Angela Ackerman's Blog: Writers Helping Writers, page 5

Write a 5-Star Book 2

When I set out to write Book 2 in my Fountain series, I made the common mistake of thinking it would be easier than the first one, which took me more than four years to write. After all, I���d already created the world and gotten to know my characters inside and out. I knew what I wanted their next adventure to be. What could possibly be so hard about continuing a story I already knew so well?

But when I sat down with my detailed outline and started writing scenes, writing that second book was harder. Much harder.

Within the first few chapters, I realized I was repeating myself. The writing was strong enough because I���d learned so much while writing my award-winning debut, but this *new* book was coming out like an abbreviated version of Book 1, and I was even boring myself. I found myself writing things readers already knew about my characters, rediscovering my world, rehashing relationships, and explaining backstory that had already been resolved in Book 1. I was stuck in a loop. I didn���t want my characters to explore the same issues again, but I also couldn���t assume readers remembered every little detail that happened in the first book.

Luckily, I figured out where I went wrong in time to meet tight deadlines while working full time and raising my family, and in the decade since, I���ve helped hundreds of writers tackle their second books with ease.

The Trap of the Sequel

Writing a second book isn���t just a continuation of your story���it���s a new story altogether. Even if you decide to make your Book 2 a ���stand-alone��� novel in the series, where, in theory, readers could read Book 2 without going back to read Book 1, the reality is you���ll have three types of readers who will buy your new book:

Your Loyals ��� readers who just finished Book 1, remember everything, and are hungry for moreYour Casual Fans ��� those who read Book 1 a while ago and remember what happened���sort ofNewbies ��� readers who somehow found Book 2 first and read it without ever diving into Book 1

So, who are you writing this second book for? With a little planning, your book can be an immersive experience for any one of these three types of readers.

Common Pitfalls When Writing Book 2

Here are some of the biggest mistakes I���ve made myself���and seen writers make���in second books:

Over-summarizing Book 1 Events: Repeating what happened in Book 1, often in unnecessary detail, slows the pace and is too indulgent. Yes, your readers will need context, so you���ll have to include a bit of information, and I���ll give some tips on how to balance this below.Having Characters Reference Book 1 Events: This can show up as casual mentions, or inside jokes, where one character says, ���Remember the time we������ and relates a funny anecdote from Book 1 for a laugh. You���re probably including this snippet because you think what happened was just so cool, you don���t want new readers to miss out. But resist this urge. These recaps are almost always off topic for what���s happening in Book 2, and you���re better off adding to your characters��� shared history with new events.Characters Repeating Their Story Arc: Every story features a character who changes from beginning to end, whether it���s a subtle shift or a huge transformation. If Book 2 features the same character, give them a new growth curve, so we don���t have to watch the same transformation again. Example: If in Book 1, your character goes from being a wallflower to speaking their mind, in Book 2, if they���re still trying to speak their mind, it���ll feel stale.Keeping the Reader���s Takeaway the Same: What did you hope readers would learn, decide, or know by the end of reading Book 1? I call this your Reader���s Takeaway . If this core message, or theme, is the same in Book 2, the two books will feel eerily similar, even if the events are different.��Breaking a Contract With Your Readers: If you���re writing a sequel, chances are you have built a following with Book 1, and it was well received. Pay attention to what feedback you got because that���s what readers are coming back for. If they swooned over the romance? Don���t make Book 2 an extended breakup. If they loved your brainy sci-fi world? They���ll be disappointed if there���s no science in Book 2. Your first book sets their expectations, and they want more of the same, so don���t change the rules.Tips for Keeping a Book 2 Feeling Fresh

It can be daunting to tackle Book 2, especially if Book 1 did well.

– Will readers love Book 2 as much?

– Can you live up to the hype?

Here are some tips to keep in mind when writing, so that your sequel will push your series over the top, leaving readers anticipating Books 3, 4, and 5���

1. Change Something Big

If the setting and the characters are the same as they were in Book 1, you���ll find your outline for Book 2 will need a lot more content to make up for it. To avoid this, try setting Book 2 in a new location, expand the magic or political system, introduce new characters, or write from a different character���s Point of View (POV). That way, you���ll have lots of new world-building and character-building to round out your plot.

2. Tackle a New Character Arc

Share a new part of your main character���s journey���how do they change from your opening scene to the end? Example: if in Book 1 she started out as a wallflower and by the end was speaking her mind, maybe in this book she starts out thinking she has to do everything for herself, and learns by the closing scene that her life is richer if she lets people in. Knowing where she���s headed will help you create a new take on everything she touches in this book.

3. How Much Recap is Too Much?

This is the number one question I get from series writers. Where���s the balance between giving readers enough information from Book 1 that the new story makes sense, but not so much information that you���ve rehashed your entire plot?

Here���s a handy question that will help you decide if you should include information from Book 1. Every time you���re tempted to include backstory from Book 1, ask yourself:

Does the reader need this information to understand what���s happening in Book 2?

If the answer is no���ditch it and don���t look back. If the answer is yes���include it but build on it.

For example, instead of just reminding readers that your character had a traumatic experience in Book 1, show how that experience has shaped their behavior now. Maybe they���ve developed a new fear, or they’ve misremembered what happened, or they���re finally ready to deal with it differently.

When you build on what happened in Book 1, you���ve gotten new readers up to speed, but you���ve also rewarded your loyal readers who remember the event from Book 1 by giving them new information to pique their interest, not just boring them with a recap.

4. Push Yourself

I like to challenge myself to do something new in every book���whether it���s creating a different plot structure, practicing writing in a new tense or POV I haven���t used in a full-length novel before, or changing up my main character���s traits. Not only will leveling up with each book you write keep you growing as a writer, but it also means each book will feel different than the last, while still maintaining your writing voice and personal style.

Get to It!

Here���s the good news���if you���re writing Book 2, it means that you���ve successfully completed a novel from start to finish before. That means you know what writing a book takes (more than most of us think when starting out!), and can tackle this next challenge with all you���ve got.

Want a little extra support as you write? I���ve got you. Check out my programs to support writers as they go www.suzyvadori.com/programs

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Workshop: How to Write Compelling Inner Conflict with Angela Ackerman

Ready to dive into your character’s internal struggle and put all that incredible gut-twisting conflict on the page?

If so, don’t miss this upcoming Zoom workshop on Saturday, May 24th, 11 AM Eastern Time.

Inner Conflict: Writing About
Your Character’s Personal Struggle

Not only is internal conflict central to character arc, but it’s also a magnet for reader fascination and empathy.

Join Angela as she explores how internal struggles drive your character’s choices and actions, and the way common ground ensures readers connect emotionally with your character���s psychological battles.

This 90-minute workshop covers…

An overview of conflict and its role within a story Common types of internal conflictHow to show (not tell) when a character is struggling5 forms of common ground that draw readers into a character’s inner battleCognitive and emotional dissonanceWhat emotional reasoning is and how characters use it to make tough decisionsHow to show it when a character’s resolved inner conflict leads to positive changeA wrap-up Q & A

When: Saturday, May 24th, at 11 am EST/EDT
Where: Zoom
Your Host: Angela Ackerman
Cost: $25 US/seat
(Limited seating)

This session will be recorded, so if the timezone or date doesn’t quite work, don’t worry! Everyone who registers will have replay access for two weeks afterward.

SAVE ME A SEAT

I hope you can join me for this one. Bring your questions; I want you to leave feeling confident in your ability to write compelling inner conflict!

The post Workshop: How to Write Compelling Inner Conflict with Angela Ackerman appeared first on WRITERS HELPING WRITERS��.

Writing Tips from a Neurodivergent Brain

Last Fall, when I wrote about writing a novel ���scene by scene,��� I received a ton of interesting feedback. Most of it was a variation on these three questions:

How can you possibly write out of order?How can you keep things straight when you write like that?I get hives even thinking about writing out of order!

I���ll give you my answer in a nutshell.

I don���t write out of order to be different or creative. I write out of order so I can finish books. When I wrote like all my writer friends ��� opening a Word doc and writing until the book was done ��� the book(s) NEVER got done.

Seriously, I had 13 unfinished novels and a truckload of self-loathing by the time I stopped banging my head against that wall.

I had to break a book down into tiny little pieces, or the process would break my brain and make me loathe writing. But, there are a few caveats to this approach. Even a disorganized ADD brain like mine had to implement a little bit of order.

Must-Haves for the “Scene Writing” Approach

You don’t have to have every one of these mastered, but it really, really helps if you at least have the first one. I tend to use them all when I get to the editing process.

You must have a good grasp of writing structure.

Otherwise, you end up with a pile of scenes, or “story blocks,” you can���t use. It also helps to know the 12 steps of the Hero���s Journey.

Here���s a great link from Grammarly on the hero’s journey.I work with more with 3-Act structure because I can keep track of it better in my head.Two words ��� conflict lock.

According to Bob Mayer, ���If you don���t have a conflict lock, you don���t have a story.��� He���s the author of Warrior Writer and co-founder of Cool Gus Publishing, and the Conflict Lock is a very cool tool. Here���s a blog from Shannon Curtis to tell you more.

Scene-dissecting tools like Margie Lawson’s EDITS system.

If you don’t have tools like the ones Margie teaches you, it’s difficult to figure out where you missed with a scene, especially if you’re a pantser. I really appreciated her EDITS system, because it is so visual.

My recommendation: Invest in yourself with classes or lecture packets from Lawson Writers Academy…you’ll be glad you did.

Understand your story’s DNA (theme) before you get too far.

I think hard about theme pretty early in my process for an important reason. If you have a strong visual of your story’s underlying message, I believe you will automatically write to it. That story DNA will inform every scene choice you make because it has to.

John August, the screenwriter for Charlie and the Chocolate Factory and Big Fish, says it much better than I do in this post.

Some Pros and Cons of Scene Writing

And yes, these are all going to be completely subjective. However, if you’re on the fence about your process, I thought it might be helpful to see why you might like or dislike this writing method.

The advantages.

1. It���s a great way to avoid writer’s block.

There’s always another scene to write or edit. Those scenes can jump start you back into any story that is stalled. You don���t even have to use it in the story���it can become a ���throwaway��� scene that you use as a newsletter giveaway.

2. I’m able to fall into the writing and stay immersed, because it’s “only one scene.”

3. Tools like Scrivener and Plottr allow you to store scenes separately and move them around.

4. The story theme is naturally interwoven when you write this way.

5. This method allows you to move between fiction and non-fiction pretty easily.

The disadvantages.

1. The biggest downside to this method is that I often need objective eyes to tell me when the story is “really done.” If you are focused at the scene level for a while, you might ���lose the forest for the trees.���

FIX: If I���m feeling lost, I compile the whole thing into a Word document so Word can read it to me in that super-boring computer voice it uses. It���s far easier to spot the problems when you see or hear your story in a different medium.

A few other authors have told me that even changing the font when they read helps them catch errors.

2. Continuity edits are a must for long works. Sometimes, you need another set of eyes to check and be sure that all the loose ends are tied up.

3. Scene transitions bug the heck out of me (and I’m pretty sure I’m terrible at them). The story quilting method stitches those glorious scenes of yours together with whatever quick  transitions you use to open a scene.

FIX: If you also feel like you’re not good at transitions, my solution is to find a writing pal who loves them and run the work by them.

Final Thought

My approach is certainly not for everyone. Believe me, I am super jealous of all you linear, organized writers.

There are times when going the ���scene-writing route��� is beneficial. Who would I recommend this non-linear method to?

People with neurodivergent brains like mine that get paralyzed by too many details.Writers who feel stuck. In my experience, the best way through writer���s block is by tricking yourself into any writing. Writing short is a great way to do that. You can always use any extra scenes as marketing giveaways.Big picture thinkers, who see the 50K foot view, but have trouble zooming in close.Writers who get a story idea and want to write some scenes before they commit to a whole book.I���m sure there are other populations of writers I haven���t even thought of here, so I���m going to turn this over to all of you. When do you think the non-linear approach could be helpful?

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Secrets Thesaurus: Knowing Death Is Coming for Someone

What secret is your character keeping? Why are they safeguarding it? What���s at stake if it���s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character���s secrets���and they will have secrets, because everyone does. They���re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can���t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

For instance, let���s see what it might look like if your character���

Knows Death Is Coming for Someone

ABOUT THIS SECRET: Knowing someone is going to die is a heavy burden to bear, especially if the character cares for the person and can���t do anything to help. Whether because of precognition, being part of an organization who called for the death, or because they ordered it themselves, the character may feel personally responsible and experience great emotional distress as a result. But keeping the secret may be the only way to prevent a worse consequence to their loved ones or themselves.

SPECIFIC��FEARS��THAT MAY DRIVE THE NEED FOR SECRECY:
Being Attacked, Being Labeled, Being Unsafe, Betrayal, Change, Conflict, Death, Failure, Government, Hope, Letting Others Down, Losing Financial Security, Losing One���s Social Standing, Losing the Respect of Others, Not Being Believed

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Becoming anxious or depressed, resulting in physical or emotional issues
Becoming desensitized to the horror or trauma of the experience or the value of the lives that will end (if this happens often)
Struggling with the ethics of hiding their knowledge versus revealing it, causing inner turmoil and performance issues

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Bribing or coercing into silence anyone who find out about the upcoming death
Rationalizing the character���s death as part of the greater good or for a higher purpose
Feigning ignorance or innocence when confronted about the person���s death

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Being evasive when discussing future plans with the person marked for death
Becoming obviously depressed, anxious, avoidant, or distressed, especially when the person is present or being discussed
Overreacting to innocuous situations regarding the person; going overboard to protect them (accompanying them everywhere, not allowing them to travel, etc.)

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
Being forced to witness or be part of events that lead to the person���s death
Being questioned by the person marked for death, who suspects something
Being recruited as an ally by someone trying to protect the person
Having their own well-being threatened because of the secret

Other Secret Thesaurus entries can be found here. Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 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, then give our Free Trial a spin.

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Before You Pay Thousands to Publish Your Book, Read This

If you’re thinking about paying a company thousands of dollars to publish your book, please stop and read this first. I have a stern warning for you!

My $5,000 Publishing Nightmare

When I was a young writer in my 20s, I had just finished a children’s book. Eager to see it in print, I submitted it to a publishing company. To my delight, they responded enthusiastically: ���We���d love to publish your book! It���s wonderful!��� The only catch? They required me to ���share in the investment.���

That should have been a red flag, but I was naive and unaware of the publishing industry���s darker corners. I did my due diligence���or so I thought. I researched the company, and everything looked legitimate. I even traveled to their headquarters, met the staff, and shook hands with the CEO.

Confident I was in good hands, I took the leap. Five-thousand dollars later, I believed I was on my way to becoming a published author.

Six months passed, and the updates stopped. My emails went unanswered. Phone calls were ignored. Eventually, I learned the awful truth: the CEO had taken all the authors’ money and fled the country. Lawyers tried to track him down, but he was never found.

I lost my $5,000. And I had no book to show for it.

The Scams Are Worse Today

Thirty years later, I’d love to say things have improved, but they haven���t. If anything, scams have become more sophisticated and widespread.

I receive frequent calls from supposed representatives claiming they want to turn my book into a movie or help me market it. When I research their companies, they don���t exist.

Recently, a subscriber to my website emailed me about a publishing offer she received: $17,000 to publish her book.

No. No. No. I urged her to think twice���and then three times���before signing that deal!

Understanding Publishing Models: Traditional, Vanity, Hybrid, and Publishing Services

In today’s publishing landscape, authors must remain vigilant against scammers who know how to exploit a writer’s aspirations.

First, it helps to understand just who the legit players are.

Traditional Publishing

First, there���s traditional publishing. You submit your manuscript to a publishing house, where the editors or their assistants review it. If the publisher chooses to invest in your story, they will cover all the costs associated with editing, cover design, printing, and distribution.

As the author, you do not pay to publish your book. Instead, you sign a contract giving the publisher certain rights in exchange for royalties. (Always review your contract with an intellectual property lawyer before signing it.) Traditional publishing is highly competitive, and acceptance rates are low.

Vanity Publishers

Vanity publishers are the worst of the bunch and the type you should avoid! They charge you a hefty upfront fee to publish your book, often without quality editorial services or marketing support. They get to enjoy the profits whether the book sells or not, and you may have difficulty retaining rights to your work.

How can you tell if you’re dealing with a vanity publisher? First, they accept all submissions as long as you’re willing to pay. Second, they charge large sums of money without detailing where that money is going. My writing friend who was offered the $17,000 publishing “deal” was dealing with a vanity publisher.

Next, they offer no real advantage in terms of distribution. They will “say” they distribute to bookstores, but double-check. Often, they just list the books on Amazon and call it good. They may also be unclear about how they handle royalties, taking a large percentage themselves or creating vague payment structures. Some will even require you to purchase a minimum quantity of books before receiving royalty payments and then may delay sending those payments.

Finally, most vanity presses do not have a good reputation in the publishing industry. Check the Writer Beware website and other online sources (Google ���company name��� and ���scam���) to find out what people are saying about any company you���re considering working with.

Hybrid Publishing

Hybrid publishing serves as a middle ground between traditional and self-publishing. A reputable hybrid publisher will vet submissions, provide professional services (editing, cover design, marketing), and share risks and profits with the author.

The key word here: share!

That means they will take on some if not most of the costs. They may pay for production expenses, like cover design, formatting, or distribution. They may offer editing services for free. As the author, you may take on any expenses the publisher doesn’t cover.

A key difference between a hybrid publisher and a vanity press is that a hybrid publisher has a financial stake in the book���s success. They are paying at least some of the cost, but you may pay for some too. In turn, the publisher may offer higher royalties and a shorter publishing term, after which the rights will revert back to you.

The danger here is that a publisher may present themselves as a hybrid publisher when they are really a vanity publisher. Watch for these key factors to evaluate whether they are legitimate:They Have a Vetting Process: A reputable hybrid publisher does not accept every manuscript. They are selective and look for quality books that they can help succeed.They Offer Clear and Transparent Services: The publisher should provide a detailed contract listing all their services (editing, design, marketing, distribution) and a transparent pricing structure. They should also be clear about what they are investing in your book.They Have a Proven Track Record: Check their website for a list of published books and find out how well they are doing. Then, contact some of their authors to ask about their experiences.They Do Not Make Unrealistic Promises: If they guarantee bestseller status, movie deals, or instant bookstore placement, it’s a scam. Real publishers do not guarantee success.They Share Royalties with You: Unlike vanity publishers, reputable hybrid publishers invest in your book and often take a portion of the royalties rather than just charging fees upfront.They Have a Strong Reputation in the Industry: Look for third-party reviews from sources like the Independent Book Publishers Association (IBPA) or Writer Beware. If they have a history of complaints, be cautious.

Always do your research, and be sure you want to be associated with this publisher for the next several years.

Publishing Services

Finally, we have companies that offer straightforward publishing services. You can choose to pay for editing, cover design, formatting, and/or distribution, as your needs demand, but you retain ownership of your book���the publisher does not gain the rights.

Unlike vanity publishers or hybrid publishers, publishing service providers simply offer whatever services you need while allowing you to maintain complete control over your work. This can be a good option for authors who want professional help while remaining independent.

Five Signs a Publisher is Trying to Scam You

No matter what kind of publisher you���re thinking of working with���traditional, hybrid, or other���before you sign any publishing contract, watch for these warning signs.

1. They Have a Shoddy or Nonexistent Website

Always research a publisher���s website and social media. A reputable publisher will have:

A professional website with clear details about their books and services.Active social media accounts featuring their authors.Real book listings with links to major retailers like Amazon and Barnes & Noble.

Scam companies often have poorly designed, one-page websites that lack clear details about their authors or books. If a website looks hastily thrown together, be wary.

2. They Ask for Large Sums of Money Upfront

Traditional publishers never charge authors to publish. Legitimate hybrid publishers and publishing services companies will charge fees but provide quality services in return. If a company is asking for a lot of money upfront and it isn’t clear what you’re paying for, it’s likely a scam.

3. They Make Grand Promises

Scammers know what authors want to hear. They���ll say things like:

���We guarantee you���ll be a bestseller!������We���ll get your book into all major bookstores!������We have a rigorous selection process, and we���ve chosen YOU!���

Real traditional publishers do not charge for selection. If you���re paying, you’re not working with a traditional publisher. You “may” be working with a hybrid publisher, but again, be cautious. Scammers love to “say” they’ve chosen you and then turn around and charge exorbitant amounts to publish your book because they are making no investment themselves.

Also, anyone can get their book distributed to major bookstores���this doesn’t mean those bookstores will actually stock it.

4. They Pressure You to Sign Quickly

Real publishers give you time to review your contract. They understand that you will likely hire a lawyer, review the terms, and potentially ask for revisions.

Scam publishers rush you: ���Sign now! Limited spots available!��� If you feel pressured, walk away.

5. No Credible Authors Work with Them

This one step has saved me a lot of heartache. I���ve done it before signing every publishing contract I���ve signed.

Contact at least three authors published by that company. Ask them about their experiences. If you hear about late royalty payments, bad communication, or legal battles, that���s a massive red flag. This happened to me once, so I ripped up that contract and never looked back.

When I followed this step with the traditional publishers I ended up signing with, I received glowing recommendations.

Authors help each other, so don���t be afraid to reach out.

Final Thought: Do Your Research

No matter which publishing path you take, always research your options. If a company asks for money, look them up, ask other authors, and be skeptical of big promises.

(NOTE: If you���re thinking about it but haven���t self-published before, check out my Self-Publishing Success Plan for a straightforward checklist to help you stay organized and ensure you don���t miss any key steps as you prepare to publish your book.)

Check this post out if you���re trying to choose between traditional and self-publishing.

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Build These Seven Growth Milestones into Your Character���s Arc

While there are many kinds of stories, most of them today are about a protagonist navigating a change or growth arc. In this model, the character undergoes a personal journey of evolution; they realize that their hurts, habits, or hang-ups are keeping them from success and, over time, adopt healthier responses and behaviors that enable them to achieve their story goal and become fulfilled.

Now, this isn���t a straightforward process. It���s a two-steps-forward-one-step-back journey that will require a lot of difficulties and poor choices before the character realizes the need for change. So, as authors, we put a ton of thought into planning and incorporating those conflict scenarios.

What we don���t spend so much time on is the second half of the arc, when growth is underway.

Once the character decides to change course, they���ll start moving the right direction. But they won���t always stay on the straight and narrow. Their old responses may be ineffective, but they���re comfortable and familiar. And change is hard. So the path to success (or failure, if your story showcases a failed arc) will be messy, alternating between forward progress and regression.

But growth should gradually be happening, and readers need to see this because it provides hope that the character could actually succeed. Luckily, there are many growth milestones���changes in the character���s responses���you can include in your story to show they���re evolving.

Growth Indicators

Trying a New Response. As the character realizes their old ways are inadequate or even harmful, they���ll become desperate enough to try something new. The outcome may be positive, ineffective, or mixed, but it doesn���t matter. Just the act of stepping out of their comfort zone and taking a risk is a sign that growth is happening.

Recognizing Landmines: In the past, the character failed to spot danger until it was too late, and they suffered terribly. The upside of this experience is they���ve learned to be attentive and prepare more thoroughly. If something happens now, they can react from a place of strength, better positioned to save themselves from preventable fallout.

Setting Boundaries: The character sees how their inability to say no in the past generated unwanted results. Setting reasonable boundaries now to protect themselves is an indicator that they���re becoming more self-aware and are willing to make hard choices.

Asking for Help: Some trials are too difficult to navigate solo, a lesson that a stubborn, independent, or untrusting character may have to learn the hard way. Once they do, however, the desire to avoid needless suffering teaches them to recognize when they need help, and by asking for it, they demonstrate maturity.

Choosing Positivity: If a character tends to be negative, show growth by shifting their mindset. This could mean they focus on strengths instead of weaknesses, engage in positive self-talk, or practice gratitude. Transformation typically begins in the mind, so even a small change like finding the silver lining in a bad situation shows readers that change is underway.

Regulating Emotions: Self-control is a major aspect of emotional maturity. Things are simple when life is peachy but become harder when conflict rears its head. Recalling the problems that were caused by a past loss of emotional control in the face of difficulty may encourage the character to restrain themselves this time around.

Not Giving Up. The journey to change is hard, with the character getting knocked down repeatedly. At first, they may not get up right away; they���ll retreat to their old ways because they don���t want to be hurt again. But struggling back to their feet and pushing forward is a sign that they realize the value of internal change and are willing to take risks to achieve it.

These are just a few ways you can show a character���s development, and you���ll need to use many of them throughout the story because evolution is an active process. The character will need to choose, over and over, if they want to take risks and pursue change or cling to their status quo. It���s up to us to provide those opportunities and position the character for growth. How do we do that, exactly?

Use an Emotion Amplifier to Show Progress

Emotion amplifiers are perfect for this because the character���s response to these challenging situations will highlight their growth (or lack thereof).

Amplifiers are states or conditions, such as bereavement, attraction, and isolation, that activate the character���s emotions and increase the chance of them reacting impulsively rather than carefully. As a result, they often lead to mishaps and mistakes that create more problems. But they can also be used to show that change is happening. As an example, let���s look at one character���s growth journey fueled by an unsettling amplifier that everyone has faced: indecision.

Amir is a recent university graduate with great job prospects. Three companies have offered him positions that would kick-start his career in biometrics���exciting but nerve-racking, because it���s such a big decision. It doesn���t help that one of his classmates is a few weeks into her first job and already regrets her choice.

With each passing day, Amir grows more conflicted, unable to choose. He has trouble sleeping, and his temper flares at the smallest thing. His girlfriend, tired of getting her head bitten off, has had enough and calls it quits. Then, after weeks of waffling, the most promising offer is rescinded, leaving Amir with the two least favorable options.

Here, we see Amir���s default responses to indecision, and they���re not doing him any favors. As readers witness his reactions, they���ll know exactly how Amir will have to change if he���s going to thrive. We can create opportunities for him to do better and show his evolution by hitting him with the same amplifier later in the story.

Fast forward six months, and Amir is facing indecision again���this time, regarding his living situation. A big rent increase is coming, so he must choose to remain in a cramped, expensive apartment near his friends or relocate to a more affordable place closer to work. The hold on the new apartment expires in a few days; as the deadline looms, his old insecurities and panic rise.

Once more, everything seems to set Amir off. He becomes aware of how often he���s apologizing for being a jerk, and he remembers what that cost him last time. His decision paralysis is familiar, too; it cheated him out of a great job opportunity before, and he doesn���t want that to happen again. He realizes he must change the way he responds to indecision, so he sits down and creates a list of pros and cons for moving. An obvious choice emerges, and he informs his current landlord that he���ll be gone at the end of the month.

The first time around, Amir flounders and flails. But the second time he faces indecision, armed with hindsight and a new sense of self-awareness, he rises to the occasion.

There are other ways to highlight growth, but I find amplifiers to be effective because of their universal nature. Readers are familiar with indecision. They���ve all struggled with it to varying degrees at multiple times in their lives. They know the intensely uncomfortable feelings associated with facing a difficult decision, and they know the fallout that occurs when an important choice is put off���or when the wrong choice is made. Readers will feel for Amir because they���ve been in his shoes.

But amplifiers work even when they���re unfamiliar. Readers don���t have to experience addiction or compulsion to empathize with a character who���s enduring them. They���ll see the pattern of dysfunctional reactions, how they create conflict and push the character���s goals out of reach, and they���ll notice the shift in mindset and responses that signal change for the better.

So when you need to show a character���s growth, consider employing an amplifier. And as the character evolves, use the growth markers above to highlight their forward progress.

The Emotion Amplifier Thesaurus will help you:Showcase a Character���s Hidden EmotionsWrite Realistic ResponsesAdd Tension and ConflictShow Character Arc GrowthBrainstorm High-Stakes MomentsCheck out the emotion amplifiers covered in this book!

The post Build These Seven Growth Milestones into Your Character���s Arc appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus: Giving Up a Child

What secret is your character keeping? Why are they safeguarding it? What���s at stake if it���s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character���s secrets���and they will have secrets, because everyone does. They���re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can���t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

For instance, let���s see what it might look like if your character���

Has Given up a Child

ABOUT THIS SECRET: Whether a character puts a baby up for adoption, surrenders their own parental rights, or even abandons their child, giving them up won���t be an easy decision. Regardless of their reasons, guilt and heartbreak often follow, along with judgment from others, making this act a burden your character might prefer to carry alone.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: Becoming a Parent, Being Capable of Harm, Being Judged, Being Labeled, Being Responsible for Others, Being Unable to Achieve a Dream, Criticism, Failure, Letting Others Down, Losing the Respect of Others, Never Finding Happiness, One’s Instincts Being Unreliable, Regret, Repeating a Cycle of Abuse

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Regretting their decision and living with terrible guilt
Constantly wondering where they child is and how they are, preventing the character from living in the moment
Shying away from opportunities that require the character to be responsible for others
The character believing that they are a certain way and embracing associated flaws (incapable, irresponsible, unreliable, unable to commit or follow through, etc.)

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Never mentioning the child
Pretending that the child died
Hiding all photographs of the child
Getting rid of anything that belonged to the child (clothes, toys, keepsakes, etc.)

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
The character having a visible emotional reaction when the subject of children comes up
Avoiding playgrounds, nursery schools, and other areas associated with children
Shunning family gatherings

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 
People who knew the character when she was pregnant asking about the baby
An old friend surfacing who knows about the child
Someone from the adoptive family reaching out unexpectedly
The child���s birth record or medical records surfacing

Other Secret Thesaurus entries can be found here. Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 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, then give our Free Trial a spin.

The post Character Secret Thesaurus: Giving Up a Child appeared first on WRITERS HELPING WRITERS��.

Writing 101: Effective Dialogue Techniques

Welcome to the next post in our Writing 101 series. The first installment covered common mistakes with dialogue mechanics, which are important to master if you want to write clear conversations readers (and editors and agents) can easily follow. But well-written conversations require more than proper punctuation and grammar. So we���re continuing the discussion today by examining effective dialogue techniques that will make your character���s conversations more authentic and purposeful.

Know When to Use Tags and Beats

Dialogue tags (he said, she asked) clarify who���s talking so readers aren���t confused. That���s really their purpose. So use them when speakers are changing during a conversation.

Beats, on the other hand, add context. These actions, thoughts, and physical gestures can show how the character feels or what they���re hiding. Beats add authenticity and information readers can use to better understand what���s happening in the scene.

Beats also impact pacing and can help you create the desired mood. Maintain a quick and snappy pace in action or highly emotional scenes with quick and snappy beats. Want to slow things down? Use languorous, drawn-out beats.

The best way to know when beats or tags should be used is to read your dialogue scenes aloud. If you find yourself stumbling or re-reading for clarity, that���s a sign that those parts need some extra love, and you may want to see if the tags and beats need to be finessed.

Avoid Adverbs in Dialogue Tags

���You���re a liar,��� he said angrily.

This is weak dialogue because the adverb tells readers what the character���s feeling. Effective dialogue shows that emotional state through strong verbs and descriptors. If this is what you���re after, use a beat instead:

He grabbed Sam���s shirt, the fabric bunching in his fists. ���Liar!���

Grabbing, fisted hands, and a physical altercation are anger cues. So is a raised voice, which is indicated with the exclamation point. Showing takes more effort and words than telling, but it pays off in dialogue that pulls readers in and makes them part of the action. For more information on the importance of showing in fiction and how to do it well, see our Show-Don���t-Tell resource page.

Keep Tags Simple

Because tags are only there to establish who���s talking, it���s best to keep them simple. A common mistake in this area is thinking that more expressive tags are stronger. But tags like exclaimed, cried, shrieked, or interrupted just make the writing feel forced, like it���s trying too hard. Said and asked, on the other hand, have become common enough to be invisible, which is a good idea for tags.

The occasional fancy tag can work, but if you���re trying to show a certain emotional state or intention, it���s usually best to use a beat.

Instead of this:

 ���You have to leave,��� she whispered.

���Get out!��� she screamed.

Do this:

Her voice dropped to a whisper. ���You have to leave.���

���Get out!��� Her chest heaved and she blinked away tears.

Bottom line: when you opt for a tag, keep it simple, and let the character���s word choices and actions do the heavy emotional lifting.

Vary Beats to Avoid Repeated Sentence Structures

As we practice writing dialogue scenes, it���s easy to fall back on sentence structures that feel comfortable. This is natural, but it can lead to repetitive structures that call attention to themselves.

He stepped forward. ���You know how I feel about you.���
She swallowed. ���Do I?���
He pushed a curl behind her ear. ���How could you not?���

The words and actions in this interaction are believable, but the way they���re conveyed are not. They���re stilted because they���re all following the same Beat, then Speech pattern. Vary the structures to avoid repetition.

 ���You know how I feel about you,��� he said, stepping into her space.
She swallowed. ���Do I?���
He smiled and tucked a curl behind her ear. ���How could you not?���

Experiment with the placement and structure of your beats and tags to maintain a pleasant flow. Once again, reading these passages aloud will help you hear redundancies and stumbly parts that need to be reworked.

Don���t Let Your Characters Call Each Other By Name

This is one my personal pet peeves���when characters who know each other use each other���s names.

���Jim, what do you think happens when we die?���
���Well, Tom, let me tell you������

When people in real life are in the same room and they start talking, there���s no need to call each other by name. So they don���t. But we do this sometimes as writers when we want to be clear about who the participants are and who���s talking. Remember that this is what tags are for, and don���t fall into that trap.

When should you use names in speech?

When someone new enters the room or conversationWhen emotions are highFor emphasis: ���Rachel, you don���t want to go there.���To indicate a shift (in emotion, mood, tone, etc.): The hair on my arms stood on end as the temperature plummeted. We both began to shiver. ���Sebastian?���Avoid ���As You Know, Bob��� Conversations

This happens when the author needs to relay information to readers, so they do it through characters who already know what���s going on.

���As you know, Bob, the fall festival���s coming up, where children will be bobbing for apples, begging for candy, and generally peeing their pants with excitement.��� 

People don���t rehash old information as if it���s new to them. This isn���t natural speech; it���s a contrived device by the author, who is stepping in to explain something to readers. And readers can see that���s exactly what���s happening.

Here are some tips for using dialogue to convey information:

Don���t use two characters who already know it. Include at least one person who���s being debriefed or is trying to gain knowledge.Instead of writing one big scene where all the information is shared, reveal it in bits and pieces over time.Use a variety of vehicles (thoughts, flashbacks, mixed media���diary entries, a newspaper clipping, an old photograph, etc.) so you���re not relying solely on dialogue to get the info across.For added authenticity, introduce some subtext. What facts aren���t being shared? Who���s holding them back? Are the other characters hiding what they feel or think about the information, and why?Use Each Character’s Unique Voice

Every person has their own way of talking, their own individual voice, and the same is true for characters. A gruff ex-military type won���t speak the same way as a bubbly teen, and a university professor probably won���t phrase things like a street performer.

Here are some elements that contribute to a character���s unique voice:

Word choiceSentence length and structureTonePersonality (verbose, timid, introverted, outgoing, controlling, nurturing, etc.)Personal beliefs and valuesPersonal experiencesAreas of insecurityFight-flight-or-freeze tendenciesGo-to emotional responses (natural reactions when they���re nervous, excited, mad, happy, etc.)

The most important step in identifying a character���s voice is to understand who they are. Get to know them, and you���ll start recognizing how they���ll speak and interact with others. Then you can write each character���s voice consistently, and the conversations you write will be more believable.

For more insight on figuring out a character���s voice and writing it well, see the Voice section of our Other Story Elements resource page.

Final Thoughts

Effective dialogue isn���t just about what���s being said. It���s the words each character carefully chooses, how they and the other players feel about those words, what���s left unsaid, and what���s happening beneath the surface. Use tags and beats strategically to keep conversations clear and create a satisfying rhythm. Give each character their own voice. And use dialogue to show (not tell) readers what they need to see and understand.

Above all, remember that perfect dialogue isn���t the goal. Instead, we want purposeful dialogue. When we write these scenes thoughtfully, we put readers in the room with the characters, taking part in the conversation. And that���s exactly where they want to be.

Other Posts in This Series

Dialogue Mechanics

The post Writing 101: Effective Dialogue Techniques appeared first on WRITERS HELPING WRITERS��.

Character Secret Thesaurus: Living Under a Curse

What secret is your character keeping? Why are they safeguarding it? What���s at stake if it���s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character���s secrets���and they will have secrets, because everyone does. They���re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can���t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them���all while establishing reader empathy and interest.

For instance, let���s see what it might look like if your character���

Is Living Under a Curse

ABOUT THIS SECRET: Depending on the kind of story you���re writing, curses might be an unknown in the character���s world or an essential part of the fictional landscape. But any unwelcome change inflicted on them by an outside source will be something they fear, whether it affects their physical appearance, mental capabilities, giftedness, or something else.

SPECIFIC��FEARS��THAT MAY DRIVE THE NEED FOR SECRECY: A Loved One Dying, Being a Burden to Others, Being Attacked, Being Judged, Being Labeled, Being Pitied, Being Taken Advantage of, Being Unable to Achieve a Dream, Discrimination, Humiliation, Isolation, Losing One’s Social Standing, Losing the Respect of Others, Never Finding Happiness, Not Being Believed, Persecution, Rejection

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Generalized apathy from believing they���re doomed no matter what they do
Being overwhelmed by anxiety, fear, or depression due to uncertainty about the curse
Becoming risk-averse
The curse becoming part of the character���s identity

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Following a routine that keeps the curse hidden
Making logical excuses for why bad things seem to follow them around
Medicating to keep the curse from taking over
Talking a big game about not believing in magic, witchcraft, or superstition

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Engaging in bizarre rituals
Refusing to speak a certain name, handle a certain object, or visit a location
Consulting a practitioner of the dark arts
Being able to do things other people can���t do

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE��
The curse manifesting itself in the presence of someone else
The curse causing repeated and noticeable trouble in the character���s life
Someone taking an interest in the character that increases scrutiny

Other Secret Thesaurus entries can be found here. Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 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, then give our Free Trial a spin.

The post Character Secret Thesaurus: Living Under a Curse appeared first on WRITERS HELPING WRITERS��.

Phenomenal First Pages Contest – Guest Editor Edition

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. So, if you need a bit of help with your first page, today’s the day to enter for a chance to win professional feedback! (We’ve had past winners tell us they’ve found their dream editors through this contest, and even ended up with offers of representation!)

Two winners will receive feedback on their first 10 pages!

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

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Two winners will be drawn. We will email you if you win and let you know how to submit your first 10 pages.Please have your pages ready in case your name is selected. Format with 1-inch margins, double-spaced, and 12pt Times New Roman font. You���ll need to supply a synopsis (a rough one is fine) so Stuart has context for his feedback.The editor you’ll be working with:Stuart Wakefield

With 26 years of experience in theatre, broadcast media, and coaching, I���ve developed a deep love of character and what drives them. My coaching style is warm, thoughtful, and practical���I believe writing a book can be hard sometimes, but more often than not, it should be fun.

As an Author Accelerator Certified Book Coach, I specialize in story development, with a particular focus on character backstory and emotional depth. I���ve helped writers develop powerful, satisfying stories that hold up to editorial scrutiny���and two of my clients have books coming out this year.

I hold an MA in Professional Writing, and my most recent novel, Behind the Seams, reached the semifinals of the BookLife Fiction Prize Contest, scoring 10/10 in every category. I���ve also been commissioned to write a play, and my first TV show���based around celebrity characters���is available to stream online.

Grab my free ebook on emotional resilience for writers and learn more about my services at: https://www.thebookcoach.co/

I���m also the host of the podcast Master Fiction Writing, where I explore the craft of storytelling with writers, editors, and creatives from all walks of life.

Sign Up for Notifications!

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

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

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

The post Phenomenal First Pages Contest – Guest Editor Edition appeared first on WRITERS HELPING WRITERS��.