#Book Writing Tips for Beginners

[toutmoi24]

Build a Profitable Email List in 30 Days

As an author, one of the most powerful ways to connect with your audience, promote your book, and build long-term relationships with readers is through email marketing. An engaged email list allows you to directly communicate with your readers, increase book sales, and even set the foundation for future projects. But how do you grow this list quickly and effectively? In just 30 days, you can lay…

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[aelenist--writng--process]

5 MINOR DETAILS TO MAKE YOUR FANTASY STORY MORE REALISTIC :

Hofball in Wien, Wilhelm Gause (1900)

• 1. Titles Matter:

While terms like "My Lord" and "My Lady" are generic, they may not always be suitable depending on the relationship between the speaker and the royal figure. Understanding the hierarchy is crucial; a servant might call a prince "My Lord" if they are familiar, but "Your Highness" is typically preferred, especially in formal contexts.

Different titles serve specific roles:

- "Your Majesty" for kings and queens,

- "Your Highness" for princes and princesses,

- "Your Grace" for dukes,

- "Sir" for knights.

Consistency in these titles is vital to maintain the integrity of the narrative.

• 2. Clothing Restrictions:

Heavy gowns make movement difficult for women, impacting their ability to act swiftly in emergencies. If an author chooses to describe a character's elaborate dress, they should also depict the practical consequences of wearing such attire, perhaps showing the character struggling to navigate challenges. Also, Characters wearing long, flowing sleeves while attempting complex tasks, like slipping poison into a drink, are impractical. Similarly, those in soft slippers planning a hasty escape should realistically face consequences for their poor choice of footwear. Characters should either change into suitable boots or face the challenges of their attire, as impractical clothing can lead to failure in critical moments.

•3. Consider the Atmosphere in Your Court Setting

Authors often describe court settings as smoky due to candles, fires, or incense, yet characters can see clearly across the room, even recognizing distant expressions. This inconsistency raises questions about visibility in such conditions. Reflect on experiences in smoky environments and how they affect sight. If the air is filled with smoke, characters should struggle to see, rather than having clear visibility when it’s convenient for the plot. Consistency in environmental details is crucial for believable storytelling.

• 4. Luxury Items and Trade Routes:

When describing luxury goods, authors should align these items with their world’s geography and trade routes. For example, a remote kingdom should not possess abundant glass windows if transportation is difficult. The narrative must consider logistics to avoid unrealistic portrayals.

• 5. Hierarchies of Politeness and Impoliteness:

Understanding who can be armed in the presence of a king is essential. Characters should not carry weapons without reason, respecting the established rules of the court. Challenges to these rules must be justified within the story.

[enby--ghost]

I'm trying to figure out how to describe an character's voice, and I'm struggling. I want her to sound confident and a bit sassy, but still friendly. My best comparison would be, like, Roxy, minus the synthesizing, from FNAF Security Breach or like Wendy from Gravity Falls, but a little higher pitched.

Does any of that makes sense?

This is how I have it described at the moment, and I feel like it doesn't really get across the idea or even make sense

Any advice, y'all?

[bonnibelleangelica]

Writing: Things I Learnt the Hard Way #7

Status Quo Addition...

Having revamped the synopsis for my WIP book, I’ve learnt many things:

I talk too much

Because I had only just finished the planning and plotting of the book when I wrote the first blurb, I was excited to throw every idea out to the public in as much detail as possible. Now that I’ve explained the concept to every stranger on the street, I’m much better at getting to the point.

Names aren’t necessary. Just make it clear what their role is and move on.

Start with your opening concept, then make it clear where the story will be headed. This book could have been about an adventure across the country or a tale of survival, so it’s important that I highlight Canopy (the girl) as being the centre of the narrative. The last section also hints that the conflict with circles back to his home and upbringing as he starts to realise how twisted his worldview was.

Use Canva. Everything is better when you add leaves and pretty graphics.

A mutated world that turns out to be beautiful is already a concept people are familiar with. I didnt need all those examples, save them for the book.

It’s pretty easy to figure out what a scientist’s goal would initially be in a world like this, I didn’t need to specify that they were looking for a solution to the mass mutation.

The whole thing tied itself off too well, the tone made it feel like I had gone through all there was to tell. “They fall in love and live happily ever after... AND THEN-”

Interested in the story of a biologist from an underground bunker falling in love with a vibrant, mutated girl the surface? Check out my new book, Status Quo (coming this year) here: @status-quo-book

[five-sided-dice]

"Answer three questions for every character: - Who is this character, - What do they want, - And How can I stop them from getting it."

-Someone once said something like this

[topazadine]

Writing Advice: Spicy Mundanity

In writing, it is essential to provide just enough information to build a picture in a reader's mind, but not to bore them. Let's look at one specific area where some writers fall short: providing too much mechanical description.

Here, we'll look at three different examples of how you can set the same scene, then dissect why the fixed passages are better.

Adam the First silenced his alarm clock, got up out of bed, and walked to the door. He opened the door and walked down the hallway to the bathroom. He undressed and then reached out to turn the handle of the shower. The shower started, and he pulled the curtain aside. Then he realized he needed to pee, so he lifted the toilet seat and urinated. Then he got in the shower. Then he picked up a bar of soap.

Unless you are writing this for extraterrestrials, most people are going to know what it's like to get out of bed and go to the bathroom to turn on the shower, then realize your bladder is bursting and have to pee first.

This sounds so mechanical, almost robotic; it tells us nothing about how these actions made him feel.

Was he late? Was this done in a rush? Is this his day off so he's going slow, really luxuriating in the feeling?

So, let's fix this in two different ways and try them on for size.

Adam the Second rolled out of bed with a resounding smack as his alarm truncated his dream about his ex. Groaning, he swiped the screaming clock off the nightstand, shattering the screen into plasticine trash. Whatever. A problem for later. Rubbing his eyes, he stumbled into the bathroom and yanked the shower on, then felt the familiar tingle in his bladder. First things first, he supposed. The shower was fast and unsatisfying, barely enough time to lather his hair. If he was late for his job at Widget Technologies one more time, he'd be toast. And homeless too.

This version tells us a lot more about Adam: he's not a morning person, he's got a bit of an attitude, and he's chronically late for work, to the point where he might lose his job. Oh, and he's still got the hots for his ex. We didn't need to linger on every single part of his morning routine; we swapped out some more interesting actions for the pedestrian "opening the door and turning on the shower" etc.

Now let's try something different that takes Adam in a whole other direction entirely.

Adam the Third most felt his age in the morning. The crawl to the alarm clock felt agonizing; his rusty joints creaked while he reached for the tiny button at the center that would silence the buzzing bells. It'd be easier to relocate the alarm clock to his side of the bed, but that seemed too final. Besides, this routine reminded him, morning after morning, that his wife wasn't here. Just in case he forgot. Putting his medication in the bathroom had also been a trick recommended by his therapist: forcing him to attend to his hygiene rather than lying in bed all day. He groaned as he massaged his back and began the slow journey toward his diuretics, then the interminable wait until his bladder remembered its purpose. Hopefully his daughter had brought more shampoo as she promised to, though he had his doubts.

Here we have an entirely different Adam: a man missing his wife, suffering from multiple ailments (including a bit of depression). It appears he might be dealing with early-onset dementia as well. We can also assume that he lives alone but relies on his daughter to bring him things. It seems she might be a bit flakey.

Even the old-school alarm clock tells us that we are not dealing with a youthful character, but someone stuck in an old time, trying to reorient his routine to a new reality.

All these passages deal with the exact same actions: getting out of bed, going to the bathroom, and taking a shower. However, the last two provide us with far more character details while removing extraneous actions that the reader can assume.

So, let's look at some golden rules of how to turn boring, mechanical passages into something more vibrant and character-driven.

Assume your reader is intelligent

You might be wondering what this has to do with anything, but let me explain.

Writers often feel that they need to spell everything out for their reader because everyone but them is a total moron and can't determine the sequence of everyday actions.

Your readers are not dumb. It is not just boring to write like Adam the First - it's also insulting.

Please give your readers credit. Expect them to understand what you are trying to say when you discuss mundane activities.

When you write with the assumption that your readers are intelligent people, you are more willing to gloss over stupid details they don't need, and you can get to the meat of the action faster.

Remove implied action

If someone was sitting on the bed and then they are walking toward the dresser, we can assume that they got up. We only need to say they got up if there is a particular way they did so which could be assumed as important.

Adam 2 literally rolled out of bed onto the floor and then "stumbled" toward the bathroom. We can imagine a very inelegant rising but don't actually have to show that.

Adam 3 massaged his back and then "began the slow journey." We can assume that he got up very carefully, maybe groaning a bit as he did so, but we don't need to explain that in excruciating detail; it's implied.

We can also assume the peeing part in both passages. Adam 2 thought "first things first" about his bladder, and then was in the shower. We get the point.

Adam 3 was talking about how he's going to be straining on the toilet for a while until his diuretics kick in, and then about how he hopes his daughter brought shampoo, so we can tell that he's going to pee and then shower.

Use active verbs

Yes, sometimes someone just opens a door and there's nothing special about it. Why are you showing that to us? We don't get much from it.

Just have them reach the door and then pass through it without explaining. No one will assume they are teleporting.

Unless you're writing something that does have teleportation, but then I'd imagine you would take more time to explain why they'd teleport through a door, such as it being locked with a key they don't have.

Specific verbs are far more interesting - and more insightful - than simple, mechanical ones. Consider all the possible ways to open a door here:

Griselda flung the door open, screaming like a wildcat. "Give me my goddamn money!"

Jiggling the handle, Imogene heard dead silence on the other side. With shaking fingers, she inched the door open, closing her eyes for fear of what she would see.

A sprinting Paul slammed into the door, groaned, then fumbled for the handle before tripping inside.

Vera clutched the polished pewter handle, hands slick with nervous sweat, and twisted it in a hard but controlled motion. She threw her shoulders back to appear more confident and slid past the doorplate, which probably cost more than her whole house.

In the last two examples, there's something important about the way they held the door handle, so we show that. In the first two examples, we don't really need to see how they gripped the handle, so we don't show it.

Add interiority

The passages about Adam 2 and Adam 3 are more interesting because we are getting character development through these passages. Even though each one is a very boring scene of someone going about their morning routine, they feel like different people, because they are.

Adam 1 could be literally anyone on the planet named Adam, but Adam 2 and Adam 3 are clearly a specific person because they feel differently about the exact same routine, and they do it a little differently too.

Adam 2 comes out of the gate snarling; he's in a bad mood and worrying about his job. Adam 3 is grief-stricken; every single thing reminds him of his dead wife, even the alarm clock.

I write primarily in third person limited POV, which gives a lot of room for character development, but you can do these same things in first person and third person omniscient if you so choose.

To develop interiority, think about how your character feels and their overall life circumstances. Someone about to get married to the love of their life will spring out of bed, excitedly ticking through all the things they need to do before their wedding; we don't even need to show the actions because they're telling us what they will do.

Someone about to get married to a suitor they hate is going to slump out of bed, dreading every movement and dragging it out as long as possible. We will hear the resentment as their alarm clock goes off and their grumbled complaints about the shower being cold. This tells us a lot about their mood and their expectations for their day.

If you enjoyed this article, maybe you'll consider purchasing my own lovely book, 9 Years Yearning! This 33k novella examines the lives of two young men studying the art of war - but they find themselves studying something else entirely, too.

Namely, each other. Ooh la la!

If you do purchase my book, please be sure to leave a review!

Reviews are critical for success on Amazon so I can sell more books! With your help, I'll be able to afford Ear Reversal Surgery for my dog, who is currently suffering from a tragic case of Inside Out Ears.

Look at him! He can hear better that way, but is it ethical?

[ladycatastrophe7]

How to Fix a Flat Scene: A Checklist for Writers To make Any Scene Engaging

Link to Full Blogpost that dives deeper into this: https://www.society-of-heartsiders.com/how-to-fix-a-flat-scene-in-writing-a-checklist-for-writers/

Don't improve the scene. Instead, focus on the question; "how can I make this more interesting?"

Add Tension and Stakes through internal conflict.

Eliminate Redundancy and merge similar scenes (similar emotion, purpose or themes) to make one powerful instead of many half-assed scenes.

Make the Characters irreplaceable. If you could exchange any character in this scene with another and have the same outcome, strengthen the characterisation.

Deepen the Emotion. Get clear on what emotion you want to convey through the scene.

Write With Purpose. Know the purpose of the scene.

Revealing Information at the Right Time (suspense-building). Set up questions before you reveal the answers. Don't just dump information without allowing the reader to ask the question first.

[thereadingbud]

How to Start Writing a Book

It is a big decision to write a book; but when do you know exactly when or how to start writing a book. It usually begins as an idea that won’t let go. A voice inside saying, “What if…?” And yet, many aspiring writers get stuck at the very first question: Where do I even begin? If you’re here, hovering on the edge of that first sentence, know this: You are not alone—and you are exactly where you…

[toutmoi24]

Top Tips for Writing a Bestseller: Your 30-Day Plan

How to Write a Bestseller in 30 Days: Step-by-Step Guide Every aspiring author dreams of crafting a bestseller, but the process often feels daunting. Writing a book in 30 days may sound ambitious, but with the right plan and focus, it’s entirely achievable. Whether you’re a first-time writer or an experienced author looking to streamline your process, this guide is tailored to help you succeed.…

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[aelenist--writng--process]

Religious Questions in your fantasy story

Let’s return to the questionnaire format. Here are some thoughts I consider when creating a religion.

1. What are the fundamental tenets of your religion?

These are essential. I’ve read many fantasy religions with detailed descriptions of temples, holy days, and rituals, but they often lack depth. What does this religion stand for? If a typical follower were asked to summarize their faith, would it be about sacred days and ornaments? Probably not, unless the faith is more respected during times of crisis than in daily life.

Often, fantasy religions default to models based on Christianity or Wicca—either focusing on forgiveness and love or on nature and agriculture. This doesn’t always make sense. For instance, a desert-dwelling people likely wouldn’t revere nature in the same way as a rural community would. Think about logical principles for your world. How do the inhabitants survive? Which gods do they believe are responsible for their well-being? What practical tasks could become religious rituals?

2. What are the relationships between the gods?

Many fantasy gods feel flat because they are created in isolation with stereotypical personalities. A goddess of fertility, for example, is often portrayed as calm and nurturing. What relationships do these gods have? Study mythologies to see how gods interacted. For instance, why was Apollo associated with poetry, medicine, and prophecy? These connections are complex and can enrich your narrative.

Even in a monotheistic setting, people will create stories about their gods. Explore how divine legends accumulate around a central figure.

3. How do gods interact with mortals?

In too many fantasy novels, gods interact in ways that bore the reader. The classic notion is that gods are so powerful they can solve everything with a wave of their hand, which leads authors to keep them distant. This is based on flawed assumptions about their power and influence.

Gods can be portrayed in various ways—distant, intrusive, or even indifferent. The key is consistency. If gods are distant, rituals and prayers should not yield visible results.

4. How does your religion handle apostasy, heresy, and non-believers?

Unless a religion is truly global, there will be issues with heresy. Historical conflicts show that religious wars can be brutal. Often, fantasy authors depict one religion as "good" and another as "evil," leading to cardboard characters and simplistic narratives. And where are the atheists and agnostics? Characters who don’t believe are rare in fantasy, yet many worlds should have them, raising questions about their silence or indifference.

Religion can be a deep source of conflict in fantasy if handled thoughtfully. Unfortunately, many authors simplify these complexities.

[blogtey45]

Big Why | Why Do You Want To Write This Book | Summit Press Publishers

[bonnibelleangelica]

Writing: Things I Learnt the Hard Way #13

~Character Building Using Stereotypes~

Take a seat while I walk you through my character development process, how/when I apply it and how it helps readers to follow your story. It relies on the writer being able to stray from their own moulds when needed and adapts Broadway’s costuming techniques into a storytelling essential.

Step 1: Pick a stereotype

It can be two-dimensional, it can be a classic crowd favourite or it can be a very specific kind of bastard. Jock, nerd, beauty, shy, cute, funny, go wild. I personally like to pick a word and create a person who embodies it fully. For example, the lead girl in my book series started as the definition of colour and energy.

Step 2: Polish

Flesh them out, give them a name, a history and some motivations. Keep asking yourself questions about them: the moments that would have set them on this path and the reasons they fit in your mold in the first place. How did they get here?

Step 3: Find Your Inconsistencies

No one is just one thing every second of the day. Find out what about your character goes against everything you've established and give them some real humanity. Pretty girls love make up and fashion, but come on, that can’t be all she thinks about. Does she love her family with her whole heart? Does she hate her job and want to murder her boss? How does she feel about the conflict? What side is she on and why?

Step 4: Write

I can’t tell you how many times I’ve only discovered a character’s soul once I started writing them. Keep your plan maluable because THIS is where your character comes to life, if you hold onto your stereotype too stubbornly, the character will suffer. If you come to a point and think, “No, she wouldn’t be a bully, not with everything her sisters went through after the accident,” THATS HER PULSE! Let her live and breathe in your mind, telling you what she wants until she’s so real you could touch her!

Now, why start with a stereotype if you’re not going to commit to it?

Because your audience is taking in a lot of information at once. Generically named characters with complete complexity get lost amongst each other and you’ll have people forgetting who’s who right out of the gate. If those first few chapters set the stage, your whole show is going to be a mess.

Speaking of stages and shows, let’s talk about Broadway.

Have you watched Heathers? Hamilton? They’re good, right? But did you notice something? Red, green, yellow, blue. Blonde, brunette, redhead. Angelica’s pink, Eliza’s blue and Peggie’s yellow. Imagine you’re sitting at the back of the theatre, you can’t see lips moving and the same actors are playing multiples rolls. How are you telling them apart?

Costumes!

That’s why I start with an archetype. From page one, you can remember that this guy is a scientist, she’s a shy, forest girl, he’s a comic relief, she’s the stern mentor and that little girl is the blunt, sarcastic sweetheart. You can visualise them and distinguish them in your mind. From there, the audience gathers more and more information about them, pulling every detail into mental files with wonderfully memorable names, not just John, but Judgemental John.

Even if by the end, 90% of their personality is completely unrelated to that initial stereotype, you still had a place to start with real direction and inspiration, helping to highlight all the ways they’re MORE than pretty, obnoxious, cruel or compassionate.

[five-sided-dice]

POV Tips

Hot tip:

If you're trying to write multiple POV's, try reading a book with multiple POV's to see how its done. I recommend the following book; Artemis Fowl. It's an eight book, three book series, very nicely written. And Heroes of Olymus.

They're both great references for this kinda stuff