I truly believe that excellent stories require excellent characters. And with so many books already out there, we’ve got to be able to deliver compelling and realistic characters to set our stories apart. How do we do it? By focusing on the details. And one of the markers that can really boost individuality and memorability for a character is their particular talents or skills.

Every person has something they’re good at. Sometimes it’s a gift they’re born with that comes naturally; for others, it’s a carefully nurtured and honed ability. Many times, a character’s talent says something about who they are: it may tie into their belief system, meet a missing need, honor an influential person in their life, or reveal associated personality traits.

But despite the many talents and skills out there, we tend to see the same ones in books all the time. Now, if your story requires your character have a certain ability, that’s fine; sometimes, we don’t get to choose their special abilities. But if you’ve got more latitude, consider one of the following techniques for coming up with a skill that’s a little more original.

Go for Something Unusual

Sometimes it’s as easy as thinking beyond the obvious options. Instead of being a strong runner or artist, maybe your character could have a talent that’s a little less mainstream, like sleight of hand, lip-reading, or a knack for languages. Do you need them to be an athlete? Consider a sport readers haven’t seen a million times, like cricket, curling, water polo, or parkour. Your skilled forager could be urban rather than rural, fishing goodies out of storm drains or dumpsters. If you’re writing in a genre with fantastical elements, you can get really creative by giving your character an extrasensory ability or something that’s specific to your fantasy or paranormal world. Their skill will obviously have to work within the overall story and the world you’ve created, but you have more choices than you know, so don’t be afraid to branch out and try something new.

Encourage Your Character to Specialize

One way to come up with an unusual ability is to take a popular one and make it more specific. If your character is mechanically inclined, they may be particularly adept with machines from a certain region, time period, or industry. A marksman might specialize in one weapon, and maybe it’s not the typical rifle (Crossbow? Darts? Slingshot?). Your assassin may prefer to work with and have extensive knowledge of poisons. Breathe new life into a ho-hum strength by narrowing the focus.

Give a Common Talent a Twist

It’s not always necessary to reinvent the wheel; often, you can come up with something new by tweaking a popular talent. If musicality is your character’s thing, don’t make her a singer or piano player; maybe she really shines by writing music or crafting certain instruments. A character’s photographic memory may only be reliable for a few hours after events have happened. A person who blows off steam by knitting might use their talent to create blankets for preemies or hats for the homeless. In the latter case, the talent can also hint at personality traits (empathy, selflessness, generosity), hobbies, or other areas of passion. We get more bang for the buck when our characterization and description elements do double duty, so if a character’s skill can also say something about who they are, that’s a bonus for readers.

Pair It with an Unexpected Personality Trait

Many skills are associated with certain traits because they often go together. For instance, people who are good with numbers are usually pretty analytical. But that doesn’t mean the two have to go together. A character with this ability could be highly creative or emotional, instead, and you’d end up with someone unexpected. Likewise, you could have a gifted public speaker who is painfully shy, stumbling their way through one-on-one conversations. This trick can be especially helpful when your story requires a common talent; get creative with your character’s traits, instead, and you can come up with something new that will pique readers’ interests.

In conclusion, an area of skill is a great way to individualize a character—but remember that it can’t be random. There are reasons people embrace and nurture certain talents. They come from somewhere: a natural aptitude, a shared passion with a loved one, the desire for approval or acceptance, etc. So, a special ability shouldn’t be chosen at random. Always know the why behind it. Once you’ve ensured it ties naturally into their overall character profile, use these suggestions to take a character’s talent or skill to the next level.   

Would you like help
finding the perfect
talents and skills
for your characters?

Check out the Talents & Skills Thesaurus
at One Stop for Writers!

BECCA PUGLISI

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online library created to help writers elevate their storytelling.

The post How to Choose the Perfect Talent for Your Character appeared first on WRITERS HELPING WRITERS®.

Has an editor or critique partner said, “Your character is flat” when offering feedback on your story? Or perhaps they worded it another way: “Your protagonist didn’t grab me,” or “This character needs more depth.”

However it’s phrased, being told we’ve missed the mark on a character is a bit of a gut punch. But it’s okay. Flat characters, like anything else, can be fixed.  

A flat character is one-dimensional, lacking the depth and human complexity required to feel true to life. Not only do they seem unrealistic, they also fail to capture a reader’s curiosity or interest.

Flat characters can be written as such on purpose: a surly shopkeeper unwilling to bargain on price or the nosy neighbor trying to unearth your protagonist’s secrets. These types of characters have a small role or specific function (comic relief, mentorship, etc.) and don’t need a lot of depth.

But if an important character is seen as
shallow or boring…we have a big problem.

Characters are the heart of a story. For readers to care about them, they must feel like real people. Distinct personalities, belief systems, emotions, and histories shape them and their behavior. Personal needs, desires, struggles, and worldviews give them depth. All this, and a capacity for growth, is the magic recipe that will draw a reader in. 

What Causes a Flat Character?

Characters can feel underdeveloped for many reasons, but it often comes down to one thing: something essential about them has been overlooked. Some common offenders:

Shallow Backstory

A character’s past influences who they become, how they behave, and how they view the world around them. If a character’s backstory is missing, weak, or generic, their behavior may lack credibility or be inconsistent.

The Cure: Go deeper. Explore their past, including their emotional wounds, experiences, life lessons, fears, and insecurities.

Tools to Fix Backstory Issues: The Emotional Wound Thesaurus and One Stop for Writers’ Character Builder Tool.

A Too-Basic Personality

A character’s personality should contain specific traits that emerge because of their history/upbringing, the people who influenced them, and formative their life experiences, both good and bad. When writers gloss over the building out of a unique personality, they tend to give character ‘typical’ traits and so they come across as generic and unrealistic.

The Cure: People are complex, and characters will be, too. Spend time thinking about who your character is and why, and the traits most likely to appear in their personality. Be sure to also understand how negative experiences lead to personality flaws (and the behaviors and tendencies that go with them). Each character should have a mix of traits as no one is ever all good or bad.  

Tools to Fix Personality Issues: The Positive Trait Thesaurus, The Negative Trait Thesaurus, and One Stop for Writers’ Character Builder Tool.

Over-Reliance on Character Tropes or Stereotypes

Due to their familiarity, using character tropes (e.g., the villain, reluctant hero, or absent-minded friend) can fast-track the reader’s understanding of a character’s role. But leaning on one too hard turns them into a stereotype or cliché, which is a huge turnoff.

The Cure: Use any trope generalizations as a starting point only. Do the work and make each character someone fresh. Readers loved to be surprised by interesting and meaningful qualities that elevate the character in ways they didn’t expect.

Tools to Help Fix Overused Character Types: The Character Trope and Type Thesaurus or One Stop for Writers’ Character Builder Tool.

Tunnel Vision

Characters who are only about one thing—the mission or goal, proving loyalty, success, etc.—come across as one-dimensional and unrealistic. For readers to connect with characters, they need to have relatable life layers. Relationships and social interactions. Dreams and desires. Responsibilities. Quirks, interests, problems.

The Cure: Real people can get obsessive about certain things, but they have other things going on. To give your character a better balance, imagine their entire life, not just the plot of your story. Explore how your character’s professional life or obsessions may collide with their personal life.

Tools to Help You Create Dynamic Characters: One Stop for Writers’ Character Builder Tool and The Occupation Thesaurus.

A Lack of Drive

In the real world, it can take time for us to know what we want, but in fiction, characters must be motivated and act. If your protagonist is wishy-washy about what they want or can’t settle on a goal, they’ll come off as weak.

The Cure: Characters who lack urgency when it comes to choosing or achieving a goal need to be put in the hot seat. Raise the stakes. Add conflict and tension. Make it clear that doing nothing leads only to pain and consequences. Additionally, know your character inside and out (#1) because past trauma, fears, and negative interactions will point you to their soft spots and unmet needs.

Tools to Fix Unmotivated Characters: The Emotional Wound Thesaurus, The Conflict Thesaurus Volume 1, Volume 2, and The Emotion Amplifier Thesaurus.

Distanced Emotions

Showing a character’s emotion, even when they’re trying to hide what they feel, is one of the most important tasks a writer has. Emotions are central to the human experience, and readers expect a front-row seat to whatever the character is feeling. When someone is closed off or seems imperviable to vulnerability, readers find it unrealistic.

The Cure: Become an expert at showing your character’s emotions, even when they try to hide what they feel from others. Readers must always be in the loop to empathize and feel invested. Understand how each individual will express emotion in their own way based on their personality, comfort zone, and backstory.

Tools to Help You Show Authentic Character Emotion: The Emotion Thesaurus, The Emotion Amplifier Thesaurus, and The Emotional Wound Thesaurus.

Inadequate Internal Conflict

A well-developed character should have inner struggles, doubts, conflicting needs, fears, and insecurities, all of which make certain actions and decisions agonizing for them. If a writer doesn’t know a character well enough, their struggles will seem generic and readers will feel disconnected from their struggles.

The Cure: Understand your character inside and out, especially backstory and unresolved wounds that haunt them (#1). Know their life, their stresses, their pain, and how loyalty, expectations, or beliefs may tear at them so you can show powerful, meaningful inner conflict. Use psychology in fiction to show inner turmoil in ways readers recognize as they’ve experienced the same tendencies themselves.  

Tools to Help You Show Internal Conflict and Psychological Processes: The Emotional Wound Thesaurus, The Conflict Thesaurus, Volume 1, and The Emotion Amplifier Thesaurus.

Little to No Growth or Change  

In any story, characters will face challenges—often life-changing ones. Even in a flat arc, where the protagonist remains steadfast in their beliefs, they should still learn, adapt, and navigate obstacles in a way that feels authentic. Primary characters who respond to every problem the same way, repeat mistakes without growth, or remain rigid in their viewpoints can feel unrealistic and unconvincing to readers.

The Cure: All roads lead back to characterization. Go deeper. Get to know your character, and why they think, act, and behave as they do. Choose specific conflict scenarios that force them to confront misconceptions and fears that lead to change and growth.

Tools to Help You Write About Change and Growth: For growth journeys and the path of change, try The Emotional Wound Thesaurus. The Conflict Thesaurus Volumes 1 and Volume 2 are packed with help to craft powerful conflict that will strengthen and support character arc. The Character Builder Tool will take all your character-building information and create a character arc blueprint for you.

You can fix a flat character. It’s worth the effort because once readers bind themselves emotionally to a character, they’re hooked. If you’re lucky, they’ll enjoy your characters so much they’ll seek out your next book, too!

READ NEXT: How to Write a Protagonist with True Depth

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post How to Avoid Flat Characters in Your Story appeared first on WRITERS HELPING WRITERS®.

With Valentine’s Day around the corner, Becca and I want to ensure you have a bigger budget for any I-Love-You gifts, so for the next two weeks, you can snag a One Stop for Writers subscription at 25% off with the code VALENTINE25.

We love helping writers bring their strongest, most immersive fiction to the page. One Stop for Writers offers the best of our descriptive thesauruses, guidance, tips, and tools.

What Will You Find at One Stop for Writers?

CHARACTER BUILDER
CHARACTER ARC BLUEPRINT
TIMELINE TOOL
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IDEA GENERATOR
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THE STORYTELLER’S ROADMAP
SHOW-DON’T-TELL THESAURUS DATABASE
& MORE

Make your description shine in every scene by using our 18 signature descriptive thesaurus lists:

Save 25% Off All Plans

If it would help you to have a powerful story support tool helping you plan, write, and revise, sign up & become part of the One Stop family. Don’t forget to use this code to save 25%:

VALENTINE25

To redeem this 25% discount:

1. Sign up or Sign in
2. Go to Account >> My Subscription and choose your plan
3. Add & activate the VALENTINE25 code in the box provided. (You’ll see this one-time discount apply onscreen.)
4. Enter your payment details, click the terms box, & hit subscribe!

Already a subscriber? Just add/activate this code on the My Subscription page and it will apply the discount to your next invoice. Woot!

Sale ends Feb 20th, 2025.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Be Our Valentine: Save 25% at One Stop for Writers® 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.

The post Book Structure for Disorganized Writers 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®.

Your Characters’ Skills

Memorable characters often have skills or talents that set them apart … but these abilities need to serve a purpose in the story.

So, how do we know whether we are writing a character with a completely random skill, or one that will make them three-dimensional and compelling?

Why Skills Are Essential to Characterization

In the 2020s, nuanced and layered characterization is a non-negotiable. This means a character’s skills contribute to their depth, relatability and memorability.

As an example, for the past few decades female leads are frequently exceptional archers, especially in movies and TV. Characters such as Katniss Everdeen (The Hunger Games), Susan Pevensie (The Lion, The Witch & The Wardrobe) and Kate Bishop (Marvel’s Hawkeye) all demonstrate their exceptional skills in this way.

The best stories link a character’s abilities to the plot, making their skills feel integral and part of that storyworld:

• Katniss Everdeen is an archer out of necessity. She hunts for food for her family, plus she sells carcasses and skins as well. This is not allowed, which means she is risking her freedom to do it. This skill will be integral when she is in the arena.  
• Susan Pevensie arrives in the fantasy world of Narnia. Here, there is little technology and modern equipment or weapons, such as guns. This means a bow and arrow is an obvious choice to help defend herself and her friends. She is also known for being a ‘straight arrow’, so it is good for her characterization, too. 
• Kate Bishop is the protegé of Clint Barton, AKA Hawkeye from The Avengers. His story revolves around him being an exceptional archer himself. He will mentor Kate, the very first female Hawkeye in the comics so that she too, takes the archer crown. 

These characters and their plotting arcs demonstrate how character and plotting are inextricably linked, which means their skills are too. The last thing we want to do is make such a skillset feel random or pointless.

Linking Skills to Plot

Plot and characterization should be linked. This is because a main character has a need, goal or want. In going for that need, goal or want, that character will go through many different events. That’s plot and character, interlinked.

In turn, this means a character’s abilities should help advance the story. Whilst stories can technically be anything, this can generally happen three ways:

i) Solving Problems

A character’s skillset should help them deal with whatever the plot throws their way. In crime fiction, a police officer or detective – like Sherlock Holmes or Miss Marple – will break down all the clues. This character will do this according to their experiences, training and innate abilities.

ii) Conflict Creation

In contrast, losing skills can create obstacles or tension for a character. Marvel’s Doctor Strange loses his hands in a car crash, so learns the mystic arts instead. By facing adversity like this, Doctor Strange becomes a hero. We can do this lots of different ways. To illustrate, in a reimagination of his story, the What If? animated TV series asked: What If Doctor Strange Lost His Heart Instead of His Hands?

iii) Symbolic Resonance

In the blockbuster movie Gravity, Doctor Ryan Stone must deal with extreme adversity in space to get back to Earth. As a trained astronaut, she has many skills to help her do this. She must fight space debris, fires, lack of oxygen, cold and lack of power.

Ryan must also fight herself, because she’s not sure whether she wants to survive. All her colleagues are dead, plus her daughter died back on Earth. Through the narrative, she decides she WILL survive and get back to earth … or die trying.

Whilst most of us will never go into space, there’s a strong symbolic resonance for the audience here. All of us will have faced adversity of some kind in our lives. Seeing Ryan fight so hard, using her skills to get out of trouble, can be very inspiring for those viewers going through hard times themselves.

Making Skills Believable

Authenticity is also super-important to modern readers. This means research is key, especially when it comes to specialized skills. It’s always obvious when a writer does not understand what they are writing about!

Many characters have to gain skills as the story progresses. This is particularly obvious in transformative arcs like The Hero’s Journey, where a character has to do ‘zero to hero’. The protagonist must train and learn how to wield their power – supernatural or literal – against a villain AKA ‘The Big Bad’.

But sometimes ‘everyday’ skills have to be under the spotlight, too. I don’t have a driving license and haven’t had a formal driving lesson in more than twenty years. However, characters in my novels frequently drive (because most adults do). This means I always research where everything is in a car and remind myself how it works.

In writing crime fiction, my characters may break into and/or steal cars as well. In the case of one novel, one character had to do this with a broken arm. I am a big fan of what I call ‘deep research’, so I broke into my husband’s car using only one hand to see if it worked. It did! (Of course, this didn’t stop one reviewer claiming this was ‘impossible’! But you can’t win ’em all, plus doing that research means peace of mind as I know it IS possible).

Last Points

Whatever it is, a character’s skillset needs to feel integral, authentic and real. We can achieve this by linking their skills to the plot and ensuring we do our research. Next time you write, ask yourself: does your character’s skill truly serve your story?

Good Luck!

Would you like to learn more about adding talents and skills to your stories?

Hop over to One Stop for Writers to check out the Talents & Skills Thesaurus (plus tons of other helpful description collections and writing resources).

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 Three Ways a Talent or Skill Can Set Your Character Apart From the Rest appeared first on WRITERS HELPING WRITERS®.

It’s time for our favorite round-up: Black Friday Deals for Writers! We love finding ways to save you money because we all need to know how to stretch a dollar in this industry.

Investing in the right tools can help with success, so hopefully you can take advantage of some of these current and upcoming deals (including a sweet little discount from us).

Writing, Editing, Publishing & Marketing Deals

Publisher Rocket ($30 off Publisher Rocket + a Free Course)

Your book deserves to be read! Join other authors using Publisher Rocket to sell more books by optimizing keywords, categories, and ad campaigns. This deal runs from November 28th to December 3rd.

ProWritingAid Annual & Lifetime Subscriptions (Save 50%)

ProWritingAid is the essential toolkit for storytellers, helping you to craft your story and bring it to life. Real-time feedback and in-depth analysis will show you how to strengthen your story, give your characters depth, add impetus to your plot and so much more. This deal runs from Nov 18 – Dec 3rd.

Fictionary Storyteller (or Bundled with Storyteller Live) 40% off

Fictionary’s StoryTeller Software and Live Courses offer a comprehensive process to improve story structure, pacing, character development, and settings. StoryTeller Software: Visualize your plot, identify key story arc scenes, and ensure a satisfying resolution. StoryTeller Premium with Fictionary Live!: Enjoy unlimited writing courses, live instruction, weekly editing tasks, and personalized feedback. Save 40% on subscriptions between Nov 18- Dec 12th.

Novlr Writing Software (30% off any subscription)

Novlr is the first writer-owned creative writing workspace that lets you focus on what’s most important; your words. The smart design is distraction-free, writing streaks and goals keep you motivated, the advanced analytics provide insights into your best writing times, and automatic cloud syncing keeps your work safe. Ready to be more productive? Use the code BLACKFRIDAY24 to save on all subscriptions until December 31st.

Write | Publish | Sell (40% off Instagram for Authors Course)

​Instagram for Authors is a power-packed course providing authors with the tools they need to successfully use Instagram to market and grow their author platforms. Save 40% by using the code 40OFFIGBF at checkout until December 2nd.

K.M.Weiland’s Products for Writers (Save 25%)

Save 25% off K.M. Weiland’s popular writing resources, including her books on plot, character, and story structure. Take it a step further with interactive workbooks (including the Outlining Your Novel Workbook software), and the Creating Character Arcs and the Shadow Archetypes courses. Her Archetypal Character Guided Meditations can also help you dive into your characters’ minds and dream up new story ideas. Deal valid November 18th – December 2nd.

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The fundamental tool for your author business, BookFunnel delivers reader magnets, delivers direct sales ebooks & audiobooks, and helps authors reach new customers through group promos and author swaps. Take advantage of our best-in-the-industry support and take $50 off an annual subscription to our Mid-List Author and Bestseller Author plans from November 25th to December 2nd.

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Getcovers (25% off cover design packages)

On a tight budget for a book launch? Getcovers is a book cover design company that provides book cover design packages for a shockingly low price – just $10-$35, depending on the package you choose. Use the code BLACKDEALS at checkout from November 25th to December 2nd.

Book Brush Social Media Management (2 bonus months with a 6-month plan)

Your schedule is jam-packed and Book Brush services can help lighten your load with your choice of two all-inclusive social media plans: Meta Plan: We’ll manage your Instagram and Facebook, creating eye-catching graphics and reels to build a strong, branded presence in the author niche and keep your fans engaged. Video Plan: We’ll produce 15 custom reels each month for your TikTok and YouTube channels, tailored to capture your unique style and audience. Get this 8 for 6 deal by booking a consultation call by Dec 6th.

Shut Up and Write the Book by Jenna Moreci
(.99 ebook sale at Amazon)

Shut Up and Write the Book is a step-by-step guide to crafting a novel from your first spark of an idea to the final edit. Enjoy bestselling author Jenna Moreci’s no-nonsense guidance and saucy sarcasm as she walks you through every step of the writing process. Grab it on Amazon for $.99 from November 27th to December 2nd. (affiliate link)

Novel Factory Software (Save 30%)

The Novel Factory app is designed to help writers turn their ideas into fully developed, captivating novels. With powerful planning tools, in-app guidance, and a simple, intuitive design, it’s everything you need to bring your story to life—from first draft to final edit. Save 30% on an annual plan with code BLACKRIDAY2024 between November 18 to December 2nd.

Last but not least, a story support tool that helps you write friction that stands out from the rest:

One Stop for Writers 6-Month Plan (Save 35%)

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Your One Stop Toolkit includes:

SHOW-DON’T-TELL DESCRIPTION DATABASE (Containing 18 Thesauruses)
CHARACTER BUILDER
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We hope you find a few things on this list that help you on your journey. Happy writing & saving!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post 2024 Black Friday Deals for Writers appeared first on WRITERS HELPING WRITERS®.

Writers come in a variety pack of processes. The most common types – regardless of genre – are pantsers, plotters, and plantsers. We know these terms well, right?

• Pantsers sit down at the keyboard and see what falls out of their fingertips for a while to figure out how the story will take shape.
• Plotters lay everything out in advance, so they have a guide for their story.
• Those rebel Plantsters do a little bit of planning – maybe the inciting incident and the turning points, possibly the All Is Lost moment – but not too much before they write away.

And Then There Are Story Quilters Like Me

These storytellers might do one or all of the three methods above, but probably not in the same way. Story Quilters are writers who divide books into individual scenes that they stitch together later into a cohesive story.

If I want this brain of mine to make continual progress, I must take a story down to a bite-sized chunk of writing. I am not alone in this.

Some writers like Diana Gabaldon, Lorna Landvik, and Janet Fitch (and little old me!) don’t see their stories from beginning to end. Instead, we see glimpses and glimmers that we write down until the whole fabric of the story becomes clear. Janet Fitch originally wrote White Oleander as a series of short stories. Lorna Landvik (Angry Housewives Eating BonBons) has been known to string a clothesline down her hallway during the editing phase, with every scene on an index card. She walks the hall, shuffling the cards around, until the story feels right to her.

The idea of doing it this way gives most of my fellow scriveners hives but hear me out. I have good reasons for this.

Sometimes a Book Just Feels Way Too Big

For some writers, the idea of an entire novel can paralyze you and send your muse back under the covers for the day.

Maybe it’s an ADD thing, or our executive function is too unreliable for a project as big as a book. Maybe focus is a monumental achievement some days. Maybe you are sandwiching writing in between all the other things you must do and you only have a tiny slice of time.

All I know is that I tried a gajillion “linear” beginning-to-end ways in my quest to get a book off the ground and finished and none of them worked. I could start a story, but I couldn’t seem to keep my focus and finish the darn thing. I tried many many fancy things: Fast Draft, the W-Plot, the Snowflake Method. They all helped me be a better writer, but none of them got me to “The End.”  

The only thing I’ve found that can get this brain to the end of a story is to embrace my inner scene writer and let her lead the way.

Let’s get this scene-writing ball rolling with some definitions.

What Is a Scene?

I love how Margaret Dilloway describes it in this post:

Each scene is an event that changes the character’s situation in a meaningful way.

• Every scene needs something to happen.
• Each scene produces a change achieved through conflict.
• Each scene shows how the character responds under pressure.

The hard part: If the scene doesn’t meet these criteria, take it out.

Further reading: C.S. Lakin did a post here at WHW with 10+ questions to consider when crafting a scene. Awesome stuff.

How Long Is a Scene?

Scene length varies depending on a lot of factors, including the genre, pacing preferences for the scene, and the author’s personal style. While thrillers and action-adventure stories often have shorter, snappier scenes—say, in the 1,000-word range—the word count typically goes up in literary fiction, historical fiction, and fantasy stories. So let’s take an average and say our scenes will run around 2,000 words long.

Here’s some math on this (knowing the numbers will change for longer scenes):

If each page is 250 words, that maps out to roughly 4-20 pages per scene.

• Doing the math for novel-length fiction, you will end up with 50-60 scenes per novel if you keep your scenes at about 2,000 words.

Keep in mind that just as white space draws the eye down the page, shorter scenes tend to keep your readers turning pages. “Only four or five more pages? I can keep reading…”

We’ve all done that. So if shorter scenes work for your story, they can also have the added benefit of encouraging that page-turning effect for readers.  

What Does It Mean to Be a “Scene Writer?” (Aka Story Quilter)

As I mentioned above, all those cool linear “big picture” methods I mentioned above aren’t small enough for me to stay focused. My busy brain says, “Ooooh…GLITTER!” And I’m off doing something else, instead of writing those 50-ish scenes that make up a novel-length story.

It was Diana Gabaldon who shined light on scene-writing as a possible writing process. I read some articles about Gabaldon and how she wrote the Outlander series.

In her own words:

Anyway, yes; I write just about everything piecemeal, including nonfiction articles, book reviews and essays. It’s effective because it works; I’m never held up stewing about What Comes Next— I don’t care what comes next, I just care about something I can see happening. The order of the happening has a logic to it (often, more than one), and that will become clear to me as I work.

When I read about Gabaldon, a light went on in my head. I finally accepted the truth: I’m a scene writer.

The scenes don’t even have to be in order, they just have to be finite. I need to be able to open a writing program, create a document, and save it in the correct folder. I don’t have to see anything except that scene during the writing session.

How Can YOU Use Scene Writing to Your Advantage?

Scene writing isn’t just a way of life for Story Quilters, it’s a powerful weapon in any writer’s creative arsenal.

One of my writing friends, Laura Drake, is a linear writer who gets stuck in the middle of every book. As a pantser, she comes to that terrible predictable place, that muggy limbo land, where her story is going nowhere and she doesn’t know what to do. She wonders if she should quit writing the story altogether. Every. Single. Book.

When she calls me from Limbo Land, you already know what I tell her to do: write a throwaway scene.

Examples of out-of-order scenes:

• An interview with your main character.
• A character engaging in a hobby you make up on the spot.
• A quick trip through their closet, car trunk, or underwear drawer.
• Figure out their favorite song, and why it’s their favorite.
• Head over to One Stop for Writers and use some of those cool tools. (Character Builder fun, anyone?)

The point of this exercise is to invite your muse to take you to the next place in your story. And even if you don’t use the scene in your book, you can use it as a marketing tool. Readers adore Bonus Scenes.

Final Thought

Everyone must learn their own process and lean into it to bring their stories into being. For some, that learning journey is the hardest part of being a writer.

You might be part of the triple threat writing process variety pack I mentioned at the top of this post, or a quirky Quilter like me, but I hope you experiment until you discover what gets you to “The End.” Your process doesn’t have to look like anyone else’s.

Whether you’re a Pantser, Plotter, Plantser, or Story Quilter, every single one of us has to embrace our stories one scene at a time.

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.

The post Writing a Novel, Scene by Scene appeared first on WRITERS HELPING WRITERS®.

By Savannah Cordova

Affiliate links below

It’s that time of year again: the leaves are changing color, the wind is getting chillier, and pumpkins are decorating doorsteps. And given that today is Halloween, there’s no better time to pen a spooky story of your own — even (perhaps especially!) if you’ve never done it before.

True, horror stories might not be everyone’s cup of tea… but as they say, variety is the spice of life, and attempting to write horror can be incredibly valuable for writers looking to refine their abilities. So light a candle and sharpen your quill — here are three essential reasons why every writer should try their hand at writing a horror story.

Horror Teaches You to Build Great Tension

Knowing how to properly build tension is a must for any writer, no matter your genre of choice. At its core, creating narrative tension requires you to understand your reader’s expectations; they may know that something bad is coming, but it’s your job to make them wonder when, where, and how. This is no easy feat — in order to properly scare your readers, you’ll need a strong understanding of how to methodically build anticipation, gradually raising your story’s stakes until its dramatic crescendo.

If you’re searching for inspiration, look no further than Edgar Allan Poe’s classic The Tell-Tale Heart. In this tension-building masterclass, Poe immediately puts the reader on edge by having the narrator insist on his sanity, despite clear evidence to the contrary. The anticipation builds as the narrator patiently (and then not-so-patiently) watches the old man — the sound of the man’s heartbeat acting as an auditory indicator of the ballooning tension — and the erratic commentary creates a pervasive sense of unease throughout the story.

Your tale may not be as twisted as The Tell-Tale Heart, but there’s still plenty to be learned from Poe’s sinister style. Tension comes in many forms, depending on the kind of climax you’re leading up to. For example, when writing romance, you might draw out the “will-they-won’t-they” moments between your characters to hook your readers. Much like how a horror writer will add a creak in the floorboards or a bump in the night to put readers on edge, romance authors can sprinkle in small conflicts or misunderstandings to create emotional investment and keep readers guessing.

Similarly, if you’re writing sci-fi or speculative fiction, you might not fully explain certain parts of your worldbuilding in order to increase the tension — i.e., readers might know that a certain element exists in your world, but they don’t know why until the critical moment. These kinds of unanswered questions are great for engaging readers in all genres, but it may be particularly useful to practice posing them in horror, wherein the stakes are often high.

You Can Practice Weaving Internal and External Conflicts

Horror also offers a whole host of classically creepy phenomena you can draw on to spook your readers — silence, darkness, isolation, etc. These elements are all effective on their own, but you can elevate the fear factor and introduce some characterization by linking your character’s internal conflicts and vulnerabilities with the external horrors they’re exposed to. This will make things all the more terrifying for the character, and far more gripping for the reader.

The characterization of Rosemary Woodhouse, from Ira Levin’s Rosemary’s Baby, is an excellent example of this tactic in action. In the novel, Rosemary becomes pregnant shortly after moving into a new apartment with her husband. Rosemary’s internal struggles — her longing for motherhood, human connection, and social acceptance — become a source of vulnerability that the novel’s antagonists are able to take advantage of, as her greatest fears slowly become her nightmarish reality.

On paper, Rosemary’s story would still work even with less insight into her character; the horrors she faces are unnerving enough to disturb your average reader. However, it’s the intersection of those external terrors and her deepest internal fears that makes her experience so profoundly terrifying — and makes Levin’s novel such a paragon of the horror genre.

Mastering this technique will add another notch to your own writing toolbelt. Every story has some kind of conflict, and understanding how to intertwine that conflict with something personal for your protagonist is sure to level up your characterizations (again, in horror and beyond).

It Tests Your Ability to Write Believable Dialogue

Writing dialogue is one of the trickiest things for any author to master. Readers will be able to recognize when dialogue sounds fake or unrealistic, so understanding how to make your characters sound authentic is essential for immersion.

And writing a horror story puts this skill to the ultimate test — when you’re trying to construct a life-or-death scenario, the dialogue needs to feel authentic in order to keep readers engaged. After all, nothing makes a terrifying scene fall flat more than forced or unnatural dialogue!

In order to sell your readers on the stakes of the scenario at hand, you need to understand how people really communicate when they’re under a lot of stress. When characters are in danger, they aren’t going to wax poetic or remain highly logical. Instead, their dialogue needs to be raw, emotional, even incoherent at times. Still, you need to be careful not to go too far in the other direction, as overly-dramatic dialogue can also break immersion. Writing horror forces you to walk that tightrope between authentic panic and forced dramatics.

The ability to write realistic dialogue in high-stress, emotionally-charged situations will help build your characters’ authenticity — regardless of genre. For instance, if you’re a mystery writer, you can use your experience in horror to craft a gripping interrogation scene between detective and suspect. The key principles remain the same: understanding how people actually speak when emotions are running high, rather than how we imagine they might speak.

As you can see, horror isn’t all about crafting scares — it’s an excellent way to brush up on some fundamental writing skills that you can use across all genres. So, embrace the darkness and face your writing fears! You might just find that your writing becomes a little more thrilling along the way.

Looking for the perfect setting for your dark fiction scene?
Along with hundreds of other locations, you can find lists of sensory description for a Haunted House, Graveyard, Ghost Town, Mausoleum, Medieval Castle, Abandoned Mine + more inside our Setting Description Database at One Stop for Writers.

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories. You can read more of her professional work on Litreactor and the Reedsy blog.

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The post Why Every Writer Should Try Their Hand at a Horror Story appeared first on WRITERS HELPING WRITERS®.

I think we can all agree that characters are the heart of a novel. We build worlds around our story’s cast, spend dozens of hours plundering their psyche to understand needs, motivations, and beliefs, and even envision complete backstories. Then, of course, we go on to produce tens of thousands of words about their vulnerabilities and strengths as they rise, fall, and rise again on the path to their goal. We also revise, dedicating yet more hours to ensure readers understand and care about our characters as much as do.

Yes, it’s fair to say we work hard to make sure our characters live and breathe on the page. But here’s the irony…in all that effort, many of us overlook or underutilize another important area of character description: their physical appearance.

It’s true, a character’s features and physicality can be hard to convey. We may not have a strong mental picture of them ourselves, or if we do, how to sum it all up economically. After all, at the start of the story when we need to provide details on a character’s appearance, we’re also juggling everything else we must show like the action, setting, circumstances, plus the character’s motivation, underlying problem, emotion, and so on.

So we find ourselves asking, does the character’s looks really matter? Isn’t it what’s inside that counts?

Yes…and no.

Obviously, we want to start a story with action, pulling readers in by showing what a character is doing and why. But including some physical description is also necessary, too. Without it, readers may fail to create a mental image and struggle to connect with the character.

Avoiding physical description and leaving it up to the reader will also create a minefield for the writer because if they mention a physical detail (like a character’s pink hair) later on in the story and it clashes with the image the reader has created on their own, well, it breaks the storytelling spell. Worse, the reader loses confidence in the author’s skills and may be unable to fully suspend disbelief from that point on.

The Goldilocks Approach

We all remember that break-and-enter deviant, Goldilocks, right? Well, to take a page from her book, just like avoiding porridge too hot or too cold, we want to avoid both descriptive sparseness and information overload. Dumps of description of any kind hurt the pace and cause readers to skim, so we should make it our goal to offer enough to point readers in the right direction and then drip in more as needed. The rest they can fill in themselves.

Even more important than quantity is the quality, however. If we choose the right details, we open a gateway to great characterization and hook readers at the same time.

Choose Details that Do More

To avoid disrupting the pace it can be tempting to just give a quick overview of a character’s general features and move on, but unless the character is unimportant to the story, this wastes a valuable opportunity to show-not-tell. Whenever description is needed, we want to think about how to ‘spend’ our word currency in the best way possible. Even with physical description, we want to choose details that will push the story forward, reveal characterization, and show readers what’s hidden.

Try using your character’s appearance to allude to…

Personality

Is your heroine the type to wear bright yellow to a funeral? Does your groom show up to his wedding in a tux t-shirt and flip-flops? Is it a toss-up between which is tighter – the pearls strangling Aunt Edna’s wattle or her disapproving glare as a neighbor’s children run amok? Written with purpose, details about your character’s clothes can say much about their personality and attitude, priming readers to see them in the exact light you want them to.

Occupations and Interests

Does your protagonist have the perma-stained grease hands of a mechanic or the meticulously clean ones of a model or physician? Is there a smudge of paint above one eyebrow or a clod of potter’s clay in his hair? Small details can hint at what a character does for a living and the passions they may have.

Perceptions and Self-perceptions

Does the hero fixate on his beard so much he carries a comb and smoothing gel with him everywhere he goes? Does his socially oblivious sidekick have a habit of scratching his leg with too-long toenails at the beach, grossing everyone out? Does your heroine ask friends what they plan to wear before choosing herself or does she throw on whatever is clean? The time and attention a character gives to their appearance can show how comfortable they are in their own skin and whether they care about the opinions of others.

Health

Is your character disconcertingly underweight, does she have a bluish tinge to her lips, or is she always hiding her hands so others don’t see the tremors? Does she carry an inhaler or epi pen? A well-placed detail about her appearance can hint at an underlying condition, hereditary health issue, or lay the ground for an unfortunate diagnosis that will upend the character’s life.

Hidden Lineage

Does your character have a unique eye color, rare skin condition, or sun sensitivity? A physical peculiarity can help you set the stage to reveal your character is the long-lost descendant of a royal family, lead them to finding their birth parent, or shock them with the discovery that they belong to a race of magic users believed to have died out long ago.

Pedigree, Station, Education, and Wealth

Rather than a hidden lineage, your character’s appearance can show-not-tell their importance within society. Wearing colors only a sect of assassins is sanctioned to use, the quality of their garments or adornments, observing the latest fashion, or showing a character’s bearing, posture, and manners can allude to their upbringing, economic status, or caste.

Secrets

Whether it’s a dried blood drop on the face of their watch, a strange tattoo behind their ear, or the fact they are carrying a concealed weapon at a bridal shower, details that are mysterious or out of place show readers there’s more to a character than meets the eye.

Backstory Wounds

Does your character have an odd bite mark on one shoulder, a chemical burn scar, a missing finger, or they walk with a limp? You can be sure that if it’s important enough to describe, readers will be intrigued about what happened that led to that peculiarity and want to read on to find out. 

Talents and Skills

Does your villainess have throwing knives strapped to her sleeves, chest, and back? Or does your hacker protagonist always carry a backpack full of electronic gadgets and a laptop? If a character’s skills require certain supplies, tech, weapons, or tools, it’s likely they will keep them on hand, a neon sign to readers that they have a special talent.

Emotional Mindset and Comfort Zone

Body language, mannerisms, posture, and the buffer of space the character keeps around them (or not) will all help readers understand what a character may be feeling and how comfortable they are in a location. A character who feels utterly uncomfortable may be pulling at their clothes, sweating, and choosing dark corners over conversation. A character standing tense and watchful, ready to grab the knife at his hip is clearly expecting danger. Someone who loves to be the center of attention will be doing exactly that, confidently working the crowd, smiling and telling jokes, making people feel welcome and basking in the attention.

Motivation

A character who tests the release button on his poison ring before heading out to shake hands with his enemy makes it clear what his goal is, just as a grieving widow will by practicing tearing up in the mirror so she’s ready for her police interview to go over where she was when her husband was mugged and killed. Mission-oriented people dress, behave, and act in alignment with their goal, so describing them in the moment will focus the reader’s attention right where you want it to go.

This is by no means a complete list, but it hopefully gets the idea ball rolling. So, the next time you need to describe a character’s physical features, use it to reveal something extra that activates a reader’s need-to-know mindset, hooking them to read on.

Do you find it easy to write physical description, or is it a bit of a struggle? Let me know in the comments!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post How to Hook Readers with Character Descriptions appeared first on WRITERS HELPING WRITERS®.

No matter what genre you write, your characters–and their relationships–are the heart of a story. In fact, relationships help us explore our characters’ most meaningful layers while providing readers with the context they need to understand why each character thinks and acts the way they do.

Think about how we all behave in the real world. This looks a bit different depending on who is around, right? It’s no different for a character. Their decisions and choices will be shaped by the type of bond they have with someone. Is the relationship close, or not? Healthy or dysfunctional? Do they play a positive role (a friend, ally, or supporter) or does it run along the lines of something darker, like a rival, enemy, or detractor?

A character’s best and worst qualities may be on display at different times in a relationship, but even better, the type of connection your character has to someone will allow you to seed juicy, show-not-tell clues in your story about their motivations, insecurities, fears, needs, and vulnerabilities.

Relationships come in all shapes and sizes, so Becca and I have built a thesaurus of different common types so you can write them with authority. You can find it at One Stop for Writers, as part of our enormous show-don’t-tell THESAURUS.

The Relationship Thesaurus will help you brainstorm character interactions that feel true to life so you can write them into the story. You’ll also find plenty of ideas on how each relationship can develop your characters and further the plot.

If you’d like a peek at this thesaurus, visit these entries at One Stop for Writers: RIVALS, IN-LAWS, and PROTAGONIST AND CRUSH.

If this is the first time you’ve heard about our THESAURUS Database at One Stop for Writers, think of it like our books on steroids. We’ve released 10 thesaurus books to date, but at One Stop for Writers, the database has 18 thesaurus topics…so far.

Speaking of One Stop for Writers, Don’t Forget…

It’s our birthday!

One Stop for Writers is turning 9 this week, and we’re celebrating with a nice 25% discount on any plan.

If you like, grab this code:

HAPPY9

And follow the instructions below to redeem this discount!

To use this code:

1. Sign up or sign in.
2. Choose any paid subscription (1-month, 6-month, or 12-months) and add this code: HAPPY9 to the coupon box.
3. Once activated via the button, a one-time 25% discount will apply onscreen.
4. Add your payment method, check the Terms box, and then hit the subscribe button.

New to One Stop for Writers? Join Becca for a quick tour to see how our resources and tools can help you reach your creative goals.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post A Description Database for Character Relationships appeared first on WRITERS HELPING WRITERS®.

One Stop for Writers‘ BIRTHDAY WEEK is here!

Nine years ago, Becca and I stepped outside our world of book-making and opened the doors of One Stop for Writers, a site filled with one of a kind tools and resources to make writing easier. Year by year, the toolbox at One Stop for Writers has grown and we’ve had the pleasure of helping writers all over the world. We love being part of other writers’ journeys!

25% off all plans

To celebrate NINE YEARS, we’ve cooked up a discount. Whether you’re new to One Stop for Writers or you’ve been using it since the very beginning, grab this code to access our arsenal of tools for less:

HAPPY9

To use this code:

1. Sign up or sign in.
2. Choose any paid subscription (1-month, 6-month, or 12-months) and add this code: HAPPY9 to the coupon box.
3. Once activated via the button, a one-time 25% discount will apply onscreen.
4. Add your payment method, check the Terms box, and then hit the subscribe button.

And that’s it!

Get ready to put the largest show-don’t-tell database available to writers & the rest of our incredible storytelling tools to work!

New to One Stop?

If you’re not familiar with One Stop for Writers, join Becca for a virtual tour. She’ll show you how using the right tools will help you write stronger fiction faster.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Happy 9th Birthday, One Stop for Writers (Save 25%) appeared first on WRITERS HELPING WRITERS®.