you stand still because it thrives in stagnation. In contrast, movement shrinks the fear … which is why it’s a GREAT IDEA to keep going! Here’s some ideas of how to do that …

Make submissions, often. Whether you’re sending to agents, contests, anthologies, writing websites, magazines or journals, keep at it. If it’s scary, then it’s working.Keep on learning!��Be a student of the craft. Keep going to workshops, reading books, getting feedback.Take back your power.��Publishers and agents love autonomous writers. Build your platform. Start small with your own blog, TikTok, IG, email list, book club or similar. Create a following by having fun, doing what you love.

The progress you make will help give you confidence … and take you where you want to be. What’s not to like?

Last Points

Fear is part of the writing journey, but it doesn���t have to dictate it. Your only job is to keep writing, keep submitting, keep showing up. Publishing may take longer than you want, but every word written is proof you haven���t let fear win.

Good Luck!

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How to Show Your Character���s Repressed Emotions

Crafting characters that readers will connect to is every writer���s goal and dozens (hundreds?) of methods exist to achieve it: deep backstory planning, character profile sheets, questionnaires, etc.

Regardless of the roadmap a writer uses, writing an authentic character boils down to one important action: intentionally drawing from the real world, and specifically, the human experience.

The human experience is powerful, an emotional tidal wave that holds us in thrall. We understand it, relate to it, and live it. This is why, even when a character faces a challenge, barrier, or struggle that readers have not experienced in the real world, they can imagine it and place themselves within the folds of the character���s viewpoint.

Portraying an accurate mirror of humanity in fiction means we must master emotions. Getting raw feelings on the page isn���t done solely through a character���s shrug or smile; instead, a marriage of internal and external elements should show readers what is being felt and why. Body language, behavior, dialogue, vocal cues, thoughts, and internal sensations weave together to draw readers into the character���s emotional landscape.

Showing a character���s emotions isn���t always easy, especially when powerful emotions are at work. Characters may feel exposed or unsafe and instinctively try to repress or disguise what they feel. This creates a big challenge for writers: how do we show readers what the character is feeling when they are trying so hard to hide it?

Thankfully again, the human experience comes to the rescue. If a character is repressing an emotion, real-world behaviors can show it. Readers will catch on because they���ll recognize their own attempts to hide their feelings. Here���s a few ideas.

Over and Underreactions

When you���ve done the background work on a character, you know how they���ll react to ordinary stimuli and will be able to write reliable responses. Readers become familiar with the character���s emotional range and have an idea what to expect. So when the character responds to a situation in an unexpected way, it sends up an alert for readers that says, ���Pay attention! This is important.���

A character may fly off the handle at something that seems benign or behave subdued in a situation that should have them upset. When this happens, these unusual responses signal that something more is going on, and the reader is hooked, wanting to uncover the why behind this unexpected behavior.

Tics and Tells

No matter how adept a character is at hiding their feelings, they all have their own tells��� subtle and unintentional mannerisms that hint at deception. As the author, you should know your characters intimately. Take a close look at them and figure out what might happen with their body when they���re being dishonest. It could be a physical signal or behavior, such as covering the mouth, spinning a wedding ring, or hiding the hands from view. Maybe it���s a vocal cue like throat-clearing. It might be a true tic, like a muscle twitch or excessive blinking. Figure out what makes sense for your character, then employ that tell when they���re hiding something. Readers will pick up on it and realize that, when it���s in play, everything is not as it seems.

Fight, Flight, or Freeze Responses

In the most general sense, the fight-flight-freeze response is the body���s physiological reaction to a real or perceived threat. We see this in everyday interactions: when a person invades someone���s space, stops what they���re doing mid-action, or literally flees the scene. It also happens on a smaller scale in our conversations. Remember that every character has a purpose for engaging with others. When that purpose is threatened, or the character feels unsafe, the fight-flight-freeze reflex kicks in.

Fight responses are confrontational in nature and may include the character turning toward an opponent to face them directly, squaring up her body to make herself look bigger, or insulting the person to put them on the offensive.Characters who lean toward flight will have reactions centering around escape: changing the subject, disengaging from a conversation, or fabricating a reason to leave.If the character���s fear or anxiety is triggered, they may simply freeze up, losing their ability to process the situation or find the words they need until something external happens to free them.Passive-Aggressive Reactions

Passive aggression is a covert way of expressing anger. If a character is angry but doesn���t feel comfortable showing it, they���ll often default to certain techniques that will allow them to get back at the person without revealing how they really feel. By employing sarcasm, framing insults as jokes, giving backhanding compliments, and not saying what they really mean (We���re good��or I���ll get right on that), characters are able to express their feelings in an underhanded way that others may not recognize or know how to deal with.

This can be a tricky technique to use, because, by definition, passive aggression masks the truth. But you can reveal it through a character���s thoughts, the physical signals they exhibit in private (particularly just after an interaction), and the cues they express when the other person isn���t looking.

Incongruencies

The most common way to show hidden feelings is to highlight the incongruency that occurs when the character tries to mask one emotion by adopting the behavior of another. Imagine a character saying ���Come in, I���d love for us to visit��� but their body betrays the untruth of these words, perhaps through a strained voice, by closing of the door an inch rather than pulling it open wider in welcome, or by the keyring in their fist with the largest key thrusting out between two knuckles like a weapon.

If the reader is in the character���s POV, thoughts can also counterweight behavior or to provide context if the character is hiding true emotions out of fear. Incongruencies work well because all people use them to maintain the status quo in a relationship or stabilize a situation.

Reveal Hidden Feelings with Subtext.

Use dialogue and nonverbal cues to show your characters’ unspoken emotions and add depth to conversations. Readers will love piecing together what���s left unsaid, and their connection to your story will be heightened.

The Emotion Thesaurus: A Writer���s Guide to Character Expression is a treasure trove of information on how to show exactly what your character���s feeling���even when they want to keep it hidden.

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How to Differentiate Stories from AI Slop

Use Context to Deepen Our Writing From AI Slop

For as long as I���ve been a writer, I���ve heard the advice, ���Only write if you can���t not write.��� The idea behind that tough-love guidance is that writing can be ridiculously hard work, publishing can be even harder, and that most published authors won���t make enough money to justify all that effort, so don���t start down this career path unless you can���t imagine any other journey. This advice is even more timely given that we���re now in competition with stories ���written��� by generative artificial intelligence, often called AI slop.

The overwhelming number of books on Amazon has ballooned with several get-rich-quick schemes over the decades, from publishing fanfic and using ghostwriters to the current explosion that uses AI to Frankenstein a story mimicking the pirated books it���s been trained on. As Angela has written about previously, far too much publishing advice the last couple of decades has focused on volume������just learn to write faster!��� But no ability to write faster will help us compete with the countless-and-never-ending amounts of AI slop filling Amazon���s shelves.

So how can we compete? Angela has a fantastic post with lots of great advice on how to outshine AI-generated books, but I want to share some thoughts from the perspective of looking at our strengths compared to AI���s weaknesses. Namely, AI doesn���t understand context, so the more we lean into and deepen our use of context within our stories, the more we can make them meaningful, authentic, and different from the slop.

Wait��� What Does ���AI Doesn���t Understand Context��� Mean?

Contrary to the term ���artificial intelligence,��� AI isn���t actually intelligent. It doesn���t understand the context or meaning of the words it spouts. It can recite definitions, but it doesn���t truly understand them.

Rather, the software currently being touted as AI is just a predictive algorithm, a more complex version of the auto-complete suggestions that have shown up on our phone���s keyboards or word-processing programs for years. It merely spouts words that it predicts should follow a prompt or previous set of words.

The generative AI that we���re talking about today (as opposed to the types of useful-and-ethical AI, such as analyzing images for finding cancer cells or wildfires, etc.) generates strings of words that seem like they go together. That ���seems like��� is based not on the context of the words or situation, but on the percentage of times it���s seen those words clumped together before. That���s it ��� it���s just predicting what should come next based on percentages of previous occurrences it���s seen in its training data (i.e., pirated books).

In other words, our current generative-AI technology gives the most predictable answer or story beat. It���s the ultimate source of stereotypes and obvious plot points, dialogue lines, and character traits.

In addition, because generative AI doesn���t understand the meaning of words���the context of words or situations���it can���t make unobvious or unpredictable connections. It will only generate ideas that it���s seen before, and it will only connect ideas that it���s seen connected before.

Those weaknesses of generative AI hint at how we can differentiate our work: making unique story choices and using context to deepen meaning.

Tip #1: Avoid the Obvious and Predictable

Long ago, an agent���s blog post (that I can no longer find) advised that writers should never rely on the first idea that pops into their head. He said that our first idea is often the easiest, top-of-mind, most predictable, and most obvious. He pushed authors to dig deeper and consider using our third, fourth, or fifth idea instead, as those would more likely be less obvious, and thus, less predictable. This guideline may be even more applicable now.

The less predictable our writing and storytelling, the more our book will be unique. In turn, our story will be unlike all the copy-and-paste AI slop that���s been cobbled together from all the stolen stories in the AI���s training data.

While this advice won���t necessarily help us immediately stand out from the bursting Amazon shelves, unique stories will earn us a reputation among our readers and reflect in our reviews. That reputation for unpredictable���yet logically, thematically, and/or emotionally connected���storytelling will eventually help us stand out from the crowd.

Tip #2: Deepen Context and Connections

Think of all the ways that a story authentic to the human experience includes context and situations that have no ���one true answer��� and involve nuance beyond an AI���s understanding:

How does a character���s past affect their current thinking and emotions?How does a character���s backstory wound affect their ability to relate to others?How does a character���s past affect their dreams, goals, and motivations?How is a character���s past connected with their choices?How do the story���s obstacles interact with those aspects of the character(s)?How do the story���s events affect the character���s growth?How do all those aspects of the character and the story interact with other characters and their histories?How do the antagonist and protagonist���s character traits connect and reflect each other?How is a character���s success or failure in overcoming obstacles connected to their choices?How is a story���s theme reflected through all of the above���from goals and motivations to choices and success?How will readers relate on a deeper level to the emotions, choices, and themes of the story?

And so on���as the list is endless. Every element of storytelling that makes a story genuinely human and relatable is a source of context and connection that AI doesn���t actually ���get.��� It can make predictions and generate words based on what it���s seen before, but it doesn���t actually understand how past affects present, or the complexities of human relationships, or how growth changes us, etc.

Because it doesn���t understand the nuances and emotions of situations, AI can���t create writing that explores those connections in unpredictable, unique, or unobvious ways. It can���t dig into what those situations feel like and what they mean to our characters and their hopes for the future���or what they mean to readers. It certainly can���t pick up on subtext or hidden ideas to deepen readers��� insights into how previous events connect to every aspect of a character or why a character may make an unpredictable or unexpected choice.

In other words, a story generated by AI can go through the motions of those story and character elements and connections, simply by mimicking what it���s seen before. But since it doesn���t truly understand the human experience, it can���t go into depth and explore the situations and emotions in unexpected ways. It can���t reveal new insights into the human experience that are authentically relatable to readers.

Tip #3: Focus on Deep, Relatable Characters and Stories

Every character should be unique, and their personal context of their past and their goals, motivations, and choices should therefore lead to unique outcomes. As I���ve said since the fanfic-get-rich-quick days, if we replace our character with someone else, but nothing in the story changes, then we haven���t actually created a three-dimensional unique character.

The same goes for the story as a whole: If an AI could write our story, then we haven���t created the story and characters that only we could write���with our own context, history, and understanding of the human experience. It would mean that we not only haven���t created three-dimensional unique characters with their personal context guiding everything they do and choose, but that we also haven���t dug deeply enough into how all that context affects the story overall to create a new and unpredictable���yet relatable���story for readers to enjoy.

Final Thoughts: Differentiating Our Stories from AI Slop

None of this is new advice, obviously, but it���s more important now than ever to lean into our human understanding to differentiate our work from that of AI. (And yes, none of this will help us get our work the exposure we���d like, but Angela���s posts have good advice for that issue as well as specific tips for leaning into our human experience.)

There are many aspects of our career that we don’t control���historically, the traditional publishing path or our level of success have been obvious examples���but ensuring that we write good, unique stories with deeply human and relatable characters is something we can control. *smile*

Have you struggled with motivation to write given all the news about AI���s entry into the publishing world? Do you have different thoughts about AI or its weaknesses or our strengths? Do you have additional ideas for how we can differentiate our work?

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Show, Don’t Tell: Write Authentic Character Reactions with The Emotion Thesaurus

Showing authentic character emotion isn’t easy, which is why so many writers turn to The Emotion Thesaurus: A Writer’s Guide to Character Expression. It covers 130 emotions, providing lists of body language, visceral sensations, dialogue cues, and thoughts to help you describe them.

Today, the eBook is a Kindle Day Deal $1.49 at Amazon (US and Canada).

We aren’t big on splashy book promotion but we are big on saving you money. If you don’t already have this guide, we hope you’ll be able to take advantage of this deal. And if you know someone who may need this book, give them a shout so they can stretch their book funds further.

The list of emotions in this guide
More about this book
Read a sample

Find it at Amazon.com ($1.49 eBook) *affiliate link
Find it at Amazon.ca ($1.49 eBook)

And in case you hadn’t heard…

The Emotion Thesaurus has a companion guide:
The Emotion Amplifier Thesaurus

The Emotion Amplifier Thesaurus: A Writer’s Guide to Character Stress and Volatility is exactly what you need to draw readers even deeper into your character’s perspective…and inner conflict. Not only does this guide show you how to bring a character’s hidden emotions to the surface, it also teaches you to ‘amplify’ their reactions so poor judgment, bad decisions, and mistakes follow.

Pain, Pressure, Competition, Scrutiny, Hunger… States and conditions like these make things even harder for your character to handle and easier for their emotions to spill over. Hello, conflict!

Set up like The Emotion Thesaurus, this guide shows you how to describe your character’s body language, internal sensations, thoughts, vocal cues, and more for 50 unique states and conditions. You’ll also learn how to make emotional moments more meaningful and use your character’s internal strain to build reader empathy and investment.

The list of emotion amplifiers in this guide
More about this book
Read a sample

Find it at Amazon.com *affiliate link
Find it at Amazon.ca

We hope these books help you as you write, and thank you for all the book reviews! Becca and I are hard at work on the next volume in the thesaurus series: The Fear Thesaurus! If you’d like a sneak peek at what this book will cover, visit the FEAR THESAURUS at our One Stop for Writers THESAURUS database.

Happy writing!

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Hidden Ways Procrastination Affects Productive Writers

I���m a productive writer. I get things done. I���ve published ten books, built an author platform, grown a subscriber list, and I regularly speak at writers��� conferences and events.

But while researching my latest book, Escape the Writer���s Web, I stumbled across something uncomfortable. Despite all the ways I consistently show up, I���m still procrastinating.

Not in the ways we usually think. I���m not skipping writing sessions or ghosting my newsletter. I get the words written. I send the emails. I consistently design graphics to share on social media, put out a weekly YouTube video, and connect with readers at local events.

But even with all that effort, I���ve often felt like I haven���t quite reached the level of success I wanted. For years, I chalked that up to external things���timing, trends, discoverability, etc. But as I dug into the research for this book, something else started to surface.

Something that I think affects a lot of writers like me���the ones who get the work done, but still feel stuck at a certain plateau.

Here���s the bad news: Most of us? Yep, we���re still procrastinating, but it���s a quieter, more sophisticated kind of delay that we would never recognize as procrastination at all.

When Playing Small Is the Real Delay

One of the most uncomfortable truths I���ve had to admit in the past year is this: I���ve been procrastinating on going to the next level in my writing business.

I���m not scrolling endlessly, avoiding the work, or slacking off. But I am doing just enough to stay in exactly the same place. And as I started trying to build a deeper, more intentional part of my business, I came face-to-face with a deeper resistance.

What if I can���t do it? What if it doesn���t work? What if I fail?

Suddenly, everything I���ve learned about procrastination clicked into place. The key finding is this: Procrastination isn���t just a time management or a discipline problem���it���s an emotional coping technique, a way of avoiding something that���s uncomfortable or that feels dangerous or risky.

When I applied that to myself, I could see how I was using ���staying busy��� and ���doing what I���ve always done��� as protection against feeling those fears that were buried deep in my mind.

This kind of procrastination doesn���t look like taking it easy. It often looks like responsibility, consistency, and productivity. So, how do you know if it may be at work in your writing life?

How to Spot Productive Procrastination in Your Own Work

It starts with asking: Where do I feel the most friction? You’re looking for those areas in your business where you feel you haven’t “made it” yet���where you haven’t reached the level of success you wanted to. Usually, we feel frustrated about that, but we may also feel powerless to change it. 

Here are some examples of when what I call ���productive procrastination��� may show up:

Doing what’s familiar instead of what���s needed to push yourself to the next level.Tinkering endlessly with the same type of content that is not getting you results, rather than experimenting with something new.Spending hours on admin work when you know the real task is visibility or growth.Focusing on visibility tactics that feel ���safe��� (like social posts or passive SEO) instead of direct outreach, collaboration, or higher-stakes opportunities.

The goal isn���t to judge ourselves, but to simply notice. When we see it clearly, we can start making different choices.

Why Productive Writers Still Struggle to Move Forward

You���d think that once you���ve proven you can write a book, meet deadlines, and build an audience, you���d be immune to procrastination. But here���s what I���ve found: the more you grow, the more personal it gets.

When you’re just starting out, there’s a kind of freedom in being unknown. You can experiment, fail quietly, and if you want, change direction without much fanfare. But as your work becomes more visible, the stakes feel higher. You’ve built something substantial, and now there’s more to lose.

The more experienced you are, the more nuanced procrastination becomes. You may see it as focusing on what���s working, staying consistent, and protecting your energy, when really, it���s keeping you spinning in the same circles.

Moving to the next level���whatever that looks like for you���always involves risk. It means being seen in a new way and, even more importantly, stepping into a new identity that feels unfamiliar. That stirs up the same fears that stopped us in the beginning: What if this doesn���t work? What if I���m not as good as I thought? What if I can���t do this right?

This kind of emotional friction is easy to miss, especially when you���re still being productive. But it���s precisely because you are productive that you need to be more discerning.

What to Do When You Spot the Procrastination Pattern

Once I recognized that I might be stuck in a pattern of high-effort, low-impact procrastination, the next step was to get honest.

So I asked myself: What am I avoiding by staying here?

This wasn���t an easy question to answer. For me, it took some time to see it. I also had to be purposeful about it and pull my head out of my long to-do list. Journaling helped. (Hint: It���s usually about fear.)

Once you figure it out, it can be hard to face the truth. Could I really be sabotaging my own progress? Actually, it���s really common! There���s a lot to scare us in that next step. You might be protecting yourself from overwhelm (as you know you���ll have to do more or be more), from the vulnerability of claiming a bigger goal, or even from the grief that comes when the thing you built no longer fits who you are.

Once I realized I was staying safe by ���doing what I always do,��� I had to shift the question. Instead of ���What do I need to do this week?��� I started asking, ���What would next-level me prioritize?���

That simple change has started to crack things open. And it���s leading to a stronger realization that���s exciting but scary at the same time: I���m no longer happy with where I am. It feels safer. But it���s no longer enough for me. And I suspect that clear awareness will help me go where I want to go next���eventually. If I keep asking myself that question every day! (���What would next-level me prioritize?���)

Once you spot the emotional reflex behind your current habits, you too can start building a writing and business rhythm that reflects where you���re going, not just where you���ve been. Name the emotion behind your delays, and you gain back some of your freedom.

Final Thoughts

If you���re a productive writer who���s still not where you want to be, you might have fallen victim to the quiet kind of procrastination that hides behind productive habits.

Once you understand what you���re protecting yourself from, you can make different choices. It���s also likely that you, like me, will suddenly become aware of just how much you���ve outgrown your current situation, and how much your creative self needs you to brave the next step.

After that, the only question is: do you have the courage to do it?

If you���re ready to name the pattern and shift it for good, Escape the Writer���s Web will help you identify your procrastination type and show you how to move forward in a way that fits your real creative life.

If you want hands-on guidance, join me for a live, virtual three-hour intensive workshop on September 20th.

We���ll cut through the emotional resistance, map your personal triggers, and build a system you can actually stick with. Discounted price available through September 8th!

Not sure where to start? Take this quick quiz to find out which procrastination type fits you best and where to go from there.

The post Hidden Ways Procrastination Affects Productive Writers appeared first on WRITERS HELPING WRITERS��.

Make Yourself the Most Useful Writer in Your Critique Group

Critical response process turns you into the critique partner every writer wants: someone who offers actionable observations instead of opinionated fixes. Developed by choreographer Liz Lerman for dance and theater critique, critical response process teaches you to describe what’s happening on the page and why���skills that help fellow writers identify issues while sharpening your own revision abilities.

We���ve all been in critique groups where members jump straight into suggestions based on personal taste rather than sniffing out the underlying issue. CRP flips this by focusing feedback on observation and analysis. It���s a supportive approach that lets writers choose which suggestions to explore, creating an environment free from criticism or railroading.

The method is refreshingly simple: Describe what you observe, celebrate what’s working, and ask neutral questions that guide writers to their own discoveries about any elements that could use further development. This approach keeps authors in the creative driver���s seat while building analytical skills you can apply to your own writing.

The Asset Inventory

An often-overlooked but crucial element of effective critique is identifying what���s working well. This isn���t about the sandwich method (hiding criticism between soft, fluffy compliments) or saying something just to be nice or make someone feel good. Pointing out successes affirms the strategies the writer has chosen (some of which might have been instinctual), encourages productive directions, and prevents writers from needlessly revising writing that works.

It���s common as a new critique partner to get hung up on mechanical errors and particulars that are easily polished at a later stage. Instead, develop your eye for the craft. Can you spot the storytelling choices and details that are effectively supporting and moving the story? Can you articulate why they���re on target���beyond ���I liked it���?

Describing what and why builds your own skill at identifying writing that works and how���the foundational techniques for revising your own work. The more detail you can give about what you observe, the more actionable data you provide and the better you get at seeing how writing choices shape the reading experience.

Ask yourself what you noticed as you read. What stood out? What in this excerpt was notable?

Describe those observations using words like:

energizingevocativeprovocativemeaningfulsignificantexcitingmemorablesatisfyinginterestingeffective

Now pull it together into observations that show what���s creating an effective, vivid reading experience:

“That bakery scene on page 12 came alive for me.”“You wove the weather details seamlessly into the action. I felt the heat without any info-dumping.”“I burst out laughing when …”“Your sentence variety really caught my attention. The rhythm on page 7 pulled me right along…”“I’m completely hooked on whether Maya will make it to the audition.”���I enjoyed the image of the caf�� tables like scattered coins.”“I loved watching the dancers slowly sync up with each other.”“All that reflection about her childhood got me thinking about what Lee-Lee might do with these memories later.”“That running gag about the broken elevator had me grinning.”“The writing pace was perfect���everything tightened up as we approached the confrontation.”“This internal monologue really let me experience Tom’s confusion firsthand.”“So many moving parts here: the argument, what Graham���s remembering, his worry about Damien���s reaction, plus what the narrator’s highlighting. I loved the layered storytelling.”“The grief feels raw and authentic.”“That final image wrapped up the scene beautifully and left me desperate to see what happens next.”Describe and Analyze

Writing issues usually have multiple causes and potential fixes, so resist the urge to offer the first solution that comes to mind���that’s probably what works for your own writing, not someone else���s. You’re working in their story now, so expand your perspective.

For instance, a character you see as a stiff cardboard token might be articulated in technicolor detail elsewhere in the manuscript; they only feel flat because those characteristics aren���t coming through in the workshopped excerpt. That says more about the scene content and tension than it does characterization, so don���t rush into an incorrect diagnosis.

Stick to description. When you catch yourself thinking, “This character doesn���t seem to be emotionally invested here,” pinpoint exactly where that reaction kicked in. What did you notice that triggered that response?

The skills you build by doing this sharpens your analytical skills and helps you understand how writing choices create reader experiences���and it will transform your ability to revise your own work.

The Art of the Neutral Question

Once you���ve identified and articulated an issue, it���s up to the author to decide how to address it. Unless someone has specifically requested your ideas, advice on what to do next is often best left to experienced editors and coaches. There���s nothing more painful to a writer than having to listen to off-the-cuff ���solutions��� that don���t fit their vision for the story or characters.

Instead, offer observations as neutrally framed questions. The trick is to avoid embedding judgments or solutions in the question itself.

Don’t ask: Why do the characters shout all the time?
Do ask: What guided your decisions about dialogue tags and exclamation points in this passage?

Don’t ask: What do you think readers will say about killing off Marcus so early?
Do ask: Walk us through your decision about Marcus’s story arc.

Don’t say: I didn���t buy that she’s a trained spy.
Do ask: What’s the competency level you want readers to see in this character?

Don’t ask: Why did you write everything in present tense?
Do ask: How did you approach your tense choice for this story?

Don’t ask: Why does he hate his family so much?
Do ask: Can you describe the family dynamics you’re building for this character?

Don’t ask: Shouldn’t this flashback come later?
Do ask: How did you decide to place the backstory at this point in the narrative?

Once you���ve drawn attention to an area with a neutrally presented question, you can step back and let the creator decide whether to implement any changes and how.

More on Critique and Workshopping

Part of what I do as a book coach and author of The Writes of Fiction is curating potent, actionable advice and resources for fiction writers. Here are some favorites on critique and workshopping:

The Writer���s Guide to Critique
Building Your Writing Support Triangle: Critique
Don���t Write Alone: Top 10 reasons to join a writing group or community
When it���s time to leave your critique group
Transform your critique group
Six rules for productive critique partnerships
The hierarchy of editorial concerns
A useful critique checklist
How to compile and evaluate critique feedback

Examples in this article inspired by Lerman, Liz, and John Borstel. Critique Is Creative: The Critical Response Process. Portsmouth, NH: Heinemann, 2003.

Quick Recap: Critical response process will make you the most valuable member of your critique group by helping writers identify and understand issues without encroaching on their creative territory with your own solutions. Effective critique analyzes and highlights what���s already working well, describes issues in neutral terms, and uses neutral questions to draw attention to areas needing more consideration.

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Writing 101: How to Fix an Infodump

The latest post in our Writing 101 series is all about the dreaded infodump���when the author drops a landslide of information on the reader and the pace (and reader interest) grinds to a halt.

These big blocks of text often show up in early chapters when a writer wants to be sure they���ve explained everything clearly. They might cover a piece of the character���s backstory, an explanation of the world���s political history, or a user-manual description of how the magic system works.

How Infodumps Hurt Reader Engagement

At first blush, it seems like infodumps aren���t such a big deal. I mean, sharing information so readers know what���s happening in the story is a good thing, right? The problem is, as authors, we always think readers need more details than they actually do.

One of the issues with an infodump is that it never comes at a good time. If you start with it, you���re sharing information before the reader���s gotten a chance to know the character or get into the world. They recognize that the real story hasn���t started yet, and they start wondering when you���re going to get to the good stuff. Without knowing it, you���ve started a timer marking the reader���s dwindling patience and counting down to them giving up.

So maybe you don���t start with the infodump. Maybe you work hard in those first pages to introduce the protagonist, build reader engagement, create intrigue���all the things a strong opening needs. Then comes a story element you feel needs a little more explanation. So you drop the infodump there. And it kills that momentum. Readers recognize that the character���s story has been interrupted so certain information could be relayed, and they don���t appreciate it.

Timing aside, a more fundamental problem with infodumps lies in their makeup. Because they���re expository in nature, they lack conflict, tension, and interest. They���re simply a summary of something important we want the reader to know. The poor reader, who was happily engaged and immersed in the character���s story, has been kicked out of it and is now being talked at.

Regardless of when an infodump occurs, the result is the same: a slowed pace and decreased reader engagement. This isn���t the experience we want to give readers, so it���s best to avoid infodumps if at all possible.

Identifying the Dreaded Infodump

The first step is learning to identify infodumps in your writing so you can do something about them. They often show up in the first draft, which is fine, because drafting is all about getting the words on the page. Revision is when we examine those words to see how they can be refined and improved, so when you get to that stage, look for the following:

Big blocks of exposition. Often, these paragraphs contain little dialogue, movement, or action and can be identified by their lack of white space.Lengthy passages of a character���s thoughts. Whether they���re remembering a backstory event or ruminating about the setting, remember that thoughts are passive. Nothing is happening in real story time, and too much of that will seriously mess with the pace.Paragraphs that read like encyclopedia entries or news articles. They may explain history, systems, or relationships, but if they���re not connected directly to what���s happening in the character���s current story, they���ll read as dry.Information that���s not relevant. Ask yourself: Is it crucial that the reader know this right now? If it���s not tied to what the character is doing, feeling, or choosing in the scene, it���s probably not necessary at this point in the story.Places where you���re tempted to skim. If you���re skipping or hurrying past passages, readers will be doing it, too.Fixing an InfodumpKill Your Darlings

Many times, the information you���re desperate to include isn���t needed after all. In these cases, for the good of your story, they need to be cut. Try removing these bits and see if the story still works. If you have a hard time deleting those passages, keep the cut material in a separate file. Then you���ll have it in case you want to revise it and use it later in the story or even in another manuscript.

But what happens if your infodump really is necessary for clarity? You���ll want to reconfigure it so it���s delivered in a satisfactory way that doesn���t slow the pace.

Trim It Down

You���ve heard the old adage about how to eat an elephant? (One bite at a time.) The same principle applies to infodumps. Rather than explain everything at once, split the passage into manageable pieces. Leave the bare minimum that readers need to know right now, and save the rest to be doled out in bits and pieces later.

Deliver It Naturally

One of the reasons infodumps don���t work is because they���re boring. As authors, we tend to go on about the bits of worldbuilding or backstory we came up with and are super jazzed about. But it turns out readers aren���t as excited about the ancient feud that created a class inequity or the prevailing religious order���s creation myth. So if that information has to be shared, we���ve got to do it quickly and make it interesting. For instance, what if the character (instead of the author) provides a trimmed-down version of the info? If they do it themselves, in their own voice���using their word choices, comparisons, and worldview���it becomes part of the story instead of a disruption to it.

Don���t do this: The realm had been at war for centuries due to an age-old betrayal.

Do this: They say the war started over a broken treaty. But no one knows who did the breaking���only that we���ve been fighting ever since.

Connect It to Character Emotion or Motivation

If a detail matters to the character, it will matter to the reader. So make sure the details in your infodump matter in important ways. Use them to build tension, characterize, show the character���s fears or desires, or reveal why they���re struggling.

Don���t do this: Mira grew up in a strict household and a family with a long line of military fathers.

Do this: As the front door creaked open, Mira snapped upright, spine straight. It was pure muscle memory now, thanks to years living under the Colonel���s roof, where forgetting her father���s protocol meant rebukes, punishments, and an eidetic record of every wrongdoing.

Rewrite Passive Passages as Active Ones

Rewrite passive passages to include dialogue and action beats. This gives them a more active feel that keeps the pace snappy. It also seamlessly weaves information into what’s happening so the reader’s attention stays on the story, not on the infodump.

Don���t do this: The engine was powered by a plasma core that needed to be recharged every six hours.

Do this:

���How long until the next plasma core recharge?��� Sarah asked, scanning the readouts.
Jin sighed. ���It���s only been two hours. I���ll handle it before the six-hour mark.���
���Good. If this thing dies, we���ll be floating home.���
Jin didn���t bother saying he���d never let that happen. Two years in tight quarters with the universe���s biggest micromanager was long enough.

The truth is that while infodumps come from a good place (a desire for clarity), they also come with a lot of baggage (dragging the pace and pulling the reader out of the story). Instead of focusing on comprehension, aim for building curiosity, which only happens if you don���t explain everything. Layer in those important details as needed, as part of the story, and you���ll share what���s necessary without sacrificing reader engagement.

Other Posts in This Series

Dialogue Mechanics
Effective Dialogue Techniques
Semi-Colons and Other Tricky Punctuation Marks
Show-Don���t-Tell, Part 1
Show-Don���t-Tell, Part 2
Point of View Basics
Choosing the Right Details
Avoiding Purple Prose
Character Arc in a Nutshell

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Is Your Amazon Book Page Doing Its Job?

Penny Sansevieri shares amazing tips and tricks for your Amazon book page to reach more readers.

You���ve published your book. Maybe even run a few Amazon ads, shared on social media, or gotten some solid reviews. But sales? They���re sluggish. You’re getting some traffic to your Amazon page���but not enough buyers.

Sadly this is pretty common and yes, there are a lot of reasons why this could happen. One thing that I find pretty consistently is that it comes down to your Amazon retail page: it isn���t converting shoppers into buyers.

The good news? Most of the time, this is a fixable issue. With a few strategic adjustments, your page can start turning visitors into buyers far more effectively.

Let���s explore the four key areas that influence how well your Amazon book page converts ��� and how you can improve each one.

A Book Description That Sells (Not Just Summarizes)

Your book description is prime real estate. It���s the pitch that turns curiosity into a purchase.

Too often, authors treat this section like a back-cover synopsis. But what it really needs to be is a mini sales letter.

That doesn���t mean gimmicky or over-the-top. It means structured, emotional, and clear. It also means knowing what matters to your reader.

Here are some tips for your book description:

Lead with a standout editorial or reader review. Leading with either is a great way to draw new readers in because people like what other people like. Even if the buyer doesn���t know the reviewer personally, reviews still have great appeal ��� especially when you lead off with one.Use white space and keep paragraphs short. For nonfiction, use bullet points and bold headers where appropriate.Your first 2-3 sentences (what comes after your standout review) make up your hook or elevator pitch. Here���s an example:

Instead of:
“Jane inherits her uncle���s vineyard and faces unexpected challenges.”

Try framing the story or content around a problem or promise:
A broken vineyard. A buried family secret. A second chance at everything she thought she lost.

Your book description should end with a compelling reason to buy.

Keywords That Bring the��Right��Readers

Keywords are often viewed as a visibility tool ��� and yes, they���re essential for getting found in Amazon���s search engine. But they also influence conversion.

Why? Because not all traffic is created equal. The goal isn���t just more eyes ��� it���s the��right��eyes.

If your keywords are too broad, irrelevant to your actual content, or targeting readers outside your ideal audience, your page will attract visitors who click��� then bounce.

A lot of times when I teach classes on keywords and the Amazon algorithm, authors are surprised to find out that they should use keywords on their retail page as well as the back end of Amazon. Why? Because Amazon ���spiders��� or ���crawls��� your retail page for ranking.

The right keywords also speak to your reader. Smart keywords act like a filter: they invite the exact readers who are most likely to hit ���Buy Now.���

Pricing That Matches Expectations

Your pricing says a lot ��� not just about cost, but��value. Readers are savvy. They know what books in your category typically cost, and they make quick mental calculations about whether your price feels ���right.���

Things to consider:

Compare pricing with similar books in your genre ��� both ebooks and print.If you���re launching a new book, consider using temporary price promotions to build momentum.Don���t underprice to the point that it devalues your work ��� but don���t price so high that it pushes away readers who don���t know you yet.The .99 or freebie books have become much less appealing. There���s nothing wrong with a bargain, but bargain-hunting shoppers don���t always turn into fans. More often they just want a deal!Make sure your ebook and paperback are proportionally aligned. A $4.99 ebook paired with a $19.99 paperback may work. A $9.99 ebook with the same print price? Not so much.Amazon���s A+ Content

If you���ve ever seen a retail page with imagery that expand on the book���s topic, that���s Amazon���s A+ Content, and it���s free to anyone who has an Amazon retail page.

I love this content not just for its visual nature, but it helps keep readers on your retail page longer. It helps expand a nonfiction book���s topic, and fiction authors often use it to introduce characters, using images of what the characters look like.

Here are some ways you can use Amazon���s A+ Content

Reviews: you can include editorial reviews and awards but be prepared to show proof. This means that Amazon will email you, wanting to see award certificates or a link to the actual review.Ideas from the book: expanding on the benefits of your book, what it teaches the reader, etc.Character images for fiction books: some authors even use character quotes from the book.Series: use this space to showcase the entire series so new readers know there���s more to buy!

If you have published direct to Amazon using their KDP portal, there���s a place under the ���marketing��� tab where you can get started with this. If you have a publisher, ask them to do it for you. You���ll be glad you did!

Final Thoughts

Your Amazon page is the final step in the reader���s decision-making journey. It���s where interest turns into action. And, if you don���t sell direct or send readers to other platforms, it’s the only place your marketing efforts will lead to. That���s why it���s worth investing time in optimizing it. Not with guesswork or gimmicks ��� but with clear, strategic improvements that help readers understand what your book offers and why it���s worth their time and money.

If you���re not sure where to start, there are tools and workbooks out there (yes, including mine!) that walk you through this process step by step. But even without one, a focused review of your keywords, description, price, and A+ Content can dramatically improve your page performance.

Penny Sansevieri is a book marketing powerhouse, a strategy-savvy copy queen, and the behind-the-scenes engine driving indie author success. With 23+ books under her belt and 24 years in the publishing game, she blends deep industry wisdom with a no-fluff, all-results approach. She’s the CEO of a dynamic all-women team, the host of a sharp and insightful book marketing podcast, and a relentless advocate for authors who want their books seen and sold.

From Amazon algorithm mastery to crafting binge-worthy pitches, Penny doesn’t just follow trends���she sets them. Learn more about Penny and her book marketing services here. Penny���s latest book: The Amazon Author Formula Workbook is a companion book to The Amazon Author Formula.��

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