Angela Ackerman's Blog: Writers Helping Writers, page 50

Avoiding Stereotypes in Fiction: Female Characters

Readers have spoken: they want more diversity in fiction. And writers are stepping up, but it can be hard to write about someone who���s different than you. Careful research is the key to avoiding misrepresentation, which causes harm to the very identities being portrayed and creates fallout for well-meaning writers when they���re called out by readers.

For this reason, we���re running a series of posts on avoiding stereotypes in fiction. Written by a diverse cast of talented authors, each post highlights a different people group���the common stereotypes to avoid and how to write those characters realistically. We hope this series arms you with the knowledge and tools to write characters you may have been reluctant to write before���ones that will take your story to the next level.

By: Lucy V. Hay

A stereotype is a simplification. Whilst writers CAN use stereotypes on purpose for effect, too often writers use them by accident. This makes characters feel flat and two-dimensional and can mean our target readers switch off.

There are lots of lists of female stereotypes online, but I always think it���s more illuminating to understand what elements CREATE those stereotypes. With this in mind then, here���s the top 10 No-Nos when writing female characters so we can avoid stereotypes altogether:

1) Stop Using the Word of Doom

First things first … we need to do away with the word of DOOM! That’s right, stop describing your female characters as some variant on ‘beautiful’. (Or even worse, ‘pretty but doesn’t know it’ – BLEURGH).

‘WTF!’ you say: ‘Isn’t ‘beautiful’ a compliment???’

Sure, but it’s overused in novels and short stories. It also lends to the idea women are most prized for their appearance. Whilst male characters may be described as handsome (especially in romance or erotica), it’s rarely at the expense of every other facet of their lives.

2) Don’t Objectify Female Characters

There’s a reason the internet says male writers write TERRIBLE female characters. This isn’t because male writers literally can’t write them (in fact, some of my own favorite female characters are written by men) … It’s because too many are overtly creepy about female characters’ bodies.

Even worse, many of these objectified female characters are in award-winning novels or by celebrated male writers! No, women don’t check themselves out in the mirror, feel themselves up, or walk seductively every minute of the day.

By the way: it’s perfectly possible for female characters to be sexy without only being a sex object. Consider a character like Gloria in the iconic sitcom Modern Family. Gloria’s sexy, yet she’s so much more than this.

She is a fantastic mother, plus a loyal sister-in-law and aunt. She is also clever and pragmatic, clawing her way out of poverty before she met Jay. She’s also got a hella dark back story, with LOADS of knowledge about the world and various professions: she���s been a real estate agent, hairdresser, mover, philosophy professor, businesswoman and (possibly) worked for a cartel. More like Gloria, please!

3) Stop Fixating on Clothes

If used well, clothing choices CAN be a good way of indicating a female characters’ personality, mood or class. Too often however writers use clothes to remind us of a female character’s sex appeal (see point # 2 on this list!).

Alternatively, writers may rely on what I call the ‘laundry list introduction’. This is when a writer uses clothing as a constant stand-in for personality. Tell me: what does white jeans and a black tee shirt tell us about a female character���s personality, really? Honestly: not much.

Whilst some looks may indicate temperament (Goth and hippy are stand-outs here), it���s much more interesting if they���re the opposite of what you expect ��� ie. a super-happy Goth, or an uptight hippy!

4) Don’t Define Her by the Men in Her Life …

Fathers, husbands, sons, male employers … we frequently see a female character defined by the men in her life in stories. They exist solely to orbit that male character and facilitate their emotions, becoming mere sounding boards. YAWN!

The best female characters are nuanced and three dimensional. They may have fathers, husbands, sons and male employers but are not defined by them.

Consider a character like Amy Dunne in Gone Girl. She is not some classic little wifey. Amy fakes her own death as part of an epic power play and puts her unfaithful husband Nick on the hook for it. The message is clear: you do me down? I will pay you back tenfold.

If you want a wife or girlfriend who ISN’T evil like Amy Dunne, consider Bianca from the movie Creed. Like Adrienne before her in the Rocky franchise, Bianca supports Adonis in the ring. But like Adrienne, Bianca is so much more. She is a musician who is losing her hearing. The way she deals with her own adversity inspires Adonis to push on through with his own.

5) … But Don’t Have Her Fly Solo Just for the Sake of It, Either

Sometimes writers want female characters to stand alone. This works well when a female character is literally alone, such as Ryan Stone in the movie Gravity. She must deal with the adversity of being lost in space, relying only on her wits to get her home. (Even fellow astronaut Matt’s help literally comes from her own psyche, as we discover from that controversial and unexpected dream sequence).

However, too often writers want female characters to stand alone because apparently having a boyfriend or husband ‘weakens’ her. This point of view is understandable if we consider how many female characters have been side-lined in the wife or girlfriend (WAG) role historically … but the WAG role itself is NOT automatically sexist, as outlined in point # 4 on this list.

Consider a ground-breaking and enduring female character like Katniss Everdeen. As well as change the world over the course of The Hunger Games franchise of books and movies, she must make a choice between Peeta and Gale.

Love triangles are often part of Young Adult stories because they are powerful reminders to teenage fans that every choice we make is at the expense of something else. What’s more, in The Hunger Games Katniss eventually chooses Peeta not only because of their shared ordeal in the arena, but because Gale is arguably responsible for Katniss’ sister Primrose’s death … the reason Katniss went in the arena in the first place.

Far from ‘weakening’ Katniss then, the love triangle between her, Peeta and Gale gives the story an added dimension. It also creates a sense of delicious dramatic irony.

6) Stop Giving Female Characters a Traumatic Past **as Standard**

Drama is conflict. This means characters of any gender may have a backstory that equips them to deal with what’s going on in the ‘present time’ of the story (whatever that means).

However, it’s very striking how many female characters have traumatic pasts … It’s almost like writers don’t believe they can become powerful without first being ‘reduced’ somehow first. Ack.

As a result, we have been overrun by female characters who have been raped, abused or neglected in some way before the story even begins.

Whilst all of those things can be powerful motivators for the right story, too often these backstories are just ‘tick box’ exercises. As the animation Wreck It Ralph jokes about the powerful female lead Sergeant Calhoun:

RALPH: Jeez, she���s kinda intense, huh?SOLDIER: It���s not her fault. She���s programmed with the most tragic backstory EVER!

By the way, that movie was satirising this about female characters a DECADE ago. Time for a change.

7) Don’t Make Her a ���Kick-Ass Hottie���

The Kick-Ass Hottie is a character like her name suggests … she will take ANYONE on and win (often whilst scantily-clad, or even in her underwear). This character’s roots can be traced all the way back to Ellen Ripley in Alien. She takes on an acid-dripping Xenomorph in her scanties AND wins!

Now, I enjoy The Kick-Ass Hottie. She’s a fun fantasy character who frequently turns up in action movies, plus some Horror and Thriller novels. Audiences and readers love her, so she’s not going away anytime soon.

The problem is not that she exists, but when kicking ass is the ONLY thing she does. Think back to Ripley here. She is an iconic, memorable heroine who is so much more than a simple kick-ass hottie.

So by all means have a sexy heroine who kicks ass in your stories (as per point # 2 on this list). Just make sure you round her out and ensure it’s not the ONLY thing she does.

8) Stop ‘Fridging’ Female Characters

Short for ‘women in refrigerators’, this trope was named by comics writer Gail Simone. ‘Fridging’ is an unholy mix of points #2 and #4 on this list. Basically, a sexy WAG character is raped and/or murdered just so a male hero can go on the rampage to avenge their wife or girlfriend.

This trope is SO prevalent that even full-on superheroes like Batman and Spiderman seemingly can’t save the women in their lives! Yikes.

By the way: ‘fridging’ is not to be confused with the so-called ‘Sexy Lamp’ test. This refers to the idea that female characters should actually DO something in your plot … but if you can take them out and replace them with a sexy lamp? Then they are not doing ENOUGH in your story.

9) Stop Thinking Female Characters Only Talk About Men

NEWSFLASH: female friendships do not revolve around men. Sure, we may talk about our boyfriends and husbands, but not at the expense of everything else.

Consider a teen classic movie like Mean Girls. While the ‘plastics’ do indeed talk about getting it on with various boys, they talk WAY more about things such as the politics of high school demands.

So even in genres where we may expect romance, we don’t have to make it ALL about that.

10) Lastly: You Don’t Have to Make Her Positive!

Sometimes feminist critique says it’s ‘misogynistic’ to write female characters who are evil or have dodgy motives. I can’t stress enough how this is UTTER BALDERDASH. Seriously!

Literally no one worries about ‘misrepresenting’ male characters generally – especially white, straight, able-bodied male characters. This is because the internet doesn’t bother itself creating fake-ass ‘rules’ about how male characters ‘should’ be represented.

If we want to ensure female characters receive the same leeway? Then we need to let there be a free-for-all instead of consistently boxing female characters in. Sure, some of the female characters will be TERRIBLE … but many of them are anyway! We have literally nothing to lose and everything to gain.

Free eBook to Download

Want more info on this topic? Download my free eBook from Amazon, How NOT To Write Female Characters. Enjoy! 

Discussion is encouraged, but please keep it courteous. Let���s not call out authors for past mistakes, and let���s do keep an open mind. By listening to and respecting each person���s experiences and perspectives, we can better write the stories and characters readers want to see.

Lucy V. Hay

Resident Writing Coach

Lucy is a script editor, author and blogger who helps writers at her site, Bang2write.com. To get free stuff for your novel or screenplay, CLICK HERE.

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Compassion Fatigue: Is it Relevant for Your Characters?

We know the importance of making our characters authentic, believable, and memorable for readers. But relevance is important, too, because it makes them relatable. Readers see characters who are facing the same issues they���re facing or dealing with the same struggles they���re dealing with, and a bond is formed. 

As an example, look at To Kill a Mockingbird. It was written in 1960, but this story about children navigating a racially-charged culture that is altering their safe and comfortable world is still relevant to us almost 50 years later. 

Are your characters relevant?

Relevance in your stories is about finding an element for your character or story that your reader can relate to in the real world. It might be heavy (a theme, social or political issue, moral quandary, or mental obstacle) or minor (a hobby or interest, dominant character trait, or common missing human need). Either can be effective. And if you can come up with a common thread that hasn���t been used a million times, that���s always a plus. 

To that end, I���d like to share a real-life malady I���ve recently learned about that may be incredibly relevant to readers today.

Introducing ���Compassion Fatigue���

When Angela and I were writing The Occupation Thesaurus, we were researching the nursing career and stumbled over a term we���d never heard before: compassion fatigue. 

Exhaustion, emotional withdrawal, apathy, or indifference experienced by those who have been exposed to repeated trauma, tragedy, and appeals for assistance

This condition is all-too-common in occupations where people are constantly exposed to trauma (e.g. first responders, social workers, journalists, therapists, animal welfare workers). The frequent exposure to horrible events inherent in these jobs leads to a necessary psychological withdrawal as these workers try to distance themselves from what they���re seeing. While a certain level of withdrawal is healthy, serious cases can lead to problems on the job, relationship conflict, and debilitating mental conditions like PTSD. 

Well, you might think: that���s interesting, but my character doesn���t have that kind of job. 

Due to the 24-hour cycle of social media and news networks, compassion fatigue is becoming much more widespread. The public���s constant exposure to the suffering of others���sometimes on a hard-to-fathom scale���is taking its toll. 

Compassion fatigue presents with the following symptoms:

Physical and emotional exhaustion MoodinessIncreased apathyLack of focusWeight lossInsomniaIncreased drug or alcohol useIsolationFeeling hopeless or powerlessLoss of interest in things that once brought joySelf-blame (for not doing more)Decreased efficiency at workDenial

This should give you an idea of how detrimental compassion fatigue can be. You may even recognize some of these symptoms in yourself as you navigate the constant barrage of news coverage. This malady is becoming more common, and therefore more relevant, for today���s readers. As such, it might be something that could work in your story, but as with any real physical or emotional affliction, it needs to be handled responsibly and thoughtfully.

Questions to help you decide:

1. Does It Fit for My Character?

The first consideration is whether or not compassion fatigue actually works for your character. We���ve all seen the results of authors trying to force certain habits, personality traits, or emotional responses onto their cast members. The inauthenticity is almost unbearable, leading to a disconnect with readers. 

As with any other aspect of characterization, you have to do your homework and make sure it makes sense for the character. Compassion fatigue might be a reasonable outcome for someone who���

works in a job where trauma and tragedy are frequent.lives, works, or volunteers in a war zone or area of high crime.is a caregiver to a chronically or terminally ill loved one.consistently sees trauma second-hand (on the news, social media, etc.).is highly empathetic and compassionate to begin with.

Basically, if your character consistently witnesses circumstances that naturally arouse their empathy but they���re unable to do anything about those situations, they���re at high risk for compassion fatigue. If this is the case for your character, it may be something that can be written into your story.

COOL TOOL TIP: If your character works in a field where compassion fatigue is high or if you���re looking into those careers, The Occupation Thesaurus can lighten your research load. Each entry includes an overview of the job, necessary training, skills and personality traits that will make the job easier, common sources of friction, the job���s possible impact on basic human needs, and ideas for twisting any stereotypes. Work smarter, not harder :). 

2. Have I Done My Research?

As a real ailment, compassion fatigue needs to be represented accurately. If you���ve suffered with this condition, you���ll have firsthand experience and it will be easier to write. If you haven���t, get to work researching. 

Find people who have dealt with it and talk to them. Read medical journals and legitimate sources on the topic. Join discussion groups and online communities to find first-person sources. 

Gather the information you need so you can write this condition accurately and realistically for your character.

3. Does It Serve My Story?

Like any physical or mental ailment, compassion fatigue doesn���t exist in a vacuum. It will have far-reaching effects on your character that will impact your story, so it should only be included if those effects serve your purposes. Here are a few natural outcomes of compassion fatigue that might do your story some good:

It Provides Organic Conflict Options. Insomnia, lack of focus, moodiness���the symptoms of compassion fatigue are going to cause problems for your character at work. Likewise, increased apathy and withdrawal will make it harder for them to connect with loved ones. Good stories require conflict in every scene, and compassion fatigue can provide that conflict at home, on the job, and everywhere in between.

TOOL TIP: The Conflict Thesaurus at One Stop for Writers has been almost doubled to include over 200 scenarios that can drive your story���s arc and push the protagonist toward much-needed change. If you know the kinds of conflict your character���s compassion fatigue will create, you may be able to find them in this thesaurus. If you���re unsure, the TOD for this collection is a great brainstorming resource. For more information on how The Conflict Thesaurus can be used to strengthen your story, check out this bite-sized video.

Compassion Fatigue Impacts Human Needs. Basic human needs are universal to everyone. They���re important to us as authors because when one of them is threatened or removed, it becomes a motivator, driving the choices and actions for your character. Compassion fatigue can impact many of these needs. So whether you want your character to make a monumental error, hit rock bottom, or recognize their need for change, it can be used to position them exactly where you want them. It Contributes to Character Arc . What changes does your character have to make in order to grow and evolve by the end of the story? Maybe she needs to learn that she is as important as the people she serves, and she needs to take better care of herself. This might relate back to a wounding event she���ll need to finally confront and deal with���one where she was devalued or mistreated in some way. If compassion fatigue can tie into any of this, it will make it easier for you to map out that arc.Final Thoughts

Compassion fatigue is just one example of an element that could provide a sense of relevance for your readers. If you can find that one element to connect your character with today���s reader, it won���t matter how different they are in gender, age, race, time period, or geographic location. It will be enough to start that empathy bond that can carry readers all the way through the story to make sure the character comes out okay.

If you���re curious about our Occupation or Conflict Thesauruses but don���t currently have a One Stop subscription for full access, we can help with that. Everyone is feeling the financial strain right now, so we���ve got a 50% discount you can use toward your first invoice for a 1-month plan. Just register at the site and use the code MORECONFLICT when subscribing. (Ends June 7th 2022). You can also sign up for a free trial that gives you two weeks of access.

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Fear Thesaurus Entry: Responsibility for Others

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.

Being Responsible for Others

Notes
While some people crave being in charge of others, many shy away from it. The pressure of being responsible for someone else’s well-being, success, happiness, etc. can be so great that a character will actively avoid being put in this position.

A fear in this area could realistically develop out of a wounding event���whether the character failed when they were put in charge of someone or they were the one who was let down by the person responsible for them. Their reluctance can also stem from other fears, such as a fear of failure or letting others down.

What It Looks Like
Not having children
The character avoiding situations where they’re put in charge of children
Difficulty building deep relationships with others
Taking jobs that allow the character to work alone
Shifting responsibility for others onto someone else
Acting irresponsibly (to keep others from considering the character when someone needs care)
Avoiding leadership roles
Being neutral or apathetic about social and political issues (because if the character expresses concern or notices injustice, they’ll feel compelled to take action for those being mistreated)
Claiming that social problems aren’t real or are someone else’s problem
Claiming that people needing help are responsible for their own misfortune (so the character can avoid taking responsibility)
Selfishness (real or perceived)���because the character’s priority always seems to be themselves, their own needs and desires, etc.
Reluctance to get involved in a friend’s personal problems
Throwing money at problems (because it allows the character to help without getting personally involved and being responsible for individuals)
Staying busy with work, hobbies, personal pursuits, etc.

Common Internal Struggles
Seeing injustice and wanting it to end but being too afraid to take action
Wanting deeper connections but knowing that a certain level of responsibility for the other parties comes with it
Wishing to be less selfish but feeling powerless to change (because it has become an ingrained defense mechanism)
The character recognizing that they’re becoming irresponsible, self-serving, or superficial but also feeling that those traits are protecting them from harm
Being mired in feelings of inadequacy, incapability, and insecurity (because they believe they’re unable to responsibly care for others)
The character recognizing they’re being limited (professionally, socially, etc.) by this fear but not knowing how to change course
Wanting to eradicate the fear but being unable to get to the root of it���because they’re unwilling to face the past or the reasons behind the fear are complicated and hard to unravel

Flaws That May Emerge
Abrasive, Antisocial, Apathetic, Callous, Childish, Cynical, Disloyal, Evasive, Flaky, Frivolous, Inattentive, Irresponsible, Lazy, Self-Indulgent, Stingy, Suspicious, Uncooperative, Withdrawn, Workaholic

Hindrances and Disruptions to the Character’s Life
Being unable to pursue a dream career that requires being responsible for others
Having few deep relationships or many shallow ones
Not being able to have children (if this something the character would want)
Friction with friends and family members who don’t understand why the character won’t engage on a deeper level
Missing out on growth opportunities because the character is too scared to act
Having to avoid people who will ask more of the character than they’re willing to give

Scenarios That Might Awaken This Fear
Seeing firsthand injustice that requires a response
An emergency situation that requires the character to temporarily take charge of a friend’s child
A niece or nephew being orphaned, and the character being the only relative who can save them from foster care
Being offered a desirable professional opportunity that would put the character in charge of others
The character’s concerns about their inabilities being confirmed by a negative influence in their life
A family member needing long-term care for a physical or mental health issue

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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Subterfuge in Dialogue

Dialogue���good dialogue���is tricky. Mechanics can be learned; the rules are readily available and are hammered into us by teachers, editors, critique partners, and countless Facebook memes. The hard part of writing good dialogue is nailing the back-and-forth, the natural ebb and flow that turns dialogue into convincing conversation.

This is the part that will make or break you with readers. They���re intimately familiar with conversation; it���s how they communicate, how they connect with others. So when a bit of dialogue falls flat or doesn���t ring true, it���s like an off-pitch violin sawing away in an otherwise harmonious orchestra.

So how do we make our characters��� discussions authentic? One way is to showcase what they���re hiding. 

In the real world, we���re rarely 100% honest in our communications with others.  It may not be conscious, but we���re always withholding something���hiding how we feel about a subject, suppressing information, agreeing with someone when in actuality we don���t agree with them at all…Much of the time, we���re only telling part of the truth. 

This will be true of your character, too, and for their dialogue to resonate with readers, you need to be able to show what���s being repressed. To discover this, you first need to know what the character is hoping to get out of the discussion. 

When a person engages in conversation, they do so with a certain objective in mind (even if it���s subconscious). When you identify that goal for your character, you���ll know what they���ll be likely to hold back. So ask yourself: Which of the following outcomes is my character trying to achieve with this conversation?

Connecting with othersGetting informationGiving informationPersuading someone to their way of thinkingBeing affirmed or agreed withGaining an advantageBeing proven rightGetting attentionGaining an ally or advantageous contact

Once you know what your character wants, it���s a matter of figuring out what they might be holding back during that exchange. Consider the usual suspects:

Emotions

Feelings are largely what make us human. We connect emotionally with others, so being able to accurately communicate our feelings is important. But emotions also make us vulnerable, so in many scenarios, your character may think it���s in her best interest to mask what she���s feeling. If she���s attracted to someone, she may downplay that until she can see how the other person feels. Sadness is often perceived as weakness, so she might not be willing to put that on display. The same is true with fear. Personality also plays a part in how your character conveys emotion, so there���s a lot to consider when figuring out which feelings your character is likely to hide. 

COOL TOOL TIP: One tool to simplify this process is the One Stop for Writers��� Character Builder. This tool helps you explore all the important aspects of your character so you can be sure all their pieces fit together.

When it comes to hidden emotion, the Emotional Range section in the Behavior tab allows you to play with some vital pieces of information: Is your character reserved or demonstrative to begin with? What emotions are they uncomfortable expressing? What is the character in denial about (and is therefore unwilling or unable to access their true emotions)? What situation might cause them to overreact (possibly because it hits too close to home and touches on emotions they���d rather not share)? 

Questions like these provide insight into your character���s emotional range. They can help you determine which feelings your character is comfortable with and which ones she���s likely to whitewash. 

Opinions

We all have opinions about stuff, and we like to share them. But we���re also social creatures, wanting to be accepted by others. Sometimes, those two desires are at cross purposes, meaning we can���t both share our opinions and connect with people. This is why your character might not be entirely forthcoming about his true beliefs at a job interview, on a first date, when he���s meeting his future in-laws, at church, or in any other situation where doing so could undermine his goal in that moment. 

COOL TOOL TIP: The Character Builder���s Family and General Life section (part of the Daily Life tab) contains tons of questions that could flush out their opinions���ones the character feels really strongly about and those they���d rather other people didn���t know:

How does the character feel about their job/school?Who does the character despise?What are they passionate about?Are they religious?What topics of conversation will get them riled up?How does the character spend their free time? Personality Traits

Strengths and weaknesses commingle to form our individual personalities: we���re patient but selfish, generous but impulsive, irresponsible but encouraging. Our strengths are easy to show off because they make us look good. 

But weaknesses? While everyone has them, we don���t want people to know what they are. So we hide the traits we deem as being less valuable, the ones that could hurt our standing with others. Maybe it���s a flaw that isn���t appreciated in society, like cruelty or intolerance. Perhaps it���s something an important person in our life doesn���t value, like a father who can���t stand indecisiveness or a grandparent who thought generous people were suckers. It may not be a conscious decision, but we all highlight our admirable traits and hide the ones that make us look bad. The same should be true of our characters.

COOL TOOL TIP: Figuring out your character���s flaws and attributes (and which ones they may want to downplay) is super easy with the Character Builder. Brainstorm the reasons behind their traits by examining past influences that may have caused them to form.

Then explore various traits to see how they���ll manifest and what emotions might be tied to them.

Information

Rarely do we reveal everything we know. Communication very often is about the give and take of information, so unlike some of the other things we might hide, this one is usually more purposeful. Our characters should play their cards close to the vest, not sharing information that could hurt them, make them feel uncomfortable, or impede their goals. They may choose to hold an important tidbit back until they have a better feel for how the conversation is going or where the other person stands. Information is always currency; in dialogue, it should be doled out carefully and thoughtfully.

Knowing what your character wants out of a conversation and what he���s going to hide while engaging in it will help you write dialogue that rings true, because readers will see themselves in those ambiguous moments. Granted, there���s a knack to writing the inconsistency between your character���s words and what they really think or feel. That���s a post in and of itself. For now, this tip sheet has some great advice on how to write subterfuge in dialogue. (You can see all our tip sheets about various aspects of storytelling on the OSFW Tip Sheets page.)

What else might your characters hold back in their conversations?

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The Ins and Outs of Blurb Requests

By Liz Alterman

After tons of hard work, your book is almost ready to be published. But before the celebration begins, you have one more hurdle to overcome…securing author blurbs.

What are author blurbs? They���re those ringing endorsements that grace the front or back (or both) covers of a book that can often sway readers from a “maybe” to a definitive ���yes��� when browsing bookstores or libraries. We can all picture those coveted quotes from Stephen King in which he professes he couldn’t put a book down or Ann Patchett extolls a novel as ���brilliantly faceted and extremely funny.���

A blurb from a masterful storyteller lends credibility to your work and encourages readers who might otherwise be on the fence to give your book a longer look. In some cases, publishers will reach out and harvest these words of high praise from well-respected and best-selling authors on your behalf. In other instances, you might be asked to pitch in and make a few requests, or you may find yourself completely on your own. If that���s the case, you���re probably feeling a bit awkward about the prospect of soliciting strangers and wondering where and how you begin. The good news is you���re not alone. Asking fellow authors to read your book and then say nice things about it makes plenty of writers uncomfortable. Here’s how they got past it and garnered those coveted endorsements:

Aileen Weintraub, author of Knocked Down: A High-Risk Memoir, explains that she had ���a lot of feelings around blurbs.���

���Nobody wants to ask for them; it���s embarrassing,��� says Weintraub.

To psych herself up for the task, the author mused, ���What would I do if I weren’t afraid?��� She decided to really “lean in��� and, ultimately, received eight endorsements.

���I’d remind myself: Nobody else got where they are today and had success without somebody else helping them along the way or providing them with a contact or a blurb. So most people are very aware of that and willing to pay it forward,��� she says.

Stephanie Gangi‘s novel Carry the Dog elicited raves from New York Times bestselling authors Meg Wolitzerand Jess Walter, and Pulitzer-prize winner Richard Russo. How did she make it happen?

���I reached out ���cold’ to four writers,��� Gangi recalls. ���I was a bit shy, a little bit funny, and slightly apologetic for barging in, but I made it clear: I was familiar with their work, made the case for how it connected it to my own; understood completely if it wasn’t possible. I was only turned down (in the loveliest way possible) by one!���

Needless to say, Gangi was thrilled to receive responses from her favorite authors.

���It was yet another example of how writers support each other, and thank goodness for that, given that my debut came at age sixty and I needed all the help I could get,��� she says.

As Gangi points out, some key things to note when reaching out to an author for an endorsement include:your admiration for their workany connections you may share (i.e. you have the same agent, you attended a workshop taught by the author, you are writing in the same genre etc.)what your book is aboutthe request for a blurb if they enjoy your bookan offer to provide the book in their preferred format, ( i.e. print or electronic)the date by which you���d ideally like to have the blurb to send to your publisher

Most authors have to be protective of their time, so don’t be surprised or take it personally if your request is denied.

Think beyond authors

Traditionally, most blurbs come from fellow authors, particularly ones who���ve written in the same genre. But it doesn���t hurt to get creative. For example, Weintraub decided to ask her mother, a central figure in her memoir, for an endorsement. As her story is infused with humor, the author jokes that no one would be quite as honest as her mom.

In the ���Advance Praise��� section of Tina Fey���s Bossypants there are several eye-catching and amusing endorsements, including, ���I hope that���s not really the cover. That’s really going to hurt sales,��� attributed to Don Fey, Tina’s dad.

Deb Rogers’ novel, Florida Woman, boasts blurbs from beloved authors Jenny Lawson and Kevin Wilson as well as an endorsement from Joe Exotic, star of Netflix series Tiger King.

If you���re struggling with the traditional route, don���t be afraid to try someone with a different but just as valid connection to your work.

After you get the blurb

As awkward as asking for a blurb may be, receiving one from an author or individual you admire feels amazing. Be sure to thank the people who took the time to read and support your work. You can send a note along with a signed copy of your finished work, and don���t forget to return the favor by promoting their books on your social media channels.

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

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Fear Thesaurus Entry: A Secret Being Revealed

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.

A Secret Being Revealed

Notes
You better believe your character has something to hide. Small indiscretions���cheating on a diet, lying to a loved one���are one thing, but big secrets have the ability to completely destroy your character. If they’re hiding a shame-based secret, one that is tied to who they are at their core, or something they believe could train-wreck their life (or someone else’s), the fear of it coming to light can push them to rearrange their existence around keeping it hidden, resulting in massive fallout in many areas of the character’s life.

What It Looks Like
Being evasive
Withdrawing from others
Claiming that events from the past happened differently than they actually did
Living in denial about what happened
Changing the subject when certain topics are broached
Deflecting���turning the attention off of themselves and onto someone else
Picking a fight about something else if someone is getting too close to the truth
Having relationships that only go to a certain depth, limiting their intimacy with others
Signs of nervousness or agitation in specific situations
Physical ailments, such as insomnia, incontinence, acid reflux, acne breakouts, etc.
Seeking treatment for anxiety, panic attacks, and emotional volatility
Staying busy (to avoid thinking about the secret)
Self-medicating with alcohol or drugs
Engaging in risky behaviors
Discomfort and weirdness around people who know about the secret or were involved in it

Common Internal Struggles
Feeling guilty for not being honest with others
Knowing the secret should be shared but being too afraid of other people finding out
Obsessing over interactions with others to see if they might suspect the character of hiding something
Fighting to avoid thoughts about the secret; doing anything to keep from facing it
Engaging in unhealthy behaviors to cope, then feeling ashamed
Struggling with anxiety
Feeling unworthy or unlovable
Burying the secret so deep that the layers of coping mechanisms and lies the character has constructed make it difficult to address

Flaws That May Emerge
Addictive, Confrontational, Dishonest, Evasive, Flaky, Inflexible, Inhibited, Insecure, Irrational, Nervous, Oversensitive, Paranoid, Reckless, Self-Destructive, Timid, Uncommunicative, Volatile, Worrywart

Hindrances and Disruptions to the Character’s Life
Being seen by others as dishonest, flaky, or evasive
Sabotaging relationships with people who get too close to the truth
Having to avoid certain people (because they share the secret, they’re nosy, etc.)
The character having to remember all the lies they’ve told and to whom
Difficulty remember past events clearly because the character has lied about them in different ways to different people
Suffering from a mental health condition brought on by the stress and anxiety
Being unable to pursue a hobby or occupation the character is passionate about (because the secret is tied to the character’s identity or it’s too close to the source of their secret)

Scenarios That Might Awaken This Fear
Someone saying something that makes the character think they might know what’s being hidden
The character being given an ultimatum by a spouse or partner that requires them to come clean
Encountering someone who knows about the secret or played a part in its genesis
Being blackmailed by someone threatening to go public with the secret
New evidence being found and the case being reopened (if the secret is related to a crime)
Attending therapy for an unrelated issue and the secret being unearthed in the character’s memory

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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4 Ways Your Protagonist Is Sabotaging You (And How to Fight Back)

By Marissa Graff

We love our protagonists. We spend a ridiculous amount of time, blood, sweat, and tears championing their stories. But what if they���re undermining us by behaving in ways that drive readers away? What if they���re not-so-secretly sabotaging us despite all our efforts to advocate for them? Let���s discuss four ways your protagonist is working against you and, more importantly, how you can fight back.

1. They���ve got a case of ���chatty narrator syndrome���

Whether a book is in first-person point-of-view or third, narrators who talk at the reader beyond what is needed threaten to wreck your reader���s experience. With every word the character says to the reader, they���re stopping the flow of an active scene. They���re stealing work from your reader. They���re doing the analysis or overly controlling what your reader thinks or feels. They���re hovering like a helicopter parent and not allowing the reader the freedom to engage with the scenes and draw their own conclusions. And oftentimes, they���re pointing out the obvious and giving us way too much information.

Solution: Scrutinize each and every line of narration/interiority. Is what your character/narrator says to the reader something the reader can see through action and dialogue instead? Is it crucial information your reader needs for the scene to make sense? Is the line revealing something the character is hiding from other characters and something we might otherwise not know? If the line is needed, is it done as briefly as possible? When you look at any given scene, are these stops done sparingly so as to not hit the ���scene brakes��� too frequently?

2. They���ve booked a tour and your secondary characters are their guide

The protagonist is allowing other characters to show them around new settings���new towns, new planets, new schools, and so on. Your beloved character is along for the ride instead of driving the action. They go into the scene with no identifiable goal and follow the path that the other character(s) set before them. Don���t get me wrong. Mentor characters are a great way to world build and orient your character (and reader) with new settings and experiences. But be careful not to let these ���tour��� scenes effectively stop the plot. All ���tour sites��� need a purpose, whether it���s to glimpse a place your character will need to utilize later. Or to introduce a plot point that deepens the way the character understands the conflict or other characters or themselves. Or perhaps the new setting contains some sort of purpose. A need or a want the character is pursuing.

Solution: If another character is mentoring or guiding your protagonist, particularly in the first half of your story, craft tour stops that yield plot development or emotional development. Maybe a stop gives rise to a flashback we need to see, or introduces a character we need to meet, or hints at a location that will be relevant later. But as much as possible, find ways to let your protagonist hand-craft their tour. Where do they want to go and more importantly why? How does that setting or new character represent a need the protagonist has? Do they hold information or an object your character needs to keep working on their novel-length goal? Do they face an obstacle on that stop, one that has them pushing through and earning a win? Or one that thwarts them and forces them to reconfigure their plan? Be sure your protagonist is planning their own tour as much as possible.

3. They���re too good of a listener

One of the common concerns I see in client manuscripts is crafting the protagonist���s lines of dialogue in a way that allows other characters to teach them and pass along exposition. The lines are of the tell-me-more variety or even the wow-that���s-cool variety. These types of hollow lines allow the other characters to fill them in with how the world works, its history, and more. We may think this counts as an active scene because this exposition is hiding inside lines of dialogue, but it���s not. The reader can see this information dumping for what it is.

Solution: In any given scene, read your protagonist���s lines out loud and test them for conveying intent. Do their lines reflect a specific need they have? Their scene goal? Do the lines evoke an emotion beyond curiosity? Are their lines hiding how they really feel or what they think? Are the things they ask necessary to formulate a plan for their next action? If you���re feeling extra brave, have someone else read your dialogue to you. Nothing reveals weak dialogue like having to hear it yourself.

4. They���re swimming in a pool of self-pity

Your protagonist tells us how bad they have it. How messed up their situation is. They make sure we know all that they lack or they point out how someone else has it better. They are a victim and they know it. But research shows readers are turned off by self-pity. If the character is all-too-aware that they are a victim, the reader doesn���t want to identify with the character. They don���t want to see themselves in that self-pitying state. They don���t want to identify with them, which reduces the efficacy of the reading experience and the potential for emotional growth in the reader.

Solution: Allow the reader to see the protagonist���s situation for what it is or for who they are. Show their situation honestly through action and dialogue (scenes), but don���t let the narrator/protagonist point to pity. Instead, let their reactions to their circumstances hint at how they feel, how their situation is leading to a lack of what they need, and giving rise to reader empathy.

Comb through your work-in-progress and see if your protagonist might be guilty of these four efforts that undermine your efforts. Consider how you might revise in ways that have you regaining control of your story and the way your reader experiences it.

Can you think of other primary ways a protagonist might sabotage a story? Chime in!Marissa Graff

Resident Writing Coach

Marissa��has been a freelance editor and reader for literary agent Sarah Davies at��Greenhouse Literary Agency��for over five years. In conjunction with��Angelella Editorial, she offers developmental editing, author coaching, and more. Marissa feels if she���s done her job well, a client should probably never need her help again because she���s given them a crash-course MFA via deep editorial support and/or coaching.

Website��|��Twitter��|��Instagram��|��Facebook

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When You Feel Like a Hack

By Christina Delay

Recently I���ve been reading Marcus Sakey���s BRILLIANCE trilogy. Yes, I know I���m behind the times, but OMG have you read these books yet?

I���m enjoying them immensely, both from a reader and a writer perspective. Mr. Sakey���s use of descriptors is like none other, and while I revel in his genius, it also makes me wonder what I���m doing writing.

Because I know I���ll never be able to write like him.

Has this ever happened to you? You think you���re doing great, then BAM an amazing book or author comes and slaps you upside the head with their talent or story or characters and suddenly, you���re not doing so great.

This isn���t the first time I���ve felt like a hack. It won���t be the last. And after the appropriate amount of self-pity and eating my feelings, I turn toward the tactics I know will help me regain some confidence.

Remember Your Brand

First, it helps to remember who you are as an author. What kind of stories do you write? Do they even fit in the genre of who you���re fanpersoning over? In Marcus Sakey���s BRILLIANCE case, the trilogy is a police procedural with a sci-fi twist. And yeah. I don���t write that.

Second, consider your authorial voice. Is it a close match to the author who is unintentionally making you feel inferior? More than likely, not so. In fact, you may be enjoying the writing because it is so different from your voice.

Third, list your strengths. What are the things you really excel at in your stories? What are the things that readers or critique partners or contest judges call out again and again about your writing and your characters?

Pro tip: It really is okay to print these accolades and place them where you can see them. Writing is hard and sometimes, we need the reminder.

Take A Class

Feeling better yet?

If so, gently analyze what it is about the writing style that you so admire. For me, Mr. Sakey has a very natural way of dropping phrase twists that live within the character���s voice that are so well done that I have to go back and reread the little miracle I just read.

I���ve taken plenty of writing classes before, but perhaps I could use a refresher in cliche twists or character voice. Even if I���ve heard it all before, hearing the information again when I���m at a different point in my writing journey could reveal fresh insights.

What elements do you find yourself admiring in recent reads? I can almost guarantee that there���s a class or book for improving that skill.

Surround Yourself With Other Authors

The best cure I���ve found for the I���m-A-Hack feeling is to get around other authors. It���s one of the reasons I founded Cruising Writers. And it���s one of the reasons I���ve planned a new writing cruise next spring. Being with other authors not only gets the creative juices flowing, it also allows for your craft to grow by an exponential leap. (Also, this particular writing cruise will have Becca Syme teaching about Strengths for Writers and Kirsten Oliphant of Create If Writing teaching about marketing, so you know, it���s a good place to be.)

Sharing struggles and triumphs with authors who understand is one of the best ways to remember that you���re not a hack. Every creative goes through this cycle, and most authors feel that their craft isn���t good enough…yet. That���s important to keep in mind. The yet. It keeps us striving for the next level, and when we reach it, oh man, it���s brilliant.

Christina Delay

Resident Writing Coach

Christina is the hostess of Cruising Writers and an award-winning psychological suspense author. She also writes award-winning supernatural suspense under the name Kris Faryn. You can find Kris at:

Bookbub �� Facebook �� Amazon �� Instagram.

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Fear Thesaurus Entry: Change

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 Change

Notes
Most people are averse to change at some level, and a certain amount of unease when it comes to change is normal. It only becomes a problem when a person is so determined to keeping things the same���possibly because they don’t want to give up control or are afraid of the unknown���that their quality of life is impacted, relationships are damaged, and they’re unable to grow and evolve in a healthy manner.

What It Looks Like
Dismissing new ideas without considering them
Humoring people; giving the appearance of considering something new but always rejecting the opportunity
Avoiding making decisions that require change (so the status quo can be protected)
Reacting emotionally rather than logically
Using outdated sources or ineffective arguments to make a point
Becoming emotionally activated when new ideas are being considered
Clinging tightly to “old school” methods: resisting technology, ignoring scientific advances, rejecting tools that deviate from what they’re used to, etc.
Sentimentality
Loyalty (to people, a job, a community, etc.)
Inflexibility
Repairing and fixing material objects rather than replacing them
Living in the same house even when it’s falling apart or the property value has skyrocketed
Sticking close to home; not traveling far or taking long trips
Frequent strife with family members who want to make changes the character is resistant to
Resenting others for moving on and leaving the character behind
Going to extremes to avoid change (manipulating others, lying, being mean or lashing out at someone who is suggesting a change, etc.)
Being more interested in the past than the future

Common Internal Struggles
Disliking being left alone/behind but being unable to embrace the changes required to keep up with others
Feeling obsolete
Feeling selfish for being so unbending but not knowing how to be more flexible
Wanting to go back in time to when things were happier or simpler
Struggling with anxiety or depression
Feeling stuck in a situation but being unwilling to make changes

Flaws That May Emerge
Confrontational, Controlling, Cynical, Defensive, Evasive, Hostile, Ignorant, Inflexible, Irrational, Judgmental, Nervous, Obsessive, Oversensitive, Paranoid, Possessive, Resentful, Stubborn, Uncooperative

Hindrances and Disruptions to the Character’s Life
Staying in a situation that makes the character unhappy or is unhealthy because it’s preferable to facing the unknown
Difficulty making even small changes to a daily routine
Missing out on meaningful activities with others (a trip with friends, a family reunion, dinner at a friend’s house, etc.)
Becoming isolated from others
Difficulty utilizing modern advances that most people enjoy because the learning curve is too great
Always having to make excuses for turning down an opportunity
Avoiding people who are likely to suggest activities or changes that threaten the character
Always needing to do things their own way; resisting new methods or ideas that would make their life easier

Scenarios That Might Awaken This Fear
New technology or processes at work that must be learned and used
A scenario requiring the character to move (the house being condemned, no longer being able to pay rent, etc.)
A spouse having to move into a retirement home, leaving the character on their own
Grown children moving across the country and asking the character to come with them
The culture shifting to embrace ideas the character disagrees with
Being given a new phone, a computer, or some other tool the character isn’t comfortable with but must learn to integrate into their life
The character’s children wanting to deviate from a long-held tradition

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: Change appeared first on WRITERS HELPING WRITERS��.

Want Readers to Connect to Your Character? Include this Element.

Some characters have more shape and weight than others, feeling so authentic we can almost believe they walked right out of the real world. Their emotions, vulnerabilities, needs, and desires ring so true, we can���t help but be pulled in by them. These characters hold us hostage while we read, and as writers, we start analyzing why we care so much so we can duplicate this magic in our own stories.

So, what’s the secret sauce that creates such a powerful connection?

Recognition.

When readers see something within the character that resonates, something they themselves think, feel, or believe in, it becomes common ground that binds them to the character.

But wait, you say. That makes no sense! What does my thirty-two-year-old, baby Yoda collecting schoolteacher-slash-reader have in common with the fiery, laser-zapping sky captain in my steampunk sci-fi?

Oh, not much, except maybe���

The pain of a lossMaking a mistake that can���t be fixedThe agony of hurting a loved oneHow time stretches in a moment of humiliationKnowing a love so pure they���d sacrifice anything for itThe dark thoughts that accompany a desire for revengeFailing and letting others downThe chest-expanding rush of pride or validationThe relief that comes with getting a second chanceExperiencing the sting of betrayalWorrying the past will repeat itselfFinding the courage to live one���s truth

���and so on.

Experiences, Good and Bad, Connect Us All

No matter who your character is, human or not, protagonist or antagonist, they will have experiences in common with readers. These may look very different, but in the hands of a strong storyteller, they will be recognizable, holding a core truth that stirs a reader���s thoughts and emotions. In some form, readers feel an echo of having lived the same moment, stood at the same crossroads, or felt the same thing, as the character.

Recognition is a powerful tool, hooking readers and keeping them engaged. By thinking about what it is to be human, and how to use that to find areas of common ground, we can create mirrors within our characters that draw readers in and trigger their empathy.

Two of the best places to look for common ground experiences that will really resonate are Emotional Wounds and Meaningful Goals.

Emotional Wounds

Trauma is an unfortunate side effect of life. We all carry the burden of painful experiences ��� you, me, and readers. People can hurt and betray, they can let us down, and we can do the same to them or ourselves.

Anything that is a big part of the human experience is something we should weave into our character building. By brainstorming a character���s emotional wounds, we make them authentic, and it gives us a powerful way to reveal their vulnerabilities to readers.

Emotional wounds come in all shapes and sizes: Betrayal. Humiliation. Rejection. Injustice. Neglect. They cut, bruise, and most importantly, change the character. Just like us, the person a character was before a traumatic event and who they become after will be different. In the aftermath they carry scars in the form of unmet needs, fears, and false beliefs. They may believe they are less worthy, less capable, or somehow at fault. A wounding event can also reshape how the character sees reality, causing them to think people can���t be trusted, that the world is callous and unfair, or believe life���s cards are stacked against them.

Watch how the Character Builder helps you uncover your character’s backstory wounds.

As readers, we may see all the ways their thinking is flawed, yet still understand why they believe what they do. Their experience informs their opinions, just as ours inform us. And even as we root for them to see the truth and be free of their pain, we recognize and relate to the experience of missing what���s right in front of you.

We���ve all experienced wounds and seen loved ones be swallowed up by fear these events create. We���ve witnessed their dysfunctional behavior and unhealthy coping mechanisms cause problems. So when a character misbehaves, lashes out, or holds back because they are afraid of being hurt again in the book we���re reading, we get it. We connect to their struggle. Their fear is our fear. We carry the burden of it together.

Meaningful Goals

Imagine a line where an emotional wound is on one end and the other, a meaningful goal. One represents fear, the other hope. And as powerful as fear is, hope can best it, which is why we give characters goals to aim for.

Hope is having trust and belief that something can change. In the story, hope tips the scales in the moment when a character decides what they want is more important than what may hurt them. They hold to hope, step out onto the ledge, and move forward despite fear.

Your character���s goal can be anything: To find a lifelong partner. Succeeding where they once failed. Forgiving themselves. Pursuing justice, Protecting a loved one. The only qualifier is to make this goal meaningful so they have strong motivation to achieve it. When obstacles appear, or adversity and conflict batters them, hope that they can get what they need most keeps them on course.

And beside them as always is the reader, willing them to succeed. Neck bent, readers consume words, desperate to know the outcome because the biggest recognition of all is unfolding: a shared journey.

Character Arc: Where Readers and Characters Collide

Why are readers so fascinated by the character���s journey? After all, it���s only fiction right, a bit of entertainment, an escape.

Or…could it be something more?

Okay, that���s a trick question. A character���s journey to leave behind a hurtful or limiting past and cross into a better, more fulfilling future should remind you of something because life is a series of journeys. Like the character, we are always moving toward a better tomorrow. We yearn for internal completeness just as they do, so when we read, we recognize the steps they take, and the courage, growth, and sacrifice along the way. We root for characters to win because deep down, we are rooting for ourselves to win, too.

So, when you write, find common ground. Put those shared experiences on the page for readers to recognize! Readers should see themselves in the character���s vulnerability and uncertainty, their wounds and fears. But most of all, showcase the character���s hope and goals. These remind readers what���s worth fighting for both in fiction, and in life.

Need help with character arc? This tool pays attention to specific details while you brainstorm and creates a Character Arc Blueprint for you.

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