Angela Ackerman's Blog: Writers Helping Writers, page 24

Don���t Make These 10 Self-Publishing Mistakes!

By Sarah Kolb-Williams

I���ve been a freelance book editor for over fifteen years, and I���ve had the privilege of editing hundreds of books. Unfortunately, I���ve seen authors invest serious money only to make publishing mistakes that cost them visibility, sales, and hope.

If you���re self-publishing, you���re wrangling a lot of tasks. After spending so much time on your manuscript, you might feel like you just want to get the thing out there already. But please, fight the urge to skip any of these important steps���any one of them could make or break your chances of success.

In part one of this two-part series, I���ll highlight the biggest book production mistakes I���ve seen new authors make. Next week, I���ll touch on some of the publication mistakes that can tank your chances of succeeding as an independent author.

1. Skipping the Revisions

Writers Helping Writers is full of incredible advice on crafting captivating stories. Even so, when you finally finish that first draft and you���re sick of the sight of it, you might be tempted to jump right in and hire an editor. After all, isn���t it time to start working on your next book?

There���s a lot of advice out there to publish fast, fast, fast. But that���s not the only way to do it. For many reasons, it���s better to focus on quality than speed���especially if this is your first book���and the best way to do that is through diligent author revisions.

So what���s the secret to successful revisions? Time.

While you���re mired in that first draft, you can���t always see what it will be like for a new reader to approach the book. Come back later with fresh eyes, and you���ll be able to recognize where you glossed over key details. You���ll see where your characters aren���t acting characteristically. And you���ll spot leftover debris from moving a section from one spot to another.

Then, after you���ve put your manuscript away for a month or so, it���s time to start your revisions!

2. Skipping the Editing

If you���ve never worked with an editor before, you may be skeptical about what editors can really do for you. It���s your book. Why turn it into somebody else���s?

But a good editor can actually help you sound more like yourself���or at least what you hoped you���d sound like.

A developmental editor can identify holes in your logic and suggest new ways to connect with your audience. A substantive editor can help liven your prose or temper your tone. A copyeditor can ensure that every sentence says exactly what you intended, every mark is pulling its weight, and every word is spelled how it���s supposed to be.

Editors don���t want to take over your manuscript; they want your book to be the best it can be. And isn���t that what your book (and your readers) deserves?

3. Not Prioritizing Book Design

Most authors understand the importance of professional cover design. After all, readers absolutely judge books by their covers, and yours has only a fleeting chance to grab attention. Unfortunately, many new authors treat the interior layout as an afterthought.

You might think that Word document you formatted yourself looks just fine, but readers may think otherwise. Outside of poor editing and lackluster cover design, an amateur interior is one of the biggest ways to lose a reader���s interest.

Here���s just a short list of interior book design principles that new authors often overlook:

Body fonts should be readable, not ���interesting������save those for chapter titles and headings!Text should be fully justifiedWords should be allowed to break at the end of a line (but not across spreads)The last line of a paragraph should not appear alone at the top of a page

Book designers have to juggle all of these design principles and more. Upholding one might mean bending another, and a good designer has the skill and experience to handle these issues appropriately. And, importantly, they know to finesse the spacing of the occasional paragraph or line so they can implement proofreading corrections without creating new issues.

4. Failing to Manage Proofreading

When you���re publishing on your own, you can���t just send your Word document to a proofreader and call it a day. There are more steps involved in proofreading than some authors realize.

Let���s take a look behind the scenes. During proofreading, a publisher might take these steps:

Compare the typeset interior to the copyedited manuscript to ensure no text has gone missingSend to the proofreader to check for text and layout issuesReview changes to ensure nothing will offset the design (and propose light edits as needed to minimize design disruptions)Send changes to the book designer to update the interiorConfirm all updates and check for any new layout issuesSend any corrections back to the book designer as needed

Phew!

A traditional publisher or self-publishing company has a whole team of players (or at least a lead editor) to pull it all off. If you���re just one person, review the list above with your proofreader to clarify what they���ll be responsible for, and plan to fill any gaps yourself.

5. Misunderstanding the Purpose of Back Cover Copy

The purpose of that short bit of text on the back of your book is sometimes misunderstood. It isn���t the place to introduce readers to every character. It isn���t a synopsis or a summary. And it definitely isn���t a place to tell readers how the book ends.

In fact, back cover copy (and its online cousin, the sales description���more on that next time!) is an important sales tool. It���s marketing copy, plain and simple, and it should be focused on giving a reader that extra push to pick up your book.

For nonfiction, bullet points help make the copy scannable. Don���t just focus on what your book does; explain how readers will benefit.

For both fiction and nonfiction, start with an opening hook that asks readers a question or piques their interest. Keep it short; between 150 and 200 words is a good goal. And remember, don���t give away the ending!

(Ready to put your back cover copy to the test? Check out ���How to Craft a Top-Notch Blurb.���)

This is by no means a comprehensive list of publishing tasks, but I hope it���s got you thinking about the hidden steps involved in producing a high-quality book. Check back next week for more tips on positioning and distribution that will keep you in the driver���s seat!

Sarah Kolb-Williams has been a freelance editor and writer for over fifteen years. She is currently lead editor at Spoonbridge Press, a small publishing services company she cofounded to help independent authors navigate the confusing world of self-publishing. When she���s not working with independent authors, she���s relaxing with her family, enjoying the local live music scene, or tracking down the spiciest food she can find.

The post Don���t Make These 10 Self-Publishing Mistakes! appeared first on WRITERS HELPING WRITERS��.

The Pirate���s Guide to Writing Fantasy

Remember the scene in Pirates of the Caribbean when Captain Barbossa explains the pirate���s code? ���The code is more what you���d call guidelines than actual rules.��� Writing fantasy is a bit like the pirate���s code. There aren���t any rules, exactly, which is what makes it so fun to write. You can allow your imagination free rein.

But there is one ���must have���: strong world-building. And world-building is one of those things that can easily get out of hand.

Guidelines For Avoiding Mayhem

Mayhem may include confusion, infodumping, logic issues, and cliches���all of which impact reader immersion. Here are some ways to keep your fantasy world under control:

Know your world, but don���t overshare: Fantasy writers spend a lot of time on world-building details to make their setting feel authentic. But then they often feel compelled to work all those details into the story, which can lead to info-dumping. Make peace with this truth: you will do more research and world-building than you can realistically fit into your novel. But rest assured, your hard work will pay off: more of it will seep into the setting than you realize. On a similar note���

Keep your readers on a need-to-know basis: Don���t overwhelm us with information. If we don���t need to know something at that moment (or ever), set it aside.

Think carefully before you include a prologue: Prologues are often comprised of a scene relating to the middle of the book that lacks any context. While you might intend yours as an amuse bouche to intrigue us, that lack of context will likely create confusion. But don���t err on the side of info-dumping by including all the things you think we need to know before we can start reading. In fact, we don���t need to know much. Instead���

Throw us into the world but use landmarks so that we���re not lost: Ease us in by including a few familiar things: a horse in the pasture, some daisies in a vase���something we know how to visualize. How you decide to name things becomes a big factor in this process. So���

Name things in such a way that we don���t need a glossary to understand them: If you look at the opening of A Game of Thrones, you���ll notice George R. R. Martin throws us into the story without any preamble, but he calls things by names that have clear meanings: the Wall, the Night���s Watch, the wilding raiders. We don���t need any explanation. We get it.

Too much terminology gets confusing: This includes long words that are capitalized for no reason and have apostrophes in the middle, and unnecessarily weird creatures with unnecessarily weird names. If it has four legs and a tail and it barks, call it a dog.

Play by the rules you���ve made: You can���t suddenly change them just because you���ve put your protagonist in a tight spot.

Remember, there is a world AND there is a story: The world should not be the story. No matter how cool it might be, your world is still just a backdrop for the main event: the characters, what they want, and what���s at stake if they don���t get it.

Honor the rules of logic and cohesion: Again, A Game of Thrones is instructive here. Every region in Martin���s vast world has its own customs and beliefs, its own clothing and food and weaponry. Each choice makes sense according to the climate and geography. Your little microcosm doesn���t have to be based on a real place, but it does have to feel authentic���which means it must make sense.

Keep your magic rules simple: If we need a flow chart to follow it, you���ll lose us. But also remember, magic must come with a cost. If there are no limits, the stakes will be too low, because anyone with magical skill will be able to spell themselves out of a tight spot.

Remember your protagonist���s internal conflict: It���s easy for externals to take over when writing fantasy, but we won���t care about what���s happening or where it���s happening, if we don���t care about who it���s happening to. Our connection as readers is to the protagonist. If you want us to follow them on their quest to achieve a narrative goal, the stakes should be personal. Give us a flawed protagonist who must transform themselves internally in order to succeed.

And speaking of conflict, embrace the grey areas in life: People aren���t generally evil for the sake of being evil, nor do they seek to rule the world just so they can ruin it. On the other hand, no one is one hundred percent good. Nuance is key. Oversimplification of people and situations creates stereotypes and predictable plot turns.

Oh, those tropes: While fantasy readers are looking for an ordinary and unlikely protagonist to rise to the position of hero/heroine, there are lots of ways to make this happen without them having to be orphans or chosen ones or discovering a prophecy that involves them. That���s not to say these things can���t work. They can���but try to make your story unique.

Oh, those characters that sound like someone from Harry Potter or Lord of the Rings: The wise mentor who sound like Gandalf or Dumbledore, the dark lord who resemble Sauron or Voldemort, the dwarves with long beards. Etc. While some of these characters are archetypical, you���ll want to avoid anything that feels derivative.

If you���re aiming to publish traditionally, make sure your first book can stand alone: The market is tough these days and multi-book deals for first-time authors are rare.

In conclusion

Writing fantasy gives you an opportunity to do something completely new and different. Is this a tall order? Yes. But that���s what makes it so fun. Even better if you can create a world that tells us something important about ourselves (like Lord of the Rings did with the corrupting nature of power, the strength of fellowship, and the surprising influence of ordinary individuals to make a difference).

That���s the true power of fantasy. By providing readers with an alternate world, you help us see our own with new eyes. And by adhering to the pirate���s code, you can do so without falling prey to the pitfalls that abound in this genre.

The post The Pirate���s Guide to Writing Fantasy appeared first on WRITERS HELPING WRITERS��.

Character Type & Trope Thesaurus: Father Figure

In 1959, Carl Jung first popularized the idea of archetypes���”universal images that have existed since the remotest times.” He posited that every person is a blend of these 12 basic personalities. Ever since then, authors have been applying this idea to fictional characters, combining the different archetypes to come up with interesting new versions. The result is a sizable pool of character tropes that we see from one story to another.

Archetypes and tropes are popular storytelling elements because of their familiarity. Upon seeing them, readers know immediately who they’re dealing with and what role the nerd, dark lord, femme fatale, or monster hunter will play. As authors, we need to recognize the commonalities for each trope so we can write them in a recognizable way and create a rudimentary sketch for any character we want to create.

But when it comes to characters, no one wants just a sketch; we want a vibrant and striking cast full of color, depth, and contrast. Diving deeper into character creation is especially important when starting with tropes because the blessing of their familiarity is also a curse; without differentiation, the characters begin to look the same from story to story.

But no more. The Character Type and Trope Thesaurus allows you to outline the foundational elements of each trope while also exploring how to individualize them. In this way, you’ll be able to use historically tried-and-true character types to create a cast for your story that is anything but traditional.

DESCRIPTION: This character plays the role of a protective, attentive, nurturing, and wise caregiver to the protagonist. Though the father figure often has no children of his own (or he’s estranged from them), this isn’t always the case.

FICTIONAL EXAMPLES: Mr. Murry (A Wrinkle in Time), Albus Dumbledore (the Harry Potter series), Alfred Pennyworth (the Batman franchise, Uncle Iroh (Avatar: The Last Airbender), Obi-Wan Kenobi (Star Wars: A New Hope)

COMMON STRENGTHS: Confident, Empathetic, Friendly, Generous, Honorable, Industrious, Inspirational, Intelligent, Kind, Loyal, Nurturing, Perceptive, Persuasive, Protective, Responsible, Sensible, Supportive, Unselfish, Wise

COMMON WEAKNESSES: Controlling, Grumpy, Impatient, Know-It-All, Manipulative, Nosy, Obsessive, Pushy

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Being protective of their charge
Sharing their wisdom
Taking or creating opportunities to teach
Being supportive of the people in their care
Being authoritative when necessary
Making sacrifices for the people in their care
Offering guidance to others
Manipulating circumstances (when necessary) to work out the way they think they should
Focusing too much on one charge and neglecting the others
Forgetting, at times, that the protagonist isn’t their child, and taking the fatherly role too far

SITUATIONS THAT WILL CHALLENGE THEM
Being unable to both protect the protagonist and do what’s best for the greater good
A physical or social limitation preventing the father figure from being a reliable protector and mentor
Watching the protagonist go their own way and reap the consequences of poor choices

TWIST THIS TROPE WITH A CHARACTER WHO���
Is deeply flawed
Teaches the protagonist to question authority and rebel against societal norms
Is absent in the story but is influencing their protagonist through their example and the advice they once gave
Has an atypical trait: Spoiled, Prejudiced, Hypocritical, Forgetful, Cynical, etc.

CLICH��S TO BE AWARE OF
The father figure whose infallibility and seeming omniscience render them unrelatable
The afterthought parent who only shows up at key plot points to provide guidance

Other Type and Trope Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (16 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, and then give our Free Trial a spin.

The post Character Type & Trope Thesaurus: Father Figure appeared first on WRITERS HELPING WRITERS��.

Phenomenal First Pages Contest

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. So, if you need a bit of help with your first page, today’s the day to enter for a chance to win professional feedback!

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

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

If you���d like to be notified about our monthly Phenomenal First Pages contest, subscribe to blog notifications in this sidebar. 

Good luck, everyone. We can’t wait to see who wins!

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

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Four Must-Haves in the First Two Paragraphs of Every Chapter or Scene

Begin Each Scene in Your Book with Grounding

Have you ever been running late, and found yourself scrambling around your house, looking for your car keys? Where did you leave them ��� on the kitchen counter? By the front door? Oh wait, you went up to your bedroom to get something. You race up the stairs, step into your room, and then stop short. You blink. You made your bed already. The blinds are drawn.

What were you looking for, again? For the life of you, you can���t remember.

This is a real phenomenon, so if you���ve experienced this, it doesn���t mean that you���re losing your marbles. It���s called The Doorway Effect, and it happens because as soon as you step over the threshold to a new room in your house, your brain has new information to process, and it clears its slate to ground itself in your new environment.

I���m in my bedroom now. My bed is made. I closed the blinds.

It might be a minute or two before you remember you were looking for your keys. You might need to retrace your steps. (But don���t worry, you���ll eventually remember that they���re on your nightstand, and you���ll leave your house only a few minutes late).

You���re probably wondering what this Doorway Effect has to do with writing? Here���s the cool thing about brains – your reader experiences a similar phenomenon when you cut to a new chapter or scene in your book. As the writer, you have the power to take them anywhere when you start a new chapter or scene. You can jump backward in time, dropping into a flashback, skip forward in time by days, months, years, even decades. You can change whose Point of View (POV) you���re telling the story from, you can even start a new scene on the moon if that���s where your story goes.

And your reader is along for the ride. They trust you, the writer, to lead the way. So, as they cross the threshold into your brand new chapter or scene, that they���ve never read before, they clear their slates, and look for clues to ground them in the scene that���s about to unfold. As they ease into the new scene, they���ll be looking to orient themselves, and need the answers to these questions, fast: 

Whose head are they in now? (POV)Where are they in time, relative to the scene they just left?What���s around your characters (setting)?Who is in the in the scene when it opens?

This is true even if you start the next chapter only moments later, BTW, so you need to clue them in even if your grounding information is the same as the chapter before! 

If they don���t get that information, they���ll feel lost, like they���re floating, without their feet firmly planted on the ground. Without this information, especially any details about the setting, the reader will picture your characters in a white room, or against a white wall, going about the activities you pen for them. This is sometimes called White Room Syndrome, or White Wall Syndrome (again, aren���t brains cool?).

Many readers will start skimming to figure this out rather than stay in this no man���s land. So, if you don���t give this information until the top of the second page of your scene? They���ll miss all the amazing things that happen on page one.

The easiest way to fix this is to make sure you���re providing the 4 elements of grounding readers in your scenes within the first two paragraphs after every chapter or scene break. It���s like a big road sign when they step over the threshold to help them find their place in your world, so that they can relax and let themselves be dragged into whatever your characters get up to next.

Tips for Including Grounding in Your Scenes

Get creative, and give readers this information as quickly as possible, so you can get on with the story.

Whose head are they in now? (POV)

This is especially important when you are writing your book from more than one character���s point of view.

Opening with an inner thought laced with your POV character���s voice, or an action or dialogue from them is the quickest way to establish this.If you start with another character���s actions or dialogue, readers may incorrectly assume that they will be following this new character���s POV in your scene.Where are they in time, relative to the scene they just left?

Immerse your readers in your scene as quickly as possible by letting them in on where you���ve taken them.

Get creative on establishing the time period for your readers. Phrases like moments later, or three months ago, can get boring, and make your grounding feel clunky. Try some of these ideas instead:Show time passing with the character���s growth (longer hair, wrinkles forming, a child growing taller etc.)Demonstrate a change in an object (a jar of peanut butter that empties over time, or a set of swings that shows wear).Reverse these suggestions if you���re jumping backward in time.What���s around your characters (setting)?

Rather than describing the setting, have your POV character interact with it to keep the story moving right from the top of the scene. And keep this short ��� adding this information is not an excuse to drop several paragraphs of worldbuilding (info dumping), which can pull readers out of your story.

Give 2-3 specific showing details about the room or landscape you���re dropping readers into.Have your POV character use something in your scene, or move an object around them that fits with their agencyExamples: Have them check the industrial clock on the wall to show urgency, pick up a rock and throw it to show frustration, etc.Setting details are also needed when your characters change locations within a scene or chapter, in addition to the top of your scenes, so use these tips there as well to make sure your readers don���t get lost on your journey!

Check out this article by Angela Ackerman for more ideas on how to ground your characters in your reader���s world.  

Who is in the scene when it opens?

There is nothing more jarring than thinking a character is alone in a scene and having a second character speak up or yell on page two, while standing right beside them, as if they appeared out of thin air.

Don���t simply list everyone who���s around if there���s a crowd. Mention the crowd but then zoom in on one or two specific people to make this pop.Just like the setting details, let your POV character interact with the people in the scene, through dialogue or actions to make it as engaging as possible.

It���s easy to check if you���ve grounded your readers at the top of your chapters or scenes, and to add these details if you haven���t got them in the first two paragraphs after a chapter or scene break to create an immersive experience for your readers, and to lead them seamlessly through the story you���ve spent months or even years crafting. Adding this information does not mean that you have to rewrite a scene you���re happy with. When done with creativity and style, your readers will enjoy your story even more, even if they don���t know why.

Grounding your readers in each scene is one of 30+ practical writing strategies Suzy shares in her Wicked Good Fiction Bootcamp. Want more? Sign up for her Free Masterclass, 3 Secrets to Increase Your Chances of Your Book Getting Published to learn more about her Bootcamp.

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Character Type and Trope Thesaurus: Starving Artist

In 1959, Carl Jung first popularized the idea of archetypes���”universal images that have existed since the remotest times.” He posited that every person is a blend of these 12 basic personalities. Ever since then, authors have been applying this idea to fictional characters, combining the different archetypes to come up with interesting new versions. The result is a sizable pool of character tropes that we see from one story to another.

Archetypes and tropes are popular storytelling elements because of their familiarity. Upon seeing them, readers know immediately who they’re dealing with and what role the nerd, dark lord, femme fatale, or monster hunter will play. As authors, we need to recognize the commonalities for each trope so we can write them in a recognizable way and create a rudimentary sketch for any character we want to create.

But when it comes to characters, no one wants just a sketch; we want a vibrant and striking cast full of color, depth, and contrast. Diving deeper into character creation is especially important when starting with tropes because the blessing of their familiarity is also a curse; without differentiation, the characters begin to look the same from story to story.

But no more. The Character Type and Trope Thesaurus allows you to outline the foundational elements of each trope while also exploring how to individualize them. In this way, you’ll be able to use historically tried-and-true character types to create a cast for your story that is anything but traditional.

DESCRIPTION: This talented artist is dedicated to a craft that doesn’t meet their financial needs. They are often plagued by self-doubt and struggle to balance artistic endeavors with real-world responsibilities.

FICTIONAL EXAMPLES: Cyrano (Cyrano de Bergerac), Theo Decker (The Goldfinch), Stephen Dedalus (A Portrait of the Artist as a Young Man), Cliff Stern (Crimes and Misdemeanors)

COMMON STRENGTHS: Ambitious, Creative, Disciplined, Focused, Idealistic, Imaginative, Intelligent, Introverted, Observant, Passionate, Pensive, Persistent, Philosophical, Quirky, Resourceful, Talented, Thrifty

COMMON WEAKNESSES: Addictive, Antisocial, Compulsive, Inhibited, Insecure, Irresponsible, Jealous, Needy, Obsessive, Pessimistic, Resentful, Self-Destructive, Stubborn, Temperamental, Withdrawn, Workaholic

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Scorning the system and popular society
Being comfortable with solitude and working alone
Being frugal and thrifty
Being intensely dedicated to their artistic practice
Making sacrifices for their art���e.g., foregoing food or sleep
Feeling misunderstood
Tending toward non-conformity
Sacrificing relationships in the pursuit of their art
Having strong ideas about how art should or shouldn’t be done
Embracing unusual beliefs or ideas; being viewed by others as odd or “out there”

SITUATIONS THAT WILL CHALLENGE THEM
A close friend or loved one becoming more successful than the character
Having to take a hated day job
A publisher, editor, or agent pushing the character to compromise their standards for money
Being pressured by a parent or spouse to give up their dream
Experiencing discrimination that keeps the artist from being accepted
A masterpiece being rejected

TWIST THIS TROPE WITH A CHARACTER WHO���
Had one early success but hasn’t been able to replicate it
Is extremely successful in their day job, which is unrelated to their art
Has an atypical trait: Catty, Devious, Manipulative, Superstitious, Traditional, Sensible, etc.

CLICH��S TO BE AWARE OF
The artist who romanticizes poverty and doesn’t seem to be affected much by it
The artist experiencing a breakthrough and effortlessly creating a masterpiece
The starving artist whose finances don’t match their lifestyle

Other Type and Trope Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (16 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, and then give our Free Trial a spin.

The post Character Type and Trope Thesaurus: Starving Artist appeared first on WRITERS HELPING WRITERS��.

Why Writers Should Be Their Own Valentine This Year

Valentine’s Day is coming, and people have big feelings about it. On one hand, it’s nice to have a set day to celebrate loved ones, but on the other, pressure to buy overpriced chocolates and flowers to ‘show’ love can cast a shadow on things.

Me? I think gifts are nice to give and receive, but pressure shouldn’t be part of it. But on the subject of Valentine’s Day, I have a question for you:

When you’re showing others you care on V-Day, are you giving yourself some of that love, too?

Because you should. You deserve it. Think about how you put a ton of effort into others each day, being the best employee, partner, parent, dog walker, dinner-maker, errand-runner, etc. that you can. It’s who you are, and how you provide for others.

But doing so means there’s not much time for you, is there? And that’s my point, especially for writers.

Our reality is that we need to squeeze writing in around everything else, and after a long day, there’s not always a lot of gas left in the ‘ol mental tank. But we roll up our sleeves because we have books to write and careers to build.

It can be a heavy load.
We need to be kind to ourselves.

So, this Valentine’s Day, think about what you need. And be sure to give yourself these three important gifts:

1) The Gift of Grace

Are you becoming self-critical because you think your writing progress is too slow, you find it hard to manage all the things that come with this career, or right now, certain things are beyond your skill? Let that go. You aren’t a machine, just someone doing their best. Silence your internal critic who is saddling you with unreasonable expectations. Everything takes time to learn. You’re doing great and you’ve got this!

2) The Gift of Time

Because you usually put everyone else first, this Valentine’s Day, carve time out for you. Reflect on what is important to you, and what makes you happy. Put those things on the front burner, prioritizing them. Put your needs first.

If you want to be able to write guilt-free, take that time. If you need a break from duty and responsibility so you can do something for yourself, ask someone to step in and help. And while you’re investing in your mental health, consider what small changes will ensure there’s always time for you and what you need moving forward!

3) The Gift of Patience

Because life zips along at a breezy clip, we assume our writing career will too, but it doesn’t work that way. Learning to craft strong novels, understand the industry, build a platform, and become proficient at the business end of things all take time to accomplish.

It’s easy to forget this, especially when others are releasing books and furthering their goals. We feel a sense of urgency to keep up, and falsely believe that if we can’t, something’s wrong with us. Not true. This journey will look different for each of us. And, it’s not a race, so be patient with your progress. Remind yourself that when you rush, bad things can happen.

Remember, it’s okay to put yourself first!

This isn’t said enough, and it needs to be!

Many of us feel near-constant pressure to do ‘all the things’ and we try, but it comes at a cost. Neglecting our well-being for too long saps our energy and creativity, and we need both to further our writing goals. And if we start to feel we’re not making headway because we never have time or we’re too tired, doubt creeps in. We may start to worry we don’t have what it takes (and we do!)

This is why self-care is essential. When you invest in yourself, it reminds you that you have WORTH, that those goals of yours are valid and deserve your time and focus.

When you take care of your personal well-being, you feel confident and capable. You have energy for the road ahead. And that’s a win-win-win.

So, as we inch closer to February 14th, think about how you’ll celebrate yourself. Read a book, take yourself on a long walk, and treat yourself to guilt-free indulgence. You deserve it!

Speaking of Valentine’s Gifts…

Becca and I like to put something together for writers this time of year because we love this community and feel so lucky to be part of it. So if you have been eyeing a One Stop for Writers subscription, please use this 25% off code to save a bit.

SHOW-DON���T-TELL THESAURUS DATABASE
CHARACTER BUILDER
CHARACTER ARC BLUEPRINT
TIMELINE TOOL
STORY & SCENE MAPS
WORLDBUILDING SURVEYS
IDEA GENERATOR
WORKSHEETS & TEMPLATES
THE STORYTELLER’S ROADMAP
All the story support you need to write fantastic fiction, in one place.

To redeem this one-time 25% discount:

1) sign up or sign in
2) Go to Account >> My Subscription and choose any plan
3) Add & activate the VALENTINE code in the box provided
4) Enter your payment details, click the terms box, & hit subscribe

And that’s it. Our storyteller’s toolkit is now your storyteller’s toolkit!

If you are a current subscriber, add/activate this code on the My Subscription page. It will discount your next invoice. Offer ends February 17th, 2024.

What is your favorite type of self-care? Let us know in the comments!

The post Why Writers Should Be Their Own Valentine This Year appeared first on WRITERS HELPING WRITERS��.

Mastering Turning Points in Relationship Plots

A turning point (also known as a ���plot turn��� or ���plot point���) changes the direction of the story, through an action or a revelation. The protagonist was going one direction, and an event takes place or information is revealed, and the protagonist is now on a different trajectory. Major turning points are often recognized in popular story structures. ���Crossing the Threshold��� in the Hero���s Journey and ���All is Lost��� in Save the Cat are both examples of major turning points. And let���s not forget, the biggest turning point of all, the climax, turns the story from conflict to resolution.

Previously, I discussed how relationship plotlines have the same elements as external plotlines: arcs, goals, antagonists, conflicts, and consequences. They just manifest a little differently.

This is also true with turning points. Relationship plots (whether they be between allies, love interests, or enemies) need turns as well. So, let���s go over their critical components.

1. A Point of No Return

In external plotlines, turning points are often called ���Points of No Return,��� because when handled properly, the protagonist should not be able to go back to how life was previously. He may try, but it���s never the same and his attempts are costly.

In relationship plots, turning points are also ���Points of No Return.��� An event takes place or information is revealed, and it essentially changes the relationship forever. A first kiss, sharing an emotional wound, a punch to the face, a betrayal���these alter relationships in definitive ways.

In Pride and Prejudice, at the midpoint, Mr. Darcy shares he’s in love with Elizabeth and proposes to her. This is both a revelation and an action that can’t be undone. It’s a moment where Mr. Darcy attempts to move closer to Elizabeth, but Elizabeth creates distance. She will never see Mr. Darcy the same way. Their relationship will never truly go back to what it was. It has become more personal.

2. Close or Distant

Typically, in external plots, the turn ends in a victory or a failure. In relationship plots, the turn ends in the participants being close or apart. For most relationship journeys, you���ll want major turns of each. A ���break up��� may tear characters apart, while a ���grand gesture��� may bring them close together. This helps create a zigzag effect, so it feels like the relationship is evolving, instead of remaining stagnant or circling the same problems.

It���s also possible to bring close characters closer, or pull distant characters further apart.
You have four options:

Distant –> Close
Close –> Distant
Distant –> More Distant
Close –> Closer

With that said, there is room for complexity. In the Pride and Prejudice example above, Mr. Darcy tries to get close to Elizabeth, but she pushes him away, creating distance. This brings me to the next section.

3. A Vulnerable Moment that is Accepted, Rejected, or Neglected

A relationship turn almost always contains a vulnerable moment. One character is vulnerable, and the other gets to decide how to respond.

The first character���s vulnerability may be voluntary, or it may be forced. It may even be forced by the other character in the relationship.

In Pride and Prejudice, Mr. Darcy shares his vulnerability voluntarily���he confesses he���s in love with Elizabeth.

In contrast, in Harry Potter and the Sorcerer���s Stone, when Hermione is attacked by a troll in the girls��� bathroom, her vulnerable state is involuntary.

And in Star Wars III: Revenge of the Sith, Obi-Wan forces Anakin into a vulnerable state when he cuts him down in the climactic fight.

In the next moment, the second character gets to decide what to do to the first: accept, reject, or neglect them. This is what ultimately turns the relationship.

Elizabeth responds by rejecting Mr. Darcy. They are pushed further apart.

Harry (and Ron) responds by accepting the call to save Hermione. They are brought closer together.

While Anakin lays dying, in need of medical assistance, Obi-Wan neglects him, walking away. This also pushes them further apart. (Neglect can be viewed as a lesser form of rejection.)

It���s important to note that rejecting and neglecting aren���t always bad. What they usually mean is that the second character is unwilling to cross a boundary. Elizabeth isn���t going to agree to marry Mr. Darcy, because she���s unwilling to marry someone she hates. And Obi-Wan isn���t going to help Anakin, because it would harm the whole galaxy.

As with any writing element, there is room for variations, but at the basic level, this is how relationship turning points work.

And just like the external plotline, the turns in the relationship plotline should escalate so that vulnerable moments grow more intense, and the acceptance, rejection, or neglect of them carry bigger ramifications.

If you are looking for more help with your relationship plots, check out my relationship beat sheet. You can also always peruse the relationship thesaurus, too.

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Character Type & Trope Thesaurus: Wallflower

In 1959, Carl Jung first popularized the idea of archetypes���”universal images that have existed since the remotest times.” He posited that every person is a blend of these 12 basic personalities. Ever since then, authors have been applying this idea to fictional characters, combining the different archetypes to come up with interesting new versions. The result is a sizable pool of character tropes that we see from one story to another.

Archetypes and tropes are popular storytelling elements because of their familiarity. Upon seeing them, readers know immediately who they’re dealing with and what role the nerd, dark lord, femme fatale, or monster hunter will play. As authors, we need to recognize the commonalities for each trope so we can write them in a recognizable way and create a rudimentary sketch for any character we want to create.

But when it comes to characters, no one wants just a sketch; we want a vibrant and striking cast full of color, depth, and contrast. Diving deeper into character creation is especially important when starting with tropes because the blessing of their familiarity is also a curse; without differentiation, the characters begin to look the same from story to story.

But no more. The Character Type and Trope Thesaurus allows you to outline the foundational elements of each trope while also exploring how to individualize them. In this way, you’ll be able to use historically tried-and-true character types to create a cast for your story that is anything but traditional.

DESCRIPTION: Awkward and shy, wallflowers typically stick to the fringes. Some are happy being in the background while others wish they could break out of their shell and into the spotlight.

FICTIONAL EXAMPLES: Mr. Darcy (Pride and Prejudice), Anne Elliot (Persuasion), Penelope Featherington (Romancing Mr. Bridgerton), Charlie (The Perks of Being a Wallflower), Willow Rosenburg (Buffy the Vampire Slayer)

COMMON STRENGTHS: Cautious, Courteous, Creative, Diplomatic, Discreet, Gentle, Humble, Imaginative, Independent, Introverted, Kind, Observant, Pensive, Perceptive, Private, Responsible

COMMON WEAKNESSES: Cowardly, Evasive, Gullible, Inhibited, Insecure, Nervous, Obsessive, Oversensitive, Pessimistic, Resentful, Timid, Uncommunicative, Weak-Willed, Withdrawn, Worrywart

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIESBeing introverted
Being shy
Disliking small talk
Being a good listener
Having keen observation skills
Choosing hobbies and activities that allow the character to shine privately
Having a vivid imagination
Not engaging, even when they should���in a bullying situation, for instance
Difficulty setting and maintaining personal boundaries
Trusting people they shouldn’t
Being sensitive to crowds, noise, or excessive stimulation

SITUATIONS THAT WILL CHALLENGE THEM
Being in a large social gathering, especially if there is almost no one there they know or feel comfortable with
Having a public misstep put on social media for everyone to see
Being put on display���having to give a speech or sing a solo, for instance

TWIST THIS TROPE WITH A CHARACTER WHO���
Has a hidden well of self-confidence in certain situations or areas of expertise
Has a dark secret that no one suspects
Has an atypical trait: bold, verbose, vain, fanatical, flirtatious, sophisticated, etc.

CLICH��S TO BE AWARE OF
The awkward introvert who must always be rescued from social interactions by others
The frumpy bookworm who undergoes a near-instantaneous transformation to attractive, confident, and refined

Other Type and Trope Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (16 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, and then give our Free Trial a spin.

The post Character Type & Trope Thesaurus: Wallflower appeared first on WRITERS HELPING WRITERS��.

How to Write Your First Book

I want to write a book.

You remember when this big idea first hit, right?

Maybe you were browsing for books, waiting for an author���s autograph, or sitting in awe after finishing a great novel. The idea took hold of you, and soon you found yourself buying notebooks, pens, and sticky notes. You browse online for writerly things���a cute laptop sticker or a mug that says, ���Writer at Work.��� And then when it arrives, you fill it with your favorite drink, sit down at your computer, and open up a new document. Because it’s SHOWTIME!

You place your hands on the keyboard, grinning like a clown-obsessed maniac. This is it���the magic is about to happen.

Onscreen, the cursor blinks. And blinks.

Boy, the page is so white. How did you not notice before? And that infernal flickering cursor��� is it just you, or does it seem kind of judge-y?

And that���s when you realize your big idea has a second part to it:

I want to write a book���but I have no idea where to start.

Thankfully, this truth, while inconvenient, doesn���t have to stop any of us from writing. It may seem daunting at first, and doubts might try to sway us (What was I thinking? I can���t do this!), but I���m here to tell you that, yes, you can write a book.

7 Tips for How to Write a Book When You Have No Idea What You���re Doing

Not knowing where to start is a problem countless writers before us have faced and figured out. So, if you are feeling a bit lost when it comes to your big dream, these seven things can help you move forward and even better, jump start your writing career.

1. Write

Sure, this seems obvious, but starting can be paralyzing. We worry about committing our ideas to the page because what if they resemble some four-year-old���s Cheerios-and-glue ���masterpiece���? Well, guess what? They might, and that���s okay. Great storytelling takes time, and if that didn���t put off Stephen King, Susanne Collins, or Nora Roberts, it shouldn���t stop us, either.

To begin, think about your Big Story Idea. Jot down your ideas, or try outlining the story you envision using one of these methods or this outlining software. Or start with something small, like one scene. At the beginning of a writing journey our goal should be getting comfortable with putting words on the page and having fun, not pressuring ourselves into penning the next Game of Thrones.

2. Read Widely

Reading is so enjoyable we tend to forget how each story is a treasure trove of education on what makes a book good, bad, or off-the-charts great. So read widely, thinking about what makes each story compelling. Look for characters that stand out, story worlds that seem so real you feel part of them, and plots that keep you flipping pages long into the night. Ask yourself questions:

What made certain characters larger than life?Did their personalities, complex motives, or a truth they live by pull you to them?What scenes and situations seemed the most real to you?

Studying where you fell under the storyteller���s spell can help you see how you can do the same for your readers.

3. Join a Writing Group

One of the best things you can do at the start of this journey is find others on the writer���s path. A community of writers puts you in touch with those who have the same goal, meaning you can learn from and support one another. Plus, having creatives in your circle helps to keep you accountable, meaning your butt stays in the chair and words get written.

4. Collect a War Chest of Knowledge

We all start with some talent and skill, but to write well we need to train up. Visit Amazon to find writing books with high reviews so you can judge which might be most helpful for your development. Make note of the title or ISBN and order them at your favorite bookstore.

Another way to build your knowledge is by subscribing to helpful writing blogs. Bite-sized learning can be perfect for a time-crunched writer. I recommend exploring all the resources on this page, studying up on character building, story structure, worldbuilding, and everything in between.

Getting to know who the people in our stories are and what makes them tick helps us understand what���s motivating them, and that makes writing their actions and behavior easier. To dive deep into who a character is so you can write them with authority, this tool will help.

5. Take a Course or Workshop

Investing in guided or self-guided learning can also kickstart your progress. The community is packed with great teachers. Below are some good options, but first, if you belong to a writing organization, check to see if they offer members classes for free or at a discount.

Reedsy Learning CenterBang2Write CoursesLawson Writer���s AcademyJami Gold WorkshopsJerry JenkinsWriting for Life WorkshopsMichael Hauge (Hero���s Two Journeys)6. Look For Step-by-Step Help

As any writer will tell you, the road from an idea to a publish-ready novel is a long one, and it���s easy to get lost along the way. It���s no fun when we don���t know what to write next, or we don���t know how to solve a problem in the story. And, if we get too frustrated or our writing stalls for too long, we might end up quitting. Having an expert offer guidance as you write can keep you on track.

Some writers like to partner with a writing coach so they get personal feedback and support as they go. If this is something you might like, here���s a list to start with. A benefit is that you���ll learn a lot about writing as you go, but depending on how long you need coaching for it can get a bit costly. So another option might be the Storyteller���s Roadmap at One Stop for Writers. This roadmap breaks the novel-writing process into three parts: planning, writing, and revising. It has step-by-step instructions on what to do as you go, and points you to tools, resources, and articles that will make the job easier.

The Storyteller���s Roadmap also has built-in solutions for the most common writing problems, so whether you need to overcome Writer���s Block, Impostor���s Syndrome, or stop new ideas from derailing your story, the Code Red section keeps you on track.

7.  Above All Else, Be Fearless

Starting a book can seem like a monumental undertaking, and sometimes with big dreams, we have the tendency to try and talk ourselves out of them. We fear failing, because we think that���s worse than never trying at all. If you feel the passion to write, don���t let fear stop you. The world needs great stories!

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