Angela Ackerman's Blog: Writers Helping Writers, page 39

How to Ask for Book Reviews (& Why You Should)

By Liz Alterman

You���ve written a book. Congratulations! Now for the next hurdle���gathering those all-important ratings and reviews.

When my novel, The Perfect Neighborhood, was released last July, I quickly learned how critical these are. Leading up to my launch, I reached out to a nearby library to see if they���d consider it for their book club. Before I could even offer to donate copies or attend the meeting, I was promptly told to call back when I had more than one hundred, four-star ratings. Ouch!

For many authors, myself included, knowing that people took the time to read your words feels like a gift in itself. Can you really ask them to take more time out of their busy lives to write and post a review? Yes, you can, and here���s why you must.

First, reviews and ratings serve as a form of social proof. The more you have���especially positive ones���the more likely readers are to give your book a try.

As Scott Blackburn, author of the southern crime thriller It Dies With You, pointed out, publishers are doing less and less promotional work in an increasingly crowded market, making book reviews crucial���especially for debut authors.

���Even now, I often find myself scrolling Goodreads and Amazon, looking for new material to read, and more times than not, the quality and quantity of a book���s reviews will guide my decision on what to buy,��� said Blackburn. ���Do those criteria mean a book will be a guaranteed hit? Absolutely not. That���s all subjective. Did those reviews help the authors behind those books? Most definitely.��� 

Second, while having plenty of reviews and ratings may encourage readers to take a chance on your book, there���s another reason they���re important.

���In order to qualify for certain promotions on Amazon and BookBub, you need to have 50 or 100 reviews on Amazon,��� explained Andrea J. Stein, author of the novel Typecast, and a book publicist by profession. ���Also, the more reviews you have, the more the algorithm will promote your book.���

So, How Do You Make the Ask?

For plenty of authors, asking readers for reviews and ratings can feel awkward, almost like fishing for compliments.

���Many authors struggle with this aspect of self-promotion because they feel rude or pushy when asking for reviews,��� said Blackburn. ���If this is the case for you, keep this in mind: in a world where a majority of shopping is done online, people encounter reviews and ratings on a daily basis, which means they understand why those things are so important.��� 

So how does Blackburn handle it? Approach these requests with kindness and professionalism, he advised.

���Simply let people know how much reviews help and how appreciative you are to get them,��� he said. ���This could be done in a blanket post on social media or in a casual conversation with a reader.���

His go-to script? ���If you have time, I���d really appreciate a review.���

���If the person you ask isn���t comfortable with���or simply doesn���t know how���to write a book review, it���s good to remind them that clicking a star rating only takes seconds, and those can be just as helpful,��� Blackburn added.

Stein offered her strategy. ���Whenever someone tells me they loved my book, my immediate response is to ask if they could post a review on Amazon,��� she said. “If it���s in response to an email, I���ll tell them that they can just use the same text they used in the email as their review.���

You can also ask that they paste that same text on various retailer and review sites to boost your book on multiple platforms.

Stein added that she���s never had anyone say anything but ���yes,��� and most often, they keep their word.

���When I send an ARC to a potential reviewer, I simply thank them for their interest and wish them ���happy reading!������ she said. ���I then follow up to confirm they’ve received the ARC and to ask if they know when they’ll be able to read/review the book. I always point out that reviews can be short. I don���t want people to feel they���re expected to write an essay.���

Blackburn offered additional strategies, such as creating a social media post like: ���I���m sitting at 97 reviews. If you read my novel, I���d love for you to help me reach 100 reviews.���

���I���ve had success with similar posts,��� he said. ���At minimum, it���s a reminder to readers to leave a review, and more than that, people love to be a part of a milestone. I���ve even seen authors host giveaways when they hit review milestones.��� 

Author and humorist Julie Vick shared an innovative, quieter but just as effective strategy.

To spread the word about her book, Babies Don���t Make Small Talk (So Why Should  I?): The Introvert���s Guide to Surviving Parenthood, Vick connected with stewards of Little Free Libraries (LFL) and also left her book in LFLs in her area. In each copy, she placed a sticker encouraging readers to leave a review. She shared the text she included:  

���This book was donated to a Little Free Library for you to enjoy. If you enjoyed reading it, I would love it if you could leave a review on a retailer���s site or Goodreads (you don���t have to have bought a book there to leave a review).���

If friends or family haven���t had a chance to read your book yet, they can still give the work a boost by marking it ���to-read��� on Goodreads. How does it help? When someone checks that box, all of their Goodreads friends will see your book on their homepages, increasing its free exposure.

Courtesy Counts

Vick said that as she asked readers to rate her book, she was always conscious to ���not bombard people with requests.���

Blackburn agreed there���s a line between being persistent and being pushy and said there���s no need to publicly seek reviews daily, but if you���ve recently launched a book or your reviews begin to slow, don���t be afraid to ask.

���I’ve also tried to just be a good literary citizen in terms of reviewing other authors’ books,��� said Vick. ���So when I read a book that I enjoy, I try to review it on one of the sites. This can often lead to reciprocal reviews from other authors you know without you having to ask.��� 

Blackburn echoed the importance of returning the favor. ���If you���re asking for reviews,��� he said, ���make sure you���re leaving reviews for your fellow authors.���

If you���re not seeing those reviews and ratings pile up, don���t panic.

���It���s also important to keep in mind that less than 15% (often less than 10%) of people review or rate the books they read, so there���s no need to panic if you���ve sold 500 books and you���re nowhere near 100 reviews,��� said Blackburn. That���s totally normal.�����

While asking for ratings and reviews may feel uncomfortable, much like writing itself, once you���ve done it you���ll be glad you did. Chances are, they���ll help your book find more readers and, ultimately, isn���t that what writers want?

Liz Alterman��is the author of the suspense novel,��The Perfect Neighborhood.��the young adult novel,��He’ll Be Waiting, and the memoir,��Sad Sacked.��Liz lives in New Jersey with her husband and three sons. When she isn’t writing, Liz spends most days reading, microwaving the same cup of coffee, and looking up synonyms.

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What���s the Difference Between an Editor and a Book Coach?

If you���re all about Mark Zuckerberg���s famous credo ���move fast and break things,��� you may feel confident diving from writing into self-revision and then editing. But if you like to get the lay of the land before trying new things, or if you���d appreciate having an experienced guide to call on as you���re writing, a book coach could be just what you need.

A book coach shows you the ropes from start to finish. Book coaches have been described as consultants, mentors, teachers, and personal trainers for your writing.

Book Coaching Vs. Editing

Book coaching shares a lot in common with developmental and line editing, especially from experienced editors who provide customized approaches beyond critiques or edits. Generally speaking, book coaching is more ongoing and interactive than editing, but one-to-one comparisons don���t paint the entire picture.

Editing provides feedback and guidance once the writing is complete.
Coaching provides feedback and guidance as the writing progresses.

Editing happens in stages, one person at a time: the writer writes, then the editor edits, then the writer revises, then the editor reviews ���
Coaching happens collaboratively as the project progresses, with regular, real-time check-ins.

Editing is primarily text-based, using editing and written feedback.
Coaching frequently occurs via Zoom and email as well as written feedback and editing.

Editing is generally considered a distinct, one-time service for hire.
Coaching is more like short-term consulting or a long-term mentorship.

Editing seeks to identify and course-correct issues in a manuscript.
Coaching seeks to prevent issues from creeping into the manuscript to begin with.

Editing guides writers to improve their work in progress.
Coaching guides writers to improve their work in progress and develop long-term mastery.

But just because book coaching covers a lot of ground, don���t look for a book coach who claims to do it all. A jack of all trades is master of none���the best book coaches specialize.

Book coaches who specialize���certain genres (upmarket and literary fiction, SFF, historical fiction), certain types of clients (debut writers, memoirists, women, experts in a professional field), or specific tasks like self-publishing or marketing���possess a deep understanding of their fields and can offer nuanced and tailored feedback.

Coaches who claim to do it all may lag behind in rapidly evolving areas such as self-publishing or marketing. They may not edit frequently enough to stay fluent in the minutiae of copy editing. Yet when coaching companies spread these tasks across multiple points of contact, the carefully nurtured collaborative spirit of the client���coach relationship is diluted.

What Book Coaches Do

Book coaches typically lean into one or two of the following broad areas.

Story coaches help you develop and write your story. They���ll help you deepen your concept and plot and cultivate richer characters and themes. They���ll teach you how to use story form and structure to support your story. They���ll help you outline your book, and they���ll nudge your output as you write to keep it on track. They���ll help you define your genre, readers, and comp titles. These coaches are personal alpha readers, editors, and storytelling gurus rolled into one.

Support coaches focus on motivation, accountability, and emotional support for the writing journey. These coaches are like personal trainers, keeping you moving and helping you maintain a healthy outlook during the notoriously roller coaster experience of writing a novel. They���ll help you develop and stick to a writing schedule and keep you accountable for turning in pages regularly. Most book coaching encompasses at least some elements of support by virtue of regular communication and one-on-one focus.

Writing coaches are more like teachers, mentors, and editors. Their feedback may include story issues but often focuses on how authors express themselves on the page. Writing coaches will steer you through tricky narrative choices like point of view and help you master narrative techniques like narrative distance and dialogue before you���ve baked problems into the entire manuscript.

Publishing coaches are like project managers for writers. You may hear them referred to as book shepherds or book sherpas, publishing guides or consultants, or book consultants. These coaches may personally provide self-publishing or marketing services such as cover design, ebook formatting, website design, and marketing plans, or they may steer you toward reputable providers.

What Book Coaches Don���t Do

As versatile as book coaches are, you���ll want to hire other specialists for some tasks.

Ghostwriting If you want someone else to write your book for you, you deserve a dedicated, experienced ghostwriter.Book doctoring To have someone rebuild an unsuccessful story from the ground up, doing most of the heavy lifting themselves, hire a book doctor.Editing Completing your manuscript under the eyes of a book coach won���t necessarily prepare your manuscript for querying or publication. Coaching is not a form of incremental book editing. Talk to your coach about the next steps for your book, and don���t be surprised if that includes editing.

Steer clear of book coaches who promise to get you an agent or publisher as part of their services. Legitimate professionals do not guarantee representation or publication for your book.

Book Coaching Benefits

Why would someone work with a book coach? To get the jump on things. Coaching accelerates your creative development as a novelist. Think of it as professional training or a start-up cost for your writing career.

The benefits you reap from coaching begin immediately and last long after this book is out the door. Your book gets intensive one-on-one development, and you finish with storytelling and writing skills you’ll use the rest of your writing career.

What To Look for In A Book Coach

When you���re ready to work with a book coach, identify your priorities. Do you want help with story development, writing technique, accountability and support, or publishing and marketing? You can have more than one of those things, but you probably can���t have them all from one person.

Check out coaching programs from bigger companies, but keep in mind that their standardized, one-size-fits-most methods may not work for you and your book. In programs that emphasize teaching and group feedback, you might not get as much one-on-one time with the coach. Some programs use proprietary software or methods to analyze your work and guide your revisions, which may not fit your writing or work style.

When coaches advertise themselves as certified or trained in a specific methodology, recognize that they���re referring to completion of a certificate program and not a professional certification. There are no professional boards or organizations that certify book coaches. Certificates indicate the coach has completed a paid training program with a company or trainer, not that they are certified by a professional or occupational board or organization.

How Much Does Coaching Cost?

Individual coaching sessions start around $60 an hour at the low end, climbing to a more typical $100 to $150 an hour. Rates for one-time consultations are often significantly higher, due to the prep time required.

Competitive coaching programs can cost $2,000 to $3,000 for several months of coaching. Bespoke packages or plans from independent coaches who provide frequent one-on-one face time or personally handle self-publishing or marketing tasks can approach $10,000.

Hiring a book coach is a smart move if you want to improve your writing and storytelling skills while developing and polishing your work in progress. With the help of a coach to keep you on track and offer support along the way, you���ll write more efficiently, effectively, and confidently, and you���ll optimize your book���s potential to connect with readers.

Tip: If you’re looking for a great coach or editor…check out our amazing
Resident Writing Coaches!
We also list some more under Editing & Formatting Services in this post.

Here are some other helpful posts:

Feedback and Editing: The Right Eyes at the Right Time
When Are You Ready for Professional Editing?
Best Practices for Working with an Independent Editor
���Perfect to Me���: How Self-Editing Can Take Your Novel to the Next Stage

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Fear Thesaurus Entry: Being Labeled

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Being Labeled

Notes
The world is a confusing and uncertain place that’s easier to navigate when things make sense. This is one reason it’s natural for human beings to label the people around them. But no one wants to be labeled���told that they are a certain way or have to fit into a mold. This can be especially painful when the character doesn’t believe the label fits (whether it does or not). When this happens enough, it can create frustration, insecurity, and a fear that could go a number of directions: the character may hide the aspects of their identity that fit the label, act out against the accusation, or surround themselves with people like themselves to avoid anyone who might put them in a certain box.

What It Looks Like
The character mimicking their peers so they won’t appear to be different
Being extremely private
Giving vague answers when asked about themselves
Embracing hobbies or activities that don’t fit the stereotype
Changing personality traits or values that would put the character in that box
The character becoming what they’re accused of being (self-fulfilling prophecy)
Advocating for inclusion and against typecasting
Working very hard to disprove the stereotype
The character surrounding themselves with others who are just like them
Avoiding people who have attempted to label the character in the past
Avoiding situations where the label would be obvious���e.g., a student with a learning disability skipping or dropping out of school
Rejecting any medical or psychological testing that could result in a diagnosis��
Rebelling when someone tells the character they can’t or shouldn’t do something
Become defensive when someone suggests the character may be a certain way
Being aggressive or confrontational with someone who suggests the character might be a certain way
Being overly sensitive to even constructive or well-intentioned criticism

Common Internal Struggles
Keeping a learning disability, an illness, etc. secret despite knowing help is needed
Struggling with shame or guilt over the label
The character struggling to accept who they are
The character wanting to be true to themselves but feeling the need to change so they’ll fit in with others
Resenting what makes the character different, then feeling guilty about it
Feeling targeted��
Feeling misunderstood (if the character believes the label is unwarranted)
Suspecting the label is true but refusing to accept it
The character feeling isolated, as if they have no one they can be themselves with or talk to

Flaws That May Emerge
Abrasive, Childish, Confrontational, Defensive, Dishonest, Disrespectful, Evasive, Hostile, Hypocritical, Insecure, Jealous, Judgmental, Prejudiced, Reckless, Stubborn, Timid, Weak-Willed

Hindrances and Disruptions to the Character’s Life
Living with shame because of who or what they are
Changing to live up to others’ expectations��
The character living well below their full potential
Becoming prejudiced against the people who putting labels on the character
Living in denial about an accurate label and being unable to manage it or cope with it in a healthy way
Struggling in silence because the character is hiding certain aspects of who they are
Personal growth being stymied because of defensiveness and an inability to receive feedback
Living a double-life because certain aspects have to be kept private (practice a religion, pursue a relationship, etc.)

Scenarios That Might Awaken This Fear
A secret they’ve been hiding (about their gender identity, personal beliefs, mental health, etc.) being revealed
A tragedy occurring that could result in a new label for the character (losing a limb, developing a chronic illness, etc.)
Experiencing discrimination
The character’s child being labeled
A safe place or group of people being infiltrated by someone who would label the character
Seeing someone who shares a label with the character being misjudged, mistreated, or limited

Other Fear 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.

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10 Things Lego Has Taught Me About Story-Building

By P.A. Cornell

Writers tend to think of writing as work. In my experience, the creative process is more akin to play. One of my favorite childhood toys for creative play were those classic Lego bricks. There was something calming about clicking the colorful bricks together, and a sense of satisfaction when the job was done.

Over the years, I went from playing with them constantly to not at all. It wasn���t until 2020 that this changed. I was searching for something to do during lockdown and had heard that when choosing hobbies, you should think back on activities that brought you joy in childhood. Of course, I thought of Lego.

Since then, I���ve become one of countless adult Lego builders. You can find pictures of my builds on Instagram. Often, I���ve joked that the one thing I���d give up writing for is a job as a professional Lego builder. That���s how much I love them. But for me, there are commonalities between the two (and not just because one of my favorite builds to date is a Lego typewriter.) Here are some lessons I���ve learned about storytelling through Lego, that any writer can benefit from.

1. Follow Directions

Lego sets come with instructions. In writing, your outline serves this purpose. This doesn���t mean you can���t deviate from the design. As with Lego, there���s always room for creativity. This is especially true for pantsers. You might not have every detail pre-planned, but it helps to know the general shape your story will take, or where you���re headed.

2. Work Your Way Up from A Solid Base

With Lego there���s usually a structure or plate to build on. In writing, that starts with your premise or idea and continues with your through-line. This is the base your story���s built upon, and one to keep in mind as you work.

3. Use the Right Pieces

Lego pieces fit together in specific ways to achieve the final build. Similarly, a story needs the right elements: setting, conflict, mood, voice, etc. You determine through planning, and later editing, which elements best serve the story. With Lego, there are always extra pieces in each set. These are meant for use in future builds where your imagination can roam free. We can do the same with writing. Elements you don���t use���those poor murdered darlings���can be saved for future stories.

4. Populate Your World with The Right Characters

Lego sets come with just the right number and types of minifigures to fit the theme. Likewise, your story should have the right characters to service the world you���re inviting the reader into. It���s easy to fall in love with your characters, but if there���s no place for them in your story, you���re better off saving them for a different one.

5. Pause to Appreciate Your Accomplishments at Each Stage

Lego builds are divided into stages. I generally photograph each stage for the benefit of other Lego fans (See #7). In writing, it���s also important to pause and appreciate what you���ve achieved, especially for longer projects, like novels. A work this size takes time and many drafts. It can be daunting if you don���t stop to pat yourself on the back now and then and feel a sense of accomplishment.

6. Mistakes Aren���t the End of the World

I like the larger Lego sets with thousands of pieces, in boxes marked 18+. With so many pieces (many of them tiny) it can get frustrating if you find you missed a step or misplaced a piece. But you can go back and fix it. This is similar to editing. Some people edit as they write. Others wait until the end. Either way, your first draft isn���t set in stone. You can always make improvements and when you���re finished, no one will know there were hiccups along the way.

7. Include Some Hidden Gems

Many Lego builds include little details that by the time the set���s complete, are hidden inside, known only to the builder. This is one of the reasons I photograph each stage. A story can also have hidden gems like clever lines of dialogue, inspired word choices, and even subtle easter eggs, that enhance the experience for the reader. This is especially true in mysteries in which clues are sprinkled throughout, but any story can benefit from weaving such elements into the plot. Elements that only become evident as the story takes shape, or at the end, leaving the reader with a satisfied smile as they discover them.

8. Take a Break

Some Lego builds can be huge endeavors that take hours���even days���to complete. This can be hard on your fingers and back, so it���s good to take a break now and then. Self-care is essential for writers too. Remind yourself to hydrate, rest your eyes, stretch, take time off, so you can return to your story refreshed and excited to work.

9. Indulge Your Inner Child

Many see Lego as a kid���s toy, but the company (and adult fans) would argue it���s for all ages. Fun isn���t something to outgrow, and with that in mind it���s important to keep writing fun. A story that���s a slog to write can be a sign something isn���t working. Trust that inner child. But at times a lack of fun just means you���ve hit a rough patch (I���m looking at you, muddy middles). Remembering what you love about writing can be key to getting you through those rough spots.

10. Enjoy the Finished Product

In Lego that���s easy. You can display it or play with it if you���re really in touch with that inner child. In writing you can enjoy it in other ways. Read your work just for fun, share it with others, celebrate a sale, publication, or book launch, but by all means enjoy the moment. You���ve built something great, starting with just a few scattered pieces. If that doesn���t call for celebration, I don���t know what does.

As a student at Odyssey Writing Workshop in 2002, P.A. Cornell immersed herself in learning the art of story-building, brick by brick. Now in its 28th year, Odyssey is an online writing workshop experience like no other. With custom-designed curriculum, one-on-one instruction, deep mentoring, and access to the renowned Odyssey Lectures, each student learns what they need to know to improve their writing, at a pace that works for them. The deadline to apply for Your Personal Odyssey Writing Workshop is March 23rd, 2023. Learn more here.

P.A. Cornell is a Chilean-Canadian speculative fiction writer who penned her first science-fiction story as a third-grade assignment (for those curious, it was about shape-shifting aliens). A member of SFWA and 2002 graduate of the Odyssey workshop, her short fiction has appeared in several professional markets. She is the 2022 recipient of the HPL Short Works Prize for her story, ���Splits.��� Her novella,��Lost Cargo, was published in 2022 by Mocha Memoirs Press. A complete bibliography can be found at��pacornell.com. Click here to view her Lego builds.

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Where to Start a Story Edit

By Kristina Stanley and Lucy Cooke

Do you have a draft written but aren���t sure if there is a strong story in that draft?

In our book, Secrets to Editing Success, we go into great depth on how to perform a story edit���a structural edit���on any novel. We take the theory and show you the process to story edit.

We���re going to share some of our secrets here. And the first secret is how you know if there is a story in the draft.

The Most Important Question

Does the draft contain a story?

That���s a big one, and how do you answer it if you���ve just written that draft? And to go deeper, how do you answer it objectively?

First, You Perform a Story Test

What do we mean when we talk about having proof that there is a story? We are asking if you can write a synopsis.

We define a synopsis as a blurb plus the five story arc scenes plus the ending. A synopsis is a cinch when you know that���s all it boils down to.

When authors find it tough to write a synopsis, it���s normally because either they don���t have an understanding of what goes into the synopsis or there isn���t a full story yet.

A story synopsis is a tool you can use to determine if there is a story in the draft manuscript. We���re not asking you to write a polished synopsis. We���re asking you to write a skeleton synopsis.

Skeleton Synopsis = Skeleton Blurb + 5 Story Arc Scenes + Resolution

The first part of the story test is to create a skeleton blurb.

Skeleton Blurb

A skeleton blurb answers three simple questions.

Who is the protagonist?What is the story goal?What is at stake?

The answers to these questions are found in every story. If you cannot answer them from the draft, then we can tell you the story promised is not there yet. And the draft is not ready to be edited.

With your skeleton blurb, you found the protagonist, the story goal, and the story stakes. With your skeleton synopsis, you will find the story.

The Skeleton Synopsis is Your Next Tool

A skeleton synopsis is a short description of the story.

Here is an outline for the skeleton synopsis:

The protagonist _________________ finds out the story goal __________________ (Inciting Incident). Then _______________________ happens, and the protagonist must go forward toward the story goal, (Plot Point 1). In the new ���world,��� ________________ happens, and the protagonist becomes proactive to the Story Goal (Middle Plot Point). But _______________________________ happens, and the protagonist���s hope is destroyed, they realize they must change to achieve the story goal (Plot Point 2). But the protagonist ______________________, and the world changes, they finally address the story goal (Climax).

To fill in the blanks, read the draft and find the inciting incident, plot point 1, the middle plot point, plot point 2, and the climax. Use the action in each of these scenes to fill in the blanks.

You can find out more about the story arc and how to find your story arc scenes at The Story Arc: Definitions & Examples.

Listing the Story Arc Scenes Shows You Whether There Is a Story.Does the protagonist find out the story goal,then something happens that propels the protagonist onto chasing the story goal,so that they can learn to be proactive,change themselves after all hope is lost,and use what they have learned on their journey to answer the story goal that they found at the start of their journey?

What you just read is the most basic form of a story. And all great stories are structurally similar.

How to Create a Skeleton Synopsis

Step 1: Perform a Hands-Off Read-Through

A hands-off read-through means you read the story without making any changes.

Step 2: Name Every Scene

You can do this when you���re performing a hands-off read-through. A hands-off read-through means you read the story without making any changes, but you can and should make notes and name every scene.

When naming the scenes, find and label the inciting incident, plot point 1, the middle plot point, plot point 2, and the climax.

Step 3: Dig Deeper into the Story Arc Scenes

To write a skeleton synopsis at this stage, the following story elements for each story arc scene will help you set it up.

Scene NamePoint of View CharacterPoint of View Character���s GoalScene MiddleScene ClimaxScene Impact on Point of View Character

Step 4: Create the Skeleton Synopsis

Now there are four clear steps to getting that skeleton synopsis done:

Reference the skeleton blurb.Find the five Fictionary Story Arc scenes on the story arc.List scene name, scene middle, scene climax and impact on point of view character for each of these scenes.Summarize the ending showing the story���s resolution.

Step 5: Does the Draft Contain a Story?

The synopsis will help you determine if there is a story or not. You���ll find that if you can���t write the synopsis at this stage, then most likely the story is not finished. The attempt at writing a synopsis will highlight which portions of the story still need to be written.

If one of the 5 story arc scenes is missing, is in the wrong place, or doesn���t satisfy the requirements of a story scene, then there isn���t a story in the draft, yet.

It���s time to start revising the draft until the skeleton synopsis shows you there is a story. Once there is a story, you can move on to a full story edit.

All of this is covered in depth in Secrets to Editing Success: The Creative Story Editing Method.

Ready to become an exceptional editor? Whether you’re working on your own manuscript or helping clients succeed, this guide shows you how to structurally edit and make every story better. Learn how to evaluate at both the story and scene level using Fictionary���s proven process and 38 Story Elements, so you know exactly what needs to be strengthened, and where!

Combining her degree in computer mathematics with her success as a bestselling, award-winning author and fiction editor, Kristina Stanley founded Fictionary and is the CEO. Fictionary helps writers and editors create better stories faster with software, an online community, editing services and training.

Her most recent publication is Secrets to Editing Success: The Creative Story Editing Method. Her novels include The Stone Mountain mystery series and Look the Other Way.��Her first novel Descent was nominated for the 2014 Arthur Ellis Unhanged Arthur for excellence in crime writing. Blaze was shortlisted for the 2014 Crime Writers��� Association Debut Dagger.

Lucy Cooke is a Fictionary Certified StoryCoach Editor and Business Development Manager at Fictionary. Secrets to Editing Success is her first book. She teaches editing through the Fictionary community, and she is an instructor for the Fictionary Certified StoryCoach program. Her passion is story, and she���s dedicated to helping others create the best story possible.

The post Where to Start a Story Edit appeared first on WRITERS HELPING WRITERS��.

Fear Thesaurus Entry: Hope

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Hope

Notes
Hope encourages people and characters to try new things, take on challenges, and believe that things will get better. But multiple disappointments and experiences can create a fear of hope, with the character being reluctant to look forward to anything. This fear can make it difficult for them to work toward improving their situation and could make optimism a thing of the past.

What It Looks Like
Being reconciled to the status quo
Not expecting circumstances to improve
Expressing skepticism when positive things happen: It’ll never last, etc.
Living for the moment; not planning for the future
Not having dreams or goals
Believing there is nothing to live or strive for
Avoiding challenges or risks that could improve the character’s life
Being cynical when others express hopefulness
Always expecting the worst
Downplaying their own abilities (since they haven’t helped in overcoming difficulties)
Speaking of the future with skepticism
Being skeptical of other people’s promises
Scorning people who are optimistic and upbeat

Common Internal Struggles
Wanting certain circumstances to be better but truly believing there’s nothing the character can do to change them
Being unable to move beyond past disappointments, no matter how much they want to
The mind always jumping to worst-case scenarios
Feeling helpless��
Sinking into apathy and depression
The character wanting to be honest about their feelings but knowing their pessimism and negativity are bringing other people down
Burying certain emotions as they arise (anticipation, excitement, etc.)

Flaws That May Emerge
Abrasive, Apathetic, Cynical, Defensive, Foolish, Impatient, Impulsive, Indecisive, Insecure, Martyr, Melodramatic, Nervous, Paranoid, Pessimistic, Timid, Withdrawn

Hindrances and Disruptions to the Character’s Life
Missing out on career opportunities because it would have been pointless to reach for them
Staying stuck in a dead-end, toxic, or unsafe situation because the character doesn’t believe there’s anything better for them
Being unable to pursue a dream that would provide fulfillment��
Building emotional walls in relationships to keep from experiencing disappointment
Never moving past their current state of disillusionment and cynicism
Other people pigeon-holing the character as negative or gloom-and-doom

Scenarios That Might Awaken This Fear
Wanting to take a step towards a dream, but there’s a risk of failure involved (submitting a manuscript to an editor, asking someone out, etc.)
A situation with high stakes being forced on the character (being sued, being falsely accused of a crime, etc.)
Working towards a goal and getting knocked down (trying to reconcile with someone who refused to forgive the character, having another miscarriage, etc.)
Hearing about a promising job opening or promotion opportunity
A friend or loved one breaking a promise
A promising relationship ending unexpectedly
Seeing world events go from bad to worse

Other Fear 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 Fear Thesaurus Entry: Hope appeared first on WRITERS HELPING WRITERS��.

Four Reasons Your Action-Based Scene is Failing (And How to Avoid It)

We���ve all heard the writing advice that our stories must hook readers from the start, and that pacing our scenes so readers stick around is equally important. It���s all too easy to take that advice and assume we must infuse our scenes with all the makings of a blockbuster movie. Speed, chases, weapons, explosions, scary monsters, you name it. But what this advice fails to remember is that readers largely come to story for character. Specifically, they come to your story for your character, who they want to care for, worry about, and subsequently cheer for in those high-action scenes. If we don���t keep that truth at the heart of our scenes, all the trimmings of an action-packed story won���t matter. Let���s talk about four reasons readers unbuckle their seatbelts and climb out of that fast-moving vehicle of your story so we can understand how to keep them until your ride has come to a complete stop.

It���s Too Soon for High Action

Just about every set of ���rules��� for writing a riveting set of first pages leads you to believe you have to jump right into action. This is partially right and partially wrong. Inserting readers immediately into action is powerful, but inserting them into high-action too soon can fall flat. Car chases, battles, being pursued by a nefarious actor, or even meeting the protagonist participating in an intense sport don���t yield the reader���s interest in the way we expect. Why? Because the reader hasn���t had time to care about your character, much less their external circumstances. They don���t understand what���s at stake if your character can���t catch the bad guy, or if that zombie gets hold of them, or if they fail to make that winning touchdown.

The outcome of a physical-stakes-based scene scarcely matters without the underpinnings of care for the characters who are involved in it. We are banking on the notion that readers are going to be intrigued enough to know how the scene turns out. But we���ve failed to remember why readers come to story: the character���s journey.

Yes, we want to start our stories as early as possible with scene work. Nothing invites the reader into your book as a co-creator quite like loaded dialogue and interesting, revealing movement. These craft elements let the reader start making a movie in their minds. The more we can sink readers into what���s occurring in the sensory world of our characters, the better. But beware the urge to go for the big blockbuster opening scene as your first scene since the reader hasn���t had time to get their bearings and to care about the characters involved in its outcome.

The Scene Is Making Us Dizzy

A common pitfall of writing action scenes is that we, the writer, tend to see what every character is doing, moment by dull moment, as the scene plays out in our minds. But writing is all about handcrafting and hand-carving these scenes to reflect your protagonist���s experience (or only the most crucial players) most of all. If we���re asking the reader to notice every movement by every character, it can be dizzying. They���re trying to keep every character���s location and most recent movement, all while new character���s movements and locations are coming at them. Worse, readers start to lose track of who represents them in the scene, and what deep internal value is at stake for the primary player(s). It starts to feel like reading a bunch of stage direction instead of an edge-of-our-seats event.

Consider keeping the narrative ���camera��� as close to your protagonist as much as you possibly can. Everything happening should be filtered through them because they should have the most on the line for internal stakes in that scene. Anything you include that doesn���t stick close to the protagonist should only be included because it impacts the protagonist in a direct, powerful way (e.g., Their loved one is on the brink of disaster across the room and it���s presenting some sort of choice to your protagonist in that very moment.). If you do feel you have to include a few players��� experiences in the midst of one action scene, consider the way writers of shows like Game of Thrones direct their scenes. Oftentimes, the camera is with one player for a sustained period, and what we���re shown is almost like its own ���Act.��� Then, we rotate to another player for a sustained period and they have their own ���Act.��� As we rotate back to any given player, their story within the scene is oftentimes presented like its own 3-Act structure, but we aren���t dizzy because we���ve been in any given act for any given character for longer periods.

The Details Have Become the Haystack, And We Can���t Find the Needle

Even if you do stick close to your protagonist, resist the urge to stage direct their movements or what���s being done near them. Sometimes, we see every movement our character makes and we feel compelled to include it so the reader sees it, too. But as we overly burden the narrative with orchestrated movements, a problem emerges: Readers find it hard to pin down what matters most in the haystack of detail.

With my editing clients, I love to use an example from the film It���s a Wonderful Life. Director Frank Capra zooms in on George Bailey stashing his daughter���s flower petals into his pocket, and in drawing our attention to it, we hold onto that moment. Capra���s choice to zoom in guides us with confidence and certainty. The payoff is that George later uses those petals as a way of verifying he���s been given a second chance at life. How might you apply this in your action scenes? If you���ve given readers too much detail, it���s hard for them to judge what matters most. And when they lose their sense of what���s important to notice, they oftentimes start to skim because they can���t possibly hold onto all the details.

We Already Know the Outcome

As much as we want to think high-action scenes inherently pull their weight, the truth is that oftentimes, they don���t. We tell ourselves, what can be bigger than whether the character lives or dies? But readers know we���re not likely to kill off the characters that matter���especially if that character is your protagonist. Whenever we hinge everything on the character reaching safety or staying alive or coming out of a scene unscathed, readers experience the dreaded urge to skim. They know the outcome before they���ve read, so all that physical movement in the scene scarcely matters. It���s just stalling the story until the next scene. What really matters is why your character needs to win that scene in tangible, goal-driven terms.

Ensure that each fight/battle/high-action scene your character goes through has something at stake that���s deeper and more meaningful than their physical safety. What does losing a particular battle or not coming out on top in an action scene cost them? Why must they win beyond retaining their physical safety? What does that scene���s outcome represent that then allows the character to advance the next scene toward a larger goal?

What are some other features of high-action scenes that tend to drive you away as a reader? Are their particular techniques you use in your writing to avoid the pitfalls of too much attention on the action itself? Chime in!

The post Four Reasons Your Action-Based Scene is Failing (And How to Avoid It) appeared first on WRITERS HELPING WRITERS��.

Getting Back in the Writing Flow

We all need down time in our writing lives���a planned vacation, Christmas with the family, a buffer between big projects. Sometimes we get down time whether we���ve chosen it or not (I���m looking at you, COVID). Whatever the cause, it can be good to put down our pens or shut our laptops for a while. Vacation is my time to catch up on reading, and I savor it.

But time away creates an inevitable problem: how to get back into the writing habit.

I try to coordinate vacations with the end of a novel draft and use my departure date as a deadline. For me, there���s nothing worse than leaving a novel half-written. More than three days away from a novel-in-progress and I have to read back a few chapters to remind myself where I left off and trick myself back into the rhythm of the writing. More than a week and I basically have to read from the beginning���to say nothing of reviewing all those cryptic half-written notes that no longer make any sense.

The solution is not don���t take time off. That can be a direct route to burnout. We can���t be on all the time. We need that down time to recharge our batteries. Filling the well, as Julia Cameron calls it���whether by reading or having new experiences or meeting new people. Or just doing nothing. It���s essential. Taking zero time off can result in work that feels stale; it can even kill your desire to write altogether.

But say you have taken time off. You���ve had a great vacation and now Monday looms���the day you���ve decided it���s time to get back to your desk, back to whatever creative project you���ve been working on. You���re nervous. Afraid you���ll be rusty. Or worse: you���re afraid that whatever magic allowed you to fill the blank page is most certainly gone by now, never to return.

Of course, that���s nonsense. But if you���re anything like me, those are the thoughts running through your head. And nonsense or not, they feel real enough to cause panic.

I���ve found a few ways to smooth out the return to writing after a significant break.
Maybe they���ll work for you.

Don���t Procrastinate

Set a date and time when you will return to your desk and SHOW UP, no matter how hard it feels. Don���t make excuses or talk yourself out of it.

Take the Pressure Off

When I was doing my MFA, my novel-writing instructor, Gail Anderson-Dargatz gave us a mantra to follow: write crap. We had a lot of work to produce in a short period of time, and many of us were novices when it came to writing a novel. Putting pressure on yourself to be the next Margaret Atwood or write a bestseller guarantees only one thing: a blank page. When you take that pressure away and allow yourself to write anything, as long as the words show up on the page you���ve achieved your goal. As Jodi Picoult puts it, you can���t edit a blank page. And chances are, whatever you come up with won���t be crap at all.

Start By Editing Someone Else���s Work

Sometimes it���s the act of sitting at your desk and moving your pen on paper that���s enough to reinspire you. If you���re editing someone else���s work, there���s nothing at stake for you. You���re not judging yourself. You���re not thinking, See? I knew I was no good, I knew the magic was gone. You���re helping someone else���and at the same time getting your mind back in the habit of thinking about craft.

Start By Editing Previous Chapters of Your Own Work

If you did have to step away from a half-written project, ease yourself in by reading a few chapters back���or even from the beginning. It���s like giving yourself a running start. Your body and brain will get into the groove and before you know it, the ideas will be flowing again, and you���ll be adding sentences to the draft.

Try Another Art Form

Creativity feeds creativity. If the idea of returning to your desk has you paralyzed, take a walk and snap some photos. If you play a musical instrument, put in some time at the piano. Draw, paint, dance. Creativity is a muscle. If you coax it, it will come back to life.

Try Using Writing Prompts

Prompts can be a fun way to stretch yourself, and the internet has so many good ones now. There���s no pressure in a prompt. You���re not trying to create anything coherent. You���re just writing for, say, fifteen minutes, and the only rule is to keep your hand moving. You can do that.

Tip: One Stop for Writers has an idea generator you can use to create prompts…or help brainstorm new aspects of a current project. Today is the last day to get 25% off any One Stop for Writers subscription.

Write In a Group

There���s a certain magic to writing in a group that���s hard to explain but I���ve found it to be undeniable. It���s as if creativity is contagious. When you surround yourself by people who are writing, you���ll write too.

The return back to writing always feels a little awkward and nerve-wracking at first. But persist and be kind to yourself. The habit will come back faster than you expect, and your work will be better for having taken the time away.

The post Getting Back in the Writing Flow appeared first on WRITERS HELPING WRITERS��.

Fear Thesaurus Entry: One’s Genetics

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of One’s Genetics

Notes
To varying degrees, every person takes steps to stay healthy because no one wants the discomfort and inconvenience of being sick or injured. But not all maladies are created equal. Imagine a character with a genetic predisposition towards a debilitating physical or mental condition. Not knowing if it’s going to crop up for them, or when it will show itself…that uncertainty and fear can create a host of issues that impact the character’s thoughts and how they approach life and the future.

What It Looks Like
Frequently visiting the doctor
Requesting tests and bloodwork to look for earmarks of the condition
Maintaining a healthy diet
Exercising regularly
Avoiding potential triggers (alcohol, being in the sun, etc.)
Heavily researching the condition
Conducting genetic testing to see if the character is at risk
Taking vitamins and supplements
Quizzing family members about their health
Doing frequent self-checks for symptoms associated with the condition
Participating in research studies
Deciding not to have children
Hypochondriac tendencies; believing the condition is presenting when it isn’t
Difficulty developing long-term relationships (because the character doesn’t want people around when/if their health deteriorates)
Being uncomfortable around people who have the condition
Participating in fundraisers to find cures for the condition
Avoiding doctors and testing
Ignoring any symptoms of the condition
Becoming irritated or angry when the subject is brought up
Hiding signs that the condition is developing
Pretending things aren’t as bad as they are
Not making long-term plans for the future

Common Internal Struggles
The character feeling like their body or mind has betrayed them
Being plagued with visions of what the condition will do to the character
Constantly worrying that the condition is starting
Worrying about what will happen to the people in the character’s care if the condition develops
Wanting to start a family but being too afraid of passing the condition to them
Being afraid of the future and what it might bring
Wrestling with depression
Being angry at God

Flaws That May Emerge: Controlling, Fussy, Gossipy, Judgmental, Know-It-All, Morbid, Nosy, Perfectionist, Pessimistic, Pushy, Unethical, Worrywart

Hindrances and Disruptions to the Character’s Life
Overspending on genetic testing, supplements, experimental treatments, etc.
Being unable to enjoy the present because the character is so worried about the future
Not preparing adequately for the future (because the character doesn’t see the point)
Making life decisions (about marriage, having kids, the pursuit of a dream) based on the condition presenting itself though there is no guarantee that it will
Taking drastic measures to ensure the condition doesn’t develop (such as having a hysterectomy to prevent ovarian cancer, though there is no guarantee it will happen for the character)

Scenarios That Might Awaken This Fear
Watching a family member suffer with a genetically inherited condition
Experiencing symptoms of the condition
Getting a call from the doctor’s office about test results
Discovering that a family member’s devastating condition is genetic
Becoming pregnant
Birthdays that bring the character one year closer to a possible diagnosis
Seeing great strides being taken to find a cure for a different genetic condition while nothing is seemingly being done for the character’s potential condition

Other Fear 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 Fear Thesaurus Entry: One’s Genetics appeared first on WRITERS HELPING WRITERS��.

Phenomenal First Pages Contest

Hey, wonderful writerly people! It���s time for our monthly first-page critique contest

If you���re working on a first page (in any genre except erotica) and would like some objective feedback, please leave a comment. Any comment :). As long as the email address associated with your WordPress account/comment profile is up-to-date, I���ll be able to contact you if your first page is chosen. Just please know that if I���m unable to get in touch with you through that address, you���ll have to forfeit your win.

Two caveats:

      Please be sure your first page (double-spaced in 12-point font) is ready to go so I can critique it before next month���s contest rolls around. If it needs some work and you won���t be able to get it to me right away, let me ask that you plan on entering the next contest, once any necessary tweaking has been taken care of.

      This contest only runs for 24 hours, start to finish, so get your comment in there!

Three commenters��� names will be randomly drawn and posted tomorrow morning. If you win, you can email me your first page and I���ll offer my feedback. 

We run this contest on a monthly basis, so if you���d like to be notified when the next opportunity comes around, consider subscribing to our blog (see the right-hand sidebar). 

Best of luck!

PS: If you want to amp up your first page, grab our helpful First Pages checklist from One Stop for Writers. And for more instruction on these important opening elements, see this Mother Lode of First Page Resources.

The post Phenomenal First Pages Contest appeared first on WRITERS HELPING WRITERS��.