Angela Ackerman's Blog: Writers Helping Writers, page 44

Fear Thesaurus Entry: Being Pitied

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 Pitied

Notes
Pity almost always comes from a good place, from people who care and only want to help. But some people don’t want pity or sympathy for others because it makes them feel weak or inferior. When��pity is accompanied by patronization, superiority, or passive-aggressiveness, it can cause the recipient to repel anyone’s attempt to show concern for them.

What It Looks Like
A strong work ethic
Independence
Rejecting charity
The character taking care of themselves when things are rough
Stashing food, money, and resources to prepare for hard times
Being highly adaptable
Downplaying negative life events so others won’t think they’re so bad
Brushing off the concerns of others
Becoming defensive when others express pity
Questioning shows of love or concern from others
Avoiding churches, soup kitchens, or other places typically associated with charity or sympathy
Overcompensating to show off their physical, emotional, or spiritual strength
Hiding negative emotions
Refusing to get professional help (in the form of counseling, food stamps, etc.)
Avoiding places where pity or charity are offered (church, support groups, etc.)
Quitting activities they enjoy if they start to perform poorly
Working very hard to avoid having to accept help from others
Having high expectations for themselves and others

Common Internal Struggles
The character believing they’re somehow inferior to or worth less than others
Wanting to be considered equal with others but secretly resenting those who have an easy life
Wanting to help others in need but not wanting to show pity
The character feeling guilty for their feelings about their unhappy life circumstances because they know others are even worse off
The character wanting desperately to prove themselves
Being afraid to show vulnerability to others
Fearing that others will find out about the character’s difficult circumstance

Flaws That May Emerge
Defensive, Dishonest, Grumpy, Judgmental, Perfectionist, Resentful, Uncooperative, Ungrateful

Hindrances and Disruptions to the Character’s Life
Not getting the help they need because they never ask
Relationships remaining somewhat surface because of the character’s difficulty opening up about their problems
The character being overworked or resorting to desperate measures to care for themselves
Not being able to cry or express anger around others
Having to keep certain aspects of their life secret
Sustaining a serious injury or developing an illness and having no support system

Scenarios That Might Awaken This Fear
Being thrust into an unfortunate situation (homelessness, bankruptcy, a terminal illness, etc.) 
Being offered support from well-intentioned friends or family members
Dealing with an overbearing caregiver
Making an embarrassing mistake in public
Being targeted for being weaker or less than everyone else
A situation where the character is expected to be vulnerable

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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The Top Three World-Building Pitfalls (and how to avoid them)

By Julie Artz

One of my favorite parts of being an obsessive reader is the feeling of picking up a book and instantly being immersed in the world. A few of my favorites include Gideon the Ninth by Tamsyn Muir, any book by Taylor Jenkins Reid or Kristin Hannah, The Murderbot Diaries by Martha Wells, everything that N.K. Jemisin has ever written, Six of Crows by Leigh Bardugo, Sarah MacLean���s sweeping feminist romances, and Chad Lucas���s perfect spooky voice in Let the Monster Out. Across genre, across age category, this feeling of being pulled right into the story denotes fantastic world-building.

If we know good world-building when we see it, why is it so hard to do it in our own work? World-building, perhaps more than any other aspect of craft, instills fear in the hearts of writers. And unlike the countless books, blogs, and podcasts on character, plot, and voice, there���s relatively little out there on how one actually goes about building a world (although there are some great posts right here on Writers Helping Writers).

What Even is World-Building?

First, a definition. World-building is the act of creating a fictional story world. It often involves thinking about the physical landscape, plants, animals, and inhabitants of the world, its history, religion, technology, and the cultures of the different races that live there, including power structures, social customs, languages, leisure activities, and work. 

The Top Three World-Building Pitfalls

The most common pitfalls I see in my clients��� novels when it comes to world-building are:

Relying on tired tropes/clichesRandom world-buildingInfo-dumping

And all three of these can be avoided with a little planning. That���s why I recommend including world-building in your planning/pre-writing process even if you���re mostly a pantser.

Avoiding Tropes and Cliches

Every writer wants to create a world that is absolutely unique and is something that has never been done before. But to do that, you can���t write in a vacuum. Doing so creates a false sense of security that you don���t need to do any research to avoid tropes, cliches and stereotypes.

That���s why the first thing I do after I get an idea for a new world is read every comparable title I can get my hands on so I know what the tropes are and can either avoid or subvert them. The genre tropes section of the TV Tropes Wiki is a great place to get ideas for what���s already out there. A lot of tired tropes, cliches, and stereotypes crop up due to under-developed world building, where a writer fills in gaps in their story world from other worlds they���ve read or watched. So that makes it even more crucial to flesh out your world–and make sure it avoids those pitfalls–in the beginning of your process. 

For example, if your world includes a four-legged creature with a single horn, even if it���s not the traditional white horse and you don���t call it a unicorn, you need to understand the mythos around the unicorn to write this into your story world. Why? Because the second I said ���four legged creature with a single horn,��� you conjured up an image. It might have been the slender, mystical figure from the animated version of The Last Unicorn or your kid���s sassy My Little Pony unicorn, but it still popped into your head, and some image will pop into your readers��� heads as well. Since you cannot control which unicorn they are thinking of, you have to do some world building to ensure that they���re seeing exactly the type of creature you want to see.

This is also why your research needs to include primary sources in addition to things that have been published in past few years. For a mythology-based world (which many of mine are), I read the original epic poems or stories when I need a little additional inspiration. Of course, it���s important to be aware of the biases and prejudices of the times when you���re looking at source material. I often take something from the original that I find sexist or racist or otherwise irritating and subvert it in my story. China Mieville���s brilliant UnLunDun is a great example of subverting the typical Chosen One trope, for example, because the Chosen One doesn���t actually end up saving the day. Thus a clich�� is avoided, giving readers a fresh take on a tired patriarchal trope.

Create a World that Enhances Story Themes

Sometimes the desire for fresh world-building overrides everything else. And that can lead to a world that feels random or disconnected from the themes, plot, and characters of your story. Think of The Hunger Games. Without the socio-economic oppression of The Capitol, the games wouldn���t make sense. Without Katniss���s near-starvation, she wouldn���t have the initial connection to Peeta���when he threw her the loaf of bread–that drives so many of the plot points throughout the trilogy. Even her preferred weapon, the bow and arrow, gives the reader information about this world. It���s one of the most primitive of weapons, used far before the Bronze Age introduced metal weapons, which reinforces the primitive subsistence living that���s been imposed on District Twelve while The Capitol hoards all its high-tech luxuries. So as you���re building out your world, make sure you think about how it will reinforce your story���s themes and character journey.

World-Building Takes a Light Touch

Once you���ve done your planning, you know the tropes, cliches, and genre expectations that are out there, and have ensured that your world-building reinforces the themes you���re writing about, it���s time to write. And, because you���ve created such a fresh, new world, you decide to start by orienting the reader to that world. Do not do this by including three chapters of world-building as your opening pages! Because as important as world-building is, it���s the character who is about to go on an adventure in that world who will draw the reader in. So start with character and give the reader only the bare minimum information required for them to understand what���s going on. (Becca has a great post on this here.)

Weave in details during scenes with forward action. Probably my most-used world building comment to my clients is: BE SPECIFIC. A platter of meat on the table is so much less evocative then roasted hell-boar basted with clarion berry jam. Even better if the main character���s father was gravely injured on a hell-boar hunt years ago or if the seeking out the clarion berries is a right-of-passage that the main character hopes to participate in soon. Then the details become a way to build character, foreshadowing what is to come, recall backstory, and, ultimately, make the world you���re creating on the page come to life.

I���m ready to build a world, now what?

Good world-building takes time and practice. It���s also an iterative process that happens throughout planning, drafting, and revising your story. I hope this post gave you some tips and tricks to use with your own story. But if you���re still struggling to incorporate immersive world-building into your story, join me on Saturday, October 29, 2022 at 1pm Pacific for Plan Now, Play Later���a World-Building Primer. This 90-minute webinar outlines common pitfalls while offering my simple, iterative approach to upping your world-building game.

���The Unicorn Tapestries Room: The Unicorn is Attacked (detail).��� by��peterjr1961, licensed under��CC BY-NC 2.0.

Julie Artz spent her���young life sneaking into wardrobes searching for Narnia. When people��started to think��that was creepy, she went in search of other��ways��to��go on��mystical adventures.��Now��she finds those long-sought doors to magical story worlds in her work as an author, editor, and book coach. An active member of��the��writing community, she has volunteered for SCBWI, TeenPit, and Pitch Wars and is a member of EFA, the Authors Guild, and AWP. A social and environmental justice minded story geek, Julie lives in an enchanted forest outside of Redmond, Washington, with her husband, two strong-willed teenagers, and a trio of naughty furry familiars.��Connect with Julie on Twitter, Instagram, or subscribe to Julie’s weekly��newsletter, Wyrd Words Weekly.

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Five Micro-Edits to Hook Readers On Your First Page

Ah, first pages. We angst over them. We change them incessantly. We hope they���ll nab readers and agents and editors. No pressure, right? While there are many big considerations for what your first page must do, today we���ll be covering five micro-edits you can apply that work like stealthy secret weapons. Those people you hope will fall in love with your first page won���t even know you���ve clenched them until it���s too late to close the book.

Make Your Protagonist Part of the Very First Line

Research shows that readers are looking for who represents them as soon as the very first line of our stories. The faster we signal who that character is, the more likely they are to bond with them and become invested in the story. Even if your story starts with setting, or a line of dialogue or action that belongs to a character who isn���t your protagonist, consider a way to bring them into that first line. Perhaps the action of the other character leads to an immediate reaction in your protagonist, or there���s a way to start the story one line earlier. Maybe the dialogue of the other character hits your protagonist���s ears a certain way. Attaching the reader to their story ���guide��� in that first line increases your chances for getting them to stick around for the rest of your book.

Give Your Characters Indirect Lines of Dialogue

The mind loves to wrestle with clues. To work on solving mysteries. One common mistake in writing our first pages is that as we get to know our characters and their dynamics, we play interactions out from start to finish in ways that reflect unfamiliarity. We include greetings. We have the characters use one another���s names. We utilize dialogue as a way to include exposition. All of these read in a somewhat contrived way because, in theory, your characters��� lives are in-progress when we meet them. They wouldn���t need to call each other by name, or exchange standard greetings, or pass along information that the other character probably already knows. Challenge yourself to bypass the stock interactions and sink into the world en medias res. What are your characters not saying that evokes our curiosity? What are they saying that makes us ���read between the lines?��� Are you utilizing movement and body language that hints that more is lurking beneath the surface? Clues that contrast the dialogue? For any given line of dialogue, is there an emotional ���cloud��� hanging over it that we can feel? Are the characters conveying a goal in their line, even if that goal is avoidance or resistance? Do we feel the push and pull of tension between what each character wants in the scene through what they say? Consider crafting each line of dialogue as a clue���a line that gives rise to a question as soon as read it.

Manipulate White Space

Sometimes, we���re so focused on what our writing is saying that we might overlook the way what we don���t say plays into the reading experience. We tend to forget that the physical words we put onto the page can impact our readers in powerful ways. Think about how you feel when you turn the page of a book and take in lots of writing. Blocky, long paragraphs and few paragraph breaks steal the ���wind��� out of your sail before you even start tackling the page. This type of writing slows our readers down and induces them to want to take a break. Or worse, to stop reading altogether. Conversely, think about the way a novel-in-verse reads, or poetry. We breeze through the pages, our eyes flying through the words thanks to all that white space. If getting readers to turn pages means they stay inside our stories, breaking up chunky blocks of text and maximizing white space encourages them to keep reading. Before they know it, they���ve several pages into our books and they���re invested.

The other benefit to manipulating white space is that new paragraphs shift a reader���s attention. It alerts them that something is changing, whether it be the character, the idea, or something else. Any time we want the reader to pay extra attention and to add emphasis, new paragraphs can be a powerful tool.

Avoid Complex Sentences

We can mistake good writing as beautiful, impressive writing. Long, lyrical lines that have our readers oohing and aahing. But writing that draws attention to itself is largely quite distracting. The reader���s focus shifts from the story to the words. It���s important that we remind ourselves that generally, readers don���t open a book for the writing. They come for the story. If the reader trips over the clever words we���ve chosen, or has to focus on a lengthy line, or digest a clever, complex metaphor, they may feel the need to go back and reread it to ensure comprehension. Or, they completely lose track of the story itself as they turn over the words. As writers, we want to avoid anything that stops readers and causes them to yank out of the reading experience. Direct, easy-to-read, smooth lines are our secret weapons in keeping the reader in our stories. The fewer multi-syllabic words, the fewer commas and clauses, the fewer fancy things to hold onto in any given line, the better. Remember, story over writing. And on a first page, this will be especially important so that the reader is onto all the pages ahead before they know it.

Manipulate Sentence Length to Evoke Mood

I often tell my clients that one of their primary jobs is to make the reader worry. Circling back to the points above, direct sentences not only ensure comprehension, they can be used to create emotions in your reader. Short, staccato sentences evoke the feeling of a pulse. Jolted, tense movement. Worry. While we wouldn���t want our entire first page to read this way, it���s important to apply this knowledge deliberately to the lines where we want the reader to worry. Where we want their pulses to race, and fear to grip them. If our first page is a sea of long, leisurely lines, tension falls and the reader gets the sense nothing is wrong. There���s nothing to fix and no story question nagging at them. Think about how you can deliberately play with mood by structuring each sentence.

What are some of your go-to micro-edits for first pages? Are you maximizing any of the ones we���ve covered already and seeing the impact? Open a favorite book and see if the author applied any of these micro-edits in ways you hadn���t even noticed at first glance. We���d love to hear your thoughts!

This post is packed with tips that will help strengthen your first page before our Phenomenal First Pages Contest on October 25.

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Less Is More���When It Comes to Describing Setting��

By C. S. Lakin

If you���re writing fiction, it���s your job to create rich, descriptive settings in which your characters live and breathe. The challenge���as any seasoned fiction writer can tell you���is how to find the proper balance between over- and under-describing, between extensively showing the setting with sensory details and briefly summarizing.

With fiction, it���s best to take a ���Goldilocks��� approach���not too much, not too little. But how can we find that place where the amount of description is ���just right���?

Renown writing instructor Sol Stein wrote,

���Writing fiction is a delicate balance. On the one hand, so much inexperienced writing suffers from generalities. ��� When the inexperienced writer gives the reader detail on character, clothing, settings, and actions, he [robs] the reader of one of the great pleasures of reading: exercising the imagination. My advice on achieving a balance is to ��� err on the side of too little rather than too much. For the reader���s imagination, less is more.��� (Stein on Writing)

Learning to find the balance between too little and too much description takes time, practice, and study.

Study is the most important of the three elements because that is how you will learn masterful technique���examining how expert best-selling authors in your specific genre wield description so that readers are transported into the imaginative world created without suffering from boredom, irritation, or confusion.

How to Find the Balance

How can writers understand the advice of ���less is more��� in a practical sense? Pull out a novel you love (in your genre) and find passages of setting. (Though it helps to look at current best sellers, it���s really not important when it comes to great setting description. I���ve found Zane Grey���s spectacular setting descriptions, written in the early 20th century, highly instructive for me when I write my historical Westerns, aiming to capture the sensory flavors that he did so masterfully.)

Often you���ll find that just 3-4 sensory details will convey a sense of place. But whatever detail is shown must be filtered through the POV character���s senses. To be believable, what she sees, feels, hears, or experiences of her surroundings must be things she would notice in that moment. And the few lines of description need to reflect her mood and mind-set.

This is critical. Any setting description out of POV and not in the right mood is too much (and, often, just plain weak writing). Why is it too much? Because hardly anyone ever looks around them and makes a mental list of every single thing they can see.

All this means you need to be clear on what your character is thinking and feeling at any given moment. And you need to keep the purpose of your scene at the forefront of your thoughts when considering how to describe setting.

I recall during a master class I took at Thrillerfest a few years back when my instructor spoke enviously about how another writer described New York City in one sentence. As the fictional character went out for his morning run, he passed the overstuffed black trash bags spilling off the corners of the streets at dawn on trash pickup days, noticing how the bags wiggled as the rats inside scrounged for food. To him, it was the perfect iconic description of setting in one line. Nothing else needed to be said to set the mood.

Here are some examples of setting up a sense of place with just a few specific, carefully chosen sensory details (in POV):

The attic was pleasantly chilly and smelled of pine. Decades of summer heat have forced droplets of resin out of the rough floorboards, which in cooler weather hardened to little amber marbles that scattered in all directions as we shifted trunks and cardboard boxes. The afternoon is fixed in my memory with the sharp smell of resin and that particular amber rattle, like the sound of ball bearings rolling around in a box. It���s surprising how much of memory is built around things unnoticed at the time. (Animal Dreams, Barbara Kingsolver)

Across the yard the mound of bike parts glistened with the early morning wetness that I���d always heard was angel tears. Some of the sprockets stared at me, their gaping eyes rimmed with metal eyelashes. It could have been a postmodern sculpture. ���In New York you���d fetch big bucks,��� I told it.

Walking would warm me. I crossed the rickety bridge that spanned the creek and started off toward the road to town. I pumped my arms, striding briskly along the rutted lane, where evergreens, withered and skeletal, blended into the gray green of the sage. Tiny had said the trees were infested with a kind of beetle, killing them an inch at a time. This saddened me and I walked faster. (The Fence My Father Built, Linda S. Clare)

I walked back out to my car. The scrub oak on the rim of the hills looked like stenciled black scars against the molten sun. I started the car engine, then turned it off and got back out and slammed the door. (Bitteroot, James Lee Burke)

I hope you noticed how personal these descriptions are, the setting telling something about the POV character and not just blandly presenting a laundry list of adjectives and nouns.

With the last example, the setting comes through simple action���the character walks to his car, gets in, starts and cuts the engine, gets out. Without knowing anything about this moment in the story, it���s clear what the character���s mood and mind-set are by the choice of verbs and adjectives. Burke also uses a simile to convey that mood���a great technique to use to drive home emotion.

He doesn���t overdo it with lengthy, wordy descriptions of how the character is feeling. The man doesn���t stride angrily, stomping his feet as he goes to his car. He merely looks out at the horizon in a moment of contemplation. We sense he���s trying to decide whether to stay or go. He doesn���t rev the engine, grip the steering wheel with whitened knuckles as he grits his teeth. He doesn���t describe the temperature in the car, what the road looks like, or the smell of the exhaust.

Yes, Burke could have added a few more lines, deepened the mood, slowed things down further, and it would have been effective. But ��� less is more. And, as you can conclude, less results in strong pacing, keeping the action moving without dawdling and boring readers.

Practice

Take a moment and freewrite a setting your character finds herself in. If you can choose one from your current project, all the better.

First, consider the purpose of the scene. Why your character is in this particular place and what she is doing there. What mood is she in and why? Write about the setting from her POV and in her mood. Make sure every noun, verb, and adjective reflects her mood. Fill a whole page with all kinds of sensory details.

Now, select just three or four phrases, sentences, or similes that really nail the setting in her POV. If you do this every time you sit down to write a new scene or put your character in a new place, you���ll get the hang of ���less is more.��� And your writing will greatly improve.

Want to master crafting powerful settings? Enroll in C. S. Lakin���s new online video course that will give you technique and exercises to evoke settings that will immerse your readers. Enroll before October 24, 2022 and get 30% off with coupon code EARLYBIRD.

C. S. Lakin is an award-winning author, blogger, copyeditor, and writing coach. She has taught thousands of writers how to improve their craft through her blog, Live Write Thrive, and her online school. She is the author of the Writer���s Toolbox series of books on novel writing and does more than two hundred manuscript critiques a year. 

You can find all her online courses for fiction writers at Writing for Life Workshops on teachable.

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The Key to a Successful NaNoWriMo? Using October Wisely

Are you one of tens of thousands of intrepid writers participating in NaNoWriMo? If so, know this: you’re a rock star. Writing a novel is something many people talk about doing, but few actually do it. And here you are, pulling out your keyboard to enter the challenge of completing a novel in a month!

If NaNoWriMo (National Novel Writing Month) is new to you, think CHALLENGE meets CREATIVITY. Writers all over the world set the same goal: to write 50,000 words in the month of November. That’s a boatload of words, and for many, adds up to a full novel. But whether a person reaches 50K or not, participating is a way to silence the ‘ol You can’t write a novel! jerk-voice in their head and just write. (Fun Fact: my first full-length novel was a NaNo novel.)

This challenge is a great time to experiment: try a new genre, play with ideas, and let creativity take the wheel. But don’t mishear me – giving over to creativity doesn’t mean we shouldn’t do any story planning and instead assume the muse will show up on November 1st.

In fact, the key to a successful NaNoWriMo is to use October to plan and prep!

To be ready for a full month of intense writing bursts, we should know a few things about what we’re writing, and have a plan on how to get to our 50,000 word goal.

Plan the story…

Whether you are a plotter or a pantser, it’s generally not good to start NaNoWriMo with no idea what to write about…unless you are looking to experiment, pressure-free, and won’t sweat it if you get lost or stuck, or finishing is not a big deal. But for the majority, having some direction at the start means starting off well, and it’s easier to build momentum so the words continue to flow.

Pantsers should have some idea of the type of story they want to write, and know a bit about what might happen. It can be a looser plan where characters and plot are more impressions, and who they are and what will happen in the story will be discovered as they write.

Plotters will want to do a deeper level of planning, including building characters to understand their personality, backstory, needs, goals, and more so it’s easier to write their actions and choices in the story. They’ll also want to plot or outline so they have a firmer idea of where their story will go and some of the major events that will happen. World building is also something to spend time on so it’s easier to draw readers into the character’s reality.

TIP: Whether you plot, plan, or do something in between, download the Ultimate NaNoWriMo Prep Guide below. You’ll be so glad you did.

Plan your time…

One of the biggest reasons why writers fail to finish NaNoWriMo is because life takes over and they can’t carve out enough time to write. Looking ahead to November and what might be happening in your life then can help you see what will be competing for your time. Maybe there will be some things you can handle now, or you can proactively plan for so they aren’t as disruptive. It’s also a good time to sit down with family members to explain how they can help you achieve your goal, and how that certain times they’ll need to step up because you won’t be available.

Plan your toolkit…

There are plenty of resources that can make it easier for you to know what to write, focus on the task at hand, supply you with ideas when you need them, and support you in other ways. Bookmark these babies:

NANOWRIMO: Seems obvious, I know, but there’s a ton of support right at the NaNo site, and you don’t want to miss it. So, sign up, introduce yourself on the forums, find local groups, and explore the many resources that writers all over the world recommend. (Don’t forget to recommend the ones that help you, too!)

TRELLO: This free tool is great for brainstorming. Gather together story ideas, research links, create columns for each character…Trello’s drag-and-drop cards are a great way to organize your ideas.

ONE STOP FOR WRITERS: This creativity portal is LOADED with powerful resources to help you plan characters & their arcs, world-build, create timelines, outline your story, and have non-stop ideas on tap so you always know what to write next. Start with a 2-week free trial if you like, or take advantage of this birthday discount.

TIP: While you’re at One Stop, poke around the THESAURUS to see all the way you can bring out your freshest stories ideas. The Conflict Thesaurus may become your best friend!

BRAIN FM: I purchased a lifetime license years ago and have never looked back, and why? Because it helps me focus on the task at hand. This app plays special neural phase-locking music that engages with your brain, encouraging productive writing sessions. If you’d like to try it, use my member’s code to get a free month.

FREEDOM: If social media and email pings distract you, well, you aren’t alone. An unending stream of information is a blessing and a curse, so if you want to claw back your keyboard, try this app and website blocker. (There’s a free trial).

THE NOVELIST’S TRIAGE CENTER: If you write yourself into a corner, run out of ideas, a plot hole happens, etc., visit this page. It’s packed with the many possible problems you might encounter and how to free yourself of them so the words continue to flow.

ULTIMATE NANOWRIMO PREP GUIDE: Wondering what story elements you really need to plan to be ready for November, and the other things you can do now that will set you up for a great NaNoWriMo?

Everything you need to for a successful NaNoWriMo is in this handy guide.

It’s full of actionable ideas on how to make time to write, plan as much or as little as you need, and points you to ingenious tools and resources that can help you.

Plan in October, slay it in November!

Mindy, Becca, and I have our pom-poms ready to cheer you on. You’ve got this!

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The Skeleton of Your Story

Think of Milestones (aka story beats) as a human skeleton. The skull, spine, sternum (breastbone), scapula, ribs, and pelvis are vital for life. Without these large bones in place, we���d become a mushy blob of skin, muscle, and meat. Also important is the humerus (upper arm), radius and ulna (forearm), femur (thigh), patella (knee), tibia and fibula (shin). Though we could survive without arms and/or legs, we���d have to adjust to a new way of life. Same is true for the metatarsals and phalanges of our hands and feet.

A complete skeleton has the strongest foundation. Don���t we want the same for our novels?

Drilling down into the Three Act Structure, the dramatic arc is split into four quartiles. Milestones appear on the microlevel of those quartiles, called Part I, Part II, Part III, Part IV. Each Part takes up about 25% of the novel. For clarity, I���ve colored Acts in red, Parts in blue, Milestones in black.

Ready to get high on craft? Cool. Let���s do this���

ACT 1 Part I: The Set Up: 

The first quartile (25%) of the story has but a single mission: to set-up everything that follows. We need to accomplish a handful of things (as you���ll see in the Milestones), but they all fall under the umbrella of that singular mission. If we choose to show the antagonist, we only want to include jigsaw pieces of the puzzle.

Most importantly, Part 1 needs to establish stakes for what happens to the hero after Part 1. Here in Part 1 is where the reader is made to care. The more we empathize with what the hero has at stake���what they need and want in their life and/or what obstacles they need to conquer before the arrival of the primary conflict���the more we care when it all changes. 

In Part 1 the hero is like an orphan, unsure of what will happen in their life. And like orphans, we feel for them. We empathize. We care.

Opening Scene

Often the Opening Scene doubles as the Hook, but not always. If you choose to include a prologue, for example, the Opening Scene must also hook the reader.

Hook

In an 85K word novel, the Hook should arrive between p. 1-15. This scene should introduce the hero, hook the reader, and entice them enough to keep reading. You need to ensure the reader either relates to, or empathizes with, the main character. Contrary to what some believe a reader does not have to like a main character. There have been plenty of unlikable heroes that have hooked us for an entire novel. Why? Because we empathized with their situation. Likeable or unlikeable, the reader must have a reason to root for them. That���s key.

Inciting Incident *Optional*

Not every story has to have an Inciting Incident in the way I use the term. Some call the Inciting Incident the First Plot Point. I refer to it as a separate Milestone, a foreshadowing of the First Plot Point but without affecting the protagonist. And that���s the main difference. It can even be an entirely different event, one that relates to the main plot, but it���s a false start. A tease. If we choose to include a separate Inciting Incident, this Milestone should land between p. 10-60 in the same 85K word novel. But an Inciting Incident does not mean we can skip the First Plot Point.

First Plot Point

Here���s where the true quest begins. The First Plot Point should land at 20-25% into the story, or between p. 60-75 in the 85K word novel. The First Plot Point is the single most important scene of all the Milestones because it kicks off the action and propels the hero on a quest, which is your story. Even if it���s been foreshadowed or hinted at, the First Plot Point shows the reader how it affects or changes the protagonist.

ACT 2  Part II: The Response :

This quartile shows the protagonist���s reaction to the new goal/stakes/obstacles revealed by the First Plot Point. They don���t need to be heroic yet. Instead, they retreat, regroup, and/or have doomed attempts at a resolution.

First Pinch Point

The First Pinch Point arrives at about 37.5% into the story (roughly the 3/8th mark or p. 114 in the 85K word novel). This Milestone reveals a peek at the antagonist force, preventing the hero from reaching their goal. If you showed the antagonist earlier, this is a reminder, not filtered through narrative or the protagonist���s description but directly visible to the reader.

For a more in-depth look at Pinch Points, see this post. 

Midpoint Shift

The Midpoint Shift lands smack dab in the middle of the story at 50% or on p. 152 in the 85K word novel. This is a transformative scene, a catalyst for new decisions and actions. With new information, awareness, or contextual understanding, the protagonist changes from wanderer to warrior, attacking the problem head on, which lays the foundation for Part III.

Part III: The Attack:  

Midpoint information, awareness, or contextual understanding causes the protagonist to change course���to shift���in how to approach the obstacles. The hero is now empowered, not merely reacting as they did in Part II. They have a plan on how to proceed.

Second Pinch Point

Unlike the First Pinch Point, we must devote an entire scene to this Milestone. The Second Pinch should land around the 5/8th mark or 62.5% into the story (around p.190 in the 85K word novel). This time, the antagonist is more frightening than ever because, like the hero, he���s upped his game. Or, if the antagonist force is Mother Nature, the Second Pinch Point shows the eye of the hurricane or lava erupting from a dormant volcano.

Dark Night of the Soul

A slower paced, all-hope-is-lost moment before the Second Plot Point, also known as the second plot point lull. At its heart, the Dark Night of the Soul is the main character grappling with a death of some kind���a mentor, profession, a relationship, his reputation, her sense of who she is, etc. Here���s where the hero is at their lowest point, believing they���ve failed.

As a clich��d example, the Dark Night of the Soul shows the cop with his gun in his mouth, ready to commit suicide. But then something happens to change his mind, and that something sets up our next Milestone.

Second Plot Point

The Second Plot Point arrives at 75% of the way into the story, or around p. 228 in the 85K word novel. This Milestone launches the final push toward the story���s conclusion. It���s the last place to add new information, characters, or clues. Everything the hero needs to know, to work with or to work alongside, must be in play by the end of the Second Plot Point. Otherwise, deus ex machina. But the protagonist���and reader���may not fully understand yet.

ACT 3 Part IV: The Resolution:  

The protagonist summons the courage and growth to come up with a solution, overcome inner obstacles, and conquer the antagonist. They���re empowered, determined. Heroic.

Climax

The hero conquers the antagonist or dies a martyr. Most will say the hero should never die at the end, but it is an option. And here���s when it���ll happen. In most novels the hero survives. It���s important to note the protagonist should be the one to thwart the antagonist, or at least lead the charge if it���s a group effort. They cannot be an innocent bystander.

Denouement

Denouement means unknotting in French, and that���s exactly what this Milestone accomplishes.After enduring the quest, stronger for the effort, the protagonist unravels the complexities of the plot, and begins their new life.

Quick note to ease the minds of pantsers 

I would never ask you to change your writing process or suggest planning trumps pantsing. There���s no right or wrong way to write a first draft. Whatever works best for you is the right way���for you. But once you have that first draft, read through from beginning to end and take note of the Acts, Parts, and Milestones. Your story sensibilities might be spot on and nothing needs to change. Great! But if your story feels ���off��� and you can���t figure out why, it���s most often because the Milestones aren���t in the correct order, or they arrive too late, or not at all. Add, subtract, or shuffle your scenes. Rebuild the skeleton of your story bone by bone. 

The post The Skeleton of Your Story appeared first on WRITERS HELPING WRITERS��.

Writer���s Fight Club Story Contest Winners!

Thank you for celebrating the release of the SILVER Edition of The Conflict Thesaurus: A Writer���s Guide to Obstacles, Adversaries, and Inner Struggles. Angela and Becca create amazing books���and find fun, generous ways to celebrate.

The Writer���s Fight Club Story Contest has been incredible. We enjoyed your entries and hope they���ll be published one day! Thank you for sharing your creativity, talent���and amazing conflicts.

Two of our Resident Writing Coaches donated edit prizes and judged the second round entries. I can���t wait for the talented winners to see their prizes below! If you didn���t win and are looking for an editor���check these coaches out to see if they���re a good match for you (you can see full bios for all our amazing Resident Writing Coaches here.)

Thanks Lisa Poisso and Colleen M. Story!

Lisa Poisso��specializes in working with new and emerging fiction authors. Via her innovative Plot Accelerator and Story Incubator coaching, she fast-tracks authors through story theory and development while facilitating an author-paced ���developmental edit in a bottle.��� She holds a journalism degree and has decades of professional experience as an award-winning magazine editor and journalist, content writer, and corporate communications manager. In addition to story coaching, she is a developmental and line editor. Her popular Baker���s Dozen newsletter serves up 13 tasty tidbits for writers on a regular basis. Connect with an editor or coach who really gets your work with the��Writer���s Guide to Finding & Hiring an Editor. Find Lisa at LisaPoisso.com, download her free Manuscript Prep guide, and interact with her on Facebook, Twitter, and Instagram.

Colleen M. Story is a novelist, freelance writer, writing coach, and speaker with over 20 years in the creative writing industry. Her latest novel, The Beached Ones, released from CamCat Books on July 26, 2022. Her novel, Loreena���s Gift, was a Foreword Reviews��� INDIES Book of the Year Awards winner. Colleen has written three award-winning books to help writers succeed. Your Writing Matters, Writer Get Noticed! and Overwhelmed Writer Rescue. Check out free chapters! Colleen frequently serves as a workshop leader and motivational speaker, where she helps attendees remove mental and emotional blocks and tap into their unique creative powers. Find her at Writing and Wellness, Author Website, Life and Everything After, YouTube, Twitter, LinkedIn, Goodreads, BookBub and Instagram.

The Writers Helping Writers Street Team has helped us in so many ways, and we���re incredibly grateful. Here���s a huge thank you to the writers who judged the first round of our contest. Your thoughtful insight is greatly appreciated!

Thanks First Round Judges

Stuart Wakefield
Jessica Subject
Shaley Nagle
Michelle Cornish
Randy Landenberger
Judy Kentrus

Faith Canright
Nicole Holloway
Megy Davis
Tracy Perkins
Rona Gofstein
Jan Sikes

Brandi MacCurdy
Kathy Swailes
Halli Gomez
Erica Converso
Julie Mcgue
Soquel Baumgardner

And now���the winners! First Place: Diane Lee Sammet – Friend or Foe

Conflict: Getting Caught in a Lie
Judge praise:
* I could feel the savviness of the author���s craft and the internal struggle of giving into fear & weight of guilt was really well done.
* I love this story! The conflict was so relatable.
* I want to know what happened next.

Prizes:
A $100 US cash prize
Two 1-year subscriptions to One Stop for Writers (One for you, one for a friend – $210 value)
A $100 US donation to your choice of charity that helps those impacted by conflict
A professional edit of your submission by our amazing Resident Writing Coach, Lisa Poisso
+ Bragging rights!

Second Place: Thomas Sundberg – Bending Light

Conflict: Being Trapped
Judge praise:
* Boom���this scene sucked me right into the story.
*This grabbed me from the beginning ��� such a strong conflict!
* It held my attention from the beginning, and it was interesting and intriguing.

Prizes:
A $50 US cash prize
Two 6-month subscriptions to One Stop for Writers ��(One for you, one for a friend – $120 value)
A $50 US donation to your choice of charity that helps those impacted by conflict
A professional edit of your submission by our amazing Resident Writing Coach, Colleen M. Story
+ Bragging rights!

Honorable Mention: Elle Boyd – Shame

Conflict: Experiencing Discrimination
Judge praise:
* This made me feel something for the character, and I could imagine what it would have been like to find someone who completed you only to lose them, and the drudgery of settling for what was expected in life, not what the character wanted. And then of course, the second chance and taking the leap.
*I could feel the emotional conflict of discrimination in this story.

Prizes:
A professional edit of your submission by our amazing Resident Writing Coach, Lisa Poisso
+ Bragging rights!

I���m happy dancing for all the talented prize winners, and will e-mail you soon. Congrats to those who won prizes���and all the writers who prepared a submission and entered (which makes you winners in my eyes, too).

Pssst���speaking of prizes, everyone can get 25% off One Stop for Writers plans by using the one-time code SEVENYEARS until October 23.

Thanks again for celebrating with Angela and Becca. Happy writing and revising!

The post Writer���s Fight Club Story Contest Winners! appeared first on WRITERS HELPING WRITERS��.

Themes and Symbols Go Together Like Peas and Carrots

So…symbolism. We���re pretty familiar with this storytelling element, and I���m guessing most of us have experimented with the use of symbols in our writing. In a nutshell, you take an object, word, color, phrase, etc., and apply it in a story to give it a deeper meaning:

Tolkien���s one ring (evil)
The floating feather (destiny/fate) in Forrest Gump
A Mockingjay (rebellion) in The Hunger Games

Some symbols are super obvious; other times, readers have more of a subconscious awareness that the object is really meant to represent X. Either way, when a symbol is deliberately included in a creative work, it���s almost always saying something about the story���s theme.

But theme ��� this one isn���t as easy to grasp. So let���s talk about this storytelling element and how you can use it along with symbolism to strengthen your writing.

What Is Theme?

The theme of a story is the central message that explores a universal concept. Nature, good vs. evil, freedom���ideas like these are common to the human experience, and when we include them in our writing, readers tend to engage with them and connect with the text and the characters on a deeper level.

But thematic ideas themselves aren’t typically so neutral. The author will often bring their own worldview and perspective to bear on a given concept to form a thematic statement that supports a specific perspective:

We���re all part of the circle of life. (The Lion King)
Every human has equal capacity for good and evil. (Strange Case of Dr. Jekyll and Mr. Hyde)
Freedom requires sacrifice. (Braveheart)

Typically, this statement emerges and is proven out through the protagonist���s journey. They may start out embracing the thematic statement, which is challenged along the way by other ideas, but it survives the test of time and holds true. (Or the protagonist refuses to embrace that statement, ensuring in most cases that the story ends in tragedy.)

Alternatively, the hero may come to the story with a contrasting statement that is eventually proven wrong. And in some cases, the protagonist has no particular dog in the thematic fight; they arrive on page one without an opinion either way about the main idea. But by the final pages, the people they���ve encountered and trials they���ve faced have made them believers in the thematic statement.

As authors, we���re orchestrating this process. Sometimes it happens subconsciously, with our deeply rooted opinions organically making their way onto the pages as we write. But others take a more strategic approach to theme; they know what idea they���re trying to get across. It���s just a matter of figuring out the best way to do it.

Well, good news! We���ve got some tried-and-true methods for you to do just that.

Use the Whole Cast Via…

Contrasting Thematic Statements. If you���ve done your character creation homework, you���ve assembled a cast that is diverse in experience, personality, and mindset. As a result, each player will see the thematic idea from their own perspective. Allow readers to explore the central idea through the lens of those different viewpoints.

For instance, greed is the concept being explored in the movie Wall Street, and the players involved all see it a little differently. Protagonist Bud is a clean slate, with no preconceived ideas about it. His mentor lives by the mantra ���Greed is Good,��� and he has the money and moral ambiguity to prove it. Bud’s father, a hardworking blue-collar family man, believes that strength of character and being able to look yourself in the eye are more important than being rich. Bud’s girlfriend doesn’t reference greed overtly, but her ability to be bought says volumes. These viewpoints all leave an impression on Bud, formulating his ideas and influencing his journey to finally understanding and embracing his truth about the theme of greed.

Surround your protagonist with characters whose thematic statements contrast with his own. As the story unfolds and conflicts arise, the characters will respond based on their preconceived ideas about the theme. This will allow you to convey the idea you���re wanting to get across.

Personality Traits. We���re largely defined by our values, and this comes through in the traits that define us. The same is true for our characters. Someone who is honorable will look at greed differently than someone who is materialistic, selfish, or even ambitious. Likewise for an idealist vs. a cynic. Personality will naturally impact your character���s opinions and values, so whatever theme you want to explore, give each character the negative and/or positive traits that will make their beliefs about it make sense.

Experiences. A character���s ideals will also be influenced by their experiences. Let���s take, for example, a theme of family. Someone who grew up in a tight-knit, got-your-back family may swear by the adage that blood is thicker than water. But a character who was abandoned by their parents and has had to cobble together their own support system may believe that family is what you make it. Being raised in a home defined by rigid rules, strict punishments, and condemnation could cause someone to feel that family is a prison that must be escaped. Each character���s history���the good and the bad���will contribute to their personal ideas about your story theme. Set them up to have their own ideas about the theme by giving them the backstories that will support those beliefs.

PRO TIP: Your characters’ traits, experiences, and personal biases will influence how they approach the story theme, so it’s important for you to know these driving factors in your cast members.

For this reason, we’ve structured the entries of One Stop for Writer���s Theme and Symbolism Thesaurus so you can explore these aspects for your characters and make smart decisions about their thematic statements. We’ve added 30 new entries to this collection and are in the process of updating the existing entries to include this helpful information, but you can see an example here.

Use Symbols to Reinforce Thematic Statements and Ideas

Once you know the thematic statement you���d like to convey, an effective way to reinforce that idea is with some strategically chosen and placed symbols. Theme is abstract, but symbols turn it into something solid and concrete that readers can easily grasp. When it comes to finding the right symbols to reinforce your idea, keep the following options in mind.

Universal Symbols. While nothing is truly universal, certain objects are widely associated with certain themes, making them easier for readers to interpret. After all, they instinctively know that snakes symbolize evil, spring represents new beginnings, and a crown indicates royalty, so a universal symbol will make those references very clear.

However, because they���re used so often to stand for the same things, these objects can become a bit clich��d. If you���re worried about that and would like to go a more original direction, use something that���s unique to the character, instead.

Personal Symbols. These can be quite powerful because they relate directly to the character and their individual story. These objects can also contain inherent emotion because of the character���s connection to them.

Consider a woman who is defined by two things: she’s a competitive runner who has often been the victim of discrimination. A second-place marathon ribbon is in a prominent place in her study. It’s quite a prize, but to her, it doesn’t represent achievement or talent: it’s the moment success was stolen from her when she was sabotaged by another runner out of pure prejudice, a constant reminder of how important it is to keep fighting injustice and never giving up.

This unorthodox object as a symbol of injustice, discrimination, or possibly vengeance is original and makes perfect sense for this character. The strong emotional connection also stirs up a lot of emotion, which is always a good idea.

Symbols Within Symbols. If you���re looking for a fresh symbol, explore big devices for the gold nugget that may be hiding within. Weddings, for example, often represent a new beginning. But maybe the ceremony itself has been a little overdone in this context. To find something original that conveys the same meaning, go deeper into the wedding itself. The marriage certificate, a cake topper, the bride���s veil���even something as innocuous as the dried rose petals that were scattered by the flower girl on the big day can be used.

The little people, places, events, and objects associated with a bigger symbol can represent the same thing. Explore these micro options to come up with some unique symbolism choices to sprinkle throughout your story.

Symbols are potent, affecting how we feel about the chosen items. Themes are even more so because they get us thinking by challenging our ideas and deepest beliefs. Used together, your story���s theme and the symbols you use to reinforce it can create a deeper, more meaningful experience for readers.

For a list of themes, and the symbols representing each, visit our Theme and Symbolism Thesaurus Database at One Stop for Writers.

Birthday Bonus, Woot!

One Stop for Writers is celebrating seven years this week with a 25% discount on all plans.

Whether you are an existing subscriber or you plan to become one to take advantage of all the powerful tools and resources there, grab this code and make your wallet happy. See you at One Stop!

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Happy 7th Birthday, One Stop for Writers!

It’s hard to believe another year has passed, but it’s birthday time again. One Stop for Writers is seven!

Over the years, Becca and I have stuffed this web app with innovative tools that help you think and write like story experts. And it’s been so great to see your confidence grow as you use them, and to know you’re getting more and more books into the hands of your readers. Thank you so much for letting us be part of your writing process!

Save 25% On All One Stop for Writers Plans

Seven years is nothing to sneeze at, so here’s a sweet birthday discount for anyone who needs a war chest of storytelling tools to support them as they plan, write, and revise:

SEVENYEARS

To use this code: Sign up or sign in. Choose any paid subscription (1-month, 6-month, or 12-months) and add this code: SEVENYEARS to the coupon box.Add your payment details, and this one-time 25% discount will apply onscreen.Check the Terms box, and then hit the subscribe button.

And that’s it! All of One Stop for Writers’ resources, including the incredible descriptive THESAURUS, is now part of your storyteller’s toolkit.

Code is active until October 23rd.

New to One Stop for Writers?

If you’re not familiar with One Stop for Writers, join Becca for a virtual tour. She’ll show you exactly how this site is going to make writing stories much easier:

Planning your NaNoWriMo Novel?

One Stop for Writers is a powerful story planner, so if you’re gearing up for NaNoWriMo (National Novel Writing Month) now’s a great time to sign up for a free trial and start building your characters, plotting your story, and building your world. And once November hits, you’ll love having non-stop ideas on what to write, and how to find the right words, just a click away.

Thanks for helping us celebrate our birthday, and happy writing!

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Fear Thesaurus Entry: Never Finding Happiness

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 Never Being Happy

Notes
A character who is afraid they will never be happy may feel unworthy of happiness. It’s also possible they’ve grown weary of life’s many disappointments and don’t want to get their hopes up any more. This fear creates a dichotomy of emotions, with the character either spending all their time chasing happiness or running from it.��

What It Looks Like
Searching for the one thing that will light the fire within them
Trying many different hobbies and pastimes
Researching philosophies, religions, and other ideologies
Spending a lot of time alone, soul-searching
Hopping from job to job trying to find the perfect one
Abusing drugs or alcohol, either as a way to find peace or numb the pain
Retreating or hiding from the world
Lashing out at others in frustration
Trying to be perfect
Engaging in negative self-talk
Struggling with making decisions
The character being unable to make a move toward something they desire��
Being unable to find things that excite them
Hating life and everything in it
Having a “why me” attitude

Common Internal Struggles
The character being unable to enjoy happy moments because they’re worrying about what could go wrong
Feeling numb even when something wonderful has happened��
Focusing on past hurts, even when things have gotten better
Worrying about the future instead of being grateful for the good things in the present
The character struggling with anxiety��
Being unable to see their own value��
Experiencing guilt or shame though they have done nothing wrong

Flaws That May Emerge
Inattentive, Inhibited, Insecure, Irrational, Melodramatic, Needy, Nervous, Obsessive, Oversensitive, Perfectionist, Pessimistic, Reckless, Resentful, Self-Destructive, Subservient, Timid, Uncommunicative, Whiny, Withdrawn

Hindrances and Disruptions to the Character’s Life
Having a difficult time making friends
The character not going after what they want in life
Foregoing promising opportunities; settling for the status quo
Chronic substance abuse��
Being stymied by depression, social anxiety, etc.
Being paranoid that everyone is plotting against them
Believing that fate/God/the universe is working against them
Being driven by negative thoughts and emotions

Scenarios That Might Awaken This Fear
Being victimized
Losing something that makes it seemingly impossible for the character to follow their passion (a musician going deaf, an athlete losing a limb, etc.)
The character being laid off from their perfect job
Experiencing a series of losses in a short span of time
A large-scale disaster (a weather event, economic depression, pandemic, etc.) negatively impacting the character
A health crisis that is difficult to overcome (cancer, a stroke, a chronic illness diagnosis, etc.)
The death of a loved one
A promising opportunity falling through at the last minute

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: Never Finding Happiness appeared first on WRITERS HELPING WRITERS��.