When we put characters in dangerous or unfamiliar situations, they can get hurt, and when they do, things become harder to do. Injuries can mean reduced mobility, pain makes it difficult to think clearly, or something they must do (win a fight, escape a threat, or be independent, for example) may become all but impossible.

Injuries and pain can cause an array of problems, generating tension and conflict. Readers also tend to become more invested when something happens to a character, either because they care and want them to be okay, or readers feel a rush of schadenfreude because a nasty character is finally getting what they deserve.

A writer’s mindset is all about How can I make things more difficult for this character? so it can be tempting to pile on the injuries and pain, but this isn’t always a good strategy. Too many ouchies and a protagonist won’t be able to continue their quest, meaning they can’t logically achieve an important goal (unless the author manufactures a ‘Hail Mary rescue’ that will feel contrived). Or, if injuries are piling up like a serial killer’s body count, readers might get angry and feel the author is going too far. So we really want to find the sweet spot of making things hard, not impossible for the character.

When you need to make life challenging, rather than adding new injuries, a better option may be to add a complication.

In the right circumstances, even a small injury can cause big problems. Cuts get infected. Bites may be poisonous. A blister can make it hard to run fast enough to escape. Complications are not only realistic, they raise the stakes and make readers worry, generating tension.

How to take an injury from bad to worse

Being unable to treat the injury. Some problems require medical intervention, but that doesn’t mean your character can access help. They might be on a remote hiking trail, in the middle of a farmer’s field, or simply unable to go to the hospital because if they do, it will alert the authorities. When a character can’t get the help they need, this not only ramps up the pain, it ramps up the consequences.

An underlying condition. Does your character have a clotting disorder that means a cut on their thigh won’t close? Are they being treated for an illness that leaves them fatigued? Will that concussion re-awaken difficult side effects caused by a previous traumatic brain injury? When you want to make an injury more complicated and particularly dangerous for a character, think about what underlying conditions or illnesses they may have that will make it harder to function.

Infection. Your story doesn’t need to be in the middle of a Zombie Apocalypse to cause characters to worry about viruses. Wounds exposed to the wrong conditions can cause fever or delirium, compromising your character’s ability to function and make rational decisions. Untreated, infection can lead to blood poisoning, gangrene, or even flesh-eating disease. Yikes.

Reduced mobility. If your character breaks a bone or injures their back, they may be unable to move on their own. This can put a strain on others who must step in to help, causing delays or forcing them to expend energy they need for other things. If your character is on their own, say with a broken leg at the bottom of an embankment, an inability to move much will become a crisis if they cannot source food, water, or find help. Sitting or laying prone too long can also increase blood flow related issues, making injuries worse and healing slower.

Muscle tears or nerve damage. A bike accident, overdoing it at the gym, or a pell-mell flight from a pack of wild dogs can mean more than bruises. A muscle tear or nerve damage can affect mobility and dexterity, and generate high levels of pain. These injuries take time to heal, and sometimes require special treatments or even surgery. So think carefully about how this type of complication might play out in the story. Your character might be damaged in a way that their recovery may not fit the timeline for conflict resolution.

Scar tissue. Everyone has a few scars, but what if your character’s reduces function in some way, or even disfigures them? What will this mean as far as their dexterity and range of movement, or how other people view them? Will it close doors because they’ve lost their edge as far as a skill goes, or reveal a lack of depth in their relationships because people can’t accept this change?

Extreme swelling. Injuries cause tissue to swell, and if this happens to a body part that is confined somehow (a swollen foot stuck in a boot, or a wedding ring cutting off circulation due to a broken finger), it can cause intense pain and the need for intervention to avoid losing the limb.

Improper healing. Sometimes a character can’t get help when they need it, and the injury starts to heal in a way that is less than ideal. Bones may not be fully aligned as they knit together, causing a limp or malformation. A deep cut that can’t be stitched in time can lead to an ugly scar, loss of sensation, and reduced function.

Fears or phobias being triggered. Characters who have suffered past trauma may have their deepest fears awakened when an injury occurs, especially if they are reminded of that painful experience. Or a phobia of doctors, hospitals, dying, or another fear can make them resistant to being treated.

Addictions. A character in recovery will not want to risk medication that could trigger a relapse. Instead, they may have to bear extreme levels of pain to stay drug free, or have no choice but to have drugs in their system so a surgery can be performed, or an infection is stopped before it can spread.

Making the injury worse. When there’s danger present or a character is faced with a ticking clock, they can’t take it easy. A strain the character must ignore to escape a threat can become worse if it isn’t treated. Over time, increased fatigue or reduced strength will make a character unstable and more prone to additional injuries, too.

Ideally, injuries should push characters to think of creative solutions to their problems.

When they do, it makes for great reading. Too, characters who don’t give up (even though they may want to) are the ones readers admire most!

By ANGELA ACKERMAN

Source: writershelpingwriters.net

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We know that pain is an unfortunate part of life. And if you’re doing your job as an author, your character will be put through the wringer, experiencing many painful events—big and small—throughout their story. We’ve talked about the kinds of physical pain they could encounter and how to describe that. But how will your character respond to their pain?

Much like a fingerprint, each person’s pain response is unique. It will be determined by a combination of factors—some that are controllable and some that aren’t. Remember, it’s the character that will draw readers in and keep them engaged, but only if their reactions are believable and consistent. So it’s imperative to know the most sensible responses for your character.

Passive Factors

There are many ways a character can react to physical discomfort, and a lot of them will be subconscious. Their ability to handle their pain will be based on some passive factors that are out of their control and are already running in the background when things go south. Because these factors will dictate your character’s pain response, it’s important to familiarize yourself with them and know what they look like for your character.

Pain Tolerance

This is defined as the maximum amount of physical suffering a person can handle. The higher your character’s pain tolerance, the more they’ll be able to withstand the discomfort they experience. This threshold varies from one person to the next and is established by a number of variables, such as genetics, past experiences with pain, and how much stress the character is dealing with when adversity strikes.

Personality

Your character’s values and dominant traits will play a part in how they respond to pain. Just think about the natural reactions you’ll get from different kinds of characters: melodramatic vs. stoic vs. needy vs. someone who’s always playing the martyr… The traits and qualities your character values will play a large part in how they handle discomfort, so take those into consideration.

Imperative Responsibilities

If the circumstances surrounding their pain are simple, the character’s response can be straightforward. For instance, if they tumble down a flight of stairs with a roommate nearby, they can focus on their physical state and what to do next. But what if they fell, alone, trying to get upstairs to a crying baby? What if they’re a federal agent who was attempting to neutralize a sniper who is now free to keep shooting?

When an injury threatens the well-being of others or keeps the character from an imperative duty, they may be able to ignore or minimize their pain until they’ve accomplished what needs doing. On the flip side, becoming incapacitated while others are in danger may actually worsen the pain.

Pharmacological Factors

Alcohol, medications, and illegal drugs obviously dull pain. This is why drunk drivers can gravely injure themselves in a car accident and walk away without feeling much of anything. If your character is wounded while they’re under the influence, this will impact what they feel and how they react.

Responses That Help Control Pain in the Moment

Now that we’ve had a look at the latent factors that contribute to a character’s pain response, let’s turn our focus to active reactions, starting with those that are most helpful in controlling and lessening discomfort—both in the moment and in the aftermath of a painful event.

Maintaining a Positive Mindset

Positive thinking keeps the character in a forward-focused mindset, concentrating on what can be done and what actions to take. It engenders a sense of empowerment and control as they work toward solutions and betterment. A positive mindset also reduces stress and anxiety, which are known to make pain worse.

Utilizing Mind-Body Techniques

These techniques allow the character use the mind to positively influence the body. Meditation, prayer, relaxation techniques, and deep breathing exercises can mitigate pain and help the character become more centered and calm.

Distracting Themselves

In the midst of even a minor injury, the pain won’t go away completely. Sometimes, the best thing a character can do is to focus on something else. Exercises such as mentally preparing a grocery list or summarizing the storyline of a favorite movie can be beneficial in taking the mind off the pain. If the injury allows, the character can also engage in a distracting hobby. Reading a book, working on a puzzle, or playing a game won’t negate the pain, but activities like these can push it into the background and make it less intense.

Responses That Help Control Pain During Recovery

Pursuing a Healthy Lifestyle

Physically healthy bodies heal faster, with a quicker secession of pain. To this end, making nutritious food choices, prioritizing sleep, and reducing stress can improve the character’s overall health and aid in pain management. Exercise is another important factor because while it makes the body stronger and especially helps to manage ongoing discomfort, it also releases endorphins, which can have a pain-relieving effect.

Educating and Self-Advocating

Healthcare providers are wonderful resources, but they don’t know everything. A character who researches their own injuries and physical limitations will increase their knowledge and likely find new treatment options. This form of self-advocacy can result in a sense of empowerment, staving off despair, depression, and hopelessness.

Volunteering and Altruism

When pain is ongoing and/or intense, it’s often more comfortable to stay at home and avoid the activities that aggravate it. But studies show that when we shift our focus from ourselves to others, amazing things happen with our mindset and our outlook on life. In this way, volunteering and serving others can have a mitigating effect on pain. At the very least, acts of altruism can make physical discomfort more bearable as the character finds a greater sense of purpose.

Attending Therapy

Therapy is a magical tool for helping people find better ways of dealing with their problems. For a character trying to cope with pain, a therapist can provide great insight into the mental and emotional processes that can be adopted to minimize the discomfort or put into a proper perspective.

Responses that Hinder Pain Mitigation in the Moment

For every positive reaction, there are a multitude of negative responses that hinder rather than help. It’s easy for people in pain to resort to whatever works to make it go away. But many of these methods are only temporary or create ancillary problems. Here are some common pain responses that will thwart your character’s healing and possibly make their situation worse.

Focusing on the Negative

For someone battling ongoing or intense discomfort, it’s easy to fall into negative thinking by becoming obsessed with the pain, catastrophizing, and becoming cynical. But just as positive thinking has positive benefits, negative thinking begets negative outcomes in the form of increased anxiety and depression, and decreased motivation and self-worth—all of which make healing harder.

Hiding the Pain

People often aren’t comfortable expressing their pain—maybe because it occurred in public and they’re embarrassed or don’t want people to fuss over them. They might need to be strong if they’re with their kids or in a position of authority. Or they could be worried about consequences, such as losing a starting spot on a sports team if they can’t perform. There are many reasons why someone might choose to mask their pain, so it’s worthwhile exploring those possibilities.

Not Seeking Help

While many people run to the doctor when pain sets in, there are some characters who will avoid treatment. This may be true for someone who

• Is in denial about their condition
• Is highly independent and doesn’t want to rely on others for help
• Cares deeply about what others think and doesn’t want to appear weak

Refusing to seek treatment or get help won’t expedite healing and the cessation of pain. It also can make a minor injury worse if treatment is needed.

Responses that Hinder Pain Mitigation During Recovery

Making Unhealthy Choices

Just as healthy habits can encourage healing and minimize pain, an unhealthy lifestyle often does the opposite. Responding to pain by taking up smoking, compulsively eating, or turning to drugs and alcohol can aggravate existing conditions (and the associated pain) or create new health issues that will make life even more difficult.

Being Driven by Fear and Avoidance

If your character is struggling with a high level of discomfort, it’s normal for them to avoid any activities that might make it worse. But ongoing avoidance often results in a sedentary lifestyle that can actually increase someone’s sensitivity to pain, achieving the opposite result.

Having Unrealistic Expectations

In some situations, people will be living with a certain level of pain for the rest of their lives. The discomfort can be managed, but only if the character’s expectations are realistic. Hoping for an impossible outcome, such as a complete recovery with no more pain, will result in disappointment and an inability to recognize and appreciate small gains.

As you can see, there are many factors that can impact a character’s pain response. Some of the groundwork will be laid before the injury occurs, and other reactions are more controllable. Knowing the possibilities can help you choose the right responses for your character, both at the time of injury and in the aftermath.

by BECCA PUGLISI

Source: writershelpingwriters.net

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Tragic love stories have been capturing our hearts for centuries. From Romeo and Juliet to Wuthering Heights, these stories explore the power of love and the pain of loss. If you’re interested in writing your own tragic love story, here are a few tips:

1. Start with strong characters. Your characters should be relatable and sympathetic, so that readers will care about what happens to them. They should also be complex and flawed, so that their love story feels believable.
2. Create obstacles to their love. The obstacles in your characters’ way should be significant enough to make their love seem impossible. This could be anything from family disapproval to war to a terminal illness.
3. Show the love between your characters. Don’t just tell us that your characters are in love. Show us through their actions, their words, and their thoughts. Make us feel the power of their connection.
4. Don’t be afraid to hurt your readers. A tragic love story should make us feel something, whether it’s sadness, heartbreak, or even anger. Don’t shy away from the difficult emotions.
5. End with a sense of loss. The ending of your story should leave us feeling empty and heartbroken. This doesn’t mean that it has to be a happy ending, but it should be an ending that feels true to the story you’ve told.

Here are some additional tips for writing a tragic love story:

• Use foreshadowing to hint at the tragedy to come. This will help to build suspense and make the ending more impactful.
• Don’t be afraid to explore the darker side of love. Tragic love stories often deal with themes of obsession, jealousy, and revenge.
• Be creative with your setting. The setting can play an important role in creating a sense of atmosphere and mood.
• Use language that is both beautiful and evocative. The language of a tragic love story should be able to capture the full range of emotions, from joy to sorrow.

If you follow these tips, you’ll be well on your way to writing a tragic love story that will stay with readers long after they’ve finished reading it.

Here are some examples of tragic love stories:

• Romeo and Juliet by William Shakespeare
• Wuthering Heights by Emily Brontë
• Anna Karenina by Leo Tolstoy
• The Great Gatsby by F. Scott Fitzgerald
• The Notebook by Nicholas Sparks
• Titanic by James Cameron

These are just a few examples of the many tragic love stories that have been written over the centuries. If you’re looking for inspiration, I encourage you to read some of these classic stories.

By Rima

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In 1959, Carl Jung first popularized the idea of archetypes—”universal images that have existed since the remotest times.” He posited that every person is a blend of these 12 basic personalities. Ever since then, authors have been applying this idea to fictional characters, combining the different archetypes to come up with interesting new versions. The result is a sizable pool of character tropes that we see from one story to another.

Archetypes and tropes are popular storytelling elements because of their familiarity. Upon seeing them, readers know immediately who they’re dealing with and what role the nerd, dark lord, femme fatale, or monster hunter will play. As authors, we need to recognize the commonalities for each trope so we can write them in a recognizable way and create a rudimentary sketch for any character we want to create.

But when it comes to characters, no one wants just a sketch; we want a vibrant and striking cast full of color, depth, and contrast. Diving deeper into character creation is especially important when starting with tropes because the blessing of their familiarity is also a curse; without differentiation, the characters begin to look the same from story to story.

But no more. The Character Type and Trope Thesaurus allows you to outline the foundational elements of each trope while also exploring how to individualize them. In this way, you’ll be able to use historically tried-and-true character types to create a cast for your story that is anything but traditional.

Loner

DESCRIPTION: This character lives an isolated life due to their inability to relate to or connect with others. Loners can be Rebels (and vice-versa), but because the former are more comfortable with their background status-quo, they don’t typically seek to effect major change.

FICTIONAL EXAMPLES: Jane Eyre (Jane Eyre), the Grinch (How the Grinch Stole Christmas), Boo Radley (To Kill a Mockingbird), Eleanor Oliphant (Eleanor Oliphant is Completely Fine)

COMMON STRENGTHS: Adventurous, Alert, Cautious, Confident, Focused, Independent, Industrious, Intelligent, Introverted, Meticulous, Observant, Organized, Pensive, Philosophical, Private, Quirky, Studious, Talented

COMMON WEAKNESSES: Abrasive, Cynical, Grumpy, Inhibited, Insecure, Judgmental, Needy, Nervous, Obsessive, Self-Destructive, Selfish, Stubborn, Suspicious, Tactless, Timid, Workaholic, Worrywart

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Preferring to observe rather than engage with others
Living on the fringes
Avoiding crowds and large social gatherings
Having a quiet voice
Having understated mannerisms
Preferring to work alone (and being more efficient that way)
Being misunderstood
Being socially awkward
Expecting to be underestimated by others
Naturally distrusting others
Being secretive

SITUATIONS THAT WILL CHALLENGE THEM
Being forced to interact in a group
Being transferred to a new city where new friendships will have to be made
Having an extroverted or rowdy friend whose antics force the loner into the spotlight

TWIST THIS TROPE WITH A CHARACTER WHO…
Is a loner sometimes and a people-person in other situations
Is an excellent public speaker
Is forced into a leadership role and turns out to be very good at it
Has an atypical trait: cocky, funny, mischievous, sentimental, superstitious, vain

CLICHÉS TO BE AWARE OF
The lone wolf character who doesn’t need anyone and is perfectly happy on their own
Jaded, cynical, emo loners

by BECCA PUGLISI

Source: writershelpingwriters.net

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If the opening line of a scene is the doorway to the party, what follows is the welcoming handshake and introductions that draw readers into the mix. Effective scene openings extend beyond the fireworks of a provocative opening hook, ushering readers into the new space with no awkward stumbles or feeling out of place.

Here’s how to whisk readers effortlessly into a scene’s flow.

Go in Late …

The first technique is all about judging the point at which to enter the scene. Screenwriters have a saying: Go in late, get out early. Don’t overexplain on either end.

Since stories are about significance (why did the character make those choices, and how did it matter?), scenes should be constructed of significant stuff—stuff that matters, not all the characters’ dull daily duties.

Cut out the boring stuff. Short of a few scenes way back in the first act of your book while you’re establishing the character’s normal world, it’s almost never interesting to show a character waking up, getting dressed, drinking coffee, and getting ready for the scene. Get to the point. Readers come to your book for engaging story action, not the mundane business they’ve already slogged through themselves so they can sit down and read.

Transitions are a common tripping point. You can almost always do away with travel to the next location in the story (unless the journey itself is the point). Travel, arrivals, greetings, goodbyes—those are interstitial moments, not the story itself. None of that merits your precious word count.

Scenes dip in and out of the story at key points of conflict and tension, when things are popping that actually change what’s happening. Spend your time showing the characters doing things that affect the story line, not merely getting ready. It’s like a theatrical play—don’t show the stagehands changing the scenery, just raise the curtain on the next scene.

Aim to begin on the upswing into the conflict or juiciest part of the scene. Some scenes need a little more set-up, but you’ll be surprised how quickly readers catch on if you simply dive in.

This technique of going in late (or in medias res, in the middle of things) is often honed during revision. Write first, hone later. You’ll be surprised how much you can slice away without shaking readers’ ability to follow where the story moves next. Save anything you remove during revisions in your graveyard file, in case you need parts of it again later.

Test out shortened scenes on readers who don’t know your story. They may not know the details of the story, but can they slide into the spirit of the scene anyway? Could you prune away still more? You can always add removed content back a snippet at a time.

Bonus Tip: … Get Out Early

Speaking of petering out, the reverse of “go in late” holds true on the back end of the scene: Get out early. Once you’ve hit the peak—the conflict or surprise or complication—get the heck out of Dodge. Don’t overstay the scene’s welcome by dragging out the characters’ reactions (reaction/emotion, dilemma, and decision). This isn’t the time for lengthy debates …

… unless, of course, it is. If the characters and readers need time to grapple with the ramifications of what just happened, indulge in a full sequel scene.

Anchoring Scenes: The 3 Ws

Once you’ve chosen the right place to begin the scene, it’s time to invite readers in. Readers can’t sink into immersion until they’re oriented in the story. Whose view are they seeing this scene from? Where and when are they?

Within the first page of every scene—preferably within the opening paragraphs—ground readers by establishing the 3 Ws.

1. WHO the viewpoint character is (and WHO ELSE is present in the scene)
2. WHERE the scene is taking place
3. WHEN the scene is taking place, or a sense of how much time has passed since the last scene

1. WHO Nothing in a scene makes sense until readers have context for what they’re reading. Whose experience is this? Establish the viewpoint character unambiguously within the first paragraph or two, ideally within the first two sentences.

Readers usually assume that the first character named in a scene is the viewpoint character. Positioning the viewpoint character in the opening has the added benefit of launching them into motion, doing or speaking or considering or noticing. Now viewpoint character has agency in driving the scene.

Also near the top of a scene, establish who else is present. Ideally, this should happen within the first page or so. You want to avoid the sort of confusion when some character pops off on the last page with a snarky observation, only readers didn’t even realize they were there. A glimpse of each character is sufficient, even a collective mention such as The others armed themselves with plastic forks and swarmed the defenseless box of cake on the counter.

2. WHERE A scene will feel like a snippet acted out in front of a green screen on a movie soundstage if readers don’t know where it’s unfolding. Don’t infodump the details in a steaming lump at the front of the scene. Parse it out.

The things the viewpoint character notices should reflect their personal mindset: their knowledge, priorities, taste, immediate agenda, hopes, fears … What is the viewpoint character doing here in this scene? They’re not sitting around and blinking around at a static world; they should be actively engaged in something that’s obviously headed somewhere interesting.

3. WHEN Pull readers across the chasm between scenes by seeding the next scene opening with cues as to how much time has passed. Unless the timeline is integral to the plot, it’s not necessary to be overt about this. In slower stories or sections, a mention of late-afternoon sun or a brisk autumn breeze gets the job done. The shorter the story’s overall timeline, the more granular you’ll need to be with these references.

Many books benefit from timestamps at the beginning of each chapter (22:58:07 11/12/2093, Bridge of the Atlantis) to help orient readers. Caveat: Not every reader notices or absorbs timestamps, and even those who do are unlikely to parse out the number of days or weeks between dates to grasp the relative passage of time (with the exception of something like the breathless hour-by-hour countdown of a thriller).

Revising Scene Openings

Pro revision tip: Make a single revision pass dedicated exclusively to tightening scene openings. Don’t get sucked into editing past the first few paragraphs. Try starting at the end of the manuscript and working backward scene by scene, forcing you to tackle each scene in its own right rather than in relation to the previous scene.

First, check to see that you’ve started each scene as late as possible, just before things get juicy. Since every scene should cause the next one to come about, like a chain of dominoes, you could also use this revision pass to check that scenes wrap up promptly (“get out early”), before the momentum has a chance to start petering out.

Next, move back to the scene opening to check for the 3 Ws: who, where, when.

Done.

by LISA POISSO

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