Have you wondered what makes a book unputdownable? What techniques or tricks an author employs to make sure you read that next word, sentence, paragraph, page?

One of the most effective ways to do this is by building suspense. All genres have suspense…or at least should.

Suspense is reader glue. Conflict, questions, secrets, surprises, and action are the lifeblood of suspense. Suspense happens when dramatic questions or secrets trap the reader’s attention and makes them want to know what happens next.

Our job is to sprinkle secrets out like wayfinding points to get readers to ask questions…without them realizing we are doing it.

Be Careful: Gimmicks vs Suspense

The last thing we want to do is be gimmicky with our writing. There is a difference between withholding information and having genuine secrets. If you must withhold information, you must have a compelling reason. This reason must be more than to simply surprise or shock the reader.

Angela Ackerman asks three questions when planning story secrets:

1. Does this secret enhance the plotline, or distract from it?
2. Does this secret align with the character’s moral code?
3. Does this secret send a message about the character’s personality that meshes with how I want readers to think about him or her?

When using secrets to build suspense, you must make sure that:

• The secret is integral to the plot.
• The secret is true to the character.
• Your character must have a necessary or indispensable reason for keeping the secret.
• The tension is not increased by giving the reader the information upfront.

If you cannot check these four criteria off, you may be better off giving your reader the information, and building suspense through other secrets and questions.

Remember: readers are smart. Treat them as such.

How Do You Want Readers to Feel When They Learn a Secret?

• Surprise. In other words, you don’t want them to see it coming. (Hello, Snape.)
• Understanding. When the reader learns the secret, it should make total sense. We want our readers to have a WOW and DUH experience. (The Sixth Sense, I’m looking at you.)
• Satisfaction. The reveal should emotionally satisfy the reader—whether that emotion is revenge, a giant I-told-you-so/I-knew-it, character redemption, or they-had-it-coming. (The Good Place, is actually the bad place.)

Types of Secrets in Fiction + Examples

There are two types of secrets in fiction. Author Secrets, which are the story twists and surprises that you, the author, intentionally keep from the reader and reveal based on your plot. And Character Secrets, which are secrets characters keep from other characters, usually traced back to that character’s morality or original wound. These secrets may or may not also be kept from the reader.

Author Secrets:

• Directly tell the danger/stakes at the beginning, but no more. That’s what the rest of the book is for….
  • QUEST FOR A MAID, Frances Mary Hendry

When I was nine years old, I hid under a table and heard my sister kill a king.

• I mean, those are high stakes right? After this bomb of a first line, the author just goes into the story of Meg, the precocious little sister and the toothache that led her to witness this horrific event.
• The devil’s in the details…the important ones that is. These are little hints that, once your final reveal comes to light, all come bubbling back to the surface. These are the secrets that, on second read-through, readers will pick up on.

• HARRY POTTER AND THE SORCERER’S STONE, J.K. Rowling

Perhaps Harry had eaten a bit too much, because he had a very strange dream. He was wearing Professor Quirrell’s turban, which kept talking to him, telling him he must transfer to Slytherin at once, because it was his destiny. … He rolled over and fell asleep again, and when he woke the next day, he didn’t remember the dream at all.

• Hint at what’s to come – plants and reveals
  • POWER OF THE SONG, Kris Faryn & Jules Lynn

Plant: Something thumped against my head. I looked around, up, down—and picked up a raisin. Where did that come from? Grief rolled through me, tight and tense and tinted with guilt. Raisins would be forever connected to Narfi, my troubled friend who’d tried to protect me from the Sons. And they’d killed him for it. I closed my hand around the shriveled fruit and got to my feet.

• Our main character believes her friend Narfi is dead—never to be seen again. But as more raisins appear in her path (more plants), she—and us—perk up. Something else is going on, and we’ll have to keep reading to figure out what.
• Chekhov’s Gun: ‘If in Act I you have a pistol hanging on the wall, then it must fire in the last act.’ This device doesn’t have to be a literal gun, but if you include a significant detail in the beginning, and spend time describing it, the item or idea must be used by the end of the story.

• THE TRUE CONFESSIONS OF CHARLOTTE DOYLE, Avi

But gradually — like a telescope being focused — I began to realize I was watching something clinging to one of the mooring ropes on the ship’s stern. It reminded me of a picture I once had seen of a sloth, an animal that hangs upside down upon jungle vines. But this — I gradually perceived — was a man. He appeared to be shimmying himself from the dock up to the Seahawk. Even as I realized what I was seeing, he boarded the ship and was gone.

In this example, our main character is witnessing a stowaway steal onto a ship in the beginning of the story. She’s too naive to understand what she saw and it quickly slips her mind. The detail is small, and not much thought is given to it in the story BUT our reader ears have perked up, and we’re now—on a sublevel—searching the story for this mysterious man and when he might show up again.

• Misdirection
• HARRY POTTER AND THE SORCERER’S STONE, J.K. Rowling

“It was Snape,” Ron was explaining, “Hermione and I saw him. He was cursing your broomstick, muttering, he wouldn’t take his eyes off you.”

“Rubbish,” said Hagrid, who hadn’t heard a word of what had gone on next to him in the stands. “Why would Snape do somethin’ like that?”

Whether your story’s secret is something that is only known to the author, the character, or between certain characters, secrets are one of the key ingredients of building suspense, and therefore, crafting a story readers cannot put down.

By CHRISTINA DELAY

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Criticism

Notes
No one likes to be criticized, but for some people, it can be very intimidating and even demoralizing, leading to an avoidance of any kind of well-intended feedback or critique. A fear like this can also be linked to a fear of rejection. It might be generalized, affecting many areas of life, or be localized to one person or environment.

What It Looks Like
Hesitancy to share their work 
Double- and triple-checking completed tasks
Striving for perfection
Conforming to societal norms
Being highly self-disciplined
The character being very hard on themselves
Asking a lot of questions before starting a new project
Going above and beyond what was asked
Choosing words carefully
Compensating for a perceived inferiority by bragging, exaggerating, etc.
Self-deprecation
Repeatedly apologizing for perceived wrongdoing
Seeking approval and validation 
Being uncomfortable in new environments and activities
Procrastinating or missing deadlines
Never taking initiative
Preferring to be alone
Avoiding risks
Becoming defensive when advice is offered
Avoiding people who might offer feedback
Reading criticism into every instance where advice is given
Taking things personally
Misreading people’s intentions—believing that someone is on a power trip when they’re only trying to help
Not taking advantage of opportunities where criticism is likely
Being unable to differentiate between constructive feedback that should be ignored

Common Internal Struggles
The character always feeling on edge, afraid of making a mistake
Having ideas to share but being too afraid of they not being received
Feeling like a failure
Struggling with low self-esteem
Believing they are inferior or worth less than their peers
Feeling inadequate or incapable
Becoming obsessed with negative feedback
Believing people are waiting for them to make a mistake
Being ashamed of a part of themselves (a physical characteristic, a weakness, etc.)

Flaws That May Emerge
Antisocial, Defensive, Evasive, Haughty, Inhibited, Insecure, Jealous, Know-It-All, Nervous, Perfectionist, Pretentious, Timid, Verbose

Hindrances and Disruptions to the Character’s Life
The character stagnating because they’re unable to accept feedback
Being limited professionally because of an unwillingness to change
Never being able to truly express themselves
Giving up a passion because of criticism in that area
Gaining a reputation for being easily offended, uncooperative, or uninterested in self-improvement
Living with relationship friction due to the character misreading a spouse or parent’s intentions or character (accusing them of being overly critical or believing the other person thinks poorly of the character, etc.)
A lack of self-awareness keeping the character from growing and improving

Scenarios That Might Awaken This Fear
Having to change jobs and start over with a new supervisor
Being put in a situation where the character or their skills are on display
Being assigned a job that is beyond the character’s abilities (being set up to fail)
Being rejected (in an interview, on a date, when sharing an idea, etc.)
Being paired with someone whose performance is always lauded
Receiving harsh criticism from a trusted individual
The character’s skills being brushed aside or devalued
Encountering a loved one whose desire to help looks a lot like criticism.

By BECCA PUGLISI

Source: writershelpingwriters.net

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Foreshadowing is a literary technique we can use in our stories that gives a preview or hint of events that will happen later. While many might think of foreshadowing for mysteries, this literary device can be used in any genre.

In fact, most stories need foreshadowing of some type to keep readers interested in what’s going to happen. That said, foreshadowing requires a balance. When used poorly, foreshadowing can make our story feel boring or predictable, but when foreshadowing is used well, readers will find our story more satisfying.

How Can Foreshadowing Make Stories More Satisfying?

While most aspects of writing contribute to readers’ sense of whether our writing is “strong,” foreshadowing helps create readers’ sense of whether we and/or our story have a plan, whether we’re going to take them on a worthwhile journey. In other words, foreshadowing can help create the sense that every element of the story has a purpose, that it’s all leading to a purposeful destination.

Hints of future story elements—even ones that just register with readers subconsciously—make story events fit into a sense of a bigger picture. While unexpected twists can make a story fun and avoid the feeling of being too predictable, foreshadowing can help a story hit the sweet spot of feeling inevitable-yet-surprising.

For example, imagine a final dilemma where a character faces a choice between two options illustrating the tug-of-war between aspects of their personality. If the story concludes with an unexpected twist as the character lands on a third option, the ending could feel like a cheat or an out-of-character decision – or it could feel like a brilliant way to resolve the story.

The difference between those reactions often comes down to whether the third option was foreshadowed at all, even in the most subtle, subconscious-registering way. A subtle foreshadowing can ensure that twist doesn’t feel like a cheat or out of character, and instead make it feel like the resolution was the point of the journey, adding to the sense of strong—and satisfying—storytelling.

Types of Foreshadowing

That said, before we can use foreshadowing effectively and find the right balance between leading readers along the storytelling journey and “spoiling” events, we need to understand more about foreshadowing as a writing technique. Different types of foreshadowing will fit our story at different times.

Some foreshadowing is direct and tells readers where the story is going. Other foreshadowing is more about subtle hints that are so indirect as to often be recognized only in hindsight.

Examples of Direct Foreshadowing

• mention of a future event
• show characters worrying about what might happen
• a character declares that something won’t be a problem, which often hints to readers that the character will be proven wrong later
• show or allude to tension that readers figure will eventually have to snap
• a prophecy of what the future will bring
• If we’re writing in normal past tense rather than the default literary past tense, we can directly say what’s to come, such as: He didn’t know it yet, but that would be his last night at home.
• a flash-forward (often in a prologue or preface) showing events to come
• mention of emotions or thoughts of what a character longs for (even subconsciously), clueing readers into what their internal arc or internal goal will be

Direct foreshadowing tells readers the what, but readers still read to learn the how.

Examples of Indirect Foreshadowing

• show a lower-stakes version of the final conflict early, hinting at how the situation will play out later
• show a prop or character skill in action earlier that will be important for the success of the final conflict (depending on how obvious the earlier incidence is, this type of pre-scene might be more direct than indirect)
• show a threatening object, hinting that it will eventually be used (i.e., Chekhov’s Gun) (depending on how obvious the appearance is—background vs. close up, etc.—we might consider this a direct technique rather than an indirect example)
• allude to something in a throwaway phrase, often burying the detail in the middle of a sentence and/or paragraph, letting readers skim over and forget about the hint
• toss out a seemingly normal statement that will resonate with more meaning in future events later
• use similes or metaphors to hint at hidden traits or situations
• show a suspicious event, but have the viewpoint character believably decide there’s an innocuous reason, so readers don’t know the character assumed incorrectly until later
• use symbolism, such as how crows and ravens around a character often foreshadow their death or how weather often symbolizes a coming change
• use imagery and settings to create a certain mood appropriate to the later story, such as dread or creepiness

Indirect foreshadowing uses subtlety, subtext, and/or misdirection to hide the story’s future, with the truth becoming clear only in hindsight.

3 Tips for How & When to Use Foreshadowing

Tip #1: Usually, Foreshadowing Should Be Avoided When…

• we’ve already foreshadowed the event, as we don’t want elements to feel repetitive
• the event is unimportant, as the payoff won’t be worth the setup (exception: using it for non-anticipatory reasons, such as the setup and payoff of humorous details)
• we’ve already foreshadowed related events, as readers don’t want to know how everything will play out

Tip #2: Direct Foreshadowing Can Be Beneficial When It…

• establishes reader expectations, as meeting reader expectations makes our story more satisfying
• makes events seem credible, as by establishing the possibility, readers will be prepared to accept the events
• uses foreshadowed motivations to make characters seem more logical, as they’ll seem less like puppets to the plot
• increases a story’s sense of foreboding, tension, or suspense, as readers might not know what exactly is going to happen, but they know it’s going to be bad
• increases a story’s sense of anticipation, as readers will want to know what happens
• makes readers more invested, as they try to guess how the story will play out
• helps us delay events until best for the story and reader anticipation, while still letting readers know that more interesting stuff is coming in the story soon
• makes readers feel like they have a relationship with author-us, as readers interact with our writing to guess outcomes

Tip #3: Indirect Foreshadowing Can Be Beneficial When It…

• gives readers a sense of closure or gives our story the feeling of tying up loose ends
• creates a sense of the story being deliberately woven together with a surprising-yet-inevitable ending
• makes readers feel more satisfied, like seeing the final piece of a puzzle fit and finally glimpsing the bigger picture
• provides a richer experience for readers by creating layers and parallels
• avoids making the ending feel contrived or solved by waving a Deus Ex Machina wand, and instead makes events feel natural to the story
• gives readers the satisfying feeling of “Wow! I can’t believe I didn’t see that coming” rather than the angry or betrayed feeling of “WTF? That came out of nowhere”
• increases emotions, such as making a tragedy more tragic by having the character (and reader) realize the tragedy could have been prevented if only they’d known earlier how X was significant
• prevents readers’ frustration when they’re purposely kept in the dark with lies, instead making them think they could have guessed with truths that are simply hidden.
• gives repeat readers something new to enjoy, as they put together new connections on a reread

Use Foreshadowing, but With Purpose

Whether we’re using direct or indirect foreshadowing, the idea is to set up details, events, and concepts in our story that we later pay off with consequences, growth, change, etc.

Foreshadowing—setups and payoffs—creates echoes in our story that make our story feel more crafted, more purposeful, more deliberate, and more confident. All of that makes our story feel more meaningful to readers—and thus more satisfying. *smile*

Have you read stories with foreshadowing? Did the technique work for you (and why or why not)? Have you written stories with foreshadowing, or have you struggled to know how to use it (or find the right balance)? Can you think of other situations when foreshadowing would be beneficial or harmful? Do you have any questions about foreshadowing?

By JAMI GOLD

Source: writershelpingwriters.net

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There’s a dirty little secret among many of us readers: well-written antagonists get our blood pumping. When a scene come along with them in it, well, we lean closer. Grin a little more. Not because we’re a bunch of budding psychopaths and this is some alter-ego role play–okay, maybe a little–no, it’s that deep down, there’s something we like about them. Maybe even admire.

What now? you say. How is that possible? He (or she) is the baddie, after all!

Indeed. And we know it. But just like a protagonist, the antagonist can have something special about them too. It’s not a hollow quirk, catch-phrase, or great sense of style that draws us in. No, it’s something deeper, something attached to their identity or life experience. We see this part of them and relateto it because it reminds us of something we’ve seen or experienced in our own real-world journey.

Is relatability only for protagonists?

A lot of airtime is devoted to building a relatable protagonist because it makes the character accessible to readers in a meaningful way. Relatability is a rope that ties the two together – in some significant way, readers see the hero or heroine is like them. Maybe they’ve both felt the same thing, been in the same situation, experienced the same heartache or sting of failure. This common ground helps a bond of understanding and empathy to form, and the reader becomes invested in what happens to the character. They root for the protagonist and care what happens to them.

We don’t see as much written on the subject of relatability when it comes to the antagonist or villain because writers are supposed to nudge the reader into the protagonist’s camp, not the antagonist’s. Unfortunately, though, this can send the wrong message about the importance of our darker characters, leading to some writers glossing over their development so they end up with cliché, yawn-worthy villains.

Antagonists should be as developed as protagonists.

They should have understandable motivations (for them), have a history that shows what led them down the dark alley of life, and an identity, personality, and qualities that make them a tough adversary for the protagonist to beat. The more dedicated, skilled, and motivated the antagonist is, the more of a challenge they will be, leading to great friction, tension, clashes, and conflict.

So, just as we want to show readers a protagonist’s inner layers and give them ways to connect and care about the protagonist, we should encourage readers to find something good or relatable about the antagonist so it causes the reader to be conflicted. They may not agree with the antagonists’ goal or how they go about getting it, but maybe they understand why this story baddie wants what they want, or they admire certain qualities they have.

When readers are torn over how to feel, they become more invested in the story.

Life is not always black and white, is it? So it’s okay if a tug of war goes on inside them over who is right and who is wrong in the story, or if they care enough about the villain to hope they will choose to turn from their dark path, and redemption may be possible.

So how do we make an antagonist relatable?

Common human experiences, especially ones that encourage moral confliction, are a great way to show readers they have something in common with the antagonist. For example, consider temptation.

Haven’t you ever been tempted to cross a moral line?
Did you ever want to make someone pay because they deserved it?
Have you ever ignored society’s rules because they don’t make sense, are unfair, or were built to benefit a select few?

Temptation is something we’ve all felt, and wrestle with. Sometimes we remain steadfast, other times we give in. So having a darker character be tempted in a way readers relate to will cause them to identify with the antagonist’s mindset.

Another way to use temptation is to get readers to imagine the what if, which can be another area of common ground:

• What if you could easily let go of guilt and do what feels right for you?
• What if you could break the law for the right reasons and serve a greater good?
• What if you could go back in time and erase someone who really deserves to be erased?

This can work well if you tie the antagonist’s desire to embrace the dark side because of a past trauma. For example…

• Maybe they do whatever feels right because they were enslaved by a cruel master as a child
• They break the law because those who make them are corrupt and entitled
• They go back and erase someone because that person killed their beloved and unborn child

Can’t we all relate to these dark motivations just a little? Don’t they help us understand where the character’s behavior is coming from? We may not morally agree with what the antagonist does, but we do feel some connection to them.

And I’m convinced this last one is the key because antagonists and villains have an Achilles heel: their role. As soon as it’s clear they are cast as the Bad Guy or Gal, readers put them in a box. They must be a jerk, a sore loser, a narcissist, someone who’s all about power and control. They must be unlikable.

And I don’t know about you, but when the antagonist or villain turns out to be exactly those things, I’m disappointed. Why? Because it’s expected: good guy faces off against typical bad guy, good guy wins. Yawn.

Relatability makes it okay to like the antagonist, even though they do bad things.

So, to recap and offer a few more ideas…

Craft a backstory that’s as well-drawn as the Protagonist’s. As the author, you need to know why they’re messed up and take the dark path. Use a past tragedy to help readers understand what led them to their role. Maybe you can even reveal this in a way that causes readers to wonder if they would be any different had they been in the antagonist’s shoes. 

Give them a credible, understandable motivation. Even if their goal is a destructive one, they should have a good reason for wanting it. (For ideas on what this could look like, check out the Dark Motivations in this database.)

Give them a talent, something helpful or interesting. Just like a protagonist, your antagonist likely is skilled in some way. What talent or skill will help them achieve their goal? And you can always make this an interesting dichotomy, like an antagonist with a talent for healing who takes in hurt animals but lacks the same empathy for humans. 

Give them a quality or trait that is undeniably admirable. It’s easy to paint a villain as being all bad, so skip the cliché and give them a belief they live by. Maybe they keep every promise or hold honestly in the highest regard and so are always truthful, even if it makes them look bad. Of course, the dark side might be that they don’t suffer lies of any kind, and punish them severely.

Make them human. Sometimes writers can go on a “power and glory” tear and forget their antagonist is as prone to “Average Joe” problems as anyone else. Does their roof leak, do they have visitors show up at an inconvenient time, do they get sick?

Antagonists can have a hobby or secret, struggle over what to do, or regret words said in haste just like the rest of us. So while you highlight their dark ways and volatile emotions, remember to also show how in some ways, they’re just like anyone else.

By ANGELA ACKERMAN

Source: writershelpingwriters.net

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I’ve been obsessed with the concept of Show, don’t Tell for years. I could geek out about it all day long, and don’t get me started if I find a book that drags me into its pages with Showing details and makes me skip meals, sleep, and time with my family to find out what happens at the end…

              *SWOONS*

So, when I was writing the second book in my The Fountain Series in 2017, and I got notes back from my editor on the draft I submitted, with “Show, don’t Tell, please!” in the margin, my stomach sank. I stared at the computer screen, my face hot, scrolling to see those words repeated more times than I care to admit. How could this be? I’d revised that manuscript until my eyes watered.

I thought I was doing it.

It’s Almost Impossible to See Telling in Your Own Writing Just by Reading…

If this has happened to you, don’t beat yourself up like I did. My editor’s notes on that book were the kick in the butt I needed to crack this code, and I’ve since discovered that it’s almost impossible to see Telling in your own writing just by reading. The story you’re sharing is alive in your mind, playing like a movie, with every detail available to your brain, from the pink sky your characters stand under in your scene, to the low hum of traffic in the distance. But most of that detail won’t end up in your first draft because it’s too obvious to you and you don’t want pages of description to slow your pacing.

*YAWN*

To further complicate things, when you read what you’ve written back to yourself, you won’t notice what’s missing, because your smart writer brain will fill in all the glorious details your imagination holds about the sky and the sounds in the distance. To you, your story will read like a masterpiece. The problem is, those details your brain knows didn’t make it to the page, so your reader is going to get a much flatter version of the story you’re trying to tell.

So, how do you fix this age-old writing problem if you can’t find it in your own work? Talented editors and beta readers can flag this problem for you, but the earlier you find it, the better. I developed a checklist that will help you find places you need Showing details in your work without banging your head against the wall.

7 Ways to Find Telling in Your Own Writing

1. Named Emotions – Don’t tell readers your character feels murderous, Show us their narrowed eyes and shaking body. Search for emotions named in your draft (happy, sad, frustrated, surprised, etc.) then grab your copy of The Emotion Thesaurus and drag your reader into your character’s body by adding Showing details.
2. Using “-ly” Adverbs – Simply, actually, slowly… these words are almost always Telling. Hunt them down and get rid of them to make your writing stronger.
3. Info Dumping – This is too much information shared at once, without anything happening in story present to move the story forward. Scan your draft visually for text-heavy pages without much white space, and these areas will stick out like a sore thumb. Eliminate any information your reader doesn’t need, find a more creative way to deliver it, or break the information up between actions that happen in your scene.
4. Recapping Events that Happened Off-Screen – It’s never fun for a friend to say “you shoulda been there!” If your characters are sitting around in a scene Telling each other about blood they spilled in an epic battle, bring your reader to the battle instead, so they can hear the screams and feel the wind that blows through your character’s hair, first hand.
5. Showing Many vs. One – Rather than saying your character often went fishing, Show us a specific fishing trip, where the character’s boat sprang a leak and they had to swim to shore. Instead of writing that the crowd surged forward, show us the boy who darted in front of the surging crowd, getting trampled by their feet.
6. Being Vague vs. Specific – Watch for words like something, things, stuff, objects, etc. that are vague, and replace them with a specific detail that adds to your worldbuilding.
7. Saying What Isn’t in the Scene – If your character sees “nothing” in the dark, or there were “no books” on the shelf, you’ve missed an opportunity to Show your reader a detail or two about what is there – the soupy fog that swallowed up the character’s view of the forest, or the bare slats of the bookshelf covered with a thick layer of dust.

Once you find these pesky places in your writing, have fun adding Showing details, so your reader can experience your cascading purple waterfalls or dark musty caverns up close. Adding these details to your book during your revision process stretches your brain in the most creative way, and might just become your favorite part of your writing process.

by SUZY VADORI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Rejection

Notes
One of our basic human needs is to be loved, wanted, needed, and accepted, so it makes sense that people generally want to avoid rejection. When this fear is taken to an extreme, it can hold the character back in their career, relationships, and their basic enjoyment of life. As a result, characters with this fear often feel stuck where they are, unable to grow.

What It Looks Like
Being overly agreeable
Exhibiting a strong work ethic (to prove their worth to others)
Being a perfectionist
Being passive aggressive rather than straightforward about their feelings
The character not standing up for themselves
Sticking like glue to the people who accept and love the character
Being conflict-averse
Being shy with new people and in new situations
Taking extra pains with their appearance so they’ll always look their best
Being a people-pleaser
Being evasive or dishonest about beliefs and opinions that others may not agree with
Jumping to conclusions about what others are thinking or feeling
Getting their feelings hurt easily
The character keeping mostly to themselves
Avoiding romantic relationships unless they’re absolutely sure of the other person’s feelings
Underachieving and encouraging low expectations (so people won’t expect too much, be disappointed, and reject them)
Having secret hobbies
Ending romantic relationships and leaving jobs prematurely (rejecting others before they can reject the character) 

Common Internal Struggles
Wanting to open up to others but being afraid their true thoughts and opinions will be criticized
Wanting to stay in a relationship but also wanting to get out of it
Being afraid of failure or letting people down
The character despairing of ever reaching their full potential
Longing to be in a romantic relationship but being too afraid to put themselves out there
Struggling with loneliness but not knowing how to build deep connections with others
Feeling unwanted or unlovable
Constantly worry about what others think
The character wondering what’s wrong with them

Flaws That May Emerge
Antisocial, Cowardly, Disorganized, Insecure, Jealous, Needy, Oversensitive, Perfectionist, Suspicious, Timid, Withdrawn

Hindrances and Disruptions to the Character’s Life
Being consumed with worry about other people and what they think
Trouble making and keeping friends
An inability to form trusting relationships
Burning out from the constant drive to please everyone or be above reproach
Frequently being taken advantage of
Living a life short of their full potential
Low self-esteem undermining the character’s belief in themselves and their capabilities

Scenarios That Might Awaken This Fear
A situation where the character must be chosen by others (a job interview or promotion, a political campaign, etc.)
The character meeting someone they’d like to date (but will have to ask out)
The character’s work being criticized
Being fired or laid off
A friend canceling plans with the character
Being divorced or dumped
A child asking to live with the character’s ex.

by BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Losing Financial Security

Notes
Food and housing security is one of humankind’s oldest needs. The fear of losing it (along with the corresponding conveniences and perks of modern life) can be rooted in many causes and will manifest in diverse ways.

What It Looks Like
Marrying for money
Being frugal
Picking a career based on salary over personal fulfillment
Frequently negotiating for a raise
Working more than one job to maintain a certain income
Job-hopping to take advantage of better paying opportunities
Pursuing higher education, certifications, and continuous learning opportunities
Being conservative and risk-averse when investing
Obsessively watching the stock market and the current financial climate for signs of a downturn
Being paranoid about scams
Living by a strict budget
Living simply (buying generic brands, choosing staycations over vacations, not engaging in expensive hobbies, etc.)
Building up and jealously guarding an emergency fund
Closely monitoring credit reports and credit card charges 
Making fear-based financial decisions rather than logical ones
Getting frustrated when family members overspend or don’t follow the character’s budget
Measuring financial security by an arbitrary goal (having a certain amount of money in the bank, being wealthier than a sibling or neighbor, etc.)
Personally going without so other family members can have a little extra

Common Internal Struggles
Always thinking about money 
Worrying about running out of money later in life and having to depend on others 
Wanting to enjoy life and the fruits of working but being consumed with worry
Constantly trying to anticipate and plan for scenarios that will create a financial bind, such as a medical emergency, car repairs, etc.
Second-guessing financial and career decisions
Anxiety spiking when a new expense is added (a child asking for money for a class trip, insurance premiums going up, etc.)
Wanting to give a child or spouse what they want but having to say no
Being tempted by a risky investment that, if it pays off, ensures financial security

Flaws That May Emerge
Compulsive, Controlling, Dishonest, Flaky, Greedy, Impulsive, Indecisive, Irrational, Nervous, Obsessive, Pessimistic, Possessive, Stingy, Unethical, Workaholic, Worrywart

Hindrances and Disruptions to the Character’s Life
The character losing sleep because they’re always worrying about money
Not being able to have the same experiences as others
The character lacking fulfillment in their career
Missing out on important family moments because the character is always working
Bypassing lucrative opportunities because the character is too afraid of the risk
Suffering the physical effects of too much worrying (headaches, weight loss, ulcers, etc.)
An inability to be content; always striving for more financial security
Having strained relations with a spouse or child because of the character’s stinginess or inflexibility

Scenarios That Might Awaken This Fear
The character or their spouse losing their job
The boss announcing cutbacks at work
Sustaining an injury or incurring a serious illness 
Losing everything to a scammer or in a bad investment
Watching the economy plummet toward a recession or depression
Having to take on caregiving duties for an additional family member
Having to file for bankruptcy
Being sued.

By BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Losing Control

Notes
To varying degrees, control is something we all desire because we’ve seen what happens when we don’t have it. The resulting disappointments, frustration, and even tragedies can cause a fear to develop, creating problems in many areas of the character’s life.

What It Looks Like
Suppressing emotions
Being rigid and inflexible
Adhering to schedules and routines
Seeking to be an expert on everything so the character will be as informed as possible
Going to great lengths to keep loved ones safe
Displaying Obsessive Compulsive Disorder (OCD) tendencies (checking locks, making sure the oven is off, excessive hand washing, etc.)
Using rituals to calm down (counting, breathing techniques, mantras, etc.)
Employing checklists and to-do lists
Anticipating problems before they happen
Monitoring a spouse’s emails and calls
Micromanaging co-workers 
The character restricting their child’s freedom (with early curfews, limited internet access, having to approve their friends, etc.)
Seeing things in black and white
Being a perfectionist
Being overly sensitive to criticism
Not taking action without in-depth research and planning
Being risk-averse
Other phobias arising from the fear of not being in control (fear of flying, being confined, etc.)

Common Internal Struggles
Knowing that life is filled with change and uncertainties but being unable to come to terms with them
Wanting to delegate a job but feeling like no one else can do it properly
Struggling with stress and anxiety
Knowing certain things can’t be controlled but trying to control them anyway
Wanting to know the future  
Feeling unsafe when things aren’t certain
Fearing for the safety of loved ones
Obsessing over situations outside of the character’s control

Flaws That May Emerge
Abrasive, Compulsive, Confrontational, Controlling, Hostile, Impatient, Impulsive, Inflexible, Irrational, Jealous, Know-It-All, Needy, Obsessive, Perfectionist, Possessive, Pushy, Suspicious, Volatile

Hindrances and Disruptions to the Character’s Life
Losing employees due to micromanagement
Driving a child away with neediness or nosiness
Being overworked due to an inability to delegate tasks
Being unable to live fully in the present
Not taking advantage of good opportunities because they can’t be controlled or predicted
Being unable to be spontaneous
Struggling with letting others make decisions—when a child chooses to go away to college instead of staying close to home, for instance
Being overwhelmed when unexpected circumstances arise

Scenarios That Might Awaken This Fear
A situation arising where the character cannot control the outcome (getting caught in a storm, being stuck in traffic, contracting a chronic illness, etc.)
A teenager rebelling and wanting more freedom
Hearing about a tragedy that befell a friend’s family 
Entering a transitional phase of life (going to college, getting married, having a child, menopause, etc.)
Experiencing the unexpected loss of a loved one
Being the victim of a crime
The character having to trust someone else (a family member, the judicial system, etc.) for their security.

By BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

As writers of historical fiction, we might be tempted to believe our job is to teach readers about a certain event or era. While that might be part of what we’re doing, I would argue it’s not the most important part. The number one job of a fiction writer is to tell a story. A history textbook tells about history, but historical fiction should bring it to life by showing it. That’s our true mandate. It’s the difference between reading a menu and eating the meal.

But historical fiction doesn’t make this easy. Sometimes facts and figures need to be included; there are real events and people to take into account.

The thing we’re striving for in fiction is authenticity. We want our work to have the ring of truth to it. To that end, research is crucial. If we don’t do our research as historical fiction writers, we lose credibility with our readers. But researching comes with its own pitfalls. Information is dry and boring to read. The trouble is, we authors can get pretty fired up about our research. It’s cool stuff, plus we’ve worked hard to find it. The temptation is to use as much of it as we can. Indeed, the more research we’ve done, the more strongly we’ll feel about this.

But there’s a good chance that, for the sake of the story, a sizable amount of our research will never make it into the novel. We need to make our peace with that because research can easily get in the way of good storytelling. We’ll want to find a way to weave our research into the story seamlessly.

If we don’t, we’re likely to end up with an info-dump.

The Dreaded Infodump

An infodump is an extended section of telling (rather than showing), a chunk of information that is “dumped” into the reader’s lap.

Introducing readers to a historical era, explaining the political situation or a technical procedure—these are difficult things to do. The infodump makes it easy. You simply take a couple of pages—or an entire chapter—and explain it. This is why infodumps often show up either in prologues or first chapters. The author explains all the important bits to the reader up front before starting the story.

While an infodump might tell us about the world of the story, it doesn’t do anything to develop character, it doesn’t advance the plot, and it doesn’t really help the reader because usually there’s so much information crammed into one section, the reader won’t remember it. And it’s not presented in scene. It’s presented as information. Those are the moments in a story when a reader’s mind wanders.

Readers want to be immersed in the moment of the story. They want to feel like they’re standing beside our main character experiencing all the exciting things alongside them.

Infodumps also fail to create an emotional reaction in the reader. Most infodumps are written in a way that is cold and flat. When we fail to engage a reader’s emotions, we fail to engage the reader.

            To Avoid This Kind of Writing:

• Look for anything that isn’t happening in the present moment of the story. Have a close look at your sections of exposition. Backstory and world-building are common offenders.
• Figure out what needs to be explained only at that moment. Ask yourself: what does the reader need to know right now? If they don’t need to know it now, cut it, and save it for when they do.
• Trust your reader. They can piece things together; in fact, they like figuring things out. That’s part of the process of discovery involved in reading.
• If you’re unsure of whether you’ve given the reader enough information, try it out on someone. But beware of going from zero to overload if your reader asks for more information. Often, a subtle hint is all that’s needed.

Incorporating Research into a Scene

            There are a few tricks we can use to weave research into a story as seamlessly as possible:

• Integrate it into the scene. Make it relevant to something that’s happening in the moment. That way, it moves the plot forward. 
• Add tension. Make the information something that causes problems for the characters. Show their reaction. This engages the reader. If the information matters to the characters, it will matter to the reader. 
• Write it in such a way that it conveys something about a character’s personality. Then it adds to character development. 
• Keep it brief. A sentence or two of information is enough.
• Break it up. Don’t stick all your information in one spot. Sprinkle it throughout a scene. Remember, the story comes first.

Use Your Research Elsewhere

There will always be a difference between the amount of research we do for a historical novel and the amount that makes it into the book. But why not use that extra information in other ways?

• Write some non-fiction pieces about the things you discovered while researching your novel. This is also a great way to generate some additional buzz for your work.
• Add the additional research to your website or on social media for readers who want to know more.
• Get creative: turn your facts into a trivia game or add them to presentations when you’re promoting your work.

Research is never a waste of time. Even if it doesn’t make it into the novel, it will show in subtle ways. The more we read about the world we’re building, the more we internalize it, and that is guaranteed to lend authenticity to our work.

By MICHELLE BARKER

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

Debilitating fears are a problem for everyone, an unfortunate part of the human experience. Whether they’re a result of learned behavior as a child, are related to a mental health condition, or stem from a past wounding event, these fears influence a character’s behaviors, habits, beliefs, and personality traits. The compulsion to avoid what they fear will drive characters away from certain people, events, and situations and hold them back in life. 

In your story, this primary fear (or group of fears) will constantly challenge the goal the character is pursuing, tempting them to retreat, settle, and give up on what they want most. Because this fear must be addressed for them to achieve success, balance, and fulfillment, it plays a pivotal part in both character arc and the overall story.

This thesaurus explores the various fears that might be plaguing your character. Use it to understand and utilize fears to fully develop your characters and steer them through their story arc. Please note that this isn’t a self-diagnosis tool. Fears are common in the real world, and while we may at times share similar tendencies as characters, the entry below is for fiction writing purposes only.

Fear of Sickness

Notes
Being sick is typically annoying, unpleasant, and sometimes painful. Many people are especially worried now, after the pandemic, about coming down with something. But it becomes a real problem when the fear of sickness begins to dictate a character’s very livelihood and ability to function in society.

What It Looks Like
Frequent hand washing
Carrying sanitizer or wipes
Keeping a distance from others
Only leaving the house when absolutely necessary
Symptom-checking and self-diagnosis
Avoiding seeing a doctor (for fear of being diagnosed with something)
Running to the doctor about every cough or sniffle
Wearing a mask, gloves, or other protective gear in public
Sanitizing objects (doorknobs, faucets, buttons) before touching them
Avoiding crowds
Maintaining a healthy diet
Nosiness about friends’ and family’s health
Looking up diseases and symptoms online
Limiting loved ones’ activities to keep them healthy
Self-isolation
Obsessive-compulsive habits
Embracing home and natural remedies 
Spending a lot of money on vitamins and supplements
Judging others for not taking the same precautions

Common Internal Struggles
The character constantly worrying that they’re coming down with something
Struggling with loneliness
The character feeling shame for their compulsive behaviors
Fearing that minor symptoms (headache, fatigue, etc.) are signs of something serious
Being conflicted about whether to see a doctor
Worrying about their children or loved ones getting sick
Wanting to attend an event but being too afraid of contracting an illness
Feeling judged by others who think the character is overreacting

Flaws That May Emerge
Antisocial, Compulsive, Cynical, Fussy, Inflexible, Irrational, Judgmental, Morbid, Nervous, Nosy, Obsessive, Paranoid, Pushy, Withdrawn, Worrywart

Hindrances and Disruptions to the Character’s Life
Being unable to care for a sick loved one due to fear of germs
Living in isolation (being unable to go to the store, enjoy hobbies, socialize, etc.)
A serious condition going undiagnosed and untreated
The fear spiraling into an anxiety disorder
Being unable to attend parties, concerts, and other get-togethers
Friction with loved ones who feel coddled and over-protected

Scenarios That Might Awaken This Fear
A pandemic or disease outbreak
A loved one receiving a serious diagnosis
The annual arrival of cold and flu season
Witnessing someone get sick in public
A routine doctor’s physical
Being in places the character believes to be dirty or germy
Being ineligible to take certain medications or vaccines
Getting sick in a place where healthcare is not readily available
Experiencing symptoms that hint at a serious disorder or illness
The character learns that someone they were in contact with was diagnosed with a contagious disease

By BECCA PUGLISI

Source: writershelpingwriters.net

Visit us at First Edition Design Publishing