Category Archives: ebook

How Do You Find Your Narrator’s Voice?

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Voice is one of those elements that can make or break a manuscript. If you get it right, the novel will live in the reader’s mind long after they put the book down. Without it, the story won’t quite achieve what you’ve intended even if all the structural elements are in place.

So… how do you find your narrator’s voice?

What Doesn’t Work

Here’s one thing that doesn’t work: verbal tics. How many times can you have your character repeat certain phrases before it starts to get, well, annoying? Not very many.

Here’s another: sarcasm.

Sarcasm is an easy voice to capture, so it seems to be the one many authors lean toward to make their narrator sound different. Cross it off the list. No one is consistently sarcastic, or angry, or melodramatic. When you make your narrator into a type like this, they come across as one-dimensional and unrealistic.

Who Is This Person?

The idea of voice only being a mood or a way of talking misses the bigger picture. Voice is a way of being in the world. For that reason, I would recommend approaching it from another direction: by exploring who this person is that you’re trying to bring to life.

While I don’t think character questionnaires are the way to nail voice, they can be a good steppingstone in getting to know your character—because I don’t think you can capture a character’s voice until you fully know who they are.

Look at how the answers to a few key questions can change the type of person you’re dealing with.

What does your character do for a living?

A baker will have a different way of viewing the world than a plumber or a doctor. They’ll notice different things, use their own analogies, have unique priorities, behave differently in various situations. You’ll know they’re a baker not because the author has placed them in a kitchen wearing oven mitts but because they see ideas for new pastries in the shapes of flowers. They’ll think like a baker.

If you were to read a story in which all you got was oven mitts and cookie trays, you’d feel like you were reading something generic—because the author would not have captured a baker’s way of navigating the world.

How old is your character? What is their marital status?

A twenty-something single woman will have a different way of dealing with people than a fifty-something woman who’s just left a long, dull marriage. Or maybe the marriage was abusive: that would give her another voice. Or maybe she’s never been married, but her sister is in a happy marriage: different voice again. She’ll have to manage Valentine’s Day; she might get upset by seeing couples at candlelit tables for two in a restaurant.

Voice is all about the lens through which your character views the world. One of the most significant things that clarifies this lens is their goal: what do they want in the story? If someone wants respect, they’re going to act in certain ways and say certain things that will be very different from someone who’s out for revenge.

Where do they come from? What kind of family do they have? Wealthy or poor, loving or abusive? Are they the first-born of a large family, or are they the baby? Are they an only child?

Every answer creates a type of person who will act and react in diverse ways. Many of these actions and reactions won’t be conscious, but they’ll be there, and they’ll cement in place patterns of behavior that will (hopefully) cause that character all sorts of problems.

But answering those questions is only step one.

What Next?

Now, you have to put your characters into action: slip on their shoes and see the world through their eyes. Usually that means writing your way into the story in one form or another: by journaling in their voice, answering interview questions in their voice, or (my preference) simply throwing yourself into the story world and getting them moving.

This is why it’s so important to differentiate the narrative voice from the author’s voice. Unless the author is the narrator, they have no business speaking up. Your reader will have picked up a particular book to experience the world from the point of view of a female scientist in the 1960s (Lessons in Chemistry) or a college student in the classics who becomes enthralled with an eclectic group of students with whom he doesn’t quite fit in (The Secret History). The extent to which the author can deliver on that promise also turns out to be the extent to which they’ve captured the narrator’s way of seeing the world, which is… voice.

Why Voice Is So Important

Voice is not the only thing in a novel. But if you don’t nail it, you won’t have used point of view to its fullest potential, nor will you truly know your story—because you won’t know the main actors who are driving it forward. It won’t feel authentic, and your readers won’t feel the same emotional draw that they’ll experience when a character comes to life on the page and says, Let me show you what the world looks like through my eyes.

Isn’t that why we come to fiction in the first place?

By MICHELLE BARKER

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Powering Through the Un-Fun Parts of the Job

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I’m gonna go out on a limb and say you probably became a writer because you like to write. But if you’ve been writing for any time at all, you may have realized that writing isn’t the whole job. There are lots of other things you have to do that you maybe aren’t good at, don’t like, or even dread doing. We’re often the most inefficient when it comes to those responsibilities because we avoid them or rush through them to get them over with. And this impedes our progress and our ability to do our best work.

I’d like to share some strategies you can implement to ensure even the irritating parts of the job get done efficiently. Because we’re all wired differently, some of these ideas may be harder for certain kinds of people, so let’s look at how to make them work for everyone.

Strategy #1: Outsource the Tough or Tedious Jobs

This one is easy: pay someone to do the dirty work so you can focus on the things you like to do. Hate balancing the checkbook? Hire a bookkeeper. Do you suck at book formatting? There are freelancers who will do this for a fee. So if you have the funds, this may be the easiest way to claw back your own time and use it on the things you do best. (If you’re looking for a freelancer, we’ve got a list of recommendations here.)

Personality Blockers: Control Freaks, Perfectionists, and Penny Pinchers

When it comes to outsourcing, the biggest obstacle is simply not having the cash. That’s a legitimate blocker for everyone, regardless of personality. However, there are writers who can afford the expense, but they still resist sharing the load. Some are maybe a bit too thrifty; they’ve got the money, but they’re worried about spending it. Others are afraid to give up control of any part of their project—often because they want it done just so and they can’t trust others with their baby. If any of these personality traits apply to you, outsourcing could be difficult to embrace.

The solution here is to recognize that offloading those tasks can increase your efficiency, resulting in more time and, ideally, more money. Angela and I, because we’re problem children, had to learn this the hard way. For years, we wanted to hire someone to take over the administration of our blog—not because we didn’t enjoy fielding guest post requests, talking to potential contributors, and scheduling posts; we just didn’t have enough time to do everything that needed doing. And because we were so swamped, we didn’t want to spend our precious time on hiring someone. Finally, we just bit the bullet and brought on our blog wizard, Mindy, and suddenly we had a surplus of time to devote to other projects—things that, really, only Angela and I could do.

If you’re able to outsource but are holding back, consider how much more productive you could be if someone else were doing the things you were least proficient at. Just opening up to the possibility can help you loosen the reins or the purse strings enough to pass off some of those duties, saving you buckets of time that can be spent on the stuff you’re really good at.

Strategy #2: Identify the Hard Stuff

Ok, so this seems pretty obvious, but we’re all really good at focusing on what we like and ignoring what we don’t. This results in the boring jobs either getting pushed to the last minute (and not being done well) or not getting done at all. Making note of the things you don’t enjoy doing—the things that maybe you’re doing halfway because you dislike them so much—is the first step in prioritizing them properly so they don’t get left behind.

Personality Blocker: Avoiders

This is a tough one for avoiders who tend to ignore the unpleasant, uncomfortable, or awkward. If avoidance is an issue, hit this head-on and set aside a quick 15 minutes to make a list of the parts of your job you tend to put off or ignore. It might be easier to keep an ongoing list and add to it over time as things occur to you. These difficult duties will differ from person to person, so identify what they are for you and make yourself aware of them.

Strategy #3: Schedule the Hard Stuff

Once you’ve identified the problem areas, set a deadline for when each one needs to be completed. Then add them to your weekly or monthly schedule so they don’t get forgotten.

Personality Blocker: Procrastinators

Procrastinators commonly put off unwanted responsibilities until the very last minute (or indefinitely). If this is you, it’s important to get those duties on the schedule. But you may not be as efficient if they’re scheduled up front, ahead of the jobs that are a bit more rewarding. If this is you, it’s ok to compromise. Schedule the dreaded tasks somewhere in the middle, after you’ve finished some of the fun stuff (but not jammed up against your deadline).

For more information on my favorite tool for planning and scheduling tasks, see this post on Trello.

Strategy #4: Break It Up

Some jobs are unpleasant because of the sheer amount of time they take. One way to make a task like that more palatable is to break it into smaller chunks and complete it over a series of work sessions.

Personality Blocker: All-At-Once’ers

This strategy used to be hard for me because I’m motivated by finishing things; I need a sense of completion, and this drives me to compartmentalize my workday and just hammer away at one project at a time until it’s done.

One of my regular responsibilities is to take the thesaurus posts we’ve published at Writers Helping Writers and move them over to our One Stop for Writers site. This involves a lot of cutting and pasting, HTML stripping, and adding additional content. It’s not the most stimulating work, and when you’re looking at 50 or so entries, it seems to take forever. So instead of trying to do it all at once—say, taking a week and focusing just on that job—I do one or two entries a day. Then I can spend the rest of my time doing other things that are more rewarding. This requires some careful scheduling to make sure I start the job early enough to hit my deadline, but it makes it more doable. It’s a great strategy to employ with long projects, such as editing a novel.

Strategy #5: Make It Fun

Full disclosure: there’s only so much you can do to make analyzing sales data or writing a summary for your story fun. But you can make most jobs more enjoyable. Here are some ideas that work for me:

  • Break out the “happy” supplies, like a favorite pen, notebook, or planner
  • Light a specific scented candle that’s only used when you really need a kick in the pants
  • Work in a new spot, such as a coffee shop, the park, or the library, until the job is done
  • Outfit your own workspace with things that makes you smile: inspirational notes, pictures of loved ones, knickknacks that hold special meaning, etc.
  • Put on fun or motivational music
  • Eat or drink something yummy

Personality Blocker: Being Easily Distracted

One potential issue with this strategy is if you end up wasting precious work time mooning over knickknacks or looking for your special highlighter when you should be working. If you struggle with this, put a limit on how many feel-good items are allowed in your workspace. And if you find yourself using this prep time as an excuse to procrastinate, set a time limit for how long you’ll allow yourself to get prepared before getting to work.

Strategy #6: Reward Yourself

And now for the good stuff! The best way to motivate yourself to do a hard job is with a reward. Once the dirty work is done, get your favorite Starbucks drink, head to the beach at sunset, buy those shoes you’ve been eyeing, or knock off a half-hour early for some pleasure reading. The dangling carrot works well for pretty much everyone; you’ll just need to establish the reward for each project ahead of time so you know what you’re working toward.

Personality Blocker: Over-Indulgers

If each chapter you draft results in a day off, you’re not going to get much done. Remember that efficiency and productivity are the goals, so make sure the reward matches the job.

Strategy: Shift Your Mindset

This is maybe the simplest strategy to make the hard jobs easier, and it has no personality blockers because it can work for literally everyone. Viewing certain jobs as hard, boring, tedious, or a wast

e of time will ensure that you put them off, rush through them, or don’t give them your best effort. Instead, shift to a productive inner voice by looking at those duties through a positive lens:

  • This is important work.
  • I can do this.
  • I’m better at this than I used to be.
  • Once I’ve mastered this, I’ll have something new to add to my skillset.
  • I’m saving money by doing this myself.
  • This job isn’t going to take as much time as I thought.
  • The time (or money) I’m spending on this task is an investment into my business.

Personality Blocker: Over-Indulgers

If each chapter you draft results in a day off, you’re not going to get much done. Remember that efficiency and productivity are the goals, so make sure the reward matches the job.

Strategy: Shift Your Mindset

This is maybe the simplest strategy to make the hard jobs easier, and it has no personality blockers because it can work for literally everyone. Viewing certain jobs as hard, boring, tedious, or a waste of time will ensure that you put them off, rush through them, or don’t give them your best effort. Instead, shift to a productive inner voice by looking at those duties through a positive lens:

  • This is important work.
  • I can do this.
  • I’m better at this than I used to be.
  • Once I’ve mastered this, I’ll have something new to add to my skillset.
  • I’m saving money by doing this myself.
  • This job isn’t going to take as much time as I thought.
  • The time (or money) I’m spending on this task is an investment into my business.

By BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Character Type and Trope Thesaurus: Mad Scientist

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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.

Mad Scientist

DESCRIPTION: Brilliant, eccentric, and often insane, the mad scientist believes his work is vitally important and supersedes conventional morals or ethics.

FICTIONAL EXAMPLES: Dr. Moreau (The Island of Dr. Moreau), Dr. Frankenstein (Frankenstein), Dr. Jekyll (The Strange Case of Dr. Jekyll and Mr. Hyde), Doc Brown (Back to the Future), Walter White (Breaking Bad)

COMMON STRENGTHS: Ambitious, Analytical, Creative, Curious, Disciplined, Focused, Idealistic, Independent, Industrious, Intelligent, Introverted, Meticulous, Observant, Passionate, Pensive, Perceptive, Persistent, Quirky, Talented

COMMON WEAKNESSES: Antisocial, Fanatical, Impatient, Impulsive, Irresponsible, Obsessive, Reckless, Stubborn, Unethical, Workaholic

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Perfectionism
Having eccentric habits
Obsessing over their work
Keeping odd hours
Working in long binges
Preferring to work alone
Difficulty engaging in small talk and other social niceties
Rejecting (or ignoring) those in authority
Forgetting to do basic life tasks, like cooking, cleaning, grooming, and sleeping
Their goals or methods putting them at odds with the establishment

SITUATIONS THAT WILL CHALLENGE THEM
An experiment creating unexpected (and bad) results
Being forced to work with a strict rule-follower
A “hack” achieving success and finding acclaim ahead of the scientist
Being prevented from doing the work they dream of

TWIST THIS TROPE WITH A CHARACTER WHO…
Isn’t male
Is concerned with ethics and the consequences of their work
Is an amateur scientist (rather than a professional one) who’s passion is using science to create crazy stuff
Has an atypical trait: flirtatious, humble, optimistic, superstitious, proper, etc.

CLICHÉS TO BE AWARE OF
The mad scientist with crazy hair and no fashion sense
The scientist who creates a creature or monster they can’t control, and it ends up destroying them
A scientist with multiple personalities

by BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

The Secret to Writing Your First Book Faster

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It took me two and a half years to write and revise my first book to get it to the point it was ready for readers. And then another 2 years to find my publisher and get it out into the world. My next book I wrote in 6 months. I now coach other writers, and I see this pattern of book 2 getting written much faster over and over again. Seems obvious, right?

Well, yes, but not for the reasons you may think. Sure, by your second book, you’ve honed your technique and have developed some (hopefully!) good writing habits. But that’s not it.

Writers’ blogs and forums are riddled with advice for you to write faster, everything from getting your word count in daily, to using templates or formulas to fill in your structure. And following this advice may indeed make writing your first draft faster. But your first draft isn’t the finished product, as much as you may want it to be.

The time between completing a draft and knowing that a manuscript is everything you’d hoped it would be is this murky space few writers talk about, where especially newer writers get lost, losing weeks, months, or years sitting in a doubtful limbo.

Writing a first draft is a huge accomplishment, don’t get me wrong. But you’ll know in your heart it isn’t ready for prime time. The idea of revisions can be daunting. Overwhelming, even.

When I found myself in this unexpected murky place when I was writing my first book more than a decade ago, I had questions like:

  • I’m being told my book “isn’t ready” yet by agents, editors, and publishers. But how do I know what to work on? Should this be obvious to me?
  • Some of my favorite writers write books in 3 months or faster. Why can’t I seem to do this?
  • My gut is telling me I need to rip the whole book apart and then put it back together again to make it what I want. Do I REALLY have to do that?
  • If my draft isn’t perfect, does this mean I don’t have what it takes to be a writer??
  • Am I really good enough?

Ugh.

And so, I spun my wheels, and looked for answers. Everything I’d dreamed writing a book would be like was kinda shiny. In my ideal world, words would flow, and accolades would follow. None of the writers I followed glorified the thousands of hours it might take, the deep focus I’d have to learn, or the number of times I might have to tweak my scenes until I got all my ideas on the page the way I wanted them.

I chipped away at what I knew in my heart needed to get done, piece by piece, because I was determined that my book wouldn’t see the light of day until it was ready. The only way to get my messy first draft in shape was to push through, and do the work, as much as I wanted to find a shortcut. I honed my craft. I took courses and workshops. I sought out the best editors I could find, and learned. I was, and still am, immensely proud of that book, which went on to sell thousands of copies and win awards. Most importantly, I heard from my tween and teen readers that the book affected them. That they shared it with their friends. That’s all I ever wanted.

When I sat down to write Book 2 in that series, I assumed it would be much faster. After all, I’d already created the world and its characters. It was going to be a breeze.

But I was wrong.

Because I’d already created the world and its characters, I found I needed much more content for Book 2 than I expected. Huh. So, how did I still write that book muuuuuch faster? This is the secret sauce I wish every first time author could know… and I’ve since dedicated my book coaching practice to help writers get through that murky middle time.

By the time I got to writing book 2, I understood in my bones just how much work I was going to have to put into this book to make it exactly what I wanted. I didn’t look for shortcuts, or worry that I wasn’t a good writer because I couldn’t do it “faster”. I didn’t wonder if I was doing it wrong. I just put down one word at a time, and then tackled one revision task at a time, until it was done. I was able to cut out the murky, wallowing phase that eats up so much time.

I now work with writers on first books all the time. And if there’s one thing I always want to share with them, it’s that all the work has to get done. No beta reader, editor, or publisher is going to do it for you. So, plan for it, and chip away at it until your book is exactly what you want it to be.

So, if you’re writing your first book, keep going and you’ll get there. If you’ve completed a draft, and are stuck in the resistance phase in the murk, here’s some next steps you can take to keep your book moving forward. Once you know what needs to get done, knock off one step at a time until you’ve got a book you’re proud of.

But don’t stop moving, or you’ll land in the time-sucking murk.

Do what you can to skip over the part where you doubt if you’re doing it right, and dive in with full gusto.

Once you’ve written your first book, and gone through this path of resistance, coming out with a book ready to publish on the other side, I’d put money on the fact that you’ll get to the end of your second book… and that you’ll write it faster than you did your first.

By SUZY VADORI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Writing About Emotional Trauma Without Triggering Readers

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Trigger warnings are often debated in the writing world. Some opine that readers should be warned if something potentially harmful is included in a book, and others feel the audience shouldn’t be bubble-wrapped and need to chin up if they want to read fiction. Like most things, the answer probably lies somewhere in the middle. 

It can be easy to scoff away the idea of “being triggered” if one has never experienced damaging trauma, or if they have, they were able to process it in a healthy way. The reality is that dealing with emotional trauma is 100% personal. Even people experiencing the exact same event will cope with it differently based on their personality, age, support system, past experiences, education, and a host of other factors. So, assuming everyone should react the same way is ill-informed. 

Where does this leave us, the authors? Ironically, in the same place had the trigger debate never occurred: we do our best to respect our readers, and use good judgment as we write. 

No matter how dark and gritty our fiction is, we should never be gratuitous, meaning we should only show what we need to, not more. Genres will vary, but even if you’re writing a torture scene, there’s no need to slap every scream, sensation, and sweat drop onto the page. Overdone description will kill the pace and the impact will be lost under a wall of sensory words. Just like any other scene, our description should be balanced, pulling readers in without overwhelming them. 

Here are a few ideas on how to handle potentially triggering content. 

Use Symbolism and Mood to Seed Hints

The back jacket copy should indicate some of what will unfold in the story and perhaps even allude to trauma your character experienced in the past. But you will still need to show a scene (or several) that portrays these wounding experiences. If you’re worried about triggering, then don’t have this event slam into the reader out of nowhere. Lay a few clues so readers can put emotional safeguards up if they need to. 

Mood, for example, is an excellent way to steer reader emotion. Weather, light and shadow, and universal symbolism can all help you nudge the reader toward the dark content about to be shown. Personal symbolism tied to the POV character can also lay the groundwork that something hurtful may be about to unfold: a sound, a smell, an object, a texture, a place that has specific meaning for the character. Including something that triggers their memory can help foreshadow something uncomfortable may be coming.

For example, if your character is about to be assaulted behind the restaurant where she works, take a moment to show her reluctance to take the garbage out. Maybe it’s because of the lack of alley lighting, or a memory surfaces of being surprised by a ranting homeless man who was digging in the trash another time she performed this chore. You could have her ease the door open and try and listen for hidden noises before venturing out to the bin. Or have an unpleasant odor hit her as she enters the dark. Symbolism and mood not only increase tension, they can give a subtle heads up that something significant is about to happen. 

Vary Your Narrative Distance

Deep POV is all the rage these days, but there are times when we shouldn’t use it. Don’t get me wrong, I’m not suggesting that emotionally difficult scenes should be reported rather than experienced from within the character’s shoes. I’m suggesting that you can pull readers in using deep POV to feel the intimate sensations and horror of the moment for a while and then zoom out to give them a break. A bit of filtering language (she thought, she smelled, he reached, he felt, it seemed, etc.) can achieve this as it adds distance. Or you could occasionally choose to name an emotion rather than show it in depth (NOTE: be careful with these techniques—always have a reason for using them or it will come across as lazy writing).

Weave In Facts (Telling) To Give a Break From Showing

Show, Don’t Tell implies “all or nothing,” but really this rule is meant to convey that writers should knowing WHAT to show (and when), and WHAT to tell. Deeply emotional scenes work best when there’s a good mix of show AND tell. Breaking up painful emotion and sensory detail with a few factual statements creates a balance, and if you need it to, will slide in a touch of distance so readers aren’t overwhelmed. 

A good example of this is the Hunger Games, when Peeta and Katniss are on the Cornucopia as a fellow tribute is being torn apart by genetically engineered dogs. Susanne Collins doesn’t describe every gore spray and tear although she could have (the book states this goes on for over an hour, because of course the game makers are all about putting on a show). Describing such a horrific scene in full would be gratuitous and most people would stop reading. As someone attacked by a dog as a child and dragged around in the snow, helpless, I know I would have. But Collins handled it well, using narrative distance, selective show and tell, and information to get the horror across without overdoing it. 

Only you can decide how close and personal you want to get with emotionally traumatic situations. It’s your story, your art. If you can justify to yourself what you need to show and why, you are respecting readers. It will feel authentic, not gratuitous, and they should respect your storytelling style in turn. 

by ANGELA ACKERMAN

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

How to Build Sizzling Sexual Tension in Your Novel

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Writing Sexual Tension

Are you tired of writing boring and uneventful romance scenes? Do your readers seem disinterested or even put off by the lack of chemistry between your characters? Fear not!

In this post, I am going to explore how to build sizzling sexual tension in your novel that will leave your readers begging for more. Whether you’re a seasoned writer or just starting out, these tips and tricks will help bring heat to your pages and keep readers flipping until the very end. So, buckle up, it’s about to get steamy in here!

What is Sexual Tension?

Sexual tension is a key ingredient in many successful novels. Whilst sexual tension turns up most in romance novels, it can be part of ANY story. For example, I wrote sexual tension in my crime novel, The Other Twin.

Sexual tension is that feeling of excitement and anticipation you get when something hot and heavy is happening between the characters, but they haven’t yet acted on their desires.

Done well, sexual tension can be incredibly addictive for readers. It keeps them turning pages late into the night, eager to see what will happen next.

If you’re hoping to create some sexual tension in your own novel, there are a few key things to keep in mind. Ready? Let’s go!

i) First, don’t rush it

Take your time building up the attraction between your characters. Let them flirt with each other, or exchange longing looks. Maybe they even engage in some light physical contact before they finally give in to their desires.

ii) Make sure the stakes are high

If there’s no risk involved, then there’s no real tension. Will giving in to their feelings ruin their friendship? Threaten their careers? Put them in danger? The more at stake, the higher the tension can be.

iii) Establish what each character wants

What are their goals? What do they want? Why do they want it? This will help create conflict and tension between your characters as they try to achieve their goals while also dealing with their attraction to one another.

iv) Build up the sexual chemistry between your characters gradually

Don’t let them fall into bed together too quickly. Let the reader see the simmering desire between them, the little looks and touches that build up the anticipation.

v) Use body language

A lot of communication is non-verbal. Use this to your advantage by having your characters give each other smouldering looks, brush up against each other accidentally, or engage in subtle flirtation.

When writing sexual tension between your characters, it is important to consider the body language you use. The way your characters stand, sit, or move can amplify the attraction and tension between them.

For example, if two characters are standing close together, their bodies may be angled toward each other in a way that suggests they are eager to be close. Or, if they are sitting next to each other on a couch, their legs may be intertwined in a way that suggests they cannot keep their hands off each other.

vi) Build up the anticipation

Don’t let your characters act on their desires too soon. Make them yearn for each other, wonder what it would be like to touch or be touched by the other person. The longer you can drag this out, the greater the pay-off will be when they finally give in to temptation.

By building up that sense of anticipation, you build up the sexual tension between characters. This means you can create a scene that is truly sizzling with sexual tension.

vii) Establish boundaries early on

Make it clear from the outset that there are certain things your characters will not do. This will heighten the sexual tension as they work around these boundaries.

For example, in the TV series The Rookie, there was sexual tension between Officer Bradford and his rookie Chen from the offset. However, he is her superior and a stand-up guy, so he would never act on this. Similarly, when Chen graduates and becomes an officer herself, she will not act on her feelings and cheat on her boyfriend with Bradford.

When the officers DO finally get together, Bradford has been promoted to sergeant. This prompts him to take a demotion so he can drop out of Chen’s line of command.

vii) Make sure your characters have flaws

No one is perfect, so by giving your characters believable flaws and vulnerabilities, you’ll make them more relatable—and increase the sexual tension as they try to hide those imperfections from each other.

viii) Write sexually charged dialogue

Sexually charged dialogue can be a great way to build sexual tension between characters in a novel. By writing dialogue that is flirty, suggestive, or even graphic, you can create a scene that is full of sexual tension. Erotica novels often do this, but you can utilise this technique in any story you choose.

ix) Don’t forget about the little things

Sexual tension is often created as much by what is NOT said or done. A charged silence, a stolen glance, an accidental touch … These are all things that can ratchet up the tension and leave readers desperate for more.

Concluding …

Sexual tension can be a key ingredient in making your novel sizzle. When it comes to writing romance into ANY story, one of the most important elements is sexual tension. This is what will keep your readers turning the pages, desperate to find out what happens next.

Remember to pay attention to the characters’ emotional states and body language. This will make all the difference between writing a mundane scene or a passionate encounter. If used correctly, creating this type of atmosphere can help readers get deeply invested in your book and its characters. 

By LUCY V. HAY

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Free Resources for Writers

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By Erica Converso

Free. It’s a wonderful word, isn’t it? A limited budget shouldn’t prevent you from becoming the best writer you can be. And if you use the resources available in your community – and outside it on the vast expanse of the internet – you’ll find that the possibilities for finding story inspiration and guidance are limitless.

So where should you start? Well, as a former librarian I may be biased, but I’d like to recommend your local library. Of course, this doesn’t seem like particularly original advice – everyone knows you can borrow books for free from your local library. But I’ll bet you don’t know just how many books – and other materials like movies, music, magazines, and more – you have at your fingertips.

Do Your Research with Databases

Check your library’s website to find out which databases they offer. My local library has Creativebug, which teaches you various craft projects. Want your character to develop a knitting hobby? Watch a few videos, and you can both learn how. Or Bluebird, offering to teach you any of 163 different languages. Knowing a subject deeply can add a level of authenticity to your characters and plots that a quick internet search just can’t match.

There are digital versions of traditional encyclopedias like Britannica, and newspaper subscriptions through ProQuest, giving you access to news not only across the country, but also across time. If you plan to set your work in a bygone era, primary sources are only the press of a button away. Don’t have a computer or printer? Your library has you covered there too! While the specific databases your library has available will vary, many have similar services to the ones listed above.

Get A Wide Variety of Inspiration Via Worldcat

Maybe you’re not quite ready to write yet, and want to settle in with a good book to enthuse your Muse. Wander through your library or ask a librarian for a recommendation. Grab a grammar guide to brush up on your writing basics. Or, if you know which book you want, see where it is available. For this, I recommend Worldcat.org – the premier resource for finding which books are in which libraries.

Worldcat.org helps you find which libraries carry which books – even if they’re rare, translated, or long out of print! Once, I even sent an e-mail to a library in Australia to ask about a particular rare book Worldcat informed me they had, A Ruler of Princes, by Baroness Orczy, published in 1909. The library was kind enough to send me scans of the table of contents and first pages, enough for me to determine that it was an Australian edition of a favorite book I’d already read.

Many libraries now belong to consortiums that link them with other libraries in the area. So if your library doesn’t have a book, you can inter-loan it from another. In some cases, libraries can even reach out across the state for an older, rarer book or, if it can’t be transported, to help you set up an appointment to view the book in its home library. And in many states, being a resident with valid ID entitles you to a library card for some of the bigger city libraries. For example, even though the New York Public Library only has branches within New York City, any resident of the state can get a card. Even if you don’t visit, you still have access to the vast collection of digital resources they have available.

Free Books for Everyone

That brings me to my last major set of resources: free e-books and audiobooks. Many libraries have access to Overdrive, the main digital distributor for libraries. Overdrive, and its companion app Libby, offer e-books, audiobooks, online magazines, and even some streaming video. You can borrow a book for a period of weeks, and read it online or on your e-reader, tablet, or phone. Many titles can even be read through your favorite app, such as Kindle or Apple iBooks.

If your library doesn’t have a title, you can use the web portal to request it, and your library may purchase it if there is enough demand. Some libraries also have alternate or additional e-book distributors, such as Freading, Hoopla, and Tumblebooks. This is a great way to study other authors’ styles or dive deep into a new genre without struggling to haul home a bagful of books.

Outside of the library, you can also use Project Gutenberg to download works that are out of copyright – also known as being in the public domain. In the United States, that’s works published in or before 1927. Project Gutenberg has domains in various countries, so look for yours to find the works that are available for your country. These books aren’t just great to read, though; they can also be wonderful jumping off points for new stories. Want to write more about Elizabeth and Mr. Darcy? As characters in the public domain, you can do just as you please.

I could go on all day about the resources available all over the internet to teach, motivate, and inspire you, but this is a great starting point. Also, I dare you to go to the library and come out without something to read – I never could manage it!

While you’re enjoying all of this fabulous and absolutely free content, we’d love to know what some of your favorite ways to use your local libraries as a writer are. Let us know in the comments!

Source: writershelpingwriters.net

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Should You Write Over the Summer, or Take a Break?

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Some writers may be looking to take the next few months off from writing or shift focus to other writerly tasks. Others have no such plans and will be full steam ahead as usual.

I want to make room to enjoy summer, but I’ll still be working, balancing writing and research with the other things on my plate, and frankly, I’m good with that. I’m the type of person who needs to know I’m furthering the ball when it comes to my goals, even if it’s at a slower pace.

Writing over the summer is glorious because…

We can move our office wherever we want. I love being able to take my laptop outside and work on the sun-dappled balcony in the morning, or pull a deck chair into the shade during the afternoon. Sometimes I decide it’s a take-your-adult-beverage-to-work-day, because why not? Summer!

We can tap into greater creativity. Writing outside, or even with just the windows open, brings us birdsong, the shush of leaves, and perfumed air of flowers and greenery. Color is everywhere, too, visual reminders that everything is growing, coming into its own, just as we are with each word we write.

We can take our stories on the road. Is there anything better than taking a notebook on a walk, finding a quiet park or place along the river, and just letting our imagination flow? Getting out from the desk is a powerful way to reconnect with creativity and spontaneity (and it keeps us from losing hours to scrolling tiktok videos).

We have more energy. Summer tends to mean less activities and a slower pace as schools close and people at work rotate through holidays and vacations. With less pressure in these areas, we have more time for ourselves, and more mental energy for our books.

A break from writing can be beneficial because…

Life can be stressful, and sometimes we just need a break. Between work, family, social commitments, and unexpected life hurdles, sometimes the last thing we need is to fill a gap of time with more of anything. It’s okay to take time for yourself, and you shouldn’t feel guilty about not writing, especially if you are a bit burned out.

You just wrapped up something big, and need rest. Last year, my life was nuts. In a span of three months, both my children were married, I moved, and my husband was admitted for major surgery. With so many big life events happening all at once, I needed some downtime in the worst way, so I took it without regret.

You’re struggling with Writer’s Block. When retrieving words seems impossible, sometimes you need to keep trying, but other times, stepping back is the better choice. The dreaded block often happens because the creative well is empty, meaning it needs to be refilled. Read, get out in nature, watch movies, do art, bake, and do all the things that tend to make you feel creative and feed your imagination. When you are itching to get back to writing, you’ll know.

Or…strike a balance!

Few things are all-or-nothing, including your summer writing (or not-writing) strategy. If you have visitors to prep for, weekend camping trips, or this is the year you renovate the yard, it might be difficult to work on your novel with regularity. But if you’re like me and get a bit squidgy when you feel as if you aren’t furthering your writing goals, look for middle ground. One way might be to choose bite-sized tasks over a steady word count.

Think about where you are now, and where you want to be. Make a list of things that you need to know to have a clearer picture of your path forward. Do you need to research publishing options? Get a query letter & list of agents ready to go? Do you need to find a course to help you market, or create a shortlist of reputable freelance editors? Whatever things you believe should be in your headlights, make a list. Order it so what you need to get started on first is at the top.

Do some research. Being a writer means there’s always more for us to learn. Maybe it’s time to research website hosting, play with design tools so you’ll be able to create promotional materials down the road, or find answers to your publishing questions. Summer is a great time to visit new sites, test tools, and find resources that can help you take the next step.

Plan a new story. Summer is the BEST time to dream up new characters, outline a story, or build a fictional world. These are writing bits that are fun, creative, and perfect for smaller pockets of time. Being able to mull everything over, and do some of the important planning, can put you in a great place when it’s time to start writing!

You even have the time and space to decide the best way for your story to start. Having that first scene clear in your mind can make it so much easier to get going when it’s time to write it.

By ANGELA ACKERMAN

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

What Are Your Protagonist’s Flaws?

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The most relatable characters are ones who mirror real people, meaning they are complex individuals with a blend of strengths, failings, attributes, and flaws. Of these four, flaws are often the most difficult to figure out, because knowing which negative traits will emerge in someone means exploring their past to understand who negatively influenced them and what painful experiences they went through. It also means digging up unresolved emotional wounds which have left dysfunction and fear in their wake.

Flaws, or negative traits as they’re also called, are unusual in that the person who has them probably doesn’t view them as dysfunctional and instead believes these traits are helpful and necessary. Why? Because these traits are very good at creating space around your character. And when your character goes through life afraid of being hurt again, keeping people and experiences distant when they seem like they could lead somewhere painful is exactly what your character will want to do.

So, what does this look like?

Let’s take a character who dropped the ball in the past. He was babysitting his nephew, feeding him in the high chair, and the phone rings. He goes to retrieve the phone from his jacket pocket in the other room, and a scream sounds from behind him. His nephew wriggled free from the chair and fell, breaking his arm.

Mom and dad are alerted, and they are not happy.

Moving forward, our character, once the brother who always helped out, stepped up, and volunteered, becomes the guy who shows up late, loses or breaks things, and is always “busy” when asked. What happened? What caused this change?

Easy, that situation with his nephew, and the fallout that came after for not being there when he should have been.

By becoming irresponsible, unreliable, and self-absorbed, what are the chances someone will ask him to take on a big responsibility again? Pretty low. And as long as he’s never the one who has to come through, he’ll never have a chance to fail and disappoint like he did when he was caring for his nephew.

Logically, he was only out of the kitchen for a moment, and whether it were him or the child’s parent, probably the same thing would have happened. But when a person fails, they often take it to heart, blame themselves, and don’t ever want to be put in that same situation (because they’re sure they’ll only screw up). Adopting a character flaw or two will ensure he’s never going to have to worry about dropping the ball again.

Well, heck, that’s great right? No, not at all. Because while his flaws will keep people from requesting he be responsible in some way, he’s also denying himself the chance to be responsible and have a better outcome, which leads to growth and being able to let go of the past. It may also cause friction in his relationship, and even for him to not be there for others when he really wants to be, all because he’s too scared of making a mistake again.

Flaws are normal and natural. We all have them, and so will a character. And in order for them to solve their big story problems and succeed, they will need to examine what’s holding them back…their flaws, and the fears that caused them. So don’t be afraid of giving your character some flaws. Remember, the most relatable characters are those who think, act, and behave just like real people…and that means they’ll be far from perfect.

Now, some writers tend to rush character development in their eagerness to get words on the page, and randomly assign certain flaws without thinking about why they might be there. Unless these aspects of a character’s personality are fleshed out down the road, a character can feel like they lack depth. So make sure you know the “why” behind a flaw…it will help you understand what’s holding them back in the story, how they need to grow, and will point you toward conflict that will trigger them in negatives ways so they become more self-aware. After all, your character won’t realize his negative traits are a problem until failure because of them is staring him in the face.

How do we decide which flaws are right for a character?

1) Make Friends with the Character’s Backstory
Backstory gets a bad rap, but the truth is, we need to know it. Understanding a character’s past and what events shaped them is critical to understanding who they are. So brainstorm your character’s backstory, thinking about who and what influenced them, and what difficult experiences they went through that soured their view in some way, damaged their self-esteem, and cause them to avoid certain people and situations. This isn’t so that you can dump a bunch of flashbacks and info-heavy passages into your story to “explain” the source of a flaw. Rather, this information is for you as the author so you better understand what motivates your character, what he fears, and how his goal will be impossible to achieve until he sheds his flawed thinking and behaviors.

2) Poke Your Character’s Wounds
Past hurts leave a mark. Characters who have experienced emotional pain are not eager to do so again, which is why flaws form to “protect” from future hurt. A man who loses his wife to an unfortunate infection picked up during a hospital stay is likely have biases toward the medical system. He may grow stubborn and mistrustful, refusing to see a doctor when he grows sick, or seek medical treatment when he knows something is deeply wrong.

This wounding event (his wife’s death) changed him, affected his judgement, and now is making him risk his own health. Had his wife survived, these changes would not have taken place. Knowing your character’s wounds will help you understand how flaws form in the hopes that the character can protect himself from being hurt again.

3) Undermine Your Character’s Efforts
In every story, there is a goal: the character wants to achieve something, and hopefully whatever it is will be an uphill battle. To ensure it is, think about what positive traits will help them achieve this goal, how you can position the character for success. Then brainstorm flaws that will work against them, making it harder. This will help them start to see how their own flaws are getting in the way and sabotaging their progress.

4) Look for Friction Opportunities
No character is an island, and so there will be others who interact with them or try to help in the story. Maybe your character has certain flaws that will irritate other people and cause friction. Relationships can become giant stumbling blocks, especially for a character who wants connection or really needs help but has a hard time admitting it. Make them see how the path to smooth out friendships and interactions is to let go of traits that harm, not help.

5) Mine from Real Life
We all have flaws based on our own experiences, as do all the people around us. Some are small, minor things, others are more major and create big stumbling blocks as we go through life. Flaws are often blind spots, because the person who has them doesn’t see them as a bad thing, just that they have reasons for acting or thinking a certain way, meaning it’s okay. But whenever things don’t go well and we’re frustrated, there’s a good chance one of our flaws is getting in the way.

So, if you’re feeling brave, look within and find the bits of yourself that may not cast you in the best light. Do you get impatient easily? Do you feel like you always have to be in control? Are you sometimes a bit rude, quick to judge, or you make excuses to get out of responsibilities? Thinking about situations where our own behaviors crop up and cause trouble can help us write our character’s flaws more authentically.

By ANGELA ACKERMAN

Source: writershelpingwriters.net

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How to write a crime story?

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Writing a crime story is a challenging task that requires a lot of research, planning, and creativity. Whether you are an aspiring writer or a seasoned author, crafting a compelling and suspenseful crime story is no easy feat. In this blog post, we will discuss some tips and tricks on how to write a crime story that will captivate your readers and keep them on the edge of their seats.

  1. Choose a compelling premise

The first step in writing a crime story is to come up with a compelling premise. This premise should be intriguing enough to make your readers want to keep reading. Consider starting with a “what if” scenario. For example, what if a wealthy businessman is found dead in his office, and all of his employees have a motive for murder? Or, what if a serial killer is on the loose, and the only person who can catch them is a detective with a troubled past?

  1. Develop your characters

Your characters are the heart and soul of your crime story. To make your readers care about what happens to them, you need to develop them into three-dimensional, relatable characters. Each character should have their own backstory, motivation, and personality. Consider giving your protagonist a flaw or weakness that they must overcome to solve the crime.

  1. Research, research, research

Crime stories are often based on real-life events, so it’s important to do your research. Make sure you understand the legal and procedural aspects of the crime you are writing about. This includes police procedure, forensic science, and legal terminology. You want your crime story to be as accurate as possible to add to its credibility.

  1. Create a compelling plot

A crime story needs to have a well-crafted plot that keeps the reader engaged. This means that you need to have a clear beginning, middle, and end. The beginning should establish the crime and introduce the characters. The middle should focus on the investigation and the twists and turns that come with it. The end should reveal the culprit and tie up any loose ends.

  1. Build suspense and tension

A good crime story needs to keep the reader on the edge of their seat. To do this, you need to build suspense and tension throughout the story. You can do this by adding twists and turns, creating cliffhangers at the end of chapters, and making your readers question the motives of your characters.

  1. Edit and revise

Once you have finished your first draft, it’s important to edit and revise your work. Look for inconsistencies in your plot and characters, and make sure everything ties together in a logical and satisfying way. Consider seeking feedback from beta readers or hiring an editor to help you polish your work.

In conclusion, writing a crime story takes time, effort, and dedication. By following these tips, you can create a compelling and suspenseful crime story that will keep your readers engaged until the very end. Remember to choose a compelling premise, develop your characters, research your subject matter, create a well-crafted plot, build suspense and tension, and edit and revise your work. With these tools at your disposal, you can write a crime story that will leave your readers wanting more.

By Rima

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