Angela Ackerman's Blog: Writers Helping Writers, page 32

How Do You Find Your Narrator���s Voice?

Voice is one of those elements that can make or break a manuscript. If you get it right, the novel will live in the reader���s mind long after they put the book down. Without it, the story won���t quite achieve what you���ve intended even if all the structural elements are in place.

So��� how do you find your narrator���s voice?

What Doesn���t Work

Here���s one thing that doesn���t work: verbal tics. How many times can you have your character repeat certain phrases before it starts to get, well, annoying? Not very many.

Here���s another: sarcasm.

Sarcasm is an easy voice to capture, so it seems to be the one many authors lean toward to make their narrator sound different. Cross it off the list. No one is consistently sarcastic, or angry, or melodramatic. When you make your narrator into a type like this, they come across as one-dimensional and unrealistic.

Who Is This Person?

The idea of voice only being a mood or a way of talking misses the bigger picture. Voice is a way of being in the world. For that reason, I would recommend approaching it from another direction: by exploring who this person is that you���re trying to bring to life.

While I don���t think character questionnaires are the way to nail voice, they can be a good steppingstone in getting to know your character���because I don���t think you can capture a character���s voice until you fully know who they are.

Look at how the answers to a few key questions can change the type of person you���re dealing with.

What does your character do for a living?

A baker will have a different way of viewing the world than a plumber or a doctor. They���ll notice different things, use their own analogies, have unique priorities, behave differently in various situations. You���ll know they���re a baker not because the author has placed them in a kitchen wearing oven mitts but because they see ideas for new pastries in the shapes of flowers. They���ll think like a baker.

If you were to read a story in which all you got was oven mitts and cookie trays, you���d feel like you were reading something generic���because the author would not have captured a baker���s way of navigating the world.

How old is your character? What is their marital status?

A twenty-something single woman will have a different way of dealing with people than a fifty-something woman who���s just left a long, dull marriage. Or maybe the marriage was abusive: that would give her another voice. Or maybe she���s never been married, but her sister is in a happy marriage: different voice again. She���ll have to manage Valentine���s Day; she might get upset by seeing couples at candlelit tables for two in a restaurant.

Voice is all about the lens through which your character views the world. One of the most significant things that clarifies this lens is their goal: what do they want in the story? If someone wants respect, they���re going to act in certain ways and say certain things that will be very different from someone who���s out for revenge.

Where do they come from? What kind of family do they have? Wealthy or poor, loving or abusive? Are they the first-born of a large family, or are they the baby? Are they an only child?

Every answer creates a type of person who will act and react in diverse ways. Many of these actions and reactions won���t be conscious, but they���ll be there, and they���ll cement in place patterns of behavior that will (hopefully) cause that character all sorts of problems.

But answering those questions is only step one.

What Next?

Now, you have to put your characters into action: slip on their shoes and see the world through their eyes. Usually that means writing your way into the story in one form or another: by journaling in their voice, answering interview questions in their voice, or (my preference) simply throwing yourself into the story world and getting them moving.

This is why it���s so important to differentiate the narrative voice from the author���s voice. Unless the author is the narrator, they have no business speaking up. Your reader will have picked up a particular book to experience the world from the point of view of a female scientist in the 1960s (Lessons in Chemistry) or a college student in the classics who becomes enthralled with an eclectic group of students with whom he doesn���t quite fit in (The Secret History). The extent to which the author can deliver on that promise also turns out to be the extent to which they���ve captured the narrator���s way of seeing the world, which is��� voice.

Why Voice Is So Important

Voice is not the only thing in a novel. But if you don���t nail it, you won���t have used point of view to its fullest potential, nor will you truly know your story���because you won���t know the main actors who are driving it forward. It won���t feel authentic, and your readers won���t feel the same emotional draw that they���ll experience when a character comes to life on the page and says, Let me show you what the world looks like through my eyes.

Isn���t that why we come to fiction in the first place?

The post How Do You Find Your Narrator���s Voice? appeared first on WRITERS HELPING WRITERS��.

Character Type and Trope Thesaurus: Mad Scientist

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.

Mad Scientist

DESCRIPTION: Brilliant, eccentric, and often insane, the mad scientist believes his work is vitally important and supersedes conventional morals or ethics.

FICTIONAL EXAMPLES: Dr. Moreau (The Island of Dr. Moreau), Dr. Frankenstein (Frankenstein), Dr. Jekyll (The Strange Case of Dr. Jekyll and Mr. Hyde), Doc Brown (Back to the Future), Walter White (Breaking Bad)

COMMON STRENGTHS: Ambitious, Analytical, Creative, Curious, Disciplined, Focused, Idealistic, Independent, Industrious, Intelligent, Introverted, Meticulous, Observant, Passionate, Pensive, Perceptive, Persistent, Quirky, Talented

COMMON WEAKNESSES: Antisocial, Fanatical, Impatient, Impulsive, Irresponsible, Obsessive, Reckless, Stubborn, Unethical, Workaholic

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Perfectionism
Having eccentric habits
Obsessing over their work
Keeping odd hours
Working in long binges
Preferring to work alone
Difficulty engaging in small talk and other social niceties
Rejecting (or ignoring) those in authority
Forgetting to do basic life tasks, like cooking, cleaning, grooming, and sleeping
Their goals or methods putting them at odds with the establishment

SITUATIONS THAT WILL CHALLENGE THEM
An experiment creating unexpected (and bad) results
Being forced to work with a strict rule-follower
A “hack” achieving success and finding acclaim ahead of the scientist
Being prevented from doing the work they dream of

TWIST THIS TROPE WITH A CHARACTER WHO���
Isn’t male
Is concerned with ethics and the consequences of their work
Is an amateur scientist (rather than a professional one) who’s passion is using science to create crazy stuff
Has an atypical trait: flirtatious, humble, optimistic, superstitious, proper, etc.

CLICH��S TO BE AWARE OF
The mad scientist with crazy hair and no fashion sense
The scientist who creates a creature or monster they can’t control, and it ends up destroying them
A scientist with multiple personalities

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: Mad Scientist appeared first on WRITERS HELPING WRITERS��.

Powering Through the Un-Fun Parts of the Job

I���m gonna go out on a limb and say you probably became a writer because you like to write. But if you���ve been writing for any time at all, you may have realized that writing isn���t the whole job. There are lots of other things you have to do that you maybe aren���t good at, don���t like, or even dread doing. We���re often the most inefficient when it comes to those responsibilities because we avoid them or rush through them to get them over with. And this impedes our progress and our ability to do our best work.

Personally, I find the screaming goat super helpful for stress relief during frustrating or boring tasks.

But, alas, not everyone has one. So I���d like to share some strategies you can implement to ensure even the irritating parts of the job get done efficiently. Because we’re all wired differently, some of these ideas may be harder for certain kinds of people, so let’s look at how to make them work for everyone.

Strategy #1: Outsource the Tough or Tedious Jobs

This one is easy: pay someone to do the dirty work so you can focus on the things you like to do. Hate balancing the checkbook? Hire a bookkeeper. Do you suck at book formatting? There are freelancers who will do this for a fee. So if you have the funds, this may be the easiest way to claw back your own time and use it on the things you do best. (If you’re looking for a freelancer, we’ve got a list of recommendations here.)

Personality Blockers: Control Freaks, Perfectionists, and Penny Pinchers

When it comes to outsourcing, the biggest obstacle is simply not having the cash. That���s a legitimate blocker for everyone, regardless of personality. However, there are writers who can afford the expense, but they still resist sharing the load. Some are maybe a bit too thrifty; they���ve got the money, but they’re worried about spending it. Others are afraid to give up control of any part of their project���often because they want it done just so and they can���t trust others with their baby. If any of these personality traits apply to you, outsourcing could be difficult to embrace.

The solution here is to recognize that offloading those tasks can increase your efficiency, resulting in more time and, ideally, more money. Angela and I, because we’re problem children, had to learn this the hard way. For years, we wanted to hire someone to take over the administration of our blog���not because we didn���t enjoy fielding guest post requests, talking to potential contributors, and scheduling posts; we just didn���t have enough time to do everything that needed doing. And because we were so swamped, we didn���t want to spend our precious time on hiring someone. Finally, we just bit the bullet and brought on our blog wizard, Mindy, and suddenly we had a surplus of time to devote to other projects���things that, really, only Angela and I could do.

If you’re able to outsource but are holding back, consider how much more productive you could be if someone else were doing the things you were least proficient at. Just opening up to the possibility can help you loosen the reins or the purse strings enough to pass off some of those duties, saving you buckets of time that can be spent on the stuff you���re really good at.

Strategy #2: Identify the Hard Stuff

Ok, so this seems pretty obvious, but we���re all really good at focusing on what we like and ignoring what we don���t. This results in the boring jobs either getting pushed to the last minute (and not being done well) or not getting done at all. Making note of the things you don���t enjoy doing���the things that maybe you���re doing halfway because you dislike them so much���is the first step in prioritizing them properly so they don���t get left behind.

Personality Blocker: Avoiders

This is a tough one for avoiders who tend to ignore the unpleasant, uncomfortable, or awkward. If avoidance is an issue, hit this head-on and set aside a quick 15 minutes to make a list of the parts of your job you tend to put off or ignore. It might be easier to keep an ongoing list and add to it over time as things occur to you. These difficult duties will differ from person to person, so identify what they are for you and make yourself aware of them.

Strategy #3: Schedule the Hard Stuff

Once you���ve identified the problem areas, set a deadline for when each one needs to be completed. Then add them to your weekly or monthly schedule so they don���t get forgotten.

Personality Blocker: Procrastinators

Procrastinators commonly put off unwanted responsibilities until the very last minute (or indefinitely). If this is you, it���s important to get those duties on the schedule. But you may not be as efficient if they’re scheduled up front, ahead of the jobs that are a bit more rewarding. If this is you, it’s ok to compromise. Schedule the dreaded tasks somewhere in the middle, after you���ve finished some of the fun stuff (but not jammed up against your deadline).

For more information on my favorite tool for planning and scheduling tasks, see this post on Trello.

Strategy #4: Break It Up

Some jobs are unpleasant because of the sheer amount of time they take. One way to make a task like that more palatable is to break it into smaller chunks and complete it over a series of work sessions.

Personality Blocker: All-At-Once’ers

This strategy used to be hard for me because I���m motivated by finishing things; I need a sense of completion, and this drives me to compartmentalize my workday and just hammer away at one project at a time until it���s done.

One of my regular responsibilities is to take the thesaurus posts we���ve published at Writers Helping Writers and move them over to our One Stop for Writers site. This involves a lot of cutting and pasting, HTML stripping, and adding additional content. It���s not the most stimulating work, and when you���re looking at 50 or so entries, it seems to take forever. So instead of trying to do it all at once���say, taking a week and focusing just on that job���I do one or two entries a day. Then I can spend the rest of my time doing other things that are more rewarding. This requires some careful scheduling to make sure I start the job early enough to hit my deadline, but it makes it more doable. It’s a great strategy to employ with long projects, such as editing a novel.

Strategy #5: Make It Fun

Full disclosure: there’s only so much you can do to make analyzing sales data or writing a summary for your story fun. But you can make most jobs more enjoyable. Here are some ideas that work for me:

Break out the ���happy��� supplies, like a favorite pen, notebook, or plannerLight a specific scented candle that���s only used when you really need a kick in the pantsWork in a new spot, such as a coffee shop, the park, or the library, until the job is doneOutfit your own workspace with things that makes you smile: inspirational notes, pictures of loved ones, knickknacks that hold special meaning, etc.Put on fun or motivational musicEat or drink something yummy Becca’s collection of stuff her kids have madePersonality Blocker: Being Easily Distracted

One potential issue with this strategy is if you end up wasting precious work time mooning over knickknacks or looking for your special highlighter when you should be working. If you struggle with this, put a limit on how many feel-good items are allowed in your workspace. And if you find yourself using this prep time as an excuse to procrastinate, set a time limit for how long you’ll allow yourself to get prepared before getting to work.

Strategy #6: Reward Yourself

And now for the good stuff! The best way to motivate yourself to do a hard job is with a reward. Once the dirty work is done, get your favorite Starbucks drink, head to the beach at sunset, buy those shoes you���ve been eyeing, or knock off a half-hour early for some pleasure reading. The dangling carrot works well for pretty much everyone; you���ll just need to establish the reward for each project ahead of time so you know what you���re working toward.

My favorite pink drink!Personality Blocker: Over-Indulgers

If each chapter you draft results in a day off, you���re not going to get much done. Remember that efficiency and productivity are the goals, so make sure the reward matches the job.

Strategy: Shift Your Mindset

This is maybe the simplest strategy to make the hard jobs easier, and it has no personality blockers because it can work for literally everyone. Viewing certain jobs as hard, boring, tedious, or a waste of time will ensure that you put them off, rush through them, or don���t give them your best effort. Instead, shift to a productive inner voice by looking at those duties through a positive lens:

This is important work.I can do this.I���m better at this than I used to be.Once I’ve mastered this, I’ll have something new to add to my skillset.I���m saving money by doing this myself.This job isn���t going to take as much time as I thought.The time (or money) I���m spending on this task is an investment into my business.

Every difficult or undesirable job has its silver lining. Looking at the bright side can change your attitude so you give it your full attention and effort, resulting in a job well done.

The post Powering Through the Un-Fun Parts of the Job appeared first on WRITERS HELPING WRITERS��.

The Secret to Writing Your First Book Faster

And Why Your Second Book Will Be Faster Again���

It took me two and a half years to write and revise my first book to get it to the point it was ready for readers. And then another 2 years to find my publisher and get it out into the world. My next book I wrote in 6 months. I now coach other writers, and I see this pattern of book 2 getting written much faster over and over again. Seems obvious, right?

Well, yes, but not for the reasons you may think. Sure, by your second book, you���ve honed your technique and have developed some (hopefully!) good writing habits. But that���s not it.

Writers��� blogs and forums are riddled with advice for you to write faster, everything from getting your word count in daily, to using templates or formulas to fill in your structure. And following this advice may indeed make writing your first draft faster. But your first draft isn���t the finished product, as much as you may want it to be.

The time between completing a draft and knowing that a manuscript is everything you���d hoped it would be is this murky space few writers talk about, where especially newer writers get lost, losing weeks, months, or years sitting in a doubtful limbo.

Writing a first draft is a huge accomplishment, don���t get me wrong. But you���ll know in your heart it isn���t ready for prime time. The idea of revisions can be daunting. Overwhelming, even.

When I found myself in this unexpected murky place when I was writing my first book more than a decade ago, I had questions like:I���m being told my book ���isn���t ready��� yet by agents, editors, and publishers. But how do I know what to work on? Should this be obvious to me?Some of my favorite writers write books in 3 months or faster. Why can���t I seem to do this?My gut is telling me I need to rip the whole book apart and then put it back together again to make it what I want. Do I REALLY have to do that?If my draft isn���t perfect, does this mean I don���t have what it takes to be a writer??Am I really good enough?

Ugh.

And so, I spun my wheels, and looked for answers. Everything I���d dreamed writing a book would be like was kinda shiny. In my ideal world, words would flow, and accolades would follow. None of the writers I followed glorified the thousands of hours it might take, the deep focus I���d have to learn, or the number of times I might have to tweak my scenes until I got all my ideas on the page the way I wanted them.

I chipped away at what I knew in my heart needed to get done, piece by piece, because I was determined that my book wouldn���t see the light of day until it was ready. The only way to get my messy first draft in shape was to push through, and do the work, as much as I wanted to find a shortcut. I honed my craft. I took courses and workshops. I sought out the best editors I could find, and learned. I was, and still am, immensely proud of that book, which went on to sell thousands of copies and win awards. Most importantly, I heard from my tween and teen readers that the book affected them. That they shared it with their friends. That���s all I ever wanted.

When I sat down to write Book 2 in that series, I assumed it would be much faster. After all, I���d already created the world and its characters. It was going to be a breeze.

But I was wrong.

Because I���d already created the world and its characters, I found I needed much more content for Book 2 than I expected. Huh. So, how did I still write that book muuuuuch faster? This is the secret sauce I wish every first time author could know��� and I���ve since dedicated my book coaching practice to help writers get through that murky middle time.

By the time I got to writing book 2, I understood in my bones just how much work I was going to have to put into this book to make it exactly what I wanted. I didn���t look for shortcuts, or worry that I wasn���t a good writer because I couldn���t do it ���faster���. I didn���t wonder if I was doing it wrong. I just put down one word at a time, and then tackled one revision task at a time, until it was done. I was able to cut out the murky, wallowing phase that eats up so much time.

I now work with writers on first books all the time. And if there���s one thing I always want to share with them, it���s that all the work has to get done. No beta reader, editor, or publisher is going to do it for you. So, plan for it, and chip away at it until your book is exactly what you want it to be.

So, if you���re writing your first book, keep going and you���ll get there. If you���ve completed a draft, and are stuck in the resistance phase in the murk, here���s some next steps you can take to keep your book moving forward. Once you know what needs to get done, knock off one step at a time until you���ve got a book you���re proud of.

But don���t stop moving, or you���ll land in the time-sucking murk.

Do what you can to skip over the part where you doubt if you���re doing it right, and dive in with full gusto.

Once you���ve written your first book, and gone through this path of resistance, coming out with a book ready to publish on the other side, I���d put money on the fact that you���ll get to the end of your second book��� and that you���ll write it faster than you did your first.

The post The Secret to Writing Your First Book Faster appeared first on WRITERS HELPING WRITERS��.

Character Type & Trope Thesaurus: Snob

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.

Snob

DESCRIPTION: Snobs look down on people below their own social or financial station. They often display an exaggerated sense of elitism and condescension because they believe they’re superior in some way.

FICTIONAL EXAMPLES: The Malfoys (the Harry Potter series), Lady Catherine de Bourgh (Pride and Prejudice), Tom Buchanan (The Great Gatsby), Regina George (Mean Girls), Frasier and Niles Crane (Frasier)

COMMON STRENGTHS: Ambitious, Centered, Charming, Confident, Meticulous, Passionate, Proper, Sophisticated

COMMON WEAKNESSES: Catty, Cruel, Fussy, Gossipy, Haughty, Humorless, Inflexible, Judgmental, Know-It-All, Materialistic, Nosy, Prejudiced, Pretentious, Self-Indulgent, Spoiled, Vain

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Having a strong sense of personal identity
Not being easily swayed by the opinions of others
Paying meticulous attention to detail
Dressing stylishly
Being self-possessed and appearing confident
Being driven to achieve greater success and importance through self-development
Having discerning tastes
Having a deep understanding about their area of interest���art, fashion, literature, or even more mundane things, like coffee or wine
Associating with people they believe are worthy of their attention
Indulging in extravagant displays of wealth or personal achievement
Putting others down���publicly or privately���because of a lack of personal taste
Having a superiority complex
Believing their friends or wealth makes them worthier or more respected than others
Ensuring everyone around them knows how smart or accomplished they are
Dropping names
Attaching themselves to people who can improve their status
Gathering sycophants and groupies
Expounding on their opinion whenever possible
Excelling at finding weak spots and attacking them
Perfectionism
Sucking up to others; brownnosing
Congregating with other snobs who share their interests

SITUATIONS THAT WILL CHALLENGE THEM
Being linked with someone the character deems as being inferior
Someone the character views as unworthy achieving status greater than their own
Someone they admire behaving like a snob toward them
Dismissing someone, then later discovering they have greater skill, wealth, or knowledge than the character
Facing consequences for their snobbish behavior that threaten the pursuit of their goals
Being doubted by their peers or ousted from an elite group

INNER STRUGGLES TO GIVE THEM DEPTH
Realizing their achievements haven’t brought them happiness
Acting confident while struggling with deep insecurity
Being drawn to someone they consider to be beneath them
Being snobbish to gain the approval of a parent or mentor, then despising themselves for it
Struggling with imposter syndrome regarding an area of supposed expertise

TWIST THIS TROPE WITH A CHARACTER WHO���
Is outwardly confident but privately reveals their vulnerabilities to someone they trust and respect
Has a hidden talent or passion that defies their snobbish persona���i.e., raising money for an impoverished neighborhood because it’s where they came from
Intentionally uses the isolation caused by their elitism to keep their humanitarian efforts secret
Is a snob despite not meeting the usual criteria (they’re poor, live in an undesirable area, etc.)
Is snobbish about unconventional things, such as rugby or country music
Has an atypical trait: childish, simple, whimsical, empathetic, rowdy, etc.

CLICH��S TO BE AWARE OF
A prep school student whose self-worth is solely defined by displays of status
A snob who has loyal groupies despite constantly belittling them
A food critic with an exaggerated accent who makes a point of tearing down aspiring restaurateurs
A bully whose deeper motivations, fears, and insecurities are never explored, making the character flat and cartoon-like
A snob who is an expert on expected topics, such as wine, the opera, and modern art

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: Snob appeared first on WRITERS HELPING WRITERS��.

Five Commonalities Between Heroes and Villains

In story terms, a villain is a person, entity, or force who is cruel, evil, or malicious enough to wish the protagonist harm. Rather than simply blocking a goal or interfering with the hero���s plan, a villain causes suffering, making it vital for them to be conquered by the protagonist. Clarice must find and defeat Buffalo Bill if she wants to rise above her past and become a great FBI agent (The Silence of the Lambs); Chief Brody must kill the man-eating shark to preserve his town (Jaws). 

Regardless of the form your villain takes, there are certain qualities that will make them formidable and credible���qualities and connections they share with the protagonist. Let���s explore these qualifications through a case study of Dr. Lawrence Myrick, played by Gene Hackman in the movie Extreme Measures. 

Villains, Like Heroes, Live By A Moral Code 

It���s been said that the best villains don���t know they���re villains; they think they���re the hero of the story. And this is true because a well-crafted baddie has his own moral code. Compared to the protagonist���s, it���s twisted and corrupt, but it still provides guardrails that guide him through the story.��

Dr. Myrick is a renowned and brilliant neurosurgeon who has dedicated his life���s work to curing paralysis. It���s a noble cause that he believes in more than anything���not so much for himself but for all the paralyzed people in the world. This cause is so important that when he develops a treatment, he can���t wait decades for it to crawl through the testing process and eventually be approved. So he bypasses the animal testing phase and goes right to human trials. It���s kind of hard to find healthy subjects who are willing to take such a risk, so he kidnaps homeless people and confines them to his secret medical facility, then severs their spinal cords so he can test his treatment on them. 

To the rest of the world, this is unconscionable. But to Myrick, the end justifies the means. He���s perfectly okay stealing people, taking away their freedom and mobility, and subjecting them to countless medical cruelties. And if they reach a point of no longer being useful, he���s fine doing away with them because they���re people no one will miss. He actually views them as heroes, sacrificing themselves for the greater good. His morals are deranged, but they���re absolute, guiding his choices and actions. And when you know his code, while you don���t agree with it, you at least understand what���s driving him, and his actions make sense. 

When you���re planning your villain, explore their beliefs about right and wrong. Figure out their worldview and ideals. Specifically, see how the villain���s beliefs differ from the protagonist���s. This will show you the framework the villain is willing to work within, steer the conflict they generate, and provide a stark contrast to the hero. 

They Have A Story Goal, Too 

Like the hero, the villain has an overall objective, and they���re willing to do anything within their moral code to achieve it. When their goal is diametrically opposed to the hero���s, the two become enemies in a situation where only one can succeed. 

We know Myrick���s goal: to cure paralysis. And things are progressing nicely until an ER doctor in his hospital discovers homeless patients disappearing from the facility. Dr. Lathan starts nosing around, and when he realizes someone is up to no good, it becomes his mission to stop them. So the two are pitted against each other. If one succeeds, the other must fail. To quote Highlander: there can only be one. 

As the author who has spirited the villain out of your own (dare we say twisted?) imagination, you need to know their goal. It should be as clear-cut and obvious as the hero���s objective. Does it put them in opposition to the protagonist? Ideally, both characters��� goals should block each other from getting what they want and need. 

Villains Are Well-Rounded 

Because villains are typically evil, it���s easy to fill them up with flaws and forget the positive traits. But good guys aren���t all good and bad guys aren���t all bad, and characters written this way have as much substance as the flimsy cardboard they���re made of. Myrick is cruel, unfeeling, and devious. But he���s also intelligent, generous, and absolutely dedicated to curing a devastating malady that afflicts the lives of many. 

Positive traits add authenticity for the villain while making them intimidating and harder to defeat. An added bonus is when their strength counters the hero���s. 

The villain of Watership Down is General Woundwort, a nasty rabbit whose positive attributes are brute strength and sheer force of will, making him more man than animal. In contrast, hero Hazel embodies what it means to be a rabbit. He���s swift and clever. He knows who he is and embraces what makes him him. In the end, Hazel and his rabbits overcome a seemingly undefeatable enemy by being true to their nature. 

When your villain is conceived and begins to grow in the amniotic fluid of your imagination, be sure to give him some positive traits along with the negative ones. Not only will you make him an enemy worthy of your hero, he���ll also be one readers will remember.��

They Have A Backstory
(And You Know What It Is)��

Authors know how important it is to dig into their protagonist���s backstory and have a strong grasp of how it has impacted that character. Yet one of the biggest mistakes we make with villains is not giving them their own origin story. A character who is evil with no real reason behind their actions or motivations isn���t realistic, making them stereotypical and a bit…meh. 

To avoid this trap, know your villain���s beginnings. Why are they the way they are? What trauma, genetics, or negative influencers have molded them into their current state? Why are they pursuing their goal���what basic human need is lacking that achieving the goal will satisfy? The planning and research for this kind of character is significant, but it will pay off in the form of a memorable and one-of-a-kind villain who will give your hero a run for his money and intrigue readers. 

They Share A Connection With The Protagonist 

In real life, we have many adversaries. Some of them are distant���the offensive driver on the highway or that self-serving, flip-flopping politician you foolishly voted for. Those adversaries can create problems for us, but the ones that do the most damage���the ones we find hardest to confront���are those we share a connection with. Parents, siblings, exes, neighbors we see every day, competitors we both admire and envy, people we don���t like who are similar to us in some way…conflicts with these people are complicated because of the emotions they stir up. 

The same is true for our protagonists. The most meaningful clashes will be with the people they know. Use this to your advantage. Bring the villain in close and make things personal by engineering a connection between the two characters. Here are a few options for you to work with. 

Give Them a Shared History. The more history the two have, the more emotion will be involved. Guilt, rage, grief, fear, jealousy, regret, desire���strong feelings like these will add sparks to their interactions. They���ll cloud the protagonist���s judgment and increase the chances their villain will gain an edge. Make Them Reflections of Each Other. What happens when the protagonist sees him or herself in the villain? A seed of empathy forms. The hero feels a connection with the person they have to destroy, which complicates things immensely. Personality traits, flaws, vulnerabilities, wounding events, needs and desires���all of these (and more) can be used to forge a bond that will add complexity and depth to this important relationship. Give Them a Shared Goal. When your hero and your villain are pursuing the same objective, it accomplishes a number of good things. First, it ensures that only one of them can be the victor, pitting them against each other. But they���re also more likely to understand one another. They���ll have different reasons and methods of chasing the dream, but the shared goal can create an emotional connection. 

As you can see, a lot goes into creating an enemy that is realistic, complete, and worthy of holding the title of villain in your story. When you���re drawing this character, give them the same thought and effort you���d put into your hero, and you���ll end up with a villain that will enhance your story, intrigue readers, and give the hero a run for their money.��

Want to take your
conflict further?��

The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Struggles (Volume 1 & Volume 2) explores a whopping 225 conflict scenarios that force your character to navigate relationship issues, power struggles, lost advantages, dangers and threats, moral dilemmas, failures and mistakes, and much more!

The post Five Commonalities Between Heroes and Villains appeared first on WRITERS HELPING WRITERS��.

How to Stay Focused on Your Story���s Central Conflict��

Conflict in every scene.

We���ve all heard this advice, and for good reason. Your protagonist has a goal���hopefully, an audacious and high-stakes goal that is difficult to achieve. ���Difficult��� is important. It���s one of the qualities of a highly engaging story because the harder the goal is to reach, the less certainty readers have that the protagonist will be ok. They���ll find themselves wondering: Will the hero win in the end? Can they overcome the odds? Will they be able to make the necessary internal growth for them to succeed?

To maintain this level of reader empathy and engagement, the conflict has to come hard and fast���there needs to be hardship in every single scene. Some of that strife will relate directly back to the story goal in the form of obstacles, adversaries, setbacks, and disappointments that push the character farther from their objective. 

But not every conflict has to do with the overall goal. Some of it relates to an important subplot that���s impacting a key story player. And then you have inner conflict, which exists solely within the character as they struggle with various aspects of personal evolution and internal growth. 

As you���re drafting���as the story progresses and the protagonist’s difficulties compound���there’s always a risk of the central conflict getting muted or lost in the noise. Too much conflict, or certain problems getting a disproportionate chunk of airtime, can lead to pacing issues and confused readers who aren���t sure what the character is working toward. Keeping the core plot and central conflict as your main focus is the best way to ensure that everything you add to the story is leading to that eventual climax. 

How do we do that exactly?

Know Your Story���s Central Conflict

The first step is to identify the main conflict for your story. A good place to start is with the six common literary forms of conflict:

Character vs. Character: In this scenario, the protagonist goes head-to-head with another character in a battle of wills. (Harry Potter and the Sorcerer���s Stone, Die Hard, The Princess Bride)Character vs. Society: These stories feature a character who faces seemingly insurmountable challenges when taking on society or a powerful agency within their world. (The Hunger Games, Schindler���s List, Erin Brockovich)Character vs. Nature: In this case, the character goes up against nature. (The Perfect Storm, Wild, The Revenant)Character vs. Technology: This conflict will pit a character against technology or a machine. (The Terminator, The Matrix, WarGames)Character vs. Supernatural: This form of conflict involves a character facing opposition that exists (at least partially) outside their understanding. (Dr. Sleep, Ghost Rider, Percy Jackson and the Olympians)Character vs. Self: Of all the conflict forms, this is the most personal (and often the most compelling) because the friction arises from within the character���s belief system or personal identity. (The Bourne Identity, Dexter, A Beautiful Mind)

Which of the six central conflicts is your story built around? Identifying it will help you keep it front-of-mind and in the spotlight. This knowledge can also help you choose the right conflict scenarios���the problems and friction-inducing situations that will test your character���s commitment, reveal characterization, and force them to reflect on how to become stronger so they can achieve their goal. 

Once you���ve zeroed in on the main conflict for your story, you can keep an eagle eye on the other hardships that, if you���re not careful, can become larger-than-life and overpower your main plotline. 

Character Arc Conflict

When a character resolves their main internal struggle, their heart and mind become aligned, which is usually necessary for them to achieve their goal. It���s no surprise then that inner conflict tied to the character���s arc will be prominent. However, just because it���s crucial to your story doesn���t mean internal tug-of-wars should overwhelm everything else, including your plot. 

In this case, balancing internal and external conflict is all about proportion: including enough internal struggle to show the character’s gradual journey toward change without bogging down the external plot and related conflict. This is handled quite well in the first book of the Harry Potter series. 

As Rowling introduces readers to Harry and his world in the opening pages, she focuses largely on external conflict: the Dursleys belittle Harry, lock him in a cupboard, withhold his mail, and motor him off to an isolated island to keep him from getting his Hogwarts letter. Then Hagrid appears and turns his world upside down. 

Here’s where we see the first real internal conflict from Harry. It’s fitting, because one thing he’s learned from living with the Dursleys is to keep his head down and avoid attention. So he rolls with the punches, taking whatever’s thrown at him. But when Harry learns that he’s a powerful non-Muggle who defeated the most formidable wizard that ever lived, he���s shell-shocked and struggles to fit this new information into what he’s always believed to be true. 

This pattern of blending external and internal conflict continues throughout the book, with Harry’s moments of personal struggle coming intermittently. And this is the right balance, considering Harry’s story. While he does experience some internal changes in book one, they’re secondary to the story goal: beating Voldemort. Achieving that objective is not only vital for book one but also sets up the main conflict for the rest of the series. A lot of external conflict is required to prepare Harry to keep Voldemort from acquiring the sorcerer’s stone and coming back to power, so that’s what Rowling gives us. 

For stories with less action, you may have to experiment to find the right balance between internal and external conflict. Some characters may have more internal hurdles than others, and of course, if your story has a character vs. self plotline, the internal struggle is the core story, so it will require more focus. In A Beautiful Mind, for instance, John Nash’s battle is with his mental illness, so a lot of airtime is given to him fighting his schizophrenia and the personalities it conjures. 

Subplot Conflict

While a good portion of conflict happens in the main plotline, subplots will contain their own obstacles and challenges���many of which will also take a good portion of the story to resolve. It takes some effort to keep them from shoving their way to the forefront and taking over.

For an example of how to maintain the proper proportion, let���s continue with our Harry Potter theme. In Harry Potter and the Sorcerer’s Stone, the main plot and conflict are as follows: 

Story Goal: Keep Voldemort from finding the stone and returning to power
Central Conflict: Harry vs. Voldemort (character vs. character) 

And while there are many subplots, here are a few of the more obvious ones:

Subplot 1: Harry, Ron, and Hermione becoming friends
Subplot 2: Harry’s growing adversarial relationship with Malfoy
Subplot 3: Snape as an antagonist for Harry 

Each subplot should have its own story arc, and while it will be simpler and shorter than a main plotline, it will have a clear beginning, middle, and end with its own ups and downs. Each one should also push the story forward and, in some way, influence the main plot. 

For instance, Harry’s friendship with Ron and Hermione is key to him defeating Voldemort in the first book. In the climax alone, Hermione’s knowledge about Devil’s Snare and Ron’s experience and self-sacrifice in the game of Wizard’s Chess make it possible for Harry to get to that final confrontation. 

So while it’s great for Harry to have friends, this subplot is integral to him achieving his main goal (while also providing valuable opportunities for characterization). 

The Malfoy subplot is important because Voldemort doesn’t make a physical appearance until the third act, so Malfoy acts as a stand-in, providing a physical antagonist for Harry to battle. He also plays a part in many scene-level conflict scenarios that draw Harry closer to fulfilling the overall goal. 

The third subplot, though, is the most interesting���as anything to do with Snape tends to be. Like Malfoy, Snape is a sparring partner for Harry. And the scenes with Snape often involve the race for the sorcerer’s stone, so they support the main plotline, as required. The fascinating thing about this subplot is that we realize at the end of the book that most of those scenes with Snape involved red herrings, meant to throw Harry and the readers off. And as any true fan knows, Snape as a red herring is an ongoing theme. So not only does his subplot contribute to the first book’s storyline, it also is foundational to the series as a whole. 

The conflicts in these subplots have a lot of wow factor, and they could have easily run away with the story. But they didn���t because they were built to do only what they needed to do: provide Harry and his friends with the knowledge and experience they needed to face bigger battles. As a result, his fight to prevent Voldemort from returning to power remained center stage. 

In conclusion, balancing the various conflicts in your story���especially the ongoing ones���can be a bit of a juggling act. But maintaining the right proportion is important. These tips should help you keep the main conflict where it needs to be: smack in the center stage of your story.

Need More Help
Unleashing the
Power of Conflict?

The Conflict Thesaurus: A Writer���s Guide to Obstacles, Adversaries, and Inner Struggles Volume 1 & 2 are packed with ideas on how to make conflict work harder in your story. Find out more.

The post How to Stay Focused on Your Story���s Central Conflict�� appeared first on WRITERS HELPING WRITERS��.

Character Type and Trope Thesaurus: Benefactor

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.

Benefactor

DESCRIPTION: This character takes the protagonist under their wing with the aim of helping them succeed. This aid often comes in the form of gifts, such as a monetary contributions, providing a place of shelter, or paying for necessary schooling or training.

FICTIONAL EXAMPLES: Magwitch (Great Expectations), Aunt Josephine March (Little Women), James Hobart (The Goldfinch), Dan Cody (The Great Gatsby)

COMMON STRENGTHS: Ambitious, Appreciative, Cautious, Confident, Decisive, Discreet, Generous, Idealistic, Independent, Kind, Optimistic, Passionate, Protective, Quirky, Resourceful, Sophisticated, Supportive

COMMON WEAKNESSES: Controlling, Extravagant, Haughty, Hypocritical, Manipulative, Martyr, Materialistic, Needy, Obsessive, Possessive, Pretentious, Pushy, Resentful, Self-Indulgent, Stubborn, Temperamental, Vain

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Being helpful
Wanting to do good things with their resources
Being generous
Offering to pay for things
Seeing the potential in ideas and people
Being optimistic
Enjoying the finer things in life (good meals, nice clothes, etc.)
Being culturally sophisticated
Controlling people through their money and/or influence
Seeing their contributions as investments
Vetting people and organizations carefully before aligning with them
Sharing their knowledge and expertise with others
Cultivating a public persona
Feeling strongly about a cause
Wanting to be a rescuer
Enjoying being needed
Believing money can solve most problems
Giving conditionally, with strings attached
Giving as a way of gaining love, acceptance, or power
Believing their “generosity” should automatically engender respect and esteem
Making a show of spreading their wealth around

SITUATIONS THAT WILL CHALLENGE THEM
Being generous with someone who doesn’t appreciate it
Supporting someone (or a cause) who turns out to be dishonest or even criminal
Losing all their money
Being blackmailed
Getting too personally involved in a cause so it clouds their judgment
Wanting to support several causes but only having resources for a few
Losing control of the cause or person they’re supporting
The motives behind their philanthropy (their character) being questioned

INNER STRUGGLES TO GIVE THEM DEPTH
Being philanthropic to try and make up for past wrongs, but it doesn’t work
Becoming aware of ulterior motives for wanting to help others (because it makes people like them, it makes up for other shortcomings, etc.)
Searching for a deeper purpose in life
Suspecting they’re being manipulated or played by a recipient
Learning about a worthy situation that would require a great sacrifice, and being unwilling to make it
Wanting to live vicariously through the person they’re supporting
Doubting the true motives of friends, family members, and associates; suspecting those people are there because of the benefactor’s wealth
Believing that giving in secret is the right thing to do but wanting the recognition that comes with giving publicly

TWIST THIS TROPE WITH A CHARACTER WHO���
Only gives anonymously
Has a quirky or eccentric hobby
Comes from an unusual cultural background
Is young
Is a benefactor to others but a miser at home with their own family
Has an atypical trait: paranoid, vindictive, whimsical, worrywart, simple, etc.

CLICH��S TO BE AWARE OF
The benefactor who starts out selfish and undergoes a significant transformation
The benefactor-mentor who has is wise and all-knowing and has all the answers
A benefactor who shows up at precisely the time they’re needed (deus ex machina)
The one-dimensional benefactor with no recognizable flaws

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: Benefactor appeared first on WRITERS HELPING WRITERS��.

After the First Draft: Revising Your Plot

Ok, writers. Raise your hand if you love revising.

*crickets*

Revision freaks a lot of people out because it can be overwhelming. When you start drafting, you���ve got this really clear image of what the story should be, and by the time you type ���The End,��� it���s hardly recognizable. It���s a mess, and you���re not even sure what the problems are, much less where to start.

This is why I���m a fan of breaking the revision process into rounds���one for characters, one for plot, one for theme, pacing, polishing, etc. And in my experience, it���s the plot round that sends people running, because plotting and story structure aren���t simple. 

But like most problems in life, I���ve found that a system can help de-terrify the process and make it manageable. And the first part of that process is addressing what I believe are the two most important questions.

Does Your Story Follow the 3-Act Structure? 

There are a dozen different ways for structuring a story and they���re all slightly different, but the majority of them are based on the 3-act structure. Why? Because it works, regardless of genre, audience, or author experience. This is why it���s been around in various storytelling forms for millennia.

The 3-act structure ensures that you���ve included the important story events and they happen at the right times. This design provides a framework for your story that keeps it from sagging, dragging, or jarring the reader and ensures that things are happening in a logical way. If you���re looking for a simple structuring tool, check out One Stop for Writers��� Story Maps, which is based on Michael Hauge’s excellent 6-plot story structure model:

(As an example of how this tool can help you structure your story, you can see here how we used it to map out the movie A Few Good Men.)

Now, there are other plotting methods, as well as authors who write with no method at all. And if you���ve mastered those processes with great success, rock on. But most people need a framework to keep their story on track. If you know your work in progress has issues but you���re not sure what they are, take some time to research the 3-act structure. Read up on Joseph Campbell���s The Hero���s Journey, familiarize yourself with Syd Field���s work, or check out popular plotting methods like Save the Cat to better understand how your story should be assembled.

Are the Important Events Happening at the Right Times? 

Structure works because it provides architecture for the story. Without it, we end up spending way too much time in the Setup or not enough in the Complications and Higher Stakes portion of the story. The pace is jerky or dragging; it lacks flow, and readers just can���t get into it. To remedy this, map out your important story events and see where they fall. Use Michael Hauge’s structure model to plug in your important story moments and see if they’re falling at the right spots. Compare that to your story and adjust your points as needed.

Once you���ve ensured that your story is structured properly, it���s time to examine the individual building blocks for potential issues. Remember that feeling of I know something���s wrong, but I don���t know what it is? This is where the pieces click into place. 

Use the checklist that follows to review each stage of your story. If any of the answers are No, make the necessary changes to that part.

While I���ve referenced Michael Hauge���s plotting method here, I���ve included terms from models you might be more familiar with, along with a brief description of each stage���s purpose. And for simplicity���s sake, I���ve chosen to focus on plotlines for a character undergoing a change (positive) arc, since this is the kind we see most often. Does every hero have to experience this change? No, though I personally feel that most stories are stronger when an internal arc mirrors the outer journey. If this isn���t the case for your hero, just ignore the points having to do with inner change.

PLOT REVISION CHECKLIST

ACT I

Setup /Opening Scene/The Ordinary World: The first 10% or so of the story that introduces readers to the heroHave you shown the hero in their real world so readers will see the contrast when things change in a short period of time?Have you hinted at the hero being stuck or dissatisfied in some way? This is usually tied to their inner motivation���the why behind their visible story goal.Have you adequately developed reader empathy for the hero by making them likable, relatable, wounded, etc.?Turning Point #1/The Inciting Incident: A choice or opportunity that, if taken, will catapult the hero into a new worldIs there a clear choice for the hero to make?Is it related (but not necessary equal) to what will become their outer motivation, or overall goal, for the story?New Situation/Refusal of the Call/Debate: The hero gets acquainted with their new situationIf the hero accepted the call, are they getting to know the way things work in this new normal?Optional: Does the character move into a new environment? This isn���t required but can be an effective way to show them physically moving into a new situation.If the hero is waffling about the call or has rejected it altogether, are they doubting their decision or debating which way to go?Turning Point #2/Break into Two/Crossing the Threshold: The character makes the decision that propels them toward achieving their story goalIf the hero was undecided about the call, have they decided to accept it?Is the decision the hero made at Turning Point 1 clarified into their specific outer motivation (if it wasn���t before)?Is the goal something they can���t achieve without making specific internal changes (overcoming a flaw, facing a fear, dealing with an unresolved emotional wound, etc.)?Does the character make this decision purposefully, as opposed to being tricked or falling into it accidentally?

ACT 2

Progress/Fun and Games: The hero begins actively pursuing their outer motivationDoes the hero have a plan for achieving their goal?Is the hero making steady progress (despite ample conflict and minor regressions)?As they pursue their outer goal, are they toying with making the necessary internal changes without being fully committed to doing so?Turning Point #3/Point of No Return/ Midpoint : The middle of the story, where the hero commits unequivocally to the goal���no more holding back or hedging their betsDoes the hero get an inkling (or a full-blown premonition) of what life would be like if they fully embraced the internal changes that need to be made?Does the hero take an action or make a statement that declares their intention to others, making it virtually impossible to turn back?Will that moment directly result in more complications and higher stakes (which will show up in the next stage)?Complications and Higher Stakes/Bad Guys Close In: Conflicts escalate and the stakes get higherAre the conflict scenarios intensifying?Have the stakes gotten higher and/or become more personal?Does the pace accelerate through this section instead of losing momentum?Are there opportunities for the hero to embrace inner change and turn away from the old habits that are no longer working?Optional: Is there a moment at the end of this stage when success seems to be a sure thing?Turning Point 4/Major Setback/All is Lost: The moment when the hero is at their lowest point and the goal seems out of reachDoes something critical happen that destroys the hero���s chance of achieving their dream?Optional: Does your turning point have an actual ���whiff of death��� to symbolize the death of the hero���s dream? To quote Blake Snyder, ���At the All Is Lost moment, stick in something, anything, that involves death. Whether it���s integral to the story or just something symbolic, hint at something dead here. A flower in a pot. A goldfish. News that a beloved aunt has passed away���.It���s where the old character, the old way of thinking dies.���

ACT 3

Final Push/Dark Night of the Soul: In their darkest moment, the hero retreats from the objective, then rallies to put everything on the table in a last ditch effort to achieve the goalDoes the hero temporarily turn away from their goal, retreating back to the old ideas, behaviors, or coping mechanisms they were relying on at the start of the story?Does the hero then turn back to the goal���this time, all-in, with 100% dedication?From that point on, is the conflict relentless and almost overwhelming?Climax/Finale: The hero figures out what has to be done and makes it happenDo they make the necessary internal changes that will allow them to achieve their outer motivation and live in fulfillment?Does the hero face their biggest antagonist or overcome their biggest obstacle (often in a showdown kind of situation)?Do they achieve their outer motivation?Aftermath/Final Image/Return with the Elixir: The hero is living their new reality, fully realized, having achieved their goalDoes the aftermath mirror the setup in some way, showing the contrast of the character now vs. then?Have all plotlines and subplots been resolved by this point?

STORY-WIDE CONSIDERATIONS 

(borrowed and summarized from Michael Hauge���s Writing Screenplays that Sell)

Does every scene, event, and character contribute to the hero���s outer motivation (getting them one step closer or taking them farther from it)? Have you created peaks and valleys along the way���humor, times of bonding, etc.���to break up intensity? Alternatively, in a humorous or light-hearted story, are there some serious moments?Have you surprised the reader here and there? Remember, you���re shooting for anticipation, not predictability.Have you generated questions for readers that will pique their interest and keep them reading?Have you carefully crafted your story elements (your hero, their relationships, the world you���ve created) so there are no inconsistencies that will undermine your credibility and pull readers out of the flow?Have you included a deadline or ticking clock as a way of increasing the stakes? This isn���t a necessity, but it almost always helps.

This checklist isn���t exhaustive, but it should clarify for you which events, stages, and turning points aren���t pulling their weight. Even if you���ve used a different model that incorporates the 3-act structure, you should be able to verify that story events are happening in the right spots and are accomplishing their purposes. 

Either way, having a plan for analyzing your story���s structure will help you find any trouble spots and provide support for your plot. So, no more crickets when it comes to revisions. Jump in with both feet (and your handy checklist) and own this part of the process.

The post After the First Draft: Revising Your Plot appeared first on WRITERS HELPING WRITERS��.

Improve Your Storytelling in 5 Minutes

What are writers chronically short on? Time.

There never seems to be enough of it as we try to get the next book written, research our publishing options, keep up with marketing, work on our platform, etc., and that doesn’t even factor in what’s happening in other areas of our life. And as we juggle, the one thing that can help us succeed more than anything else is often neglected: education to help us improve our storytelling skills.

Introducing Mini-Lessons

You guys know Becca and I have a lot to say about description and how showing the right things in the right way means readers are pulled in and will care deeply about characters and what’s happening in their lives. We’ve written books on many description elements, and have even more of these in our THESAURUS database at One Stop for Writers.

This summer, Becca and I have recorded a mini lesson for each of our thesauruses, helping you better understand that story element, what its superpower is in your story, and how to activate that detail through description.

Each video takes you through a thesaurus in the One Stop for Writers database, but you don’t need to be a subscriber benefit from these lessons, or use our thesauruses (although they are very helpful for brainstorming). But if you are someone who uses them, this will broaden your understanding so you get even more value from each brainstorming list.

Summer is the perfect time for bite-sized learning

Summer tends to be slower paced, as it should be. So, if you have 5 (ish) minutes, give a video a try. Whether you want to learn how to describe a character’s emotions, activate the power of your scene’s setting, or understand character motivation better so plotting becomes easier, a helpful mini lesson is waiting for you.

Here’s the playlist, or choose the topic you’d like to know more about below.

Happy writing, and learning!

Grow Your Skills with Becca & Angela How to Describe a Character’s Appearance How Emotional Trauma Affects Characters & Their Arc How to Use a Character’s Fears in Storytelling How to Create a Character Readers Will Love How to Give a Character Flaws that Will Hold Them Back How the Right Setting Details Make a Scene More Powerful How to Create a Memorable Character Using a Talent or Skill How to Show What Your Character Is Feeling How to Use Conflict to Power up Your Story How to Write Your Theme and Use Effective Symbolism in Fiction How to Use the Weather to Build Mood and Generate Conflict How to Find the Right Job for a Character How to Bring Readers Into a Story Using Textures How to Create Vivid Description Using Colors and Patterns How Describing an Object’s Shape the Right Way Strengthens the Story How to Build Strong Characters & Arcs How to Amplify Your Character’s Emotional StateNeed more help as you plan, write, and revise? Join us at One Stop!

The post Improve Your Storytelling in 5 Minutes appeared first on WRITERS HELPING WRITERS��.