Romantic thrillers are a popular genre in the world of literature, combining elements of suspense, danger, and romance to create a gripping and thrilling narrative. Writing a successful romantic thriller requires careful planning and a deep understanding of the genre. In this blog, we will explore some tips on how to write a romantic thriller novel.
Develop your characters
The key to a successful romantic thriller is to create characters that readers care about. Develop your protagonist and love interest carefully, and make sure that their relationship is authentic and believable. Give them distinct personalities, strengths, and weaknesses that will help them face the challenges of the story.
Create a compelling plot
A romantic thriller needs to have a gripping plot that keeps readers on the edge of their seats. The plot should be full of twists and turns, with a balance between romance and suspense. Use foreshadowing to create tension and keep the reader engaged.
Use the setting to enhance the story
The setting of a romantic thriller can add depth and dimension to the story. Whether it’s a bustling city or a remote wilderness, the setting can create a sense of danger and urgency. Use vivid descriptions to bring the setting to life and help readers feel like they are there.
Balance romance and suspense
The balance between romance and suspense is crucial in a romantic thriller. Too much romance can detract from the suspense, while too much suspense can make the romance feel forced. Use pacing to balance the two elements, and make sure that the romance and suspense are interwoven.
Add a twist
A good romantic thriller should have a twist that catches readers off guard. This could be a plot twist or a character twist, but it should be unexpected and add another layer of complexity to the story.
Edit and revise
Once you have finished your first draft, it’s important to edit and revise your work. Look for areas where the pacing is off, where the characters need more depth, and where the plot needs to be tightened. Get feedback from beta readers and make changes accordingly.
In conclusion, writing a romantic thriller novel requires careful planning, a deep understanding of the genre, and attention to detail. By developing your characters, creating a compelling plot, using the setting to enhance the story, balancing romance and suspense, adding a twist, and editing and revising your work, you can create a gripping and thrilling romantic thriller that will keep readers turning the pages.
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 Hope
Notes Hope encourages people and characters to try new things, take on challenges, and believe that things will get better. But multiple disappointments and experiences can create a fear of hope, with the character being reluctant to look forward to anything. This fear can make it difficult for them to work toward improving their situation and could make optimism a thing of the past.
What It Looks Like Being reconciled to the status quo Not expecting circumstances to improve Expressing skepticism when positive things happen: It’ll never last, etc. Living for the moment; not planning for the future Not having dreams or goals Believing there is nothing to live or strive for Avoiding challenges or risks that could improve the character’s life Being cynical when others express hopefulness Always expecting the worst Downplaying their own abilities (since they haven’t helped in overcoming difficulties) Speaking of the future with skepticism Being skeptical of other people’s promises Scorning people who are optimistic and upbeat
Common Internal Struggles Wanting certain circumstances to be better but truly believing there’s nothing the character can do to change them Being unable to move beyond past disappointments, no matter how much they want to The mind always jumping to worst-case scenarios Feeling helpless Sinking into apathy and depression The character wanting to be honest about their feelings but knowing their pessimism and negativity are bringing other people down Burying certain emotions as they arise (anticipation, excitement, etc.)
Hindrances and Disruptions to the Character’s Life Missing out on career opportunities because it would have been pointless to reach for them Staying stuck in a dead-end, toxic, or unsafe situation because the character doesn’t believe there’s anything better for them Being unable to pursue a dream that would provide fulfillment Building emotional walls in relationships to keep from experiencing disappointment Never moving past their current state of disillusionment and cynicism Other people pigeon-holing the character as negative or gloom-and-doom
Scenarios That Might Awaken This Fear Wanting to take a step towards a dream, but there’s a risk of failure involved (submitting a manuscript to an editor, asking someone out, etc.) A situation with high stakes being forced on the character (being sued, being falsely accused of a crime, etc.) Working towards a goal and getting knocked down (trying to reconcile with someone who refused to forgive the character, having another miscarriage, etc.) Hearing about a promising job opening or promotion opportunity A friend or loved one breaking a promise A promising relationship ending unexpectedly Seeing world events go from bad to worse.
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 Being Labeled
Notes The world is a confusing and uncertain place that’s easier to navigate when things make sense. This is one reason it’s natural for human beings to label the people around them. But no one wants to be labeled—told that they are a certain way or have to fit into a mold. This can be especially painful when the character doesn’t believe the label fits (whether it does or not). When this happens enough, it can create frustration, insecurity, and a fear that could go a number of directions: the character may hide the aspects of their identity that fit the label, act out against the accusation, or surround themselves with people like themselves to avoid anyone who might put them in a certain box.
What It Looks Like The character mimicking their peers so they won’t appear to be different Being extremely private Giving vague answers when asked about themselves Embracing hobbies or activities that don’t fit the stereotype Changing personality traits or values that would put the character in that box The character becoming what they’re accused of being (self-fulfilling prophecy) Advocating for inclusion and against typecasting Working very hard to disprove the stereotype The character surrounding themselves with others who are just like them Avoiding people who have attempted to label the character in the past Avoiding situations where the label would be obvious—e.g., a student with a learning disability skipping or dropping out of school Rejecting any medical or psychological testing that could result in a diagnosis Rebelling when someone tells the character they can’t or shouldn’t do something Become defensive when someone suggests the character may be a certain way Being aggressive or confrontational with someone who suggests the character might be a certain way Being overly sensitive to even constructive or well-intentioned criticism
Common Internal Struggles Keeping a learning disability, an illness, etc. secret despite knowing help is needed Struggling with shame or guilt over the label The character struggling to accept who they are The character wanting to be true to themselves but feeling the need to change so they’ll fit in with others Resenting what makes the character different, then feeling guilty about it Feeling targeted Feeling misunderstood (if the character believes the label is unwarranted) Suspecting the label is true but refusing to accept it The character feeling isolated, as if they have no one they can be themselves with or talk to
Hindrances and Disruptions to the Character’s Life Living with shame because of who or what they are Changing to live up to others’ expectations The character living well below their full potential Becoming prejudiced against the people who putting labels on the character Living in denial about an accurate label and being unable to manage it or cope with it in a healthy way Struggling in silence because the character is hiding certain aspects of who they are Personal growth being stymied because of defensiveness and an inability to receive feedback Living a double-life because certain aspects have to be kept private (practice a religion, pursue a relationship, etc.)
Scenarios That Might Awaken This Fear A secret they’ve been hiding (about their gender identity, personal beliefs, mental health, etc.) being revealed A tragedy occurring that could result in a new label for the character (losing a limb, developing a chronic illness, etc.) Experiencing discrimination The character’s child being labeled A safe place or group of people being infiltrated by someone who would label the character Seeing someone who shares a label with the character being misjudged, mistreated, or limited
Do you have a draft written but aren’t sure if there is a strong story in that draft?
In our book, Secrets to Editing Success, we go into great depth on how to perform a story edit—a structural edit—on any novel. We take the theory and show you the process to story edit.
We’re going to share some of our secrets here. And the first secret is how you know if there is a story in the draft.
The Most Important Question
Does the draft contain a story?
That’s a big one, and how do you answer it if you’ve just written that draft? And to go deeper, how do you answer it objectively?
First, You Perform a Story Test
What do we mean when we talk about having proof that there is a story? We are asking if you can write a synopsis.
We define a synopsis as a blurb plus the five story arc scenes plus the ending. A synopsis is a cinch when you know that’s all it boils down to.
When authors find it tough to write a synopsis, it’s normally because either they don’t have an understanding of what goes into the synopsis or there isn’t a full story yet.
A story synopsis is a tool you can use to determine if there is a story in the draft manuscript. We’re not asking you to write a polished synopsis. We’re asking you to write a skeleton synopsis.
The first part of the story test is to create a skeleton blurb.
Skeleton Blurb
A skeleton blurb answers three simple questions.
Who is the protagonist?
What is the story goal?
What is at stake?
The answers to these questions are found in every story. If you cannot answer them from the draft, then we can tell you the story promised is not there yet. And the draft is not ready to be edited.
With your skeleton blurb, you found the protagonist, the story goal, and the story stakes. With your skeleton synopsis, you will find the story.
The Skeleton Synopsis is Your Next Tool
A skeleton synopsis is a short description of the story.
Here is an outline for the skeleton synopsis:
The protagonist _________________ finds out the story goal __________________ (Inciting Incident). Then _______________________ happens, and the protagonist must go forward toward the story goal, (Plot Point 1). In the new “world,” ________________ happens, and the protagonist becomes proactive to the Story Goal (Middle Plot Point). But _______________________________ happens, and the protagonist’s hope is destroyed, they realize they must change to achieve the story goal (Plot Point 2). But the protagonist ______________________, and the world changes, they finally address the story goal (Climax).
To fill in the blanks, read the draft and find the inciting incident, plot point 1, the middle plot point, plot point 2, and the climax. Use the action in each of these scenes to fill in the blanks.
Listing the Story Arc Scenes Shows You Whether There Is a Story.
Does the protagonist find out the story goal,
then something happens that propels the protagonist onto chasing the story goal,
so that they can learn to be proactive,
change themselves after all hope is lost,
and use what they have learned on their journey to answer the story goal that they found at the start of their journey?
What you just read is the most basic form of a story. And all great stories are structurally similar.
How to Create a Skeleton Synopsis
Step 1: Perform a Hands-Off Read-Through
A hands-off read-through means you read the story without making any changes.
Step 2: Name Every Scene
You can do this when you’re performing a hands-off read-through. A hands-off read-through means you read the story without making any changes, but you can and should make notes and name every scene.
When naming the scenes, find and label the inciting incident, plot point 1, the middle plot point, plot point 2, and the climax.
Step 3: Dig Deeper into the Story Arc Scenes
To write a skeleton synopsis at this stage, the following story elements for each story arc scene will help you set it up.
Scene Name
Point of View Character
Point of View Character’s Goal
Scene Middle
Scene Climax
Scene Impact on Point of View Character
Step 4: Create the Skeleton Synopsis
Now there are four clear steps to getting that skeleton synopsis done:
Reference the skeleton blurb.
Find the five Fictionary Story Arc scenes on the story arc.
List scene name, scene middle, scene climax and impact on point of view character for each of these scenes.
Summarize the ending showing the story’s resolution.
Step 5: Does the Draft Contain a Story?
The synopsis will help you determine if there is a story or not. You’ll find that if you can’t write the synopsis at this stage, then most likely the story is not finished. The attempt at writing a synopsis will highlight which portions of the story still need to be written.
If one of the 5 story arc scenes is missing, is in the wrong place, or doesn’t satisfy the requirements of a story scene, then there isn’t a story in the draft, yet.
It’s time to start revising the draft until the skeleton synopsis shows you there is a story. Once there is a story, you can move on to a full story edit.
We all need down time in our writing lives—a planned vacation, Christmas with the family, a buffer between big projects. Sometimes we get down time whether we’ve chosen it or not (I’m looking at you, COVID). Whatever the cause, it can be good to put down our pens or shut our laptops for a while. Vacation is my time to catch up on reading, and I savor it.
But time away creates an inevitable problem: how to get back into the writing habit.
I try to coordinate vacations with the end of a novel draft and use my departure date as a deadline. For me, there’s nothing worse than leaving a novel half-written. More than three days away from a novel-in-progress and I have to read back a few chapters to remind myself where I left off and trick myself back into the rhythm of the writing. More than a week and I basically have to read from the beginning—to say nothing of reviewing all those cryptic half-written notes that no longer make any sense.
The solution is not don’t take time off. That can be a direct route to burnout. We can’t be on all the time. We need that down time to recharge our batteries. Filling the well, as Julia Cameron calls it—whether by reading or having new experiences or meeting new people. Or just doing nothing. It’s essential. Taking zero time off can result in work that feels stale; it can even kill your desire to write altogether.
But say you have taken time off. You’ve had a great vacation and now Monday looms—the day you’ve decided it’s time to get back to your desk, back to whatever creative project you’ve been working on. You’re nervous. Afraid you’ll be rusty. Or worse: you’re afraid that whatever magic allowed you to fill the blank page is most certainly gone by now, never to return.
Of course, that’s nonsense. But if you’re anything like me, those are the thoughts running through your head. And nonsense or not, they feel real enough to cause panic.
I’ve found a few ways to smooth out the return to writing after a significant break. Maybe they’ll work for you.
Don’t Procrastinate
Set a date and time when you will return to your desk and SHOW UP, no matter how hard it feels. Don’t make excuses or talk yourself out of it.
Take the Pressure Off
When I was doing my MFA, my novel-writing instructor, Gail Anderson-Dargatz gave us a mantra to follow: write crap. We had a lot of work to produce in a short period of time, and many of us were novices when it came to writing a novel. Putting pressure on yourself to be the next Margaret Atwood or write a bestseller guarantees only one thing: a blank page. When you take that pressure away and allow yourself to write anything, as long as the words show up on the page you’ve achieved your goal. As Jodi Picoult puts it, you can’t edit a blank page. And chances are, whatever you come up with won’t be crap at all.
Start By Editing Someone Else’s Work
Sometimes it’s the act of sitting at your desk and moving your pen on paper that’s enough to reinspire you. If you’re editing someone else’s work, there’s nothing at stake for you. You’re not judging yourself. You’re not thinking, See? I knew I was no good, I knew the magic was gone. You’re helping someone else—and at the same time getting your mind back in the habit of thinking about craft.
Start By Editing Previous Chapters of Your Own Work
If you did have to step away from a half-written project, ease yourself in by reading a few chapters back—or even from the beginning. It’s like giving yourself a running start. Your body and brain will get into the groove and before you know it, the ideas will be flowing again, and you’ll be adding sentences to the draft.
Try Another Art Form
Creativity feeds creativity. If the idea of returning to your desk has you paralyzed, take a walk and snap some photos. If you play a musical instrument, put in some time at the piano. Draw, paint, dance. Creativity is a muscle. If you coax it, it will come back to life.
Try Using Writing Prompts
Prompts can be a fun way to stretch yourself, and the internet has so many good ones now. There’s no pressure in a prompt. You’re not trying to create anything coherent. You’re just writing for, say, fifteen minutes, and the only rule is to keep your hand moving. You can do that.
Write In a Group
There’s a certain magic to writing in a group that’s hard to explain but I’ve found it to be undeniable. It’s as if creativity is contagious. When you surround yourself by people who are writing, you’ll write too.
The return back to writing always feels a little awkward and nerve-wracking at first. But persist and be kind to yourself. The habit will come back faster than you expect, and your work will be better for having taken the time away.
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 Having No Purpose
Notes A lack of purpose can create a downward spiral into apathy and even despair as the character believes that nothing they do matters. A fear in this area may push the character into frantic action as they try to find or force a purpose for their life. Alternatively, it can cause them to abdicate their own agency, leading them to sit back and do nothing.
What It Looks Like Turning to self-help books and programs for guidance Taking inventory and personality tests to determine aptitudes Volunteering with differing agencies or charities Fundraising for causes Job-hopping to find the perfect role Dismissing accomplishments when they do happen Seeking outside approval or validation Working long hours to compensate for a perceived lack of purpose The character having unrealistic expectations about what they can or should have accomplished by certain points in life Dreading birthday milestones (because they accentuate what the character hasn’t been able to do) Drifting through life with no meaningful connection to their inner self Dismissing or belittling others’ success to feel better about themselves Being overly ambitious Perfectionism Apathy Underachieving Making decisions aimlessly, with no specific end-point in mind Becoming defeatist, believing that nothing anyone does matters Pursuing temporary feel-better activities that don’t satisfy (using drugs, engaging in unhealthy or unsafe sexual practices, shoppin
Common Internal Struggles Constantly feeling unproductive or incapable Feeling depressed or anxious about the lack of progress The character feeling as if nothing they do matters Feeling lost in a world that defines success based on having a specific purpose Worrying that their life will never have meaning Wanting to contribute positively but not knowing how Questioning their current profession and if they’re on the right path The character comparing themselves to others and being disappointed Dissatisfaction with the way life is going Resenting people whose purpose is clear
Hindrances and Disruptions to the Character’s Life Drifting from job to job looking for one that provides meaning Difficulty recognizing their own achievements An inability to live in the moment (because the character is too busy working toward the perfect purpose-filled life) Starting many ventures but not following through (always moving to the “next big thing”) Needing praise and approval to counter their feelings of doubt Missing opportunities to align with people who are doing meaningful things because the character is searching for their own individual legacy Constantly being sucked into the comparison game Developing an addiction or unhealthy habit as a coping mechanism
Scenarios That Might Awaken This Fear |Internalizing the message of self-help gurus or celebrities who equate finding purpose with monetary success Seeing close friends or relatives succeed in meaningful areas of life Being left behind by a colleague who moves up the ranks quickly Being accused by a loved one of not having enough drive or vision Hitting an important milestone and feeling dissatisfied with life A friend or relative dying, leading to a revelation for the character about how fleeting life is The character being rejected in their efforts to create meaning (not being selected for a promotion, being replaced on a volunteer board, their business failing, etc.) Seeing a portion of the population that needs help, but feeling inadequate and unequipped to help.
As readers, what inspires empathy for the hero and makes us root for him? Their flaws? Admirable qualities? Hopeless circumstances? Yes, to all of the above. But none of these elements would be effective without a worthy villain to complicate matters.
This is the real purpose of the antagonist: to make things unlivable for the hero and ramp up reader empathy. I mean, would we care so much about Snow White without the Queen? Maximus without Commodus? The Smurfs without Gargamel? Villains are important because they’re the ones who determine how bad things will get for the hero. It is fear of this antagonist that inspires empathy in readers, putting them firmly in the hero’s cheering section and ensuring they will keep turning pages. So it’s crucial you create a villain who is just as unique, interesting, and believable as the main character.
One way to do this is by including the Evil-By-Nature Villain. These are the antagonists who don’t have a backstory. They do what they do because it’s in their blood or their programming. The shark in Jaws. Ellen Ripley’s alien. The Terminator. Such a ruthless and seemingly unstoppable villain puts the hero in extreme danger because the enemy can’t be reasoned with or talked out of its determination to destroy. Villains like these, with little or no backstory, can be terrifying in their own right.
But there absolutely are worse bad guys. While a twenty-five foot shark might keep me out of the water, it won’t keep me up at night. The villains who accomplish this are the ones who feel real. They have morals—albeit skewed—and live by them. Though a nightmare now, they weren’t born that way; life, past events, and the evil of others have made them the villains they are today. They’re terrifying because they were once normal—just like me.
It is this kind of antagonist we should strive to create: moral villain who strictly adhere to their twisted moral codes. Here are some tips on how to bring them to life:
Know the Villain’s Backstory
We spend a lot of time digging into the hero’s history, but what if we dedicated even half as much energy researching our villain? Who were their caregivers? What were they like in the past? What happened that changed them? Who was kind to them? Who was cruel? Every villain has a backstory that should explain why they are the way they are today. Dredge it up and create a profile. Then dole out the important bits to readers so they can get a glimpse of who the villain used to be and how they became a monster.
Know the Villain’s Moral Code
We don’t tend to think of villains as moral individuals, but they usually are. They just live according to a different set of values than the rest of society.
Morals have to do with our beliefs about right and wrong. To make your villain truly ominous, give them a reason for doing what they do. Make her believe there is value in their choices. For example, through her abusive past and twisted religious beliefs, Margaret White (Carrie) finds it acceptable to verbally and physically abuse her daughter. Anton Chigurh, the heartless villain from No Country for Old Men, adheres to a moral code that isn’t explained; the audience doesn’t know why he chooses to let some people live and others die, but whatever his reasons, he believes firmly in them and acts accordingly.
It’s one thing for a character to engage in reprehensible behavior. An element of creepiness is added when they defend that behavior as being upright and acceptable. To pull this off, you need to know your villain’s moral code.
Know the Villain’s Boundaries
Morality isn’t just about what’s right; it also includes a belief that certain ideas are inherently wrong. Are there things your villain won’t do, lines they won’t cross? Why? Show their human side and you’ll make them more interesting. You might even manage to create some reader empathy, which is always a good thing.
Give the Villain Someone to Care About
Love is a moral concept—the idea that a person cares more for someone else than they do for themselves. Show that your villain is capable of caring, and you’ll add a layer of depth to their character.
On the TV show The Blacklist, serial criminal Raymond Reddington seems to have no boundaries. As long as it suits his purposes, he’ll sell out anybody—except FBI Agent Elizabeth Keen. This obsessive attachment not only gives him a human side, but it’s intriguing to the audience, who wants to know why he cares for her when he’s so ruthless in every other area of life.
No one’s going to cheer for a hero whose adversary is superficial or unrealistic. Turn your villain into a truly horrific creature by giving them a moral code to live by. Unearth their backstory and show readers that, at one point, they were human. It’s a good reminder that we’re all just one bad experience away from becoming monsters ourselves.
When February 14th rolls around, it’s a reminder to let certain people know that we love and cherish them. So, we buy chocolate, flowers, or go for a night out. Maybe we give the gift of time and make a favorite meal or dessert.
In reality, most of us don’t need a special day to show our love for the people in our lives.
But we do need a reminder to show love for the person we tend to forget about: OURSELVES.
Speaking of the L word, many of you know Becca and I gave our hearts to Maslow’s Hierarchy of Human Needs long ago. We use it all the time to teach writers how to build stronger characters, arcs, and how to add meaningful conflict and stakes.
Well, if there were a hierarchy for a writer’s life, it might look something like this:
In other words…YOU always come last.
So this year, think about how to put yourself first.
Be your own Valentine!
Start with some meaningful gifts:
1) Give yourself the gift of space.
We all live busy lives and can end up trapped within responsibilities and routines. We’re used to taking every spare moment and filling it with stuff that must be done – errands, fixing things, appointments. When do we have time to reflect on what we need, what we want to see for ourselves, and what will bring us more happiness and fulfillment?
So…back away from the to-do list and give yourself some space to think and reflect. We only get one kick at the can of life (unless reincarnation is a thing), so go for a walk in the park, take yourself on a picnic, or fill the bathtub with suds and lock the door. Turn your thinker to what small changes you can make to move toward a happier and more balanced you.
2) Give yourself the gift of time.
The Writer’s Pyramid shows how everything else tends to come first. After all, we love the people around us and want to make sure their needs are taken care of. But the constant merry-go-round of work, driving everywhere for school and activities, and all the other life stuff doesn’t leave us a lot for writing and other fulfilling goals.
So…be a little selfish with your time this February. Putting your needs and interests first for once doesn’t make you a bad person. Pausing things that can wait so you can make room for your writing and yourself is a healthy habit and teaches us to make choices about what’s really important. Plus, when you have more time for yourself and things personal to you, you’ll be happier and more energized.
3) Give yourself the gift of escape.
Forgive me, Stephen King, for I have sinned: I have become so busy I barely have time to read anymore. In fact, I may have moved that stack of books I bought out of sight so I wouldn’t feel guilty about what I wasn’t doing…reading.
If this sounds familiar, it’s okay. You aren’t alone. A busy life means reading fiction can end up on the back burner. But remember, we write because we love stories and want readers to escape into our realities. Reading is key to furthering our career and keeping our creative well filled.
So…let’s escape, too, and go on a book date. Pick up that trilogy you’ve been eyeing. Buy yourself your favorite sweets, a new flavor of tea, or whatever will help you unplug from everything and focus on the fictional realm. Give yourself permission to put everything else on hold and fall into a story world.
4) Give yourself the gift of help.
Writing is hard work and requires passion, perseverance, and grit. It can seem like we’re climbing a mountain that only gets higher as we learn what strong writing looks like and how to get our own story craft to that level. But while there’s much to learn, we also have a writing community filled with experts to help!
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 Physical Pain
Notes Pain is something we all want to avoid. But it’s also a part of life that has to be dealt with. A character with an intense fear of physical pain will struggle to manage it well, and their extreme efforts to avoid pain will limit what they’re able to accomplish.
What It Looks Like Avoiding activities that could result in injury (playing sports, bungee jumping, working out, etc.) Being sidelined by minor injuries or illnesses Being a difficult patient for caregivers Taking a lot of pain medications Being addicted to painkillers Being overprotective of loved ones (helicopter parenting, not allowing loved ones to do what others are doing, etc.) Becoming obsessed with safety measures (only driving when traffic is light, installing no-slip strips on stairs and in bathtubs, wearing protective gear, etc.) Avoiding routine medical procedures Being afraid of needles Avoiding treatment measures that would cause more pain (getting stitches, getting a shot, physical therapy, etc.) The character imagining they’re in pain when they’re not (or believing the pain is worse than it is) Elevated anxiety Panic attacks Becoming a hypochondriac
Common Internal Struggles Catastrophizing Constantly self-analyzing, looking for areas of pain or discomfort Wanting to participate in an activity or with a group of people but being too afraid The character knowing they’re making themselves look strange to others but not knowing how to stop Hating that their rules and limits are hurting their relationship with loved ones Judging others for being reckless
Hindrances and Disruptions to the Character’s Life Being unable to participate in activities with family members and loved ones Constantly worrying that the character or a loved one is going to get hurt The character passing their worry and fear to their children Inconvenience and Inefficiency (due to all the things the character must avoid) making life more difficult than it has to be Small medical issues becoming big ones because the character refuses treatment options that will inflict short-term pain The character being unable to accurately assess their physical health because they’re always envision the worst
Scenarios That Might Awaken This Fear A new source of physical pain or discomfort A minor physical problem that requires ongoing treatment A loved one wanting to participate in an activity the character deems risky Being denied access to painkillers An emergency situation where pain or injury are likely (being caught in a natural disaster, a car breaking down in a deserted area and the character having to walk a long distance in bad weather, etc.) The character learning they’re pregnant Being diagnosed with a chronic illness.
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 Discrimination
Notes Discrimination doesn’t have to be big or obvious to hurt; even one thoughtless word or exclusive action sting. The fear of being mistreated and maligned is one of degrees, but becomes debilitating for characters when, in an effort to avoid discrimination at all costs, they hide or change who they are, thereby limiting themselves and living short of their full potential.
What It May Look Like The character associating mainly with people like them (same race, gender, class, etc.) Avoiding certain neighborhoods or places Keeping silent when witnessing discrimination to avoid being targeted also Choosing to remain in background (at work, in social situations) to avoid drawing the wrong sort of attention Avoiding people who are racist, bigoted, sexist, etc. Going to great lengths to work with and surround themselves with people who are “safe” or like-minded Wearing clothing that won’t draw unwanted attention Finding a job where discrimination will be minimal rather than following a dream Changing their appearance or doing things to be accepted even if it doesn’t feel right Being hyper-alert to the emotions and actions of others Avoiding “charged” events where the discriminatory factor is front and center (rallies, meetings, etc.) Pretending to not hear a rude joke or comment to keep a situation from escalating Becoming adept at hiding indignation, anger, and rage Painstakingly trying to be ‘perfect’ to avoid being targeted (at work, in social circles, etc.) Coaching their children to avoid drawing attention, speaking out, and dressing or acting a certain way that the character deems unsafe Agreeing to do things a certain way despite it being demeaning or unjust in order to be viewed as ‘a team player’ rather than ‘a problem’ The character raising their children in a bubble, sheltering them Hesitating to open up about the parts of their life that may invite discrimination (mental health conditions, sexual orientation, etc.) Only being truly comfortable with the people they’re similar to Being subservient to someone and feeding their ego to avoid being maligned by them Putting on a face for others Conforming to the people around them Putting up with suggestive comments, unwanted touches, and demeaning nicknames (Honey, Babe, Boy, Gramps, etc.) to keep a situation from getting worse Making themselves invisible when they’re with people who are different than them Perfectionism Rejecting the part of themselves that might be discriminated against Distrusting the justice system and government agencies
Common Internal Struggles Doubting people’s motives; wondering if they’re being discriminatory when they may not be The character having prejudicial thoughts about people who have mistreated them Feeling misunderstood Believing everyone is against them Harboring anger or hatred toward another people group (police officers, the wealthy, etc.) Feeling trapped, being unable to live life to the fullest like others can Always being on edge, on the lookout for possible mistreatment Wanting to speak up but being too afraid Struggling with shame Struggling to be optimistic and hopeful when every day they experience inequality Fighting despair or depression (because the character believes things will never change and they won’t be able to achieve their dreams)
Hindrances and Disruptions to the Character’s Life Struggling with low self-esteem Not making amends with people who have mistreated them Being filled with anger Believing a lie about a person or group of people Believing the lies that others propagate about the character (self-fulfilling prophecy) Missing out on friendships with other kinds of people that could show the character love or broaden their perspective Living a life that falls short of their full potential
Scenarios That Might Awaken This Fear Witnessing discrimination against someone else Returning to a place where the character experienced discrimination (a school, family, church, etc.) Speaking out against mistreatment and not being believed Having to interact with a political or religious group that is known to have questionable or unpopular beliefs Encountering someone who has been discriminatory in the past Moving to a new neighborhood, city, or school Seeing a news story about a hate crime Meeting a person from their own group who has differing opinions or beliefs Being asked to become an advocate and publicly fight discrimination
First Edition Design Publishing - a hybrid publisher 