My $5,000 Publishing Nightmare

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

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

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

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

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

The Scams Are Worse Today

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

I receive frequent calls from supposed representatives claiming they want to turn my book into a movie or help me market it. When I research their companies, they don’t exist.

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

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

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

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

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

Traditional Publishing

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

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

Vanity Publishers

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

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

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

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

Hybrid Publishing

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

The key word here: share!

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

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

The danger here is that a publisher may present themselves as a hybrid publisher when they are really a vanity publisher. Watch for these key factors to evaluate whether they are legitimate:

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

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

Publishing Services

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

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

Five Signs a Publisher is Trying to Scam You

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

1. They Have a Shoddy or Nonexistent Website

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

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

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

2. They Ask for Large Sums of Money Upfront

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

3. They Make Grand Promises

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

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

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

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

4. They Pressure You to Sign Quickly

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

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

5. No Credible Authors Work with Them

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

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

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

Authors help each other, so don’t be afraid to reach out.

Final Thought: Do Your Research

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

(NOTE: If you’re thinking about it but haven’t self-published before, check out my Self-Publishing Success Plan for a straightforward checklist to help you stay organized and ensure you don’t miss any key steps as you prepare to publish your book.)

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

COLLEEN M. STORY - Resident Writing Coach

Colleen M. Story is a novelist, freelance writer, writing coach, and speaker with over 20 years in the creative writing industry. In addition to writing several award-winning novels, Colleen’s series of popular success guides, Your Writing Matters, Writer Get Noticed! and Overwhelmed Writer Rescue, have all been recognized for their distinction.

Colleen offers personalized coaching plans tailored to meet your needs, and frequently serves as a workshop leader and motivational speaker, where she helps attendees remove mental and emotional blocks and tap into their unique creative powers. Find out more about our RWC team here and connect with Colleen below. Free chapters | Master Writer Mindset

The post Before You Pay Thousands to Publish Your Book, Read This appeared first on WRITERS HELPING WRITERS®.

We’ve all heard the writing advice that we need to throw rocks at our protagonists. More obstacles, more tough choices, and more loss test them and force them to grow and change. This is all true and necessary.

But one of those most overlooked forms of safeguarding our protagonists is by making their problem an everyone else problem.

If their parents could just value them for who they are, your character would be a lot happier. Or if their significant other would understand them, things would be just right. Or if their kids would put in more effort, all would be perfect in their world. If their boss would see what they’re capable of and promote them, everything would be different.

Characters can sometimes focus on the way others are letting them down. And in that case, the behavior of other characters becomes the story problem. Your character’s wellbeing hinges on someone else changing.

Back to those “rocks” we need to throw at our characters. Yes, it’s important to toss obstacles and road blocks at our characters. But I would argue that the largest boulder we can throw at our characters comes in the form of a massive mirror. If our characters are forced to look at their own behavior, their own choices, and the way those things are blocking them from what they actually need, the hardest obstacle of all emerges—changing themselves.

While it’s easy to point the finger, to assign blame, to critique and find fault in others (and it might all be deserved, by the way!), the harder thing is to self-reflect. To have your protagonist evaluate their own behaviors in light of the behaviors of those other characters. To identify choices they can make that not only free them from whatever unhappy construct they’re trapped in, but that usher them toward what they ultimately need, all as a result of their own actions.

In the real world, we know it’s not only impossible to change someone else’s behavior, it’s also not our responsibility. In the world of writing, we want to be conscientious about the way we handle that truth, too. Our characters become the vehicle for conveying a deeper truth readers then carry into their lives.

If your character’s story is an everyone else problem, where is the space for your protagonist to exercise agency? To grow and change? To test out what they can control and to deliver themselves the satisfying ending they crave?

Let’s look at a few ways to move your character from thinking their problem is about someone else to understanding that their own choices will deliver them what they need:

1. Introduce characters that show your character what’s possible behavior-wise. Maybe another character is thriving despite being in a similar situation. Or perhaps another character challenges your character directly on their decision to stay stuck in an unhappy relationship. Who can come along to plant seeds that give your character the courage to try new behaviors? To let go of the expectations they’ve placed on others? To show them that we don’t have to fixate on how others can and will let us down?
2. Introduce characters that mimic your protagonist’s detrimental choices. Maybe your character meets someone and realizes how that character is holding themselves back or making poor decisions. Maybe your character meets someone in the same situation and who is very much stuck in a victim role. Mirror characters are a safe way for your protagonist to see the truth about their own choices and to give them aha moments about themselves. Sometimes it’s not until they see something in someone else that they can then see something about their own lives. Your character might even begin to support or mentor someone else, and that forces them to want to employ change in their own life.
3. Introduce subplots that invite your character to put energy and heart elsewhere. Maybe they take up a new hobby or job, or they go somewhere completely new. Where can they thrive? Under what circumstances can their strengths emerge? Where can they have greater autonomy and see how their own choices can and will lead them to what they need? Where can they be appreciated in ways that they’ve lacked? You might even have some new subplots that reveal what your character doesn’t want—new activities or new places that echo the unhappy aspects of their preexisting lives. That way, they’re empowered to walk away in a lower-stakes setup, and to see that doing so isn’t so bad after all.
4. Present a conflict that moves them away from the rut of missed expectations. If a more significant problem emerges that invites your character in, they can loosen their focus on the way they enter the story mired in unhappy circumstances. In overcoming an unrelated conflict, they may see themselves in a new light and realize their happiness doesn’t reside in others’ hands.
5. Force them to confront the past despite their journey. While we want new people and places and experiences to grow our protagonists, part of their story arc is seeing their past with a shifted perspective. Healing is about coming to terms with the past—not simply moving away from it. If your protagonist has a new support system around them as a result of their own choices, they’re better equipped to confront the past with courage. That way, we see the power those unsatisfying relationships once had as being diminished. Perhaps the protagonist can even reflect on their own counterproductive part in the way things once were.

It’s Important to Note That Blaming Others and Not Wanting to Make Changes Are Normal and Even Expected Reactions.

Your character might enter the story this way and spend your first quarter wrestling with the view that everyone else is their problem. But beware that readers are turned off to characters with a victim mentality. Also, readers come to a story expecting change. For the protagonist’s agency to emerge and story structure to function, the reader will expect that somewhere around the 25% mark, there’s a collapse in that everyone-else-is-the-problem perspective. The character will begin to see that being held hostage by missed expectations is what’s harming them above all, and they’ll begin driving their own quest toward well-being through those five strategies above. If we’re to reach the ending fully believing your character is going to be okay, it will take time all throughout those final three-quarters to see how and why.

While we’d all love to change something about the people around us, controlling others isn’t feasible and it renders us powerless. In story, it’s no different. The more we empower our protagonist to step into new relationships and new experiences, the more we lessen the grip of missed expectations. We position our characters to face a problem that is fixable and give them that satisfying ending they deserve.

MARISSA GRAFF - Resident Writing Coach

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

The post Five Ways to Get Your Protagonist to Realize They’re the Problem appeared first on WRITERS HELPING WRITERS®.

I’d always heard that landing a Bookbub deal could really help with marketing your book.

I’d tried a couple of times before with no luck. But recently, I submitted my historical fantasy, The Curse of King Midas, and was selected for a BookBub Featured Deal.

But there was a catch—it wasn’t for the U.S. market. My deal was for international readers only.

When I realized that, I wasn’t so sure about moving forward. I did some research and then decided to go for it.

In this article, I’ll discuss my experience, share my results, and tell you whether it was worth it.

How Much Does a BookBub Featured Deal Cost?

Cost is one of the biggest factors in deciding whether to apply for a BookBub deal. Prices vary depending on several factors:

• Your book’s genre
• The price of your book during the promotion
• Whether your deal includes the U.S. or is international only

For my deal, I promoted a fantasy novel at $0.99 (the second-lowest pricing tier available, after “free”). My international-only deal (which included the United Kingdom, Canada, and Australia) cost $196.

The price would have been significantly higher if I had been selected to include the U.S. Since this was my first experience with Bookbub’s featured deals, I was kind of glad to have been chosen for international only. It gave me a chance to see what the deal would do for me without spending as much as a U.S. deal would cost.

The trade-off between price and royalties is important to consider. A lower-priced book will sell more copies but yield lower earnings per sale. (At 99 cents per book, I earned only about 30 cents per copy, for example.) Plus, the Bookbub featured deal costs less.

A higher-priced book (you can go up to $4.99) means fewer sales but greater royalties per copy. It also means a higher price for the Bookbub deal, though. (You can find the prices here.)

I’ve also heard that you have a better chance of being selected for a Bookbub deal as an indie author if you price your book on the lower end of the spectrum.

I opted for the $0.99 price point because my primary goal was to increase readership rather than maximize immediate earnings—and I wanted to improve my chances of being accepted for the deal.

What Was My Goal with This Bookbub Featured Deal?

My main objective was to introduce more readers to The Midas Legacy series before the release of Book II in June (2025). I wanted to get my book into as many hands as possible so new readers could discover the series. I was hoping to earn some of my money back, but I wasn’t overly concerned with breaking even or turning a profit from this deal alone.

Results from My BookBub
Featured Deal

BookBub estimates that a deal like mine (in the fantasy genre) could result in between 10 and 2,250 copies sold. Thankfully, I sold more than ten! Considering my book remains relatively unknown to the general fantasy audience, I feel pretty good about the results.

My BookBub email went out on February 12th, and by the end of the next day (February 13th), here were my total sales:

• 124 copies sold (all ebook)
• Amazon: 102 copies
• Draft2Digital: 22 copies
• Total royalties earned: $46.93
  • Amazon: $36.40
  • Draft2Digital: $10.53

By the end of the day on February 15th, I had sold 50 copies total on Draft2Digital (all international buyers), bringing my Draft2Digital earnings up to $23.24. Additionally, I sold eight more copies on Amazon (not counting U.S. sales), adding roughly $2.40 to my total Amazon royalties (I’m not sure how the exchange rates may affect this).

Updated Totals:

• Total books sold (excluding U.S.): 160 copies
• Total royalties earned: $62.04

(A few more sales trickled in later on that I didn’t include here.)

Since this was an international-only deal, I’m counting only UK, Australia, and Canada sales. I did have some U.S. sales at the same time, as I ran a concurrent 99-cent deal in the U.S. to take advantage of the opportunity. (I sold nearly 200 books with the deals combined.) I’m not counting those sales here, though, as they were not due to the Bookbub international deal.

Was My BookBub Featured Deal Worth It?

Based on my primary goal—introducing more readers to my series—I’d say yes, it was worth it.

Did I make all my money back? No. I spent $196 and earned $62.04 in direct royalties, meaning I recouped about 31% of my investment. But that wasn’t the only metric I was tracking.

Here’s why I still consider this deal a success:

1. New Readers Found My Book – 160+ new people in international markets now own my book. Some of them may read it, love it, and go on to buy Book II when it releases in June. That’s my hope, anyway!
2. Potential Long-Term Impact – I’ll be watching to see if I gain new reviews, email subscribers, or follow-up sales in the coming months.
3. Exposure in Key Markets – The UK, Australia, and Canada all performed well. These are valuable markets for fantasy books, so getting my foot in the door was beneficial.

Would I do it again? Possibly! If I see strong engagement from the readers who picked up my book, I’d consider another international deal—or, ideally, a U.S. BookBub deal to see how it compares.

If I do get another chance, I think I may go for a higher price point. One drawback of the 99 cents is that many readers will purchase, but then not read the book. They’ll leave it to languish on their ereaders. A higher price point may result in fewer sales, but inspire purchases from readers ready to read—though I’m not certain on this.

If you’re a writer considering a BookBub international deal, I hope my experience helps you decide whether it’s the right move for your books!

Note: Get more articles, free reports, and free chapters of Colleen’s award-winning books when you sign up for her motivational newsletter for writers!

COLLEEN M. STORY - Resident Writing Coach

Colleen M. Story is a novelist, freelance writer, writing coach, and speaker with over 20 years in the creative writing industry. In addition to writing several award-winning novels, Colleen’s series of popular success guides, Your Writing Matters, Writer Get Noticed! and Overwhelmed Writer Rescue, have all been recognized for their distinction.

Colleen offers personalized coaching plans tailored to meet your needs, and frequently serves as a workshop leader and motivational speaker, where she helps attendees remove mental and emotional blocks and tap into their unique creative powers. Find out more about our RWC team here and connect with Colleen below. Free chapters | Master Writer Mindset

The post I Tried a BookBub Featured Deal—Here’s What Happened appeared first on WRITERS HELPING WRITERS®.

Likeable characters can become the beating heart of your narrative. Readers root for them and stick with them throughout their journeys. But what exactly makes a character likeable? It’s not just about being nice but making them relatable.

So, let’s look at how to write such characters!

Kindness WITHOUT An Agenda

A likeable character is helpful, compassionate and patient with others because it’s part of their personality … NOT because they want something in return. They will even be kind when it’s not convenient to themselves.

Anne Shirley (Anne of Green Gables) can be dramatic and impulsive, but her deep kindness shines through everything she does.

Forrest Gump’s kindness is pure and never changes, even when others attempt to take advantage of him.

Ted Lasso always gives others grace, even when they’re contemptuous of him.

Give Them an Optimistic Outlook

Optimism can be endearing, especially when it’s grounded in awareness. An optimistic character can seem clueless or over-privileged if they are overly naive. Likeable characters acknowledge reality, but choose to see the positive in it.

Jo March in Little Women is a good sister to Meg, Beth and Amy. Jo also wants to earn her own money and is determined to succeed as a writer. Jo does not mention love, a rich husband, or children like many women of her time. When she gets her first pay cheque then, we cheer for her.

Phil Dunphy in Modern Family is goofy and sometimes child-like, but that is not where his characterization ends. He is a committed father and husband, providing for his family. When his real estate business is not going so well, he hides this from wife Claire as he doesn’t want her to worry. This makes him lovable rather than a man-child like Homer Simpson.

Have Them Lift Other Characters Up

A character become likeable when they put others first. They validate the other characters and support their own journeys. They help them deal with setbacks, as well as celebrate others’ wins.

In Lord of the Rings, Samwise Gamgee is a constant support to Frodo. Sam accompanies Frodo on his epic quest and encourages him through its trials and tribulations.

Elizabeth Bennett in Pride and Prejudice is quite reserved, but offers constant support for her sisters. She understands the sacrifices she may need to make to ensure the family is financially secure. Her acceptance of this makes readers root for her.

Last Points

Remember there are three elements that contribute to a likeable character: kindness, optimism and uplifting others. Just ensure they are not naive or over-privileged in doing so. Then you will have a likeable character that resonates with readers and viewers alike.

Good Luck!

LUCY V. HAY - Resident Writing Coach

Lucy V. Hay is a script editor, author and blogger who helps writers. She’s been the script editor and advisor on numerous UK features and shorts & has also been a script reader for 20 years, providing coverage for indie prodcos, investors, screen agencies, producers, directors and individual writers. She’s also an author, publishing as both LV Hay and Lizzie Fry.  Lizzie’s latest, a serial killer thriller titled The Good Mother is out now with Joffe Books, with her sixth thriller out in 2024. Lucy’s site at www.bang2write.com has appeared in Top 100 round-ups for Writer’s Digest & The Write Life, as well as a UK Blog Awards Finalist and Feedspot’s #1 Screenwriting blog in the UK (ninth in the world.). She is also the author of the bestselling non-fiction book, Writing & Selling Thriller Screenplays: From TV Pilot To Feature Film (Creative Essentials), which she updated for the streaming age for its tenth anniversary in 2023.

The post How To Write A Likeable Character appeared first on WRITERS HELPING WRITERS®.

Great novels don’t hook readers by accident. They strategically build up tension and feelings, then release them at just the right moment. This perfect timing isn’t about fancy writing tricks; it’s baked into how the story itself is built.

When a story pulls readers through the pages so smoothly they forget all about the clock, it’s not just clever words doing the work—it’s smart structure doing its job. That irresistible “just one more chapter” feeling happens when the story’s building blocks create a natural flow that keeps readers turning pages without even thinking about it.

Stories built on four-act structure (three-act structure minus the oversized, saggy middle) hit those sweet spots consistently. These natural turning points occur at the quarter mark, halfway point, and three-quarter mark, never allowing any section of the story to drag on too long.

Missing these points by a substantial margin results in a misshapen book with sagging or surging momentum. A lumbering, oversized Act 1 bores readers by taking too long to get moving. A missing midpoint creates that notorious bane of three-act story structure, the “mushy middle.” And a mistimed dark moment, one that hits too soon or straggles in too late, can make even a potentially explosive climax fall flat.

Applying story structure to your novel doesn’t imply blind adherence to some lockstep formula. What it suggests is the wisdom of tapping into a storytelling form readers already get—the same ups and downs that have made stories work since people first shared them around the fire.

That pattern shows up everywhere, from novels to movies to symphonies. “It is interesting to note that within the structure of classical music for several centuries known as sonata form, the first act of three was called Exposition, followed by Development and Recapitulation,” notes screenwriter Scott Myers. It’s no accident these sound familiar—they’re the same building blocks of the four-act structure we recognize in novels.

Act 1: Exposition As the story opens, readers discover the character’s situation and witness their internal disunity.

Act 2: Development The character reacts to the story challenge, which puts pressure on their internal issues, beginning the process of deconstruction.

Act 3: Development When their initial efforts don’t pay off, the character pushes for more proactive progress. They may already be reconstructing their internal balance.

Act 4: Recapitulation External forces (plot) and internal forces (character arc) come together to achieve synthesis, unity, and resolution.

The mix of plot and character through these four phases gives your story its momentum. Early on, readers feel they’re on a journey headed somewhere specific. Each act pulls them closer to what they think is the story’s destination. And those turning points between acts? They’re the rocket fuel that launches readers from one part to the next.

Turning Point 1

Between Act 1 and Act 2, about 25% into the story

Turning Point 1 inextricably tangles the protagonist in the story’s web. It’s that big moment when they have to deal with the main story conflict head on, whether they want to or not, as the story ship irrevocably leaves the dock for a specific destination or goal.

How does Turning Point 1 serve readers?  By now, readers have plowed through a good chunk of your book, about 20 to 25 percent. That’s a real investment of time. If your main character is still just poking around the story’s starting situation at this point, readers might decide there’s no real point to your story—and they’ll bail.

Books that suck readers in often hit that first big turning point earlier than the textbook quarter mark, often around 20% in. This gives readers that crucial “I need to know how this turns out” feeling before they have a chance to get bored.

Turning Point 2

Between Act 2 and Act 3, about 50% into the story

Turning Point 2, the midpoint complication, injects a fundamental plot twist that flips your protagonist’s strategy on its head. Whatever they tried in the first half of the book just isn’t cutting it, or something big has changed or come to light—and now they need a new approach. The early plan (the easy way) isn’t working anymore; now your character has to push beyond what they thought would be necessary or what they believe they can handle (the hard way).

How does Turning Point 2 serve readers? Stories can’t feel like a laundry list of “All the Stuff I Gotta Take Care of Before the Inevitable Climax.” The midpoint keeps your story from bogging down in a monotonous slog toward the same old goal.

Turning Point 3

Between Act 3 and Act 4, about 75% into the story

Turning Point 3 pulls all the conflicts together, creating your protagonist’s absolute low point, their “dark night of the soul.” With hope seemingly extinguished and success looking impossible, this moment sets up everything that follows, making the final resolution meaningful instead of simply predictable.

How does Turning Point 3 serve readers? This rock-bottom moment gives your character somewhere to push off from as they rally for the climax. For readers, it cranks up the suspense. Can your protagonist really pull this off? How? This turning point hits readers with that emotional gut-punch showing exactly what will be lost if your character gives up now. It turns readers from spectators into allies, cheering your protagonist on: Get back in there. Find your guts. Stand up and fight for what matters.

Irresistible Momentum

These turning points aren’t random checkboxes in some rigid formula—they’re powerful currents that pull stories forward. Each one catapults your story into its next phase with fresh energy and urgency. This natural momentum keeps reading turning pages late into the night, whispering “just one more chapter” despite their 6 a.m. alarm.

That’s the power of turning points: They transform your story from words on a page into a voyage readers can’t help but follow all the way to the end.

LISA POISSO - Resident Writing Coach

Lisa Poisso specializes in helping new and emerging fiction writers. A veteran of the disciplined world of classical dance, she brings that same practiced artistry to writing—where structure, form, and technique are springboards that give you freedom of movement on the page. Explore her Writing & Editing Resources for valuable tools to develop your manuscript, and subscribe to the Writes of Fiction newsletter to receive Lisa’s hand-picked writing advice delivered directly to your inbox. Find out more about our RWC team here and connect with Lisa below.

The post Best Ways to Pace Your Story’s Key Moments appeared first on WRITERS HELPING WRITERS®.

If only there was a magic formula, a secret trick that would improve your chances of getting published. Well, there is—but it isn’t magic or secret, and in the end, it can’t guarantee publication. But it’s still the best formula I know of for getting a shot at a contract. Some of this might not sound like good news, but I think it is, because in my opinion, talent is not the deciding factor in getting published. Instead, it’s hard work, patience, and an openness to feedback—things that are accessible to everyone.

Beginner’s Mind

This is a term that comes from Buddhism. What it means is to approach things with the attitude that you might not know everything, which allows for a willingness to learn new ways of seeing and doing. That’s what creativity is all about—seeing and doing things differently.

One of the best ways to keep an open mind is by reading. Studying novels. Taking them apart. Applying what you learn to your own work and practicing it. Another way is to take classes and workshops, go to conferences, listen to podcasts. Find out how others have done things. What works for them might not work for you, but there are many ways to approach the act of writing a novel. Try them on. See what fits.

Beginner’s mind also means being open to feedback. Honest critique. While feel-good feedback is nice, it won’t land you a publisher. You need to be resilient enough to hear that maybe this thing you’ve created could be better. Maybe there’s a kernel of a good idea there, but the rest of it is, well, compost, and you need to start over.

Does that sound harsh? It’s definitely unpleasant. But I’ve lost count of the number of times I’ve had to start a novel over from scratch with only the shred of the idea left on the page. Two of my published novels were created that way, and I’m just putting the finishing touches on another that also came into being by way of the garbage can.

Bestselling YA author John Green talks about how 90% of his first drafts end up in the round file. Another bestselling author, Barbara Kingsolver, throws out hundreds of pages in the process of finding a novel’s voice. I used to think it was just beginners who threw out work (well, beginners, and me). But now I know this is the process.

Writing is rewriting. It was probably the first thing our novel-writing instructor said to us in the MFA program, and it’s the truest thing I know about writing. The great lines, the poetry, the character development—most of that gets created in revision. 

Steep Grade Ahead

Writing plays a nasty trick on us. Because we learn how to write essays in school—and maybe the odd short story—we assume we know how to write a novel. Writing is writing, after all. It’s words on a page. But that’s like saying that because a person knows how to play the piano, they will automatically be proficient at the saxophone. True, they’ll know how to read music—but that’s the only advantage they’ll have.

The learning curve for writing a novel is steep. I’m talking years. Maybe ten years. That was how long it took me, and I’d been writing for years before I tackled my first novel. And I’m still learning. Every novel I read or edit or write has something to teach me. There will never come a time where I’ll feel I know all I need to know about writing a novel. That shouldn’t depress you. I think it’s exciting, a testament to the genre’s potential.

The Querying Process

All right. You’ve put in the years, you’ve gotten the tough feedback and revised until you’re cross-eyed. It’s time for the rubber to meet the road.

When it comes to querying, improving your chances of landing a publisher is both simpler and more complicated than you might think. Follow the submission guidelines. Widen your scope to include small publishers. Write a decent query letter. Easy.

Your letter won’t make or break your submission. But there are a few things that will: your synopsis and your opening pages.

Your synopsis shows a publisher that you understand structure and can execute the great idea you described in the pitch of your query letter. If the structure is broken, the novel will be broken. They won’t want to read it. That’s why synopses are so hard to write. And it’s why publishers and agents ask for one.

Then come your opening pages, the true showcase of your novel’s awesomeness. You can write the best query letter in the world, but if your opening pages don’t land, if they don’t grip the reader by the throat and insist that they turn the page, the publisher won’t ask for more.

How do you understand structure and write fabulous opening pages? By working hard. By taking apart the structure of novels you’ve read and trying to understand how the author created their magic. By writing and revising and writing and revising. This is what Steven Pressfield meant by turning pro: taking your craft seriously, developing the necessary discipline to see a project through to the end, not being crushed by feedback but instead using it as a learning tool. There will be setbacks and rejections, but a pro keeps showing up day after day and putting in the work. A pro doesn’t give up.

That’s the magic formula. That’s what will give you the best chance of getting there.

Writers Helping Writers holds a monthly critique contest that can help make your opening gleam. Come back to our blog Thursday, February 20 for a chance to win a 1st page critique from Becca Puglisi!

MICHELLE BARKER - Resident Writing Coach

Michelle Barker is an award-winning author and editor who lives in Vancouver, BC. Her newest book, coauthored with David Griffin Brown, is Story Skeleton: The Classics. They are also the authors of Immersion and Emotion: The Two Pillars of Storytelling. Her novel My Long List of Impossible Things, came out in 2020 with Annick Press. The House of One Thousand Eyes was named a Kirkus Best Book of the Year and won numerous awards including the Amy Mathers Teen Book Award. Her fiction, non-fiction and poetry have appeared in literary reviews world-wide.

Michelle holds an MFA in creative writing from UBC and is a senior editor at The Darling Axe. Find out more about our RWC team here and connect with Michelle below. Michelle’s books

The post How to Improve Your Chances of Getting Published appeared first on WRITERS HELPING WRITERS®.

Depending on where you are on your writing journey, you may be finding out that writing your book is just the beginning of your journey as a writer. Finishing a book is a huge accomplishment, requiring significant time, energy, focus, and love. Job number one in a writer’s life is getting that darned book finished, polished, and then out into the world. But the reality in today’s market, whether you publish traditionally, use a hybrid publisher, or publish independently (Self Publish), you as the writer will have to get involved in spreading the word so that readers can find your book.

Yes, I’m talking about marketing and promotion. Even if you’re with a big publishing house, it’s rare these days to get a ton of budget or support for your book’s promotion, especially if you’re new on the scene. This comes as a shock for many new writers, who’ve watched umpteen Hollywood movies depicting huge book tours and lines down the block assembled to meet an author. The reality is more like calling around to see if bookstores will let you do a signing, and then wiling away hours, hoping that shoppers will stop to talk. 

Many writers find the idea of marketing their books terrifying, thinking that dancing on social media, or spending a fortune on ads and hoping for the best are the only options to get potential readers’ attention.

“But Suzy…” I hear from writers when I ask what their plan is for marketing. “I hate public speaking, and I see you doing it but it’s just not for me.”

The good news? You don’t have to do any of the things I do. There are dozens of other options.  With my background in building businesses, I’ve always been fascinated with how writers promote themselves and their books, and jump at every chance I get to find out what’s working for writers I meet, and what isn’t. As a result, over the years I’ve personally tried dozens of strategies to reach readers – some that worked, and some that didn’t. I’ve also worked with hundreds of writers who are successfully marketing their books, each with their own special flair.

What Do All These Successful Authors Have in Common?

1. They play to their own interests and strengths. What I love to do may not be your cup of tea—so don’t do it! If speaking and teaching in front of crowds, or talking with strangers is your kryptonite, find another way. You can use your written words to reach audiences by blogging, writing articles, or simply sharing your writing in creative places.  
2. They don’t spread themselves too thin. Pick one or two areas to focus on, and go deep, learning everything you can and giving it your all. If you choose to learn the art of promoting yourself and books using online ads and you focus your energy there, you’ll eventually get great at it. If you start a social media account or a blog on a topic related to your book and post regular content, you’ll attract a community of readers who might be interested in your book. If you try to do all the things, you’ll exhaust yourself, and you will see fewer results, making you wonder if all the hype about “marketing” is worth it.
3. They show up consistently. Once you’ve found a strategy you enjoy and can sustain over time without burning out, do it consistently. These days, I focus on just two things: my Inspired Writing Newsletter for writers, and my Show, Don’t Tell Writing podcast. These are both free weekly content and have grown my community to over 12,000 amazing writers. When you’re first starting out, choose one thing you can do regularly, whether it’s monthly, biweekly, or weekly, and show up consistently. Resist making excuses, or giving up too soon. Over time, your audience will build.
4. They show up as “themselves” when they interact with readers. Don’t be afraid to let your freak flag fly, whether that’s your obsession with Hot Wheels collectibles, poetry, or your relentless pursuit of perfect grammar. The biggest mistake I see writers make is trying to make all their communications with potential audiences so formal that their Voice and Point of View are missing. Readers are interested in knowing what their favorite writers are really like. And the bonus? Being yourself is much easier to sustain over time than trying to be who you think others expect you to be.
5. They promote year-round, not just when they have a new book coming out. Even if you haven’t published your first book yet, the time to start building your author platform to promote your books is now. Get your feet wet as soon as you can, and try things out. It might take you a minute to learn which strategies give you the most joy and result in meaningful interactions with potential readers. But start somewhere. If you have 12 people in your audience waiting for your book when it comes out, that’s better than zero. 

As you explore your options to promote your books and find readers, you’re building a creative life for yourself. The best part is that you get to be creative about what that looks like. By all means, gather inspiration by watching and learning from writers you admire. But don’t try to emulate what they’re doing exactly, or marketing will feel like a chore, and you’ll quit. Instead, notice what those writers are doing that looks doable for you, and what feels exciting for you to try—and then try it.

Not Sure Where to Start?

I’ve compiled this list of 30 Ways to Promote Your Book, along with some thoughts on how I’ve seen each of them successfully implemented. I guarantee there’s at least one on this list that will fit your writing goals, your personality, and your available time for building up your public presence as a writer.

Enjoy!

SUZY VADORI - Resident Writing Coach

Suzy Vadori is the award-winning author of The Fountain Series. She is a certified Book Coach with Author Accelerator and the Founder of Wicked Good Fiction Bootcamp. Suzy breaks down important writing concepts into practical steps to make it easy for writers coming from outside the industry to get up to speed in a snap, so that they can realize their big, wild writing dreams!

In addition to her weekly newsletter encouraging writers, and online courses, Suzy offers both developmental editing and 1:1 Book Coaching. Find out more about our RWC team here and discover how to connect with Suzy and all the resources she has to offer here.

The post Thirty Ways to Promote Your Book appeared first on WRITERS HELPING WRITERS®.

A while back, I shared a post at WHW about Scene Writing, and why it’s such a valuable tool for writers (especially those like me, whose brains get easily overwhelmed by details). This post also shares my tricks for keeping a story organized even if you have a disorganized brain or process.

A Word About Writing Process…

Adapt everything you learn to your own unique brain

Like underpants, writing process is personal. You’ll find out what fits YOU the best by trying it on for size. At the end of the day, the only writing process you need to embrace is the one that allows you to finish your stories.

It took me a long time to figure out that I couldn’t write linearly like all my friends. I had to find the process that worked for my brain. My brain needed stories to be in tiny pieces.

My old life:

(That’s the life of creating unfinished stories that taunted me.)

Whenever I’d get stuck, I’d stop. I’d stare at the page, clean my kitchen drawers, come back to the page and stare some more. Sometimes there was crying. Almost always, after a few weeks, I’d berate myself for being a hack, give up and start another story.

My new life:

Now I just pick a new scene and write it and the pantser half of my brain works the problems out. Most important, this method lets me keep writing. That immersion is what keeps most writers engaged with their story.

How does “process” work for a new writer?

The problem for most new writers is they don’t know what works for them yet. There’s a lot of trial and error when you’re new.

You’ll have to ask (and answer) questions like:

• Am I a plotter or a pantser?
• A linear writer, or an out-of-order writer?
• Am I more productive in the morning or at night?
• Do I like to use 3-Act Structure or the W-Plot?

A lot of what you try as a new writer won’t work for you. That’s okay – keep trying things out until you are able to produce a finished story. You might not even love the first story or two, but you’ll still be proud you finished it.

A View of My “Scene-Focused” Process

The abbreviated description of my process is that I’m a Plantser and a Story Quilter. That means I plot a little, I free write a bit, and I piece the story together scene-by-scene.

What does that look like in practice?

1. I start by making a list of all the scenes I know.

Like many writers, each book usually starts with an idea or a scene that comes into my head fully formed. I write that scene to get it out of my head and onto the page. I keep writing until all the initial scenes are out of my head.

Usually, there are between 5-10 scenes that come with the initial idea. When I’m lucky, this list includes some key turning points of the story.

2. I make folders for all those scenes in Scrivener.

That folder list is key for me. It means when I sit down to write, I have a list of places I can go in the story. Sometimes something will come to me all Pantser-like and I make a folder for that one too.

3. I try to brainstorm early.

Near the beginning of the process, I bat some ‘what if’s’ around with my writing peeps and decide on the overriding theme for the book and the internal and external conflicts for the main characters. I might be wrong, but it gives me a place to start.

Note: Scrivener has places for characters and research. For me, they’re part of my at-a-glance folder list over in the left sidebar. I can click on them to add, or when I need a refresher on a character for a scene.

4. Sometimes I get lucky.

During #3 above, sometimes the turning points make themselves known. I’ll often share the story with someone I trust, and ask if they see any major logic holes. If I’m lucky, they find one! Finding logic holes early, before I’ve done a ton of work, makes me way less cranky later in the process.

5. I keep writing until I’m out of scenes.

Sometimes that means I’m actually done with the book, and sometimes that means I have to beg some nice writing friends to do a manuscript swap. This step is usually when I begin the Second Draft work, which means using all those cool plotting and polishing tips that Plotters use on their first draft.

My Top 3 Tips for Getting Unstuck

Despite our best intentions, we all get stuck sometimes. OneStop for Writers is a great place to start when you get stuck. These smaller steps help me, too.

1. Change locations.

Typically, the act of moving to a new writing space can jiggle up some writing inspiration. This can be from your desk to the couch, from inside to outside, or from the library to a favorite restaurant or coffeehouse.

2. Use a digital timer.

I tend to use my cooking timer. When I don’t want to write, my deal with myself is I have to do at least 30 minutes of work on my fiction.

We can do anything for half an hour, right?

While it doesn’t sound like a lot, it really makes a difference. If I’m not digging the writing that day, I know “I only have to do this crap for 30 minutes.” If things are going well, I’m likely to go way longer than 30 minutes.

3. I print a list of all the scenes I know in table form.

This trick requires a printer and scissors, and I’m known to do it when I’m getting to the end of a book. Margie Lawson gave me this brilliant idea, and it works when I have difficult scenes that I don’t want to write. You could also handwrite your to-do list and make a game out of it.

• I print the table of all those scene prompts and cut it up until each scene is on its own slip of paper.
• I find a pretty container and I put all the slips of paper into it.
• Every time I sit down to write those final scenes, I randomly choose one from the container until they’re all gone.

Margie is so smart.

Why Scene-Focused Writing Is a Great Organization Method for Me.

The first major advantage is that I rarely get stuck.

Everything is visible to me at a glance. I just pick a scene from my to-be-written list of scenes (aka: my Scrivener folders/documents) and get writing. Eventually all of them will get written.

Here’s an example

A starting scene list for a made-up romance novel:

• Initial Meeting
• Scene in the Coffee Shop
• Job interview at the clinic
• Reunion with Sister
• Fight about parents’ funeral
• First look at sister’s house
• Discovery of parent’s will in the garage
• Flesh out mom’s mental illness
• Confront sister about secrets

The second major advantage (for me) is that I can see the story structure visually, without getting overwhelmed.

As I write those early scenes and begin seeing the bigger picture, I start making more folders. Every so often in the process, I’ll move those folders around, so they feel more logical.

Scenes and turning points will move into a logical three-act structure, which organically shows me plot holes. I can color code scenes (folders or documents) in Scrivener if I want to make unwritten scenes stand out more, which is great for an at-a-glance to-do list.

In a Word document, I can’t see the structure at a glance, and it stresses me out. I feel like I don’t know where to start or where I’m going. I lose scenes. It’s easy for me to get overwhelmed, and then the writing isn’t so fun anymore.

An example of my Scrivener folder list further in the process:

Act I

• Amanda and Archer meeting in Coffeehouse
• Amanda’s job interview at clinic
• Amanda chats with Unknown character about Disliking Archer
• Day 1 at Clinic WHERE ARCHER WORKS

Act II

• Need a scene with heroine’s BFF – Topic TBD
• Reunion with Sister
• Fight about parents’ funeral
• First look at sister’s house
• Find excuse for social occasion with sister
• Talk with Archer in Clinic Kitchen
• Discovery of parent’s will in the garage
• Flesh out mom’s mental illness
• Date with Archer at pub
• Confront sister about secrets
• All is Lost Moment

Act III

• Ending

Final Thoughts

Whether you’re innately disorganized like me or a detailed plotter, finishing a book is a big task. There are a lot of moving parts to be organized. Scrivener is my tool of choice, but I have friends who do things differently and stay organized.

I’ve seen great books organized all these ways:

• Using a notebook and writing by hand with Post-its and dividers
• Using Word documents with headings or Master/Sub Documents
• Using software like Plottr and ProWritingAid
• Creating folders on the computer and saving each chapter as a document
• Writing the book in a single Word or GoogleDoc file

Figuring out your writing process and how to keep your stories organized are two of the most important things you will ever learn as a writer. I’m wishing you a smooth journey!

JENNY HANSEN - Resident Writing Coach

Jenny Hansen provides brand storytelling, LinkedIn coaching, and copywriting for financial services firms. By night, she writes humor, memoirs, women’s fiction, and short stories. After 20+ years as a corporate trainer, she loves this sit-down-and-work thing. As a co-founder of Writers In the Storm (WITS), Jenny has supported writers since 2010. WITS, recognized by Writer’s Digest as a top website for writers, offers weekly posts on writing craft and inspiration. Jenny is currently revising a memoir about her cancer journey, with a style described as “get busy laughing, or get busy crying.”

Find her on WITS, Facebook, or Instagram.

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How to handle a character’s backstory is a universal struggle for all of us writers. How much should we include? How long should a flashback be? When is it okay to give a character’s backstory? Is backstory even necessary?

As an editor, I’ve seen it all. Books that start with a long flashback, books that don’t provide the reader enough footing in a character’s past, and books that nail the balance of keeping the front story moving while sprinkling in backstory.

First, the undeniable truth: Whether we like it or not, backstory is necessary. Otherwise, that inherent feeling that your character needs whatever you have planned in the front story isn’t there, spurning your reader on to find out if this story will help them be okay. Backstory is the battery pack that fuels your novel, giving it purpose.

The good news is that you only need to develop that which is relevant to whatever made the character not okay in the first place.

Long-Form Flashback

Crafting the origin scene is virtually a must in order to establish exactly what happened in the past and to explore the misbelief (also known as the wound or baggage) your character has. In knowing the character’s trauma and how it’s shaped them, you’ve given yourself a road map for what your front story needs to undo.

After that, it’s helpful to develop a few relevant memories that might help your character reach aha moments within the front story. Events that they look back on with new eyes and that afford them perspective shifts as your front story progresses. These might be past incidents that seemed one way at the time. But now, thanks to your front-story plot, the character sees them for what they actually were. The fear they once had is noticeably diminished, earning them inner growth and change.

Shorter Flashbacks

Let’s talk about developing your character’s backstory through shorter flashbacks, even within single sentences. Rather than presenting the reader with fully-developed memories, you might break the flashbacks you develop into digestible chunks that could be scattered throughout your story.

How to Choose the Form and Length of Flashbacks

It helps to think of the depth of the trauma as proportionate to how long you wait to share backstory and how much of it you share. In other words, if the trauma is deep and awful for your character, we will need time to be readied for its reveal, just as the character needs time to confront it. And then, when it comes, you might need to give it breathing room through what’s more of a flashback scene. Things like being held captive, losing a loved one, making a deadly mistake, or witnessing a violent act warrant may fall into this category.

But if the trauma is something less dramatic (a best friend moving away or losing a sentimental object, for example), it’s likely not necessary to wait to share the past, nor should it earn tons of page time. In fact, waiting to share this sort of backstory or doing so in long form will likely backfire because the reader will gauge that withholding and pontificating weren’t necessary for something on that level. It may even feel melodramatic at that point.

No matter your backstory reveal form, whether it be long-form or short bursts of memory, it helps to tap into your left brain. Something I always encourage clients to do is to scene track. This exercise not only helps you outline your novel’s scenes in a bare-bones way, it allows you to keep your eye on all those plates novel writing asks you to spin. Using this task to monitor backstory reveal can be truly helpful to ensure you’re on the right track.

Some Final Backstory Tips

It’s largely advised not to include lengthy flashback until something like 10% or beyond in your novel. The reader needs time to slip into the flow of your front story. If we’re asking the reader to orient themselves in the front story and then to step away to backstory too much or too frequently, the reader can’t settle comfortably into your more current timeline.

Look within your front story for little seeds to generate one-line backstory hints. If your character was in an awful car wreck in the past, maybe you’re showing their hand trembling as they reach for the car door. Hence, a backstory clue is born and you keep the front story moving. Maybe they were robbed by someone wearing a red knit cap in the past. Within your front story, we see your character take a different route to work after someone with a red knit cap appears ahead on the sidewalk. Boom—an interesting clue emerges, pointing to the past. You can use details in the current timeline as springboards for hints of the past based upon how your character reacts when encountering them.

Keep flashbacks as tight as you possibly can. We’ve all been in stop-and-go traffic. Each time you weave backstory in, it’s akin to hitting the brakes on a lovely car ride. The energy of your front story wobbles and the reader starts asking, “Are we there yet?” They itch to get back to the current timeline.

Show, don’t tell. And yes, this rule applies to flashback. The more you evoke what it was like for your character to be in that pivotal moment way back when, the more your reader feels like you’ve transported them to the past.

What backstory methods have you used successfully in your own writing? Are there stories you feel achieve the balance of backstory?

Happy writing!
Marissa

MARISSA GRAFF - Resident Writing Coach

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

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Writing intense scenes can be one of the most exciting parts of storytelling. Whether it’s a gripping fight, a romantic encounter that leaves hearts racing, or an emotional moment that hits readers hard, these scenes pull readers in and keep them hooked. But creating truly intense moments takes more than just throwing in action or dramatic emotions. It’s about pacing, sensory details, and staying true to your character.

Fight Scenes: Keep It Clear and High-Stakes

Fight scenes grab attention because they often mean danger or life-and-death moments. But too much focus on body movements or external conflict can make things feel off. To keep things gripping, focus on what’s at stake and how the characters internally react to the fight. Don’t overcomplicate things with unnecessary details—keep the action clear and immediate.

For example, instead of writing: John lunged forward with a feral scream, his fist flying crashing against Mark’s jaw with the force of a freight train. Blood sprayed like a crimson fountain, painting the air in a ghastly tableau.

Try: John lunged forward, his fist connecting with Mark’s jaw. Mark staggered back, tasting blood. He couldn’t afford to go down—not now.

The second version cuts the fluff and keeps readers focused on the action and its impact. By keeping the description tight and concentrating on the immediate stakes, you can make readers feel every hit and every moment of tension.

Romantic Scenes: Go for Subtlety and Sensory Details

When writing passionate scenes, it’s easy to slip into over-the-top territory. Instead, focus on the connection between characters and use sensory details to make it feel real. A well-written romantic scene doesn’t need to scream its intensity—it should evoke the tension and vulnerability in the moment.

You can show the tension and vulnerability through small gestures and understated emotions.

For example, instead of writing: Their lips met in a fiery explosion of desire, their hearts beating as one in the eternal dance of passion.

Try: She hesitated for a moment, her breath catching as his hand brushed her cheek. When their lips finally met, it was slow, tentative—as if neither was sure whether they were ready for the storm they were about to unleash.

This second version feels more genuine because it builds on the characters’ hesitation and the sensory experience. Readers don’t need grand declarations of passion—they need to feel the connection through small, meaningful details.

Emotional Scenes: Let Tension Build

Emotional moments work best when they’re given time to grow. Jumping straight into high emotions can feel jarring, so it’s important to let the tension simmer. Build up to those big emotional beats by showing small actions, bits of dialogue, and even silences.

For example, instead of writing: “You never loved me!” Sarah screamed, tears streaming down her face like rivers. “I gave you everything, and you threw it all away!”

Try: Sarah stood in the doorway, her hands trembling. “I don’t understand,” she said quietly. “I gave you everything. Was it not enough?”

By letting Sarah’s pain emerge gradually through her quiet words and trembling hands, the scene feels more authentic. Readers can sense the buildup of emotions without being hit over the head with melodrama.

Decision Scenes: Show the Inner Conflict

When characters have to make a tough call, the intensity comes from their internal struggle and the pressure of the situation. To capture this well, use short, sharp sentences and show the character’s thought process without over-explaining their feelings.

For example, instead of writing: David clutched his head, torn between two impossible choices. His mind screamed at him to act, but his heart was frozen in fear. “What do I do? What do I do?” he muttered, over and over.

Try: David stared at the two paths ahead. One meant safety. The other, everything he cared about. His hands clenched into fists. He didn’t have time to think—only to choose.

This version creates tension by focusing on David’s immediate dilemma and keeping the language direct. Readers can feel his urgency without being bogged down by too much internal monologue.

General Strategies for Writing Intense Scenes

Trust your readers to understand the emotions without spelling everything out. Instead of telling them how a character feels, show it through actions, dialogue, and reactions. Use strong verbs to convey action and emotion, and engage the senses to draw readers fully into the scene. Remember, not every moment has to be high-energy. Sometimes, quiet moments of reflection or tension make the intense parts stand out even more.

Intense scenes are all about keeping readers hooked and evoking emotion. Don’t be afraid to dive into the deeper layers of your character—just make sure it feels real and earned. By focusing on pacing, sensory details, and character reactions, you can create scenes that stick with readers long after they finish the story.

CHRISTINA DELAY - Resident Writing Coach

Christina Delay is an award-winning author of psychological suspense, as well as mythological-based fantasy written under the pen name Kris Faryn. A wanderer by heart, Christina’s latest adventure has led her and her family to the southwest of France. When not planning their next quest, Christina can be found writing in her garden, hosting writing retreats, sneaking in a nap, or convincing her patooties to call her Empress. If you love books about complex characters who never know when to quit, with a good bit of will-they or won’t-they tension, check out her books.

The post How to Write Intense Scenes That Captivate Readers appeared first on WRITERS HELPING WRITERS®.

It’s not easy finding new readers these days.

The secret to drawing just the right readers your way might be finding your niche.

A niche isn’t just your genre—it’s the unique angle, theme, or audience focus that makes your writing distinct. It sets you apart and makes marketing feel natural rather than awkward.

Here’s why having a niche matters and how to get started finding yours.

Why Finding Your Niche is Critical

Many writers I’ve talked to don’t think they need a niche. If you’re selling a lot of books and finding it easy to market, then you probably don’t have to worry about it.

If you’re struggling to market your work, though, and you’re tired of creating “buy my book” posts, a niche might be just what you need.

1. It Helps You Stand Out

Both brick-and-mortar and online bookstores are crowded. Finding your niche helps prevent your voice from getting lost in the shuffle.

Instead of being a fantasy writer, imagine being known for your magical retellings of ancient myths or deeply emotional stories exploring family dynamics. A niche highlights what makes your work unique, making it easier for readers to find and remember you.

2. It Attracts the Right Readers

We all want everyone to like our books, but we know that’s unrealistic. We need to find those unique readers who will be big fans of our stories.

A clear niche helps you focus on readers who are most likely to love your work. The more specific you are, the more likely you will grab the right person’s attention.

For example, if you write cozy mysteries with a culinary twist, you’re more likely to attract readers who adore mysteries and cooking. These readers will enjoy your work and be more likely to recommend it to others.

3. It Simplifies Your Marketing

This may be the best benefit of having a niche.

Marketing books is challenging for writers. Most of us aren’t naturally inclined to be good marketers, and we often feel uncomfortable trying to sell our stuff.

A niche allows us to naturally communicate with readers about what we’re doing. When we talk about our niche, we can focus on what we’re passionate about, and that will be attractive to others interested in the same types of things.

When you know your niche, you always have something to talk about that aligns with your audience’s interests. That means you can stop struggling with what to post about today!

Common Misconceptions About Niches

Myth: A niche limits your creativity.

Truth: A niche actually frees you to focus and grow while still allowing room for future exploration.

Myth: You’ll lose potential readers by narrowing down.

Truth: You’ll gain loyal readers who are genuinely excited about your work and are more likely to support your career.

Myth: Your niche has to be permanent.

Truth: Your niche can evolve as you grow as a writer. Think of it as a foundation you can build on rather than a box to stay inside.

What Happens When You Don’t Have a Niche

When you don’t have a niche, you may fall into some of these traps:

• Scattershot Marketing: Without a clear niche, your promotional efforts may feel inconsistent and fail to resonate with potential readers.
• Lack of Connection: Readers won’t know what to expect from you, making it harder to build a loyal fanbase.
• Missed Opportunities: Writers without a niche often fail to capitalize on the unique aspects of their work that could set them apart.

How to Start Finding Your Niche: 3 Actionable Steps

If you’re convinced that you need a niche, your next question is probably, “How do I find one that works for me?”

Here’s how you can get started.

1. What are you passionate about?

Start by asking yourself:

• What topics or themes do I love exploring in my writing?
• What kinds of stories or ideas excite me the most?
• What feedback have I received about my writing strengths (e.g., dialogue, world-building, character development)?

Write down your answers and look for patterns. For example, if you notice a recurring interest in historical settings and strong female leads, your niche might involve feminist historical fiction. That’s only a start, though. You’ll want to go deeper, so continue with the next set of questions.

2. Define Your Ideal Reader

Think about the type of person who would love your work.

• Who are they? (Consider their age, interests, and values.)
• What do they enjoy in stories? (Genre tropes, themes, or character types.)

For example, you might write for readers who love romance with witty banter and youthful, outcast-type protagonists. The clearer your vision of your audience, the easier it will be to connect with them.

Combine that with what you found above, and you may see that your niche might focus on historical romance with youthful, strong, feminist heroes.

3. Pinpoint What’s Unique About Your Stories

Let’s go a little further:

• Is there something special about your story’s location or setting? (e.g., small-town charm, futuristic cities, or magical kingdoms.)
• What makes your characters stand out? (e.g., age, profession, personality, or cultural background.)
• Do your stories explore recurring themes or ideas? (e.g., redemption, resilience, or found family.)

By identifying these unique elements and combining them with what you found through the other questions above, you can craft a niche that highlights what’s truly distinctive about your work, making it irresistible to the right readers.

Need More Help?

Finding your niche is about aligning your passion and strengths with what readers are searching for. It usually takes time and reflection, but it can be a game-changer for your writing career.

Don’t worry if it doesn’t come together overnight. Your niche will evolve as you grow, and the more you write, the clearer it will become.

Start with the three steps above, and if you’re ready to dive deeper, check out my course, How to Identify Your Niche and Attract the Right Readers, for a proven formula to help you stand out and succeed. For a limited time, WHW readers get 20 percent off the total price with the code, “WHWNiche” at checkout!

Bonus: Free Worksheet

Want to start working on your niche today? Download my free Niche Discovery Worksheet and take the first step toward finding your unique focus!

COLLEEN M. STORY - Resident Writing Coach

Colleen M. Story is a novelist, freelance writer, writing coach, and speaker with over 20 years in the creative writing industry. In addition to writing several award-winning novels, Colleen’s series of popular success guides, Your Writing Matters, Writer Get Noticed! and Overwhelmed Writer Rescue, have all been recognized for their distinction.

Colleen offers personalized coaching plans tailored to meet your needs, and frequently serves as a workshop leader and motivational speaker, where she helps attendees remove mental and emotional blocks and tap into their unique creative powers. Find out more about our RWC team here and connect with Colleen below. Free chapters | Master Writer Mindset

The post How to Find Your Writing Niche and Connect with the Right Readers appeared first on WRITERS HELPING WRITERS®.

While shallow stories can be enjoyable, we often strive to add depth to our storytelling. Deeper stories can “say” more to readers, evoking more emotions and leaving a bigger impression.

We have many options for how we can deepen our stories, from creating layered characters or heartrending emotional journeys to exploring complex dilemmas. But a primary way of adding depth to our story is by using and expanding our story’s themes.

Themes are meant to communicate to readers by provoking them to consider a certain view of the world (such as what to value, believe, hope for, aim for, etc.), so themes inherently provide plenty of opportunities for us to say more to readers. Themes that interact on some level create even more depth, as they take a simplistic belief (“love is powerful”) and turn it into a more purposeful idea (“love is powerful when we learn to trust others”).

Today, let’s look at how we can set up themes that resonate with each other, and thus add up to a deeper story than possible with just a standalone theme.

Themes 101: What Creates a Theme?

First, we need to understand how our story can (and likely will) contain multiple themes. For that, we need to know what creates themes within our story and how the different aspects and elements of our story each contribute to the impression of “what our story is about”:

• Story Themes: What’s the premise of the story? Who’s supposed to win or lose—and why?
• Character Themes: How does the protagonist change over the course of the story? What do they learn?
• Plot Themes: During the plot’s turning points, what do the characters attempt? Do they succeed or fail—and why?
• Choices Themes: What choices are the characters making? Do the results match the Story or Character Themes (choices that agree with the themes should succeed and vice versa)?
• Villain Themes: Are the villain’s beliefs reinforced or disproved by plot events?

How Will Our Story’s Themes Interact?

Obviously, with all those different sources of themes, our story will likely share multiple messages with readers (whether intended or not). Those messages can interact in various ways, as they could:

• conflict with one another,
• each be independent (and essentially ignore each other),
• align despite being unrelated,
• echo similar ideas, or
• resonate with repetition and deeper similarities.

How Can We Make Themes Work Together?

Let’s look at a few options for integrating multiple themes, from techniques that inherently result in the least resonance to those with the most:

Option #1: Multiple Independent Themes with No Connection

As long as the ideas from our story’s various themes don’t undercut each other, there’s nothing “wrong” with unrelated themes.

For example, a story could be about both justice and love. Perhaps the main plot focuses on the protagonist ensuring a killer is brought to justice, while a subplot focuses on the protagonist resolving a relationship issue.

While those themes don’t echo or resonate with each other, they also don’t specifically interfere with each other. They are simply each standalone themes, and for some stories, that approach works fine.

SPECIAL TIP FOR UNCONNECTED THEMES:
Watch Out for Conflicts

Avoid using multiple themes that conflict or interfere with each other, except for cases where an exploration of that conflict is part of the story’s premise.

For example, a theme about “the value of friendship” expressed through the protagonist relying on their friends would struggle to cooperate with a second theme of “the value of rugged independence.” Those themes undermine the messages of each other, so our storytelling would be weaker unless an aspect of the story focused on the protagonist deciding how to prioritize or embody each of those ideals. That exploration of the conflict would create a connection between the themes (pushing it into the Option #2 approach below).

Option #2: Multiple Independent Themes with Some Connection

Sometimes with unrelated themes, we can reference the ideas of one theme in the story elements that explore another theme.

As an example, given that same story idea from Option #1 above with the themes of justice and love, the ideas or lessons learned from one theme could inform the resolution of the story events of the other theme. With our above example, the protagonist’s desire for justice could carry over to be related to the relationship issue, such as if a too-strict adherence to justice prevents the protagonist from being sympathetic with their love interest. Or a lesson learned from the relationship could help the protagonist understand and track the killer, such as through stretching their empathy “muscles.”

While the themes themselves in this Option #2 don’t connect directly, the story elements exploring each theme can overlap. Those overlaps can create echoes adding depth to the story, as the theme’s ideas are revisited in other circumstances, or as they examine the story world from unrelated-but-parallel perspectives.

Note that the examples above illustrate that the only difference between Options #1 and #2 is whether we choose to create overlapping references. In other words, virtually any Option #1 story could become an Option #2 story if we consciously make a few narrative tweaks, such as by having one theme’s ideas mentioned in another theme’s story elements or by having one theme inform the other, and so on.

Option #3: Multiple Somewhat-Related Themes

Some themes can be different-but-similar to other themes, exploring ideas along comparable or related lines.

For example, a story exploring the theme of love could also include themes of related ideas: trust/distrust, friendship, rejection, etc. (all touching on a character’s emotional journey with relationships). To go deeper into that example, a protagonist may experience relationship love in one aspect of the story, but a subplot may explore their pain of a parental rejection, or them learning to accept that rejection, or them learning to appreciate those who do love them despite that rejection.

A few other themes with somewhat-related ideas include:

• survival / learning to trust yourself
• love / learning to trust others
• justice / survival
• justice / oppression

In other words, themes with related (or opposite) ideas can often resonate with each other, as the lessons learned from one theme can often carry over and help in the exploration of the other theme. Or from a reader perspective, what the story says through these somewhat-related themes add together to create a bigger cohesive “message” or perspective, such as “learning to trust yourself can help you survive.”

Option #4: Multiple Explorations of the Same Theme

Some stories allow us to explore a single theme idea from multiple perspectives or circumstances.

For example, a story about trust could explore that theme in various ways, as the plots/subplots and other story elements could all focus on the benefits of learning how to trust. Or a story about the power of love could explore romantic love, friendship love, sibling love, parental love, etc., all in different aspects of the story. Or a story with multiple protagonists could explore the theme of romantic love through each character’s relationship.

Final Thoughts: The Benefits of Connecting Themes

Note that Option #4 is not “better” than Options #2 or #3 for creating connections across the thematic elements of our story, especially as that style won’t work for most stories. The point is to identify our various themes and see what they have to say (if anything) about each other. While echoes and resonances may happen more automatically with Option #4, as long as we ensure that we create or emphasize those resonances with Options #2 or #3, all three of those approaches can work equally well for using thematic echoes to deepen our story.

That said, the unconnected themes of Option #1 can also work for our story just fine, depending on the story we’re trying to tell. However, those unconnected theme ideas are almost like the thematic version of episodic storytelling, as they don’t add together to create a bigger idea. Yet for some stories, that style is a good match for our storytelling goals.

In contrast, themes with some level of connection – whether Option #2, #3, or #4 – help the story feel not only deeper, but more epic, as the echoes and resonances weave on a single, common canvas to give readers the sense of a bigger story with more meaning. With Options #2, #3, and #4, the more we’re able to create those connections between the various themes of our story, the deeper and more layered our story will feel, as our story will “say” more to readers. *smile*

Have you thought about how stories contain multiple themes, and therefore how those themes interact may affect the sense of depth (or “epicness”) of a story? Have you struggled to know how to make themes interact in helpful ways? Does this post give you ideas for working with themes? Do you have any questions about themes or how they can interact?

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

For this reason, we’ve structured the entries of One Stop for Writer’s Theme and Symbolism Thesaurus so you can explore these aspects for your characters and make smart decisions about their thematic statements. View an example here.

JAMI GOLD - Resident Writing Coach

Jami Gold put her talent for making up stuff to good use, such as by winning the 2015 National Readers’ Choice Award in Paranormal Romance for her novel Ironclad Devotion.

To help others reach their creative potential, she’s developed a massive collection of resources for writers. Explore her site to find worksheets—including the popular Romance Beat Sheet with 80,000+ downloads—workshops, and over 1000 posts on her blog about the craft, business, and life of writing. Her site has been named one of the 101 Best Websites for Writers by Writer’s Digest. Find out more about our RWC team here and connect with Jami below.

The post How to Deepen a Story with Thematic Echoes appeared first on WRITERS HELPING WRITERS®.