Beth Barany's Blog, page 5

How to Write Character Descriptions Without Falling into a Cliché by Loretta Bushell

Today we welcome a new guest writer to Writer’s Fun Zone, Loretta Bushell who is stopping by to chat with us about “How to Write Character Descriptions Without Falling into a Cliché.” Enjoy!

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How tall is Miss Marple? What color is Dr. Watson’s hair? What do Harry Potter’s shoes look like?

These are all questions we’ll never know the answers to. But that’s okay.

Readers don’t need to know exactly what a character looks like in order to engage with the story.

In fact, a long paragraph listing all their features is more likely to bore the reader than draw them in — and most of it will be forgotten almost immediately.

The key to writing great character descriptions is to focus only on select traits.

But, beware!

The wrong combination of attributes can turn your character into a walking cliché.

These four tips will help you find the right balance and craft effective and original character descriptions.

Zero in on 2-3 Distinctive Traits

The best way to build a lasting image of a character in a reader’s mind is to forget their mundane features and concentrate on two or three distinctive characteristics.

Each quirk could be an unusual part of their appearance, a strange habit or interest, or a peculiar way of speaking.

The more unique your chosen traits, the more memorable your character will be.

That said, it does help if you reiterate the attributes throughout your story — when it’s natural to do so.

When bringing up a character’s appearance for a second or third time, you might explore their own attitude toward their body, show other characters observing them, or even connect their appearance to a key plot point (like Harry Potter’s scar).

It’s been at least ten years since I read Lemony Snicket’s A Series of Unfortunate Events, but I still remember Count Olaf’s unibrow, eye-shaped ankle tattoo, and love of theater.

Not only are these traits unusual (the latter more so because of Olaf’s villainy), but they come up again and again as the Baudelaire orphans continuously expose his elaborate disguises.

Combine Opposing Characteristics

To avoid falling into a cliché, try combining characteristics that do not stereotypically belong together.

A nerd who wears glasses is a complete cliché, but if they also wear cool earrings or have huge biceps, they will be sufficiently multidimensional to break free of the archetype.

It’s not practical to give every character two or three well-explored quirks — just the main characters require this.

However, the next piece of advice applies to every direct description, no matter how unimportant the character, be as specific as you can.

Choose the Most Specific Expression

Generic descriptions are not only an indicator of a one-dimensional, superficial cliché; they’re also just plain boring.

Always choose the most specific expression.

For example, “mahogany” rather than “brown,” or “an accomplished flutist, decent pianist, and hardcore Beethoven fan” rather than “musical.”

Figurative language can help you be even more specific.

In This Census-Taker, China Miéville doesn’t just tell us that a minor character has a dirty face; instead he says, “Dirt seemed so worked into him that the lines of his face were like writing.” The simile conjures a precise image and engages the reader’s imagination much more effectively than writing “his face was dirty.”

Use Sensory Language for More Detail

Another way to add interesting detail is through sensory language.

In The Neon Rain, James Lee Burke describes a prison guard as smelling “faintly of dried sweat, Red Man, and talcum powder.”

Meanwhile, Dennis Lehane introduces a senator with “a handshake that stopped just short of inducing paralysis” in A Drink Before the War.

The sensory language immerses the reader in the story, inviting them to imagine actually being there with the characters rather than just watching from afar.

Reveal Character Description Through Action

Not all character traits should be spelled out.

When readers are told everything outright by an omniscient narrator, it not only slows down the action, but also robs readers of the opportunity to engage actively with the story by making inferences.

You can let the reader infer both physical and personality traits from a character’s actions.

Richard Osman doesn’t explicitly say that DCI Chris Hudson from The Thursday Murder Club is overweight and has poor self-esteem, but we can deduce both because Chris is constantly eating unhealthy snacks, failing to stick to a health plan, and telling himself that nobody would want to date him.

Or Through Other Characters’ Observations

Another interesting way to convey a character’s appearance or personality is through someone else’s words or thoughts. This delivers a double whammy, as it says just as much (or more) about the observer as the observed.

In Agatha Raisin and the Case of the Curious Curate, M.C. Beaton describes crime writer John Armitage from Agatha’s perspective:

“Although he was about the same age as she was herself, his face was smooth and he looked younger, a fact that annoyed her […]”

Not only do we learn of John’s youthful looks, but we also discover that Agatha is insecure about her own age and appearance and is prone to jealousy.

Beaton is certainly creative in her characterization.

Indeed, as is always the case in writing, variety is key here.

Use plain, figurative, and sensory language.

Swap between telling, showing, and letting another character tell.

To avoid falling into a cliché, be specific and combine multiple unique characteristics, and never just list attributes!

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About The Author

Loretta Bushell writes for Reedsy, a marketplace that connects authors with resources and professionals to help them publish their dream book. Loretta is also a part-time translator and spends their spare time reading, playing board games, and training for their next triathlon.

The post How to Write Character Descriptions Without Falling into a Cliché by Loretta Bushell appeared first on Writer's Fun Zone.

How To Make Your Main Character Likeable Even if They’re Not Always a Good Person by Laurel Osterkamp

Let’s welcome back Laurel Osterkamp as she shares with us “How To Make Your Main Character Likeable Even if They’re Not Always a Good Person.” Enjoy!

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Have you ever abandoned reading a novel because you just don’t care about the main character? If so, you’re not alone.

Most readers want a likeable protagonist to connect with, but that doesn’t mean that your MC always has to be a good person. They can do bad things and still be likeable.

How?

It’s really pretty simple, and most likely, you’ve been writing your main characters this way without realizing it.

Give them A Specific Goal

First, she must want something that’s specific and easy to understand.

Example: Maybe your protagonist, Jane, wants to get a promotion at work, but the goal must be meaningful on a deeper level. Perhaps Jane is a single mom, and that promotion is the only way she can afford to make a better life for her young son.

Her goal should be urgent and compelling enough that readers feel invested in its outcome.

Inner Conflict Motivates Her Present Goals

Second, her goal should be driven by an emotional wound or insecurity.

Example: For Jane, maybe she grew up poor and neglected. Her desire for the promotion becomes not just a symbol of security and respect, but also reassurance that she’ll give her son more than her parents were able to give her.

Perhaps Jane has a deep-seated fear of failure and longs to prove herself both professionally and as a mother. This would make her ambition more than superficial; it becomes personal and relatable.

Throw Internal and External Obstacles at Her

Third, add in some external and internal conflicts.

Examples: Jane could have a creepy boss who’s harassing her, rival coworkers scheming against her, or systemic obstacles like nepotism, classism, or sexism. Meanwhile, Jane could be dealing with self-doubt, mom guilt over working too many hours, or moral dilemmas that make her doubt her own methods. Perhaps Jane is tempted to cut corners or cheat somehow to get her promotion.

The more obstacles you introduce, the more your character will be tested, and the more your readers will become emotionally invested in her journey.

Small Wins Make Big Dreams Achievable

Fourth, connect the short-term goal to something more long term.

Example: Jane’s promotion is not just about career success but a step towards the broader dream of security for her and her son.

Her short-term victory becomes a crucial part of her profound long-term dream.

Tempt Them With the Easy Way Out

Fifth, your character should have a crisis of faith or be tempted to abandon her values in exchange for an easier solution.

Examples: Maybe Jane considers sabotaging a co-worker or lying on her application to get ahead.

It’s a pivotal moment where she must choose between the easy, morally questionable shortcut and the difficult but honest path.

This decision reveals Jane’s true character and makes her more relatable.

Growth is the Real Reward

In the climax, your character’s struggle should pay off, not necessarily in a traditional sense but in terms of growth and self-awareness.

Examples: Perhaps Jane chooses integrity over shortcuts and endures the consequences. Maybe she loses the promotion but gains self-respect and a clearer understanding of what truly matters.

This will make us like Jane; even though she’s flawed, she’s also authentic and grows from her experiences.

Show Her Soul, Not Just Her Struggles

Throughout the novel, show your character’s human side.

Examples: Highlight her vulnerabilities, mistakes, and her motivations. That way, even if Jane makes morally questionable choices, the reader understands her and roots for her genuine desire for a better life. Show moments of kindness, humor, or vulnerability.

If readers see her internal struggles and sympathize with her deepest fears and hopes, they will find her likable—even if she’s not always perfect.

Just remember, your character’s growth, honesty, and vulnerability are what will ultimately endear her to readers. Focus on her internal journey and make her motivations authentic.

Then, you’ll create a protagonist who is complex, relatable, and compelling—someone readers will root for, even when they stumble or falter.

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About the Author 

Laurel Osterkamp is from Minneapolis, where they teach and write like it’s going out of style.

Their short fiction has been featured in Abandon Journal, Idle Ink, Tangled Locks Literary Journal, Bright Flash Literary Journal, and The Metawoker, among other places. Their new novel, The Side Project, was released on November 13th by The Wild Rose Press.

Follow her on social media:

Website – https://laurellit.com
Facebook – https://www.facebook.com/authorlaurelosterkamp
BookBub – https://www.bookbub.com/profile/laurel-osterkamp
Instagram: Laurel Osterkamp (@laurel_osterkamp) • Instagram photos and videos

The post How To Make Your Main Character Likeable Even if They’re Not Always a Good Person by Laurel Osterkamp appeared first on Writer's Fun Zone.

Essential Tips for Writing Space Opera

Essential Tips for Writing Space Opera – How To Write the Future podcast, episode 156

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“Of course, you want to think of what they want, the goal, why they want it, the motivation; what’s in their way, the conflict, but also their strengths and also their secrets.” – Beth Barany

In this episode of How To Write The Future, “Essential Tips for Writing Space Opera,” podcast host Beth Barany gets interviewed by her husband and fellow author Ezra Barany about what a space opera is and explain how you can create that type of story. Beth shares how she was inspired to write her Janey McCallister sci-fi mystery series, shares how to build complex interstellar societies.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify  | Amazon Music| YouTube

RESOURCES 

Support our work for creatives! Buy me a coffee: https://ko-fi.com/bethbarany

Episode 148 Fantasy Character Groups Made Simple with Ezra Barany: https://writersfunzone.com/blog/2025/04/14/fantasy-character-groups-made-simple-with-ezra-barany/

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

Get support for your fiction writing by a novelist and writing teacher and coach. Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers.This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers too if you’re at all curious about the future of humanity.

ABOUT EZRA BARANY

Ezra Barany loves riveting readers with thrillers, but by order of the Department of Motor Vehicles he must place a warning on every book cover, “Do not read while driving.” His first two books in The Torah Codes series were award-winning international bestsellers. The second two books in the 4-book series wowed readers too! In his free time, he has eye-opening discussions on the art of writing novels with his wife and book coach Beth Barany. A high school physics teacher, Ezra lives in Oakland with his beloved wife and two cats working on the next book in The Torah Codes series. Ezra, not the cats. For a free short story in The Torah Codes series, “The Mourner’s Kaddish,” do please go to http://www.thetorahcodes.com/.

Transcript for 156. Essential Tips for Writing Space Opera[00:00] Introduction and Host Background

BETH BARANY: Hi everyone. Beth Barany here with a laughing husband.

Beth Barany here with How to Write The Future Podcast. And I’m here today with my husband, Ezra Barany.

EZRA BARANY: Hi.

BETH BARANY: Yay.

We are experimenting with a little series of episodes where he asks me questions and I answer them, and he’ll chime in with his answers, I hope.

So this is How To Write The Future Podcast. We are here to support science fiction and fantasy writers and anyone who cares about the future to help you envision and write stories that I hope will be positive and optimistic versions of humanity, of what we can become. And both Ezra and I are working writers and we’re here to enlighten and lighten the load, have some fun, give you some tips, and of course, we’re here also for your questions.

[00:54] Your questions, our answers 

BETH BARANY: So if you have questions, be sure to ask us those questions in the comments section of wherever you can post comments or directly contact me through how to write the future.com.

And stay tuned to the end where I’m gonna share a way that you can get even more information about helping you write your science fiction or fantasy novel.

Alright, let’s take it away. 

[01:17] Today’s Topic: Space Operas 

BETH BARANY: Today’s topic is:

EZRA BARANY: Space Operas.

BETH BARANY: Space Operas.

EZRA BARANY: So here’s my question.

BETH BARANY: Yeah.

EZRA BARANY: So when people sing and perform where there’s no atmosphere out in space, is that a space opera?

BETH BARANY: Absolutely.

EZRA BARANY: Okay. Next question.

BETH BARANY: Oh, I had people performing outside the space station in my Janey McCallister, science fiction mystery series. I can’t talk. In the official name is Janey McCallister mystery series. She’s a space station investigator and she works in a fancy space station.

EZRA BARANY: And they were dancing in that one, right?

BETH BARANY: Yes. Yes. and in the first four books, she works at a hotel casino. Think Bellagio in space. Yeah.

EZRA BARANY: Great. 

[02:02] Defining Space Operas 

EZRA BARANY: So what is a space opera?

BETH BARANY: Okay. What is a space opera?

So I envision a space opera as a very dramatic series of stories that take place in space, often on spaceships that involve power struggles, family dynamics, interpersonal dynamics.

It has a broad scope and it’s dramatic and it involves personalities. Let me think of a good one. Elizabeth Moon has some space operas and it’s like a space shipping family. And every book has some big adventure involving some family members and there’s forces acting against them.

And so you’ve got your drama and you’ve got your adventure, and then you’ve got this sense of a saga and it’s usually involving societies on different planets or in different spaceships, that kind of thing.

EZRA BARANY: Great. Here’s another question that’s right off the top of my head. 

[02:52] Building Complex Interstellar Societies 

EZRA BARANY: Just out of the thin air. What are the essential building blocks needed to make a complex interstellar society feel authentic and coherent to readers?

BETH BARANY: Just off the top of your head. 

EZRA BARANY: just off the top.

BETH BARANY: Yes. We did prepare ahead of time. Yes. So similar to any kind of story you write, you’re gonna wanna have your different factions and your different groups. And actually, Ezra did a great episode on thinking about the different groups in your society.

You’re gonna have your hierarchies, your power structures, so think religion, economics, supply chain, education. So when you wanna create a complex society, you’re not gonna create one priest or one teacher or one captain, they’re gonna be part of a greater group. So then they’re gonna have competing ideologies, competing philosophies and worldviews.

So you’ll wanna think about all of those, including people affected by the bigger decisions of societies. Like creating a world for any kind of story in science fiction or fantasy, it’s gonna have different kinds of people doing different kinds of things with different agendas.

I know that’s very general. How to make it more specific? I think of Star Wars. Star Wars is a good example, y’all of a space opera, right? You don’t just have your fighter pilot, Luke Skywalker’s not just a fighter pilot. He gets trained, there’s commanders, of course there’s opposing forces, that kind of thing.

EZRA BARANY: Yeah. So actually leading from that is a part of making it so epic. All those different philosophies, etcetera. 

[04:26] Creating Emotionally Invested Characters [

EZRA BARANY: So how do you make that epic feeling of a space opera be so intimate with the characters? How do you focus? How do you keep the readers emotionally invested?

BETH BARANY: Yeah, good question. Yeah. So what you wanna do is, and this is I think my specialty, huh? and how I write and also how I help writers is really develop your character to be fully realized. Of course, you wanna think of what they want, the goal, why they want it, the motivation; what’s in their way, the conflict, but also their strengths and also their secrets.

We love teaching about the secrets.

And also you might wanna think about the worldview, their philosophy, and how that came to be so. Some of the other things I like to think about is how they perceive and feel about their relationships, their core relationships. You learn a lot about someone thinking about those things.

What else? Their secret. I’m gonna come back to secret. The thing that’s in their heart of hearts that they yearn for, that maybe they don’t tell anyone. What they prioritize in their environment. That is actually something I consider important, like in their home space, what’s important; in their workspace what’s important, in their vehicle what’s important, and hobbies.

Hobbies also shape how we view the world. And lastly, something that’s really fun to pull out, and Elizabeth Moon does this really well, is what is your main character’s or point of view character’s favorite story, fairytale motif, hero from storyland. This allows you to bring in–some people call it the imaginal–their imagination, their favorite stories.

‘Cause that tells us what they love and how they were shaped.

And so it’s not an institution versus an institution. That’s not an interesting story.

But if you’ve got a pilot. And she’s gotta deal with her commanding officer and her fellow pilots and the mechanics. And then she’s, I’m thinking of, uh, of Starbuck in, Battlestar Galactica.

EZRA BARANY: Yes.

BETH BARANY: Battlestar Galactica, right? Starbuck isn’t–so none of your characters are in a vacuum. They’re interacting with others all the time. The powers that be, the people who clean their clothes, the cooks, their parents, their friends who aren’t doing what they’re doing. Create a well-rounded character and write the story from their perspective.

And now you’re gonna have something that’s emotionally relatable in this vast epic scale of the story world that you’re creating.

EZRA BARANY: I also think, the character of the main character in Dune, how there are these expectations imposed on him. And we see him grow up with these expectations, his talents that are supposed to be fulfilled and his training, and his desire to get away from those expectations. We see the epicness of the story in that manner.

BETH BARANY: Absolutely. I love that. And their expectations, the expectations that he’s carrying, that he has to respond to fight against, the prophecy that’s on him. How does he respond to that? And it’s all channeled through him. His actions, his words, his deeds, his interactions with everyone.

EZRA BARANY: Great.

BETH BARANY: Yeah. Good. 

[07:44] Conclusion and Resources 

BETH BARANY: Any more questions for us on this topic? Otherwise, we’re gonna wrap it up.

EZRA BARANY: That’s it.

BETH BARANY: Great. So We’re gonna wrap it up for today.

If you would like more support with your world building, then I recommend that you check out our World Building Workbook for Fiction Writers, where I ask you a bunch of questions, give you a bunch of prompts, and you can use that as a guide to dig into your story world.

And that’s it. oh. Be sure to contact us if you have any questions at how to write the future.com or leave a comment on YouTube or on the blog post where we put this up or anywhere else you can leave a comment, tag me on social media. 

EZRA BARANY: Feel free to mail us a pizza.

BETH BARANY: There you go. That’s right. All right, everyone. Write long and prosper. 

Loved this episode? Leave us a review and rating here: https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

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Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT 

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

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X: https://twitter.com/BethBarany

CREDITSEDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)SHOW PRODUCTION BY Beth BaranySHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

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The post Essential Tips for Writing Space Opera appeared first on Writer's Fun Zone.

A Few Words on Rejection by Catharine Bramkamp

Let’s welcome back monthly columnist Catharine Bramkamp as she shares with us “A Few Words on Rejection.” Enjoy!

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No one wants to be voted off the island, but rejection is an unavoidable part of the publication process.

No matter your effort, no matter how well you studied the market and courted the perfect literary magazine for your story, you risk a no.

For some writers, that is a tremendous risk. For others, it is just another step on their journey.

Failure has a Bad Rap

Failure has a bad reputation.

When we think of failure, we automatically imagine that odd uncle who lost his job in 1975 and never found another. No one wanted to sit next to him at Thanksgiving dinner. Your parents tutted, he was such a failure, poor Marie.

That kind of impression stays with a girl.

On the other hand, failure is how we discover what doesn’t work – the propeller on a plane, the plot of a novel, the twist at the end of a stand-up routine, which shores are dangerously rocky.

Feel the failure. Feel sad.

Then, pick up the pieces and, if possible, apply the hard-won information to your next attempt.

After spending a whole lot of years deep in this learning cycle, I’m delighted to find that rejection doesn’t affect me as strongly as it did when I was younger.

Perhaps because I know more about how the publishing business works.

Perhaps because I have more lovely, successful activities in my life than just publication.

Which is key.

I wouldn’t bring this up if I didn’t have a rejection story to tell.

The Rejection Experience

I serve on the board of a local Arts Council.

One wonderful year, the State of California issued a grant program for artists, and our council oversaw a small amount of money (about 4 million) to distribute to artists and their projects across nineteen counties.

The counties in California are large.

Hundreds of artists applied for project grants, including me.

The criteria were quite specific, and we were to create art that would improve state metrics, such as health, housing, and social responsibility. Which is a lot to ask of a sculpture of egg cartons and twine, but those were the rules.

I did my best, submitted my project by the March deadline.

In April, my mother passed away.

In June, we held her celebration of life and went to Ireland for three weeks, where I immediately began a Bloomsday project. (On June 16th, Dublin celebrates hometown author James Joyce.)

I received news in Dublin that my project would not receive funding.

I was sorry, but Guinness.

Fast forward two years — the grant programs were wrapping up.

I enjoyed hearing about the funded projects, the creativity, and imagination it took to make a positive impact on their community. I hoped these grants would launch these artists into a new creative phase, along with increased recognition for their work.

The Rejection Turnaround

Interestingly, that same week, I learned that a popular local artist, who, like me, had not received the grant, was still angry.

Two years. 

Still mad.

It’s just a grant.

The process was incredibly complex, and the competition was fierce.

What was her problem? Did her husband leave her for that adorable checker at Safeway?

Now that is a rejection worth stewing over for two years.

How to View Rejection

One can view rejection as just another road sign. And it’s easy to avoid those road signs if you never climb into a car, but you won’t get anywhere.

I know artists who have convinced themselves that their work is just too interesting and brilliant for this sordid world of commerce and lucre.

Or, like our angry local artist, thinking she should get opportunities because, well, she is here, and she is an artist, what more do you need?

A well-written grant application.

How to Embrace The Process

The afternoon my clients send off their manuscript to an agent, or an indie publisher, or a contest, I recommend that they start a new project the next morning.

Stay in the game. 

Keep a list of two or three engrossing projects you want to dive into, and start one.

We earn our joy from indulging in the process, because it’s about the challenge, the travel, the research — everything that builds our book. If we can emphasize that, then rejection will no longer be an issue.

Keep writing, and you can stay on the island with the rest of us.

Need your help! I’m writing a book on creativity, and I need your input.

Please take this short creativity survey, and your story may be featured! Due July 1, 2025 — Thanks!

***

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ABOUT THE AUTHOR

Catharine Bramkamp is a successful writing coach, Chief Storytelling Officer, former co-producer of Newbie Writers Podcast, and author of a dozen books including the Real Estate Diva Mysteries series, and The Future Girls series. She holds two degrees in English and is an adjunct university professor. After fracturing her wrist, she has figured out there is very little she is able to do with one hand tied behind her back. She delights in inspiring her readers.

The post A Few Words on Rejection by Catharine Bramkamp appeared first on Writer's Fun Zone.

Tips to Transform Your Novel Into Trilogy

Tips to Transform Your Novel Into Trilogy – How To Write the Future podcast, episode 155

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“Be here, be now. Be with your project as it exists right now.” — Beth Barany

In this episode of How To Write the Future podcast, host Beth Barany answers a readers question on “Turning one novel into a trilogy.” She shares advice on how to start the process all the way how to enjoy your finalized, polished book. Beth also dives into topics such as overcoming imposter syndrome, world building, and how to maintain your writing momentum.

Do you have a question you’d like Beth to answer on the podcast?

Ask yours today: https://writersfunzone.com/blog/podcast/#tve-jump-196e58e85f6

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify  | Amazon Music| YouTube

RESOURCES

Support our work for creatives! Buy me a coffee: https://ko-fi.com/bethbarany

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

Get support for your fiction writing by a novelist and writing teacher and coach. Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers too if you’re at all curious about the future of humanity.

Transcript for Tips to transform your novel into a trilogy[00:00] Introduction and Host Background

Hi everyone. Welcome back, or welcome to this podcast, How to Write the Future. I’m your host, Beth Barany, and I am an award-winning science fiction and fantasy novelist, as well as writing teacher, creativity coach, podcaster, and filmmaker.

I run this podcast because I believe that with our creativity and our desire and passion to write stories, we can remake the world. And my vision and my hope and my mission is to help us revision how we want to be, how we want humanity to be. And my hope is that it is for positive, optimistic futures, not an easy task, and there are a lot of nuts and bolts that go into writing a good novel, a good science fiction and fantasy novel.

[00:55] Listener Question: Turning a Massive Novel into a Trilogy 

And I got a question from one of my clients, Hugh, and he asked me: How do I turn this massive, I mean massive, over a hundred thousand word epic fantasy novel into three books.

So that’s what we’ve been working on together and he brought that question out for more feedback.

But also in case any one of you is wrangling with this question: how do you turn a really huge novel into three books or maybe more?

So we came up with a bunch of questions and I’m gonna go through those today and hopefully these will help you in your project as well. 

[01:33] Contact and Support Information 

Now I’m gonna just say, if you have any questions about this topic, you can contact me.

And how to do that is with the show notes, and how to write the future.com.

You could reach out to me, write me a note, send me a voicemail. I have a thing set up for that, and just ask me a question. Or you can ask me a question on the socials tagging my name, and reach out. Ask me your question.

And also, just so you know, I have been running this podcast for nearly three years as I record this. This is May 13th, 2025. And I do this because I care very much about this topic. I’m a writing teacher and a creative, and I want to share my wisdom and knowledge with you. If you like what I do, please like, subscribe, all the things, leave a review.

And I welcome donations. I have a tip jar. You’ll see the link for that in the show notes as well. If you wanna support us, that is definitely another way you can do that. And really the easiest thing that you could do to support us is like and subscribe. That is really beautiful. All right, and thank you for your support.

So let’s get on with the show. 

[02:38] Starting the Process: Overcoming Imposter Syndrome

Today we’re gonna talk about, as I said, how do we turn one novel into a trilogy, which is the most common thing in science fiction and fantasy. Boy, do we love our series. I know I do. I love reading series and I write series. Something that you might notice as you consider this is you might have a lot of fears about moving one book into three books. And you might be hit right away with imposter syndrome.

So do you feel like you’re an imposter, if you wanna move this one big novel into three books?

Yeah, that might be something that you face. And how do you handle that? 

One of my favorite authors, I’m pretty sure that she did this. And so there’s a lot of ways that you can handle breaking one big novel into three parts. And the novelist I’m thinking of is Elizabeth Moon, and it’s her Deed of Paksenarrion. 

 It’s an epic fantasy saga.

When I read that, I realized there is an option about turning a big novel into three novels if you just cut it. I literally had to have books two and three lined up so that I could read, just read the rest of the story.

 There was no ending at the ends of books one and two. It just stopped. 

I’m here to tell you that if the prospect is so overwhelming, you think, how could I do this? And, oh, who am I to do this? You could just chop the book into three equal parts and publish it that way. Why not? If that is your passion, I say go for it.

Now, if you’re faced with the idea of creating three books that are connected and you have to read them in order, but you’re like, how am I gonna do that? There’s no way I could do that. Who am I to be able to do that?

I just wanna encourage you that yes, it is a challenging task and you may not know how to do it, and the only way to figure it out is to go through it.

With any big creative endeavor– I can speak from firsthand experience– I didn’t know how to write a novel, and then I wrote a novel because I did it. I didn’t do it all in one day. I only did it step by step.

In fact, that very first novel, I only spent one day a week on it. It did take me a long time. It took me five years and I finished it.

All that to say, just because you don’t know how to completely solve the problem, doesn’t mean you can’t start right now because you don’t actually have to solve all the problems. You only need to solve the next problem. Whatever is next for you, and then you need to solve whatever shows up next after that.

So basically, imposter syndrome, I think one of the reasons it comes out is because people think they need to have it all figured out before they start, but actually most people don’t. I have yet to meet anybody who’s figured it all out before they start. Another way to handle imposter syndrome is to listen to a lot of people’s stories.

I actually don’t know Elizabeth Moon’s story about how The Deed of Paksenarrion was just chopped into three parts. It very well could have been a decision by her editor and publisher. In fact, I bet you that it was. That’s my guess. So gather stories, ask people how they did it.

And, I tend to plan my books one at a time, but I write in series. But I also didn’t know that book one, Henrietta the Dragon Slayer, which is for those watching on video, which is behind me. I didn’t know that when I finished Book One that there would be a Book Two. It took me a little while to figure that out. And then while I was writing Book Two, I realized the entire story that I wanted to contain in the second book would be its own thing. And I couldn’t actually get to the rest of the story. And so there obviously had to be a third book. So I did create endings, for each one.

Lemme see if I can just, my desk is on wheels, see, and there’s book three, the red cover. So I have Henrietta the Dragon Slayer, Henrietta and the Dragon Stone. And Henrietta and the Battle of the Horse Mesa. But I didn’t conceive of all three at once. I really did it one at a time.

So all that to say, let me move my desk again.

All that to say that you don’t have to have it all figured out when you start. So I’d be really curious to find out for those who might feel imposter syndrome, what is below the surface. What are you comparing yourself to?

Imposter syndrome is often about comparisons, and it’s really not fair to compare ourselves to anybody else. We don’t know their journey. We don’t know how they got there. We don’t know where they were when they started versus where we were when we started. So it’s totally apples and oranges in my opinion.

And this is something that I have to, um, coach myself on repeatedly. Like comparing myself to anybody else is really not fair to me. So when you compare yourself to anybody else, or even some perfect vision of how you think you should be, that’s really not fair because it’s not taking into account who you really are right now.

So we wanna work with your strengths and work with where you are right now and take the next step. That’s all you need to figure out right now–is the next step, and eventually you’re gonna get there.

All right, so that was with my coaching hat on for sure. And here’s another coaching related question. It is such a big topic of turning one big novel into three books, into a trilogy.

[08:16] Maintaining Momentum and Avoiding Pressure

Hugh asked: How do you maintain momentum and avoid feeling pressure after the first book is finished? Might you want to finish two or all of them and then publish over time?

So that’s a really great question and this answer will serve for anyone who is working on a series and maybe has planned and written them ahead of time.

Do you release them one at a time? Do you wait till everything is beautiful before you even try and publish?

So of course there’s a lot of schools of thought on this and it really, in my opinion, honestly, this really depends on your digestion. What can you stomach? What can you handle?

So for some people, it will be very satisfying to go through the entire process of one book and bring it to polish and then publish and then going back and doing it again with the next one and so on and so forth.

If you’re a beginning writer, that might be the best way to gain momentum because there is such a tremendous, incredible release that happens when you publish a book and when you go through that whole process and there are so many decisions that it’s almost better to just get it out the door. Learn all that you can, and then take that knowledge that you’ve learned from that entire process of polishing and revising and making your book beautiful– beautiful cover and being really proud of it and letting it go so that, you have room to make all those new decisions for the new book and do that one at a time.

[09:47]  Be Here. Be Now. 

Now, how do you maintain momentum and avoid feeling pressure after the first book is published?

So that kind of comes back to my, one of my core teachings, which is: Take a deep breath and be in the present time.

Be here, be now. Be with your project as it exists right now.

And it’s really great actually, once Book One is done, say you decided to publish Book One and then you have Book Two and it feels daunting, ’cause then you gotta climb that mountain again of editing and revising and all the decisions, to just really digest all that you have learned and really help yourself integrate everything that you have learned so that you can take this new project, which may feel like you’re at the bottom of the mountain again, but actually you’ve already gone through this with one book, and you will be able to apply lessons learned to this next book.

But don’t expect it to be perfect.

Honestly, for some writers, they’re fast learners. They’re gonna integrate really fast, and the next book will be much better than the first book.

Or maybe you gotta get three books under your belt or five books under your belt before you feel like you know what you’re doing. Like me.

That’s how it happened for me, it took me a bunch of books to feel like, oh, now I understand the process. So really don’t compare yourself to me. Just take what you know, and draw a circle around yourself and live inside of your own bubble about what it is that you know and that you can do.

And that’s all that matters. Really comparing yourself to some imagined past, present, or future version of yourself is not gonna be helpful.

So that is my main teaching: come back to yourself and to yourself in the present and work with what is in your energy field and in your know how and in your knowledge and experience, and also the kind of resources that you have. The people you know that you can reach out to for help and all of the amazing resources that live in internet land, of which there are so many.

[11:43] Why do that?

So one of the core questions about turning a novel into a trilogy is why would you even wanna do that?

And it has a lot to do with bandwidth for you as an author, if the story feels too daunting to edit, you might want to do this. If the story feels very unwieldy to market, you might wanna develop it into three parts.

Those are the two main reasons why you would wanna take a huge novel and chop it into parts, into a trilogy.

[12:11] Beth’s Recommendations

So what do I recommend?

I really recommend that you do what feels feasible to you. I have published a novel that’s over a hundred thousand words, and that is book three in my Henrietta the Dragon Slayer Trilogy.

For those watching at home on video, I’m moving my desk again, so you can see The red cover Henrietta and the Battle of the Horse Mesa.

And, I have a book I’m working on right now that’s 135,000 words, and am I gonna chop it into pieces? Probably not, because I can handle it. I can handle the bigness, I can handle the stories. 

Actually just considering this right now, I could even put into the book parts one, part two, part three, but I probably won’t.

We’ll see. We’ll see what the beta readers think. We’ll see what the response is from my early readers, my critique partners. If they’re like, oh my God, this is too much, then I might consider putting parts inside of the book, but I’m actually, I don’t wanna, publish it as multiple books. I don’t need to.

My capacity is I can do this. And, earlier on in my career, the first Henrietta was only 260 pages, and the second Henrietta book was 300 pages and obviously the third Henrietta book’s 500 I believe. So as my skills grew, I was able to write longer books, and feel confident about releasing them and marketing them.

[13:40] Priority 

So really what’s the priority?

If you’re faced with a huge manuscript that you don’t know how to edit, but you wanna be editing, priority is ask yourself: do I wanna turn this into three books and work on each one separately? Notice if that feels priority, because if you’re stuck and you’re not moving forward, it could be because the project is too big, and that’s another reason why to break it into three parts.

[14:04] World Building and Consistency Across Books 

How do you ensure consistency across all three books?

What a great question. So, to answer this question, I am gonna talk about world building, and keeping track of your story world. 

So what does consistency mean?

If you mean all the names of things and your culture and your world building and your character.

So first of all, you wanna keep track of all the story world elements.

And then second, you want to have some trusted critique partners or an editor or beta readers, or all of the above, to help you stay consistent.

One of the things my critique partners will say is, oh, no. Janey wouldn’t do that, or Henrietta wouldn’t do that. And they help me stay honest. Because your early readers, they’re gonna start to take ownership of your characters and help you stay on the straight and narrow of who these characters are. So it’s really wonderful to have dedicated beta readers who you cultivate over time. So that’s something to think about as you start building, as you start getting ready to share your work with others, is start to put it out there that you want some dedicated readers and beta readers who can give you feedback just on the story itself. And critique partners ideally who can give you feedback on craft, or you hire an editor, which is a cost and an investment.

Or you do some combination of that. And they will all help you stay consistent because it is a lot. It is a lot. I’m gonna share on the screen now some images from my story world building file inside of Scrivener for, this one is for my Janey McCallister Space Station Mystery series.

And you can see, I do a lot of things and I keep track of a lot of things, including place names, character names, character traits, customs, logos, gosh, so many things, the whole nine yards. It’s also where I brainstorm and where I wrote my first draft.

[16:05] Developing Character Arcs in a Trilogy 

So here’s a really great question. How do you develop character arcs that span three books?

It’s a really great question. Something to consider is your genre, number one.

The expectation for epic fantasy is there’s going to be a big change of character, big transformation from the beginning to the end of the three books, and that means– the change can be radical also in each individual book.

Epic fantasy often has the expectation of lots of changes and lots of transformations.

You can consider: where do you want the character to be by the end? And are they gonna go through some radical transformations by the end of book one and then maybe another by the end of book two?

And then maybe at the end of book two, since it’s the midpoint between–it can be a big turning point.

Think of, Empire Strikes Back, a very big turning point at the end of that movie. So that’s developed as a tradition, and you’ll see that in a lot of storytelling sagas, where two thirds or three quarters of the way through the saga, through the epic, they’ll be such a drastic change.

The reader’s like, I don’t know how the main character’s gonna come back from that. Don’t they need to accomplish this big goal? I really don’t know how they’re going to get there.

So you end book two with that really dramatic hook. So that book three is really, the stakes have gotten even bigger.

So you wanna think of your character arc in terms of transformation, but also as they change, the stakes need to get higher.

So both. They need to grow to be able to meet the bigger challenge.

So you might wanna think of: what is the big change by the end of Book one, where the reader’s like, wow, now what? Now that their life is completely done, a 180, now what? And then they go on to book two. And book two is like amazing and so much transformation and change and challenges.

And then you gotta end with like a, oh no, you make us really worried for your character. They’re faced with a really hard choice. You could even leave it on a cliffhanger. Or they’ve done something really dramatic that you’re like, how do they come back from that?

So you see, what I’m going for is not only do you want your character to change, especially, in, in fantasy, but you also want it to be dramatically connected up with the plot.

Now, not in every genre or subgenre will you have dramatic character arcs. Maybe your character just gets older and wiser and makes some changes that reflect their maturity.

Maybe your character only shifts a little bit and every few books do you have a dramatic arc. And that’s more what I’m doing with my Janey McCallister Space Station Mystery series.

Like in a lot of detective stories, she doesn’t change a whole lot from book to book, but over the span of the whole series, she will have shifted. There’ll be some points in the bigger series where she has shifted. So I have a big shift that is gonna happen in Book five, and that I lead up to, by the time you’ve read all four books and, I’m not gonna tell you what it is.

So something that I did is when I wrote both the Henrietta books and the Janey books, I didn’t really know consciously what the character shift was in the first draft, but I made some decisions in the revision phase, but I did not know what the next book change arc would be until I got to those edits and wrote that book.

So you don’t actually have to know it all ahead of time. I would say trust your intuition and notice the change doesn’t have to be linear. It can be up and it can be down like a change for the better and a change for the worst. Or it could be a change professionally, it can zigzag, it could look like real life.

But what you might wanna do is just track the character change from the beginning of the book to the end of the book, and then when you’re faced with the next book: go, how do I make this different? How do I give it a new feeling so that we’re not rehashing the same changes? We have some new changes.

What are the new changes that my character can be faced with?

And then you just do that one book at a time. You don’t have to have the whole series figured out.

You can have a rough idea, which is really fun, and which is what I had for Henrietta the Dragon Slayer. I knew by the time I had published Book One, I knew that at some point I didn’t know when yet, she was gonna have to be this new role in life that was very different for her. But I didn’t know how or when I was gonna get there, and that’s why I had to write book two before I got to book three.

[20:37]  Common pitfalls to avoid when expanding a trilogy 

So what are common pitfalls to avoid when expanding a trilogy?

I would say repetition, where it feels like you’re rehashing similar dynamics between characters and character arc.

So you wanna challenge yourself and you want to get help too with editors and beta readers and the like, to make sure you’re doing something fresh in the other book and in the final book. 

So that the story doesn’t feel episodic, meaning this happened and then this happened, then this happened, which is very common when we’re working on our early drafts.

And you wanna say: how does this lead to that and what are the consequences?

So you wanna make sure that you set up things that have consequences and then there’s a payoff. And that is something that I get a lot of help with, frankly, ’cause I’m not super plot focused.

So I get a lot of people who help me make sure my plots have the setups and the payoffs.

Actually, I’m very good at the setups. I don’t always remember to do the payoffs.

So be sure you’re checking for whatever challenge you set up in your stories, and hopefully it’s multifaceted, that you wrap them up at the end or you very consciously don’t wrap them up at the end and you leave the reader hanging, which is totally fine too.

[21:46] Other Pitfalls? 

What are some of the other pitfalls? yeah, I’m gonna leave it at that.

[21:52]  Handling world building expansion across three books

All right. How do you handle world building expansion across three books?

Take lots of notes. Have a map. Take lots of notes, copious notes. Use something like Scrivener. Use a tool that’s searchable. I know there’s a lot of tools out there that you can use to help you keep track of your world building. I use Scrivener.

[22:10]  Maintaining tension throughout a longer story arc 

What about maintaining tension throughout a longer story arc?

Yeah. So you wanna have a very big goal that only gets achieved by the end of the trilogy, and you need to make that clear at some point what that is. And you need to remind the reader about that.

So by maintaining tension, the tension is: will they or won’t they obtain the special item or conquer the big baddie or get to this new location?

And to maintain tension, you need to create believable, relatable obstacles in which the character really has to struggle through them. So it’s not just performa. It’s not just, oh, here we are at the bridge. We have to cross a bridge.

No, make the bridge wobbly. Make the bridge that it might break, or make the bridge cursed, or, give their movement through the world and through the story, real conflict with real people and real obstacles.

And the way you maintain tension is you increase the stakes at every step. You gotta make things worse and worse and worse, and you gotta make your character grow to meet each challenge.

Now, all huge caveats there. That means you’re writing an epic fantasy for a Western audience who are expecting these things. If you’re writing a subgenre of science fiction and fantasy that doesn’t have those expectations, that’s totally fine. Whatever are the expectations in your sub-genre that keep the reader turning the page, it’s either: what’s gonna happen next? How is my dear character gonna fare against these obstacles? How is it gonna work out between your main character and the relationships? How are they gonna handle this problem?

And so you create a relatable character with relatable relationships in situations, even outlandish situations, but that their response to them is relatable.

[24:04]  Best practices for planning plot threads across multiple books 

And lastly: What are some best practices for planning plot threads across multiple books? If you’re super plot oriented, go ahead and break out your writing tool, Scrivener or some other tool, and just take copious notes and write it all down, so you have a map of an outline of all the plot threads, and you can even make a little map.

I’ve seen writers who do that.

My husband, who’s a writer and who also writes in the science fiction fantasy realm, created a visual map of the world, but also created a linear map on Canva, and that was really cool where he put the different plot items happening.

So come up with a visual that allows you to see your whole story. Another thing that you can do and something I do in Scrivener, and I’m gonna put it on the screen here — is I will keep track — because I write murder mysteries on space stations– I will keep track of the villain’s timeline. I will keep track of the victim’s timeline. I’ll keep track of my, of Janey, the investigator’s timeline, and if there’s any other timelines I need to keep track of, I will do that as well. And so I create little documents for that. And I do that in revisions, which is how I figure out a lot of these things.

Or if you’re very plot and outline oriented ahead of writing, do it. Do it before you write. 

[25:25] Conclusion and Final Thoughts 

Alright, so that’s it for this week, everyone, on how to turn your one novel, your one huge epic fantasy or sci-fi novel into a trilogy or multiple books. I wanna thank my client, Hugh Tipping, for this question.

It’s a really great one.

If you are wrangling with this topic and you have more questions that I did not cover today, please let me know in the comments section or email me or DM me where I am out there in the world on all the socials. You can even leave me a voicemail, which would be awesome.

Please like and subscribe wherever you get this podcast, whether it’s YouTube or any of the other channels. And also if you like what you see here, please consider donating at my tip jar, and the link will be in the description.

That’s all for this week, everyone. Write long and prosper.

Loved this episode? Leave us a review and rating here: https://www.buzzsprout.com/2012061

Need instructions on how to leave a review? Go here.

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Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

 

Learn more about Beth Barany at these sites: 

 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

 

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

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CREDITS EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)SHOW PRODUCTION BY Beth BaranySHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c. 2025 BETH BARANY

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The post Tips to Transform Your Novel Into Trilogy appeared first on Writer's Fun Zone.

The Business of Being a Writer Review + Friedman Interview by LA Bourgeois

Let’s welcome back LA Bourgeois as she shares with us “The Business of Being a Writer Review + Friedman Interview.” Enjoy!

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Jane Friedman’s dirty little secret is that she doesn’t actually like to write books.

“Frankly, it’s the last thing I want to do,” she says. “A lot of people underestimate the amount of work that goes into making a coherent book.”

But she managed to do just that when she wrote The Business of Being a Writer, a reference book for anyone who wants to become a professional writer.

Originally published in 2018, the second edition updates the work to reflect the changes that affect writers in 2025.

Creating the appropriate writer mindset takes up the entirety of Part One.

Friedman says, “Unless you address some of the mindset psychology issues up front, it doesn’t matter what you tell people about the business. They’re set up for failure.”

This decision demonstrates her dedication to creating a reference book that will help writers succeed. This is the section that no one should skip.

The rest of the book delves into the specificity of each space.

So, rather than reading the book from beginning to end (though you can absolutely do that if you wish), I recommend using it as more of an encyclopedia.

As you confront any issue, dip into that section.

Time to create a platform, or just want to know what a platform is?

Read Part Two.

Have an idea you want to pitch to a magazine?

Chapter Twenty-Four leads you through that process.

Chapters tend to be short, most are under ten pages, which makes it easy to insert reading the appropriate pages as a small step in your process.

This versatile tome already sports tape flags, penciled notes, and bookmarks. From the corner of my desk, it serves as a guide and mentor to this most rewarding and challenging career.

If you want to transform your writing into a business, or even if you just want to get published, The Business of Being a Writer, 2nd Edition, gives you specific, actionable information to make this happen.

And, since the writing business guru was right there, I asked Friedman what she sees as the primary effect of the current economic upheaval on the writing business.

Friedman’s Interview

“The good news about the economic situation, tariffs or no tariffs, is that if the economy were to suffer, whether for a year or more, books almost always do well in a downturn.”

“It’s an affordable luxury that people tend not to give up.”

“People may say no to a new TV or something that costs hundreds of dollars, but they’re not likely to say no to the latest novel by their favorite author.”

“And then there’s also libraries and other institutions that support reading and books, where if people are really strapped, they can still read if they’re willing to wait for the book to come available from their library.”

“So that’s the good news.”

“The less great news is that depending on what sort of publisher you are, you’re going to see increased costs, most likely.”

“Some of this depends on how well the publishers prepared or changed their production and sourcing during the pandemic (another time when the supply chains were severely disrupted and they had to look for other solutions for producing books).”

“Some publishers have been shoring up that supply chain and creating more robust solutions, so that they have lots of options if one area becomes unworkable.”

”If they can’t print in China for some reason, maybe they can go to somewhere in Singapore or India or wherever.”

“But there’s no question that all of these things happening with the tariffs, especially tariffs that might apply to paper and printing, are very disruptive and likely to lead to increased prices for some types of books.”

“For publishers that specialize in gift products and children’s books that might be manufactured overseas, that’s where you see more of the immediate pain, especially publishers that get involved in the toys business.”

“There’s some natural affinity with children’s books and toys.”

“But let’s hope that the tariff situation and some of these other issues are momentary, because all businesses like predictability and the chaos isn’t productive for anybody, no matter what their goals.”

A big thanks to Jane Friedman for sitting down for this interview! Ready to read The Business of Being a Writer, 2nd Ed.? Find it at your favorite local bookseller, online, or at the library. 

Next on the list of Books for Thriving Creatives is Tiny Experiments: How to Live Freely in a Goal-Obsessed World by Anne-Laure Le Cunff, neuroscientist and founder of Ness Labs . What if you approached life like a giant playground? Let’s find out! Grab a copy online, from your local independent bookshop, or at the library.

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ABOUT LA BOURGEOIS

LA (as in tra-la-la) Bourgeois is a Kaizen-Muse Certified Creativity Coach and author who helps clients embrace the joy of their creative work and thrive while doing it.

Get more of her creativity ideas and techniques by subscribing to her newsletter at https://subscribepage.io/unlockyourcreativity.

The post The Business of Being a Writer Review + Friedman Interview by LA Bourgeois appeared first on Writer's Fun Zone.

4 Ways to Create Compelling Conflict in Your Romance by Savannah Cordova

Today we welcome back Savannah Cordova to Writer’s Fun Zone. She is stopping by to chat with us about “4 Ways to Create Compelling Conflict in Your Romance.” Enjoy!

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One of the biggest complaints among romance readers is that romantic conflict is often poorly executed.

Either it’s too big (and therefore unrealistic to think one or both parties could get past it), too small (meaning it adds almost nothing to the plot), or so contrived that it makes the whole story feel artificial.

But there’s a reason these complaints are so prevalent: it’s hard to introduce meaningful, realistic, well-proportioned conflict in a romance!

Let’s talk about striking the right balance — here are 4 ways to create compelling conflict in your own romance novel.

1. Try a (legitimate) miscommunication

I’ll kick things off with a controversial one: the miscommunication trope.

Pretty much every romance reader will be familiar with this one… and many, understandably, do not like it.

This is because, in romance, “miscommunication” often takes the form of the main couple inexplicably failing to discuss their (quite solvable) problems.

Person A might assume Person B isn’t as serious about the relationship as they are, or they’re hung up on their ex, or they want something that Person A can’t provide… but instead of just asking them about it, Person A starts spiraling and self-sabotaging, leading to an inevitable break with Person B.

Of course, when A and B get back together and start becoming more open with each other, this form of miscommunication rings false — because why not just do that in the first place?

So if you plan on invoking miscommunication in your romance, make sure it’s about something “heavy” enough that readers will grasp why your MCs struggle with it… and if possible, throw in a few more obstacles to prevent them from communicating clearly.

The classic example here is Pride and Prejudice. 

Elizabeth and Darcy are constantly verbally sparring, usually in mixed company, and often under “decorous” circumstances — not exactly optimal for heart-to-heart confessions.

It’s no wonder that Lizzie gets the wrong idea about Darcy’s intentions toward her… and about why he steered Bingley away from her sister Jane.

When Lizzie receives Darcy’s letter explaining everything, it’s arguably the emotional heart of the book — but it only works because Austen has constructed a world in which their previous misunderstandings felt organic.

If Lizzie and Darcy were otherwise straight with each other (or if there were no Caroline Bingley to interfere) then their miscommunications, subsequent clarifications, and eventual romance would all feel unearned.

2. Make them professional rivals

This is another tricky strategy for romantic conflict, because it can quickly spiral into “too big” territory; readers are unlikely to forgive a romantic lead who undercuts their partner just to get ahead at work.

But when calibrated correctly, it’s a great way to infuse conflict — and as an added bonus, it means your MCs will automatically have certain things in common.

The Hating Game by Sally Thorne may be polarizing on Goodreads, but it still represents the best of this tactic in my opinion.

In the book, Lucy and Josh are high-level assistants at a publishing house who — much like Lizzie and Darcy — are always trying to outdo each other.

Needless to say, when an opportunity arises for a promotion, Lucy is determined to beat Josh… but her office psy-ops turn confusing when she realizes she’s attracted to him.

After a heated kiss in the office elevator, Lucy and Josh’s rivalry goes from hateful to playful — and crucially, when push comes to shove with the promotion, Lucy ends up (rightfully) getting it, with Josh choosing (of his own accord) to transfer elsewhere.

Another great rom-com where the MCs are professional rivals is Book Lovers by Emily Henry. (Isn’t it funny how these stories often take place in the publishing world?)

In this one, we follow Charlie and Nora: an acquiring editor and literary agent respectively, both based in NYC.

Their rivalry is established in the book’s prologue, in which Nora tries to sell Charlie her client’s latest title, which he coldly rejects.

But despite their different personal styles, it’s clear from the conversation that they share certain key traits: good taste in literature, a similar sense of humor, and of course, their professional ambition.

As the story unfolds, we see how these commonalities — and their natural chemistry — come to dissipate any animosity.

(This is also helped by the fact that they’re on vacation most of the time, in a charming country town called Sunshine Falls.)

Indeed, one thing that The Hating Game and Book Lovers do right is that neither is excessively work-focused; as a result, any work-related details feel charming and cohesive, rather than tedious and unromantic.

Both Thorne and Henry also, wisely, refrain from creating truly cutthroat situations for their heroes and heroines — that is, they’re never forced to choose between work and each other.

Anyone else writing a workplace romance would be wise to follow their lead!

3. Add another person into the mix

To keep the Emily Henry train going, introducing a new character is another one of her favorite paths to romantic conflict.

Even if this character doesn’t directly create conflict themselves, their addition is often a good way to complicate or intensify an existing conflict.

Of course, the phrase “another person” might bring to mind the dreaded love triangle — another much-maligned trope in the romance community.

But what I’m talking about here isn’t necessarily a love triangle; you just need someone, anyone, who’s going to throw a wrench in the narrative works.

It could be a skeptical coworker expressing concerns; an estranged family member resurfacing and causing chaos; or even an omnipresent housemate who keeps “third-wheeling” the couple, so to speak.

In Emily Henry’s Funny Story, we get a wonderful “complicator” in the form of the male MC’s sister, Julia.

She arrives just when the main characters, Daphne and Miles, are starting to become physically and emotionally intimate.

But because Miles and Daphne live together (having been roommates before romance blossomed), Julia coming to stay at their apartment brings that intimacy to a screeching halt.

It’s also revealed over the next few chapters that Miles and Julia have a complex relationship: Miles, who is older, feels guilty for “abandoning” Julia to their emotionally abusive mother when he moved out, while Julia just wants him to be there for her now.

It turns out this is something he needs to grapple with before he can be a good partner to Daphne, so it all ties back to the main plot — again, making the story more layered and compelling.

4. Use a psychological hangup (with care!)

On a related note, let’s talk more about psychological hangups.

Romance novels are notorious for using trauma as a character development shortcut, especially with male MCs.

I blame Fifty Shades of Grey for this phenomenon; Christian Grey paved the way for countless more dark, brooding male MCs with “trauma-based” personalities.

That said… a specific, well-developed psychological hangup can certainly be a rich source of conflict in romance.

So long as you’re not going overboard with gratuitous trauma descriptions or relying on stereotypes, you can absolutely root your romantic conflict in one (or both) of the main characters’ psychological issues.

One of my favorite iterations of this — though not in a full-on romance, but instead a romantic subplot — is Kaz and Inej’s relationship in Leigh Bardugo’s Six of Crows. 

Their dynamic is beautifully developed, each one complementing and challenging the other, and their slow-burn attraction is undeniable… but because Kaz has a severe phobia of being touched, Inej worries that she will never have him “without armor,” as she desires.

Without sufficient explanation, this might feel frustrating or even unrealistic — but Bardugo lays plenty of groundwork for Kaz’s condition. In Six of Crows, she reveals through flashbacks that Kaz caught the plague as a child and was presumed dead.

He was then collected onto a barge of corpses, and only managed to escape by using his dead brother’s body to swim away.

(After that, who wouldn’t have a phobia of skin-on-skin contact?)

And Bardugo doesn’t stop there. Not only does she make the reader understand and sympathize with Kaz and Inej, but she also shows them both striving to surmount the issue.

Kaz, in particular, “does the work” in the SoC sequel to get over his phobia; Inej, in turn, doesn’t push him beyond his limits, but does encourage him to pursue what he really wants.

The sequel ends with them standing together, holding hands — not exactly the passionate embrace of most romance HEAs, but definitely the most authentic outcome for these characters.

Authenticity is the name of the game

And authenticity is the name of the game in romance. If your conflict doesn’t feel real, your characters won’t either!

So keep these tips and examples in mind as you’re building your next romantic conflict, and remember: even the most hated tropes can be rehabilitated with a bit of character development, slowly mounting tensions, and a realistic resolution.

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About The Author

 

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors with resources and professionals to help them publish a book . In her spare time, Savannah enjoys reading contemporary fiction, writing short stories, and analyzing literature into the ground.

The post 4 Ways to Create Compelling Conflict in Your Romance by Savannah Cordova appeared first on Writer's Fun Zone.

World Building with Women Warriors, Interview with Pamela D. Toler

World Building with Women Warriors, Interview with Pamela D. Toler

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“There’s been a long tradition of saying that women that women who ruled were exceptions, that women who fought were exceptions. That, you know, it’s Joan of Arc, it’s not GI Joan. And that trap gets us over and over again, not just with women warriors.” — Pamela D. Toler

In this episode of How To Write the Future podcast, host Beth Barany interviews author, speaker, and historian Pamela D. Toler. Together they dive into the importance of women in history and discuss the significant challenges in documenting Women’s History and how this history can be used in your stories. They also discuss Pamela’s book, Women Warriors: An Unexpected History.

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Ep. 146 – How Ancient Female Warriors Shape Our Future

https://writersfunzone.com/blog/2025/03/31/how-ancient-female-warriors-shape-our-future/

Women Warriors: An Unexpected History: https://books2read.com/womenwarriorstoler

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About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers too if you’re at all curious about the future of humanity.

ABOUT PAMELA D. TOLER 

Armed with a PhD in history, a well-thumbed deck of library cards, and a large bump of curiosity, author, speaker, and historian Pamela D. Toler writes historical non-fiction for a popular audience. She goes beyond the familiar boundaries of American history to tell stories from other parts of the world as well as history from the other side of the battlefield, the gender line, or the color bar. Toler is the author of ten books of popular history for children and adults, including Women Warriors: An Unexpected History and The Dragon From Chicago: the Untold Story of an American Report in Nazi Germany.

Website: https://www.pameladtoler.com/

Facebook: https://www.facebook.com/pamela.toler

Instagram: https://www.instagram.com/pamelatolerauthor/

LinkedIn: https://www.linkedin.com/in/pamelatoler/

Transcript for World Building with Women Warriors, Interview with Pamela D. Toler[00:00] Meet the Host: Beth Barany Welcome to How to Write the Future Podcast.  

I’m your host, Beth Barany. I’m an award-winning science fiction and fantasy teacher, editor and filmmaker. And I care very much about humans being able to shape their own future, both through the stories we write, as well as the way we approach the world in the way we think about our future because I believe that we humans can create positive, optimistic futures through our stories and also through how we live our day-to-day lives.

And so on that note, we are actually gonna do some history deep dive today because where we came from totally affects how we are today and how we perceive the future.

And let’s shed a light on one of my very favorite topics: women warriors. 

[00:48] Introducing Special Guest: Pamela D. Toler  

I am so excited today to have with me a special guest, Pamela D. Toler author, and fabulous human being. Welcome Pam. or Pamela, what do you prefer, Pam? Pamela? 

I prefer Pamela.

Pamela. So welcome, Pamela. I’m so glad that you’re here today. 

Oh, I’m delighted to be here. 

Let me read your bio for everyone. so they can learn about you. 

[01:12] Pamela’s Background and Work 

Lemme tell you all a little bit about Pamela. 

Armed with a PhD in history, a well thumbed deck of library cards and a large bump of curiosity, author, speaker, and historian, Pamela D. Toler writes historical nonfiction for a popular audience. She goes beyond the familiar boundaries of American history to tell stories from other parts of the world, as well as history from the other side of the battlefield, the gender line, or the Color Bar. Toler is the author of 10 books of popular history for children and adults, including Women Warriors: An Unexpected History, and The Dragon from Chicago, the Untold Story of an American Reporter in Nazi Germany.

Thank you so much for being here, Pamela. I’m really grateful that you took the time today and I just have to do a little showing off.

I have your Woman Warriors book. And I also have your Dragon from Chicago book. 

So very exciting to have these both here. And I just wanna say it’s really fascinating to me that you took the jump from having your PhD in history to deciding to write books for the popular audiences. I’m really grateful because we need people like you who can translate, and bring these stories to life.

So I’m really grateful that you’re doing this work. 

I do wanna invite everyone to check out Pamela D. Toler’s material. Her links will be in the show notes and the article that accompanies this podcast. So everyone be sure to check those out. She has a fabulous column about history. I love reading it. 

[02:49] The Importance of Women’s History 

Now I have a question for you that has been, I swear to you, plaguing me since I was a child. Which is… no pressure. 

No pressure, no pressure. And because I come from a family that prized itself on being a feminist family, but also I’m a child of the seventies, and okay, I just have to tell this personal story.

When I was 16, I turned to my mom and I said, mom, how come women aren’t equal to men? I thought they were. I was brought up to believe that they were. How come they’re not? And she said to me, well, essentially social change takes a long time. 

It’s takes generations. And my family had already been working on it for four generations.

I have a great-great-grandmother who was an advocate for abortion. I know that’s very controversial these days. But in the Midwest, it was illegal then, completely illegal and. and my great grandmother who was an advocate for women’s rights and her mother was the one who was also pro education for women.

And then here I am, five generations later in the seventies or eighties by then looking around, how come equality isn’t here yet? And my mom was like, she’s a realist. She’s like, well, mm-hmm. Takes a long time. And I’m like, you know, sad about that. 

Yeah. 

[00:03:58] Challenges in Documenting Women’s History  

So this segues me to our first question, which is: How is it that women have been disappeared or women disappear from history?

We are 50% of the human population. 

There are a lot of reasons. and at some level, the first one comes back to: what people have thought were worth telling. What were the stories that were worth telling? And if history was the story of power, then you are largely talking about men in positions of power.

And when you’re talking about a woman in a position of power, she’s always an exception for whatever reason, despite the fact that, if you look over the broad range of history, the number of women who have actually ruled, and in many cases ruled with an iron fist is extremely large, but a lot of their stories end up then getting erased or told with extreme prejudice by the people who record the history. They either remove women from history, which has happened in some really egregious ways. Hatshepsut of Egypt, where her successor simply takes their name off the monuments. So sometimes it’s literal erasure, but you also get instances where someone who’s writing the history, and a lot of times, particularly in the ancient world or even the Medieval world, we’re getting sources that are written a long time after the fact and you get a lot of trash talking. You get a lot of: there was really a man behind her pulling the strings or, she was a horrible human being, or, she didn’t exist, or she didn’t really do what the records say she did.

I was just astonished how many times, particularly in women warriors where I was reading secondary modern historians looking at older histories, making the argument that she’s a metaphor: This isn’t someone who actually was there. She’s a metaphor, or, yeah, she was there, but all this other stuff has accumulated and she didn’t really do what our actual source says she did. And not always in ancient times. There’s a woman named Amina of Hausa who was a contemporary of Elizabeth the First of England, and there are historians who said, yeah, we’re not really sure she existed. So yeah.

So it seems like it’s a lot of either overt erasure. What happened to the Egyptian? I don’t know the name for the Egyptian leader.

She’s a Pharaoh. 

Pharaoh, that’s right. Thank you. My brain went blip. Or just male, dare I say, male dominated bias.

Mm-hmm. 

And a woman couldn’t do that- kind of thing. Would you say, so that seems to predominate over the last, I don’t know, what, two, three, 5,000 years. it seems to have been for a long time. it’s for a long time We really start having the idea of women’s history around 1980. 

That’s when women’s history as a discipline begins and historians begin looking at different sources to tell us what women’s lives were like. But also since then, you get increasing numbers of people like me going and bringing to life stories that are put in the footnotes, because a lot of times women don’t disappear completely. Their sources end up attached to their husband’s papers is one thing.

Or they just show up in a footnote. Or in more traditional writing, they get used as a horrible example: This is someone you don’t wanna be. So it’s really only about 1980 that you get a body of work that’s attempting to bring women back into the light.

That’s fascinating and also explains a lot in terms of why that material wasn’t handy when I was a child. 

And the other thing, I’m sorry, you have other questions, I know not just why women get erased, but it’s also a question of what sources get kept. Yeah. Who decides what archives are worth keeping? If you’re writing women’s history, you’re often having to work around the archives in some really interesting ways because papers may not have been kept.

Yeah. That’s fascinating. ’cause you go back as far as you can to original sources, right? 

More or less original sources in some cases. 

Let’s segue to our next, my other very fascinating, I would say, obsession that I’ve been dabbling in for years and hope to do something very definite with at some point.

[08:39] Defining Women Warriors 

I loved your book on woman warriors. I was also frustrated at the limitations of history, like we only have certain historical documents, but it sounds like you took your time to figure out who to include in your book. And so how do you define women warriors for- 

I’m just gonna show it on screen for everyone. Women Warriors: an Unexpected History, beautiful cover. And, and defining turned out to be really important because despite the fact that in some ways there’s this sense that women didn’t fight. In point of fact, I had so many examples that I had to make hard choices, and I went in with a really simple definition, which was I wanted women who literally fought, that this is not women for whom fighting was a metaphor.

These were women who picked up a rock or a gun or a sword and actually fought. And that’s a pretty good definition if you’re talking about women on the front lines in any way, whether they are regular soldiers or are defending a besieged castle.

It gets less clear when you’re talking about commanders because there’s a real wide range that women commanders can take.

On the one end there is Elizabeth The First on her white horse with her silver cuirass over her gown saying, I have the weak body of a woman, but the heart of a king. And she’s sending people off to fight, but she’s not going into the field. 

And at the other end, you have someone like Boudica so just stay in the British Isles, who clearly is right there, sword in hand fighting. And you’ve got everything in between. 

I ended up using a modern American military definition called a “combatant commander,” where they might not necessarily be holding a weapon. After all, you don’t think that general Eisenhower wasn’t a warrior in World War II, even if he wasn’t shooting. But where they’re at the front, they’re making command decisions. They may be making tactical decisions, logistical arrangements. 

So someone who is actively involved in the unwinding of a war where they’re, they are hands-on, even if they are not physically fighting with a weapon.

The other decisions that I needed to make- I really did want this to be a global history. So I took time to choose people from all around the world and from across time, beginning from the second millennium, B. C. E. I think the last person I talk aboutwas actually in the Falklands War, but she’s almost a footnote because basically I didn’t go much past World War II in looking at active combatants.

So, no. Tibet and with the Chinese invasion, but first half of the 20th century is where I end. So I also had to make those kinds of decisions.

And I didn’t want all queens and I wanted regular women. I didn’t want it to be a whole book of exceptions.

I wanted ordinary women fighting because they needed to as well. So lots of choices that had to be made. 

You can’t include everyone. 

On this book, what was the most surprising thing that you’ve discovered about women warriors? 

Really just how many of them there were. I went in with a really fat folder of stories that I had been accumulating for 20 years, maybe before I even thought about writing the book, but I just kept finding more and it became clear that even if individual women were exceptions in their times and places, there’s a point at which: How many women do you have to have over the history of time for it to stop being an exception?

So the real thing that just got me was how many they are and how unexamined that is. 

[12:51] The Trap of the Individual Exception

So I appreciate that you have taken your time to ask all these incredible questions, including this next one that I would love to explore with you, which is: how does the trap of the individual exception, and you’re gonna have to define what that means, contribute to the erasure of women from history?

There’s been a long tradition of saying that women were exceptions that, that women who ruled were exceptions, that women who fought were exceptions. That, it’s Joan of Arc, it’s not GI Joan. And that trap gets us over and over again, not just with women warriors. I recently was reading a book called The Swans of Harlem about black dancers in our lifetime, and how that book got triggered by Misty Copeland being treated in the news as if she were the first, as if she were an exception, and this journalist going back in, finding this group of women. 

So what the trap of the exception does is it stops you from looking more broadly. It stops you from seeing who that exception built on. It stops you from seeing who else is doing something that looks a lot like that.

In the case of women warriors, the other thing that the exceptional does is if we start defining women warriors as exceptions. If you start dubbing the black women who fought in Dahomey as the black Amazons of Dahomey. If you call women who are national heroines, because they fight the Joan of Arc of wherever it is, you start creating a definition that means this is something you can’t aspire to.

This is a big heroic thing that stands apart. But you person who is having to defend your home because the Nazis are marching into Russia, you’re not really a warrior. So the real trap of the exception is not even that it means we don’t see it, but that we don’t think we can be it.

I guess we come back to that: “If you can’t see it, you can’t be it” phrase. But it’s true and it’s very much true as a historian looking, is that exceptionalism idea will get you every time. 

I actually do love that you’ve tied it back to, “if you can’t see it, you can’t be it.” I know, Geena Davis uses that in her promotions.

Because it’s really true. 

When I was a child, I wanted to be a doctor, or at least that’s what I told all the adults. ’cause that was what impressed them the most. But also, I had a deep desire to help people and I knew that hospital thing. But when I went looking for other doctors, women who were doctors, my parents were like, there’s this woman, It’s like they couldn’t give me very many stories when in fact there was probably a lot more stories out there that existed. They just couldn’t give them to me ’cause it wasn’t because of this whole exceptionalism thing. Yeah. So I really appreciate you explaining the whole exception because it does one more thing that I notice, which is it, it removes us from community. Oh, look at, oh, look at my grandmother who did this, and my auntie who did that, and my neighbor did this.

Like It isolates women, which I think is one of the tools that have been used to take away our power is to isolate women. 

There’s a wonderful Peanut cartoon where Lucy is making a report in school and she stands up and talks about what her grandmother did in World War II and then says, you should go ask your grandmother what she did. ‘Cause it’s not just all baking cookies. 

It does. It isolates you. And the whole idea that you go home and you don’t talk about it. And admittedly, a lot of men who fought in World War II also went home and didn’t talk about it. The difference is that we knew men fought in World War II, and with the exception of Rosie the Riveter, we didn’t have a real clear sense of just how much women did and what they did.

And those stories are only starting to be told now. And some of that’s because there were documents that were not able to be released until a certain number of years after the war. So that’s the reason some of the stories don’t get told, but also there’s a sense of going home and not talking about it.

And the Russian government actually told the women who were fighter pilots and bombers and mechanics in World War II not to talk about their service. 

Wow.

And obviously the Bletchley Park people had signed secrecy act documents to not talk about their service. But yeah, sometimes it’s just an act of we don’t talk about this.

And that’s really too bad. That goes back to my, how come we don’t know the stories? And people are being told actively not to talk about it. And I feel like maybe because I come from a family of storytellers who tell the stories of their communities, but I feel so strongly about bringing forth these women warrior stories because women being brave, I don’t want it to be an exception.

I want it to be part of our characteristics. And that’s why I write stories about brave young women on the one hand in my fantasy worlds. And then in my sci-fi, I’ve got this lead investigator doing The Brave. And, As a matter of course. Like of course women get to be brave. Women are brave. 

And so I feel like, Pamela, we could keep going for a long time.

You’re such a font of information and, I really like finding out how women were represented, but also bringing women back into the conversation and into the dialogue,by telling their stories.

Again, everyone check out Pamela’s books.

I’ll put these up on the screen and I’ll put links to these books. and I know you’re working on more projects. as we wrap up today.

[18:47] Looking to the Future

Can you speak to the future since this podcast theme is about looking toward the future and how do we wanna make our future? And of course there’s many futures, but as you look to the future, maybe, one thing that’s personal, like what you are working on, and also your wish or hope for the writers who are listening to this and those who care about the future. Those are my audience. A lot of writers listen to this. 

What can you tell us about helping us write more positive, optimistic, and inclusive futures?

First. I don’t know what I’m working on right now. I’m looking so that I can’t help and right now what I really want is for us to not lose what we gained. But if we’re talking about trying to write about a more positive world, about a world where it’s assumed that women are strong and smart and doing whatever men do, and on the alternate side that men have the option of being the one to stay home and take care of children, to be caretakers too, because those two things go together.

Again, to use something that gets said a lot, but women’s rights are also men’s rights. I would say, keep that in mind with whatever you are writing about whatever future world you’re creating is that if you open the opportunities for one group, it doesn’t mean you’re closing the door for someone else.

You are not taking something away from someone else. You in the best versions of that, you are actually making the opportunities broader for everyone.

[20:22] Conclusion and Final Thoughts

I love that. That’s a great note to end on. 

Oh my goodness. Thank you so much, Pamela. I just wanna encourage everyone to check out, Pamela’s resources, and I’m gonna end on this, everyone.

Write long and prosper. 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

 

Learn more about Beth Barany at these sites: 

 

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A Novice Writer’s Battle: How Writing Groups Can Help You Finish Your Manuscript by Iman Llompart

Let’s welcome back Iman Llompart as she shares with us “A Novice Writer’s Battle: How Writing Groups Can Help You Finish Your Manuscript.” Enjoy!

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Most of you are probably aware of Beth Barany and her newsletter, and if you’re reading this post on her page, you definitely should be.

I recently interviewed her. We talked about her background, why she writes, and what keeps her going even during times of confusion, which, believe it or not, still happens despite her long career in fiction writing.

This revelation should offer some comfort to new writers, especially during those moments of despair when you just want to rip your hair out and quit.

Beth Barany: A Creative Foundation

Iman Llompart: Thank you so much for meeting with me today, Beth. To start, could you share a little about your background?

Did you grow up in a family that encouraged reading and creativity?

Beth Barany: Absolutely. Reading was huge in my family from day one. My mom even tells the story of reading Mary Poppins while she was in labor with me!

Both my parents read to me and my siblings constantly. Creativity was a big deal–there were always arts and crafts, cooking projects, and a strong encouragement for imagination.

Iman Llompart: Do you still engage in those creative outlets today?

Beth Barany: Yes, though less frequently.

I still love to cook and I create art–doodles, collages, and paintings. My office is filled with pieces I’ve made.

These days, though, my main creative outlets are writing fiction and doodling.

Iman Llompart: When did you start writing?

Beth Barany: My first story was about our cats, co-written with my brother when I was around eight.

Later, I compiled a little anthology with my siblings and started journaling around age thirteen.

A wonderful creative writing teacher encouraged me early on.

I started my novel Henrietta the Dragon Slayer when I was nineteen–though I didn’t return to it seriously until my thirties.

Writing as a Lifelong Calling

Iman Llompart: Why do you write?

Beth Barany: Writing is how I understand myself and the world.

It’s like dreaming awake–an emotional outlet and a deep creative expression.

Fiction allows me to create worlds and characters that didn’t exist but that I needed to see, especially strong girls and women going on adventures.

Without writing, I honestly feel like half a person. It’s not just something I do–it’s part of who I am.

Dealing with Confusion and Doubt

Iman Llompart: How do you keep going when doubt creeps in?

Beth Barany: Community and accountability partners. I’ve never worked in isolation.

Even now, I rely on critique groups and writing buddies–including my husband–to keep me moving forward.

Having someone waiting for my work makes a huge difference, especially during those messy, confusing middle parts of writing when doubt really hits.

Iman Llompart: Did you ever think about quitting writing altogether?

Beth Barany: Never. I might step away when I’m tired or overwhelmed, but quitting has never crossed my mind.

I love my characters and their stories too much. When things get tough, I know it’s just time for a break–not to give up.

Iman Llompart: Have your fears changed over the years?

Beth Barany: Definitely.

Early on, it was wondering if I was even any good.

Winning an award for Henrietta the Dragon Slayer helped build my confidence.

Now my focus is on making sure the story connects with readers.

Doubts still show up, but they’re easier to manage because I know how to problem-solve my way through them.

Final Thoughts

Beth’s insights surprised and inspired me.

What really stood out was that even after all these years, she still leans on writing groups and accountability buddies to stay motivated.

She didn’t move on from that system–she stuck with it because it worked.

It just goes to show: we all have rituals that help silence the inner critic, that annoying voice telling us our ideas are trash.

And no matter how much experience we gain, finding and protecting those supportive practices is crucial.

When self-doubt creeps in (and it will), it’s those habits that can save your story and your sanity.

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About The Author

Iman Llompart is a Spanish American writer based in Dubai, raised in Mexico, and currently navigating the final stages of the rough draft of an epic fantasy romance novel. Passionate about storytelling and the writing process, Iman understands the struggles that many novice writers face—the self-doubt, the isolation, and the challenge of completing a book. Through blog posts, insights, and personal experiences, Iman seeks to remind fellow writers that they are not alone on this journey.

When not writing, Iman enjoys reading, deep-diving into writing sessions and lessons, and watching book-based shows and movies. Occasionally, she also braves the unpredictable world of dating—an adventure that sometimes feels more daunting than crafting an entire novel. With a love for words and a mission to inspire, Iman hopes to one day share her finished manuscript and continue helping others through the power of storytelling.

Instagram @imanllompart • Instagram photos and videos

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How Do I Transfer Rights to My Kindle Direct Publishing Account After My Death? by Kelley Way

Let’s welcome back monthly columnist Kelley Way as she shares with us “How Do I Transfer Rights to My Kindle Direct Publishing Account After My Death?” Enjoy!

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There’s a lot to consider when putting an estate plan together. For self-published authors, rights to their Kindle Direct Publishing (KDP) account should be on the list.

Otherwise, your account will languish while the estate gets sorted out, and rights to your account will very likely go to a person or people with no idea what to do with it.

The first step is deciding who you want your account to go to.

This could be a trustee or “literary executor,” whose job is to manage your copyrights on behalf of your chosen beneficiary.

Alternatively, you could cut out the middleman and have the beneficiary be in charge of the account.

If you choose the second option, make sure the beneficiary knows how to manage your copyrights and market your books.

So, once you know who you want your account to go to, how do you get it to them?

In doing my research for this article, I did not see anything that suggested Amazon lets authors set up a designated beneficiary for their Kindle Direct Publishing account.

However, they will honor any transfers made through a will, trust, or probate proceeding.

Transfers Via A Will

This is the most straightforward, and probably easiest, of the three options. If you state in your will who has rights to your KDP account, the recipient just needs to create their own account and provide Amazon with a death certificate and a copy of the will.

They may also be asked to provide some identification to prove that they are who they say they are. Amazon will take it from there.

Transfers Via A Trust

This one is a little more work, because you need to put your KDP account in your trust while you are still alive.

However, if you do so, your trustee can take over the account with minimal fuss, and the transfer to the beneficiary or beneficiaries can take place by providing a death certificate and a copy of the trust.

Side note: While your account can be placed in your trust, you may need to do some legwork to avoid negative tax consequences, particularly for income received after death.

Check KDP’s policies and talk to your tax advisor to be safe.

Transfer Via A Probate

This is the option with the most hassle factor (for everyone else — you’ll be gone, so it won’t be your problem at this point).

If the estate has to go through a probate, then your account will sit there until the court appoints an administrator, who may or may not do anything with it once they have the authority to access it.

From there it can’t be transferred to the legal heir(s) until the probate is closed, which can take quite some time in California.

Your account will still be passed on, but it won’t be quick and it won’t be easy.

Of course, for those who don’t like any of these options, there is one more way you could make this work: setting things up so the royalties go to a joint account or trust account.

This way, Amazon can continue to deposit the money, and someone can continue to collect it, without having to do much with the account itself.

Personally, I consider this more of a stop-gap than an actual solution, since ownership of the account will need to be dealt with at some point or another.

Still, it gives people some time and flexibility while dealing with the general estate.

If you have questions or would like to learn more about Kindle Direct Publishing and incorporating your books into your estate plan, you can contact me at kaway@kawaylaw.com.

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ABOUT THE AUTHOR

Kelley Way was born and raised in Walnut Creek, California. She graduated from UC Davis with a B.A. in English, followed by a Juris Doctorate. Kelley is a member of the California Bar, and an aspiring writer of young adult fantasy novels. More information at kawaylaw.com.

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