Don't Stop

When it comes to writing, there's a profound and mesmerizing way to touch your readers deep within their souls. It's about crafting moments that hit them in the gut, stirring up intense emotions and forging an everlasting connection. Here are some techniques to help you achieve this:

1. Unexpected Loss: Introduce a character who captures hearts, only to snatch them away suddenly. Think of J.K. Rowling's "Harry Potter" series, where the abrupt departure of beloved characters like Sirius Black and Fred Weasley leaves readers shattered, their grief a testament to the power of storytelling.

2. Sacrifice for a Cause: Show a character willingly sacrificing their own happiness or even their life for a greater purpose. Suzanne Collins' "The Hunger Games" portrays Katniss Everdeen's selflessness, volunteering as a tribute to save her sister, evoking empathy and admiration.

3. Unrequited Love: Explore the agony of unrequited love, where hearts ache and souls yearn. Charlotte Brontë's "Jane Eyre" delves into the bittersweet and heart-wrenching tale of Jane's unfulfilled affection for Mr. Rochester, resonating with readers who have experienced the profound depths of unrequited longing.

4. Betrayal by a Loved One: Peel back the layers of trust to reveal the sting of betrayal. George R.R. Martin's "A Song of Ice and Fire" series delivers shocking betrayals that shatter readers' expectations, leaving them stunned and heartbroken alongside the characters.

5. Overcoming Personal Demons: Illuminate the struggle against internal conflicts, be it addiction, guilt, or haunting trauma. Anthony Doerr's "All the Light We Cannot See" explores Werner's moral compass during wartime, captivating readers as they witness his battle for redemption and personal growth.

6. Injustice and Oppression: Shed light on the injustices characters endure, igniting empathy and inspiring change. Harper Lee's "To Kill a Mockingbird" reveals the racial prejudice faced by Tom Robinson, awakening readers to the urgent need for justice and equality.

7. Parent-Child Relationships: Navigate the intricate tapestry of emotions between parents and children. Khaled Hosseini's "The Kite Runner" unearths the complexities of the father-son bond, evoking a myriad of feelings, from longing and regret to hope for reconciliation.

8. Final Farewells: Craft poignant scenes where characters bid farewell, whether due to death or separation. Markus Zusak's "The Book Thief" gifts readers with heartbreaking partings amidst the backdrop of World War II, leaving an indelible mark of loss and the fragile beauty of human connections.

9. Personal Transformation: Illuminate characters' growth through adversity, offering a beacon of hope and inspiration. Charles Dickens' "A Christmas Carol" narrates Ebenezer Scrooge's extraordinary journey from a bitter miser to a beacon of compassion, reminding readers that redemption and personal change are within reach.

10. Existential Questions: Delve into existential themes that provoke deep introspection. Albert Camus' "The Stranger" challenges readers to ponder the meaning of life through Meursault's detached and nihilistic worldview, prompting them to question their own existence.

A Writer’s Guide to Navigating the Publishing Industry

There’s something undeniably enchanting about seeing your words come to life on the printed page and connecting with readers from around the globe. The allure of sharing your ideas, stories, or even your expertise with the world is the dream for many writers.

While the idea of publishing a book may seem exciting, navigating the publishing process can be a labyrinth. It requires a blend of passion, persistence, and a solid understanding of how to wade through the murky waters.

So, let’s take a look at the ins and outs of the publishing process and what you need before you start sending your manuscript out to the world.

Identify your genre and target audience

Before you start thinking about publishing, it is essential to identify your genre and target audience.

Knowing your genre will help you determine relevant publishers and agents who specialize in that genre. Understanding your target audience will help you tailor your writing to meet their expectations. For example, if you write young adult fiction, you will want to write in a style and tone that appeals to teenagers and young adults.

Publishers and agents are all about work that sells. If you can show that you know firmly where your book sits in the market and that you know the people your book will appeal to, you will have given yourself a head start. When you publish, your work ceases to be just about you and starts being about your readers.

Get feedback on your work from editors or beta readers

Feedback is crucial for any writer. You want to make sure your work is the best it can be before submitting it to publishers or agents.

If you can afford it, consider hiring an editor to review your work. If you can’t, then try joining a writing critique group or finding beta readers who can offer suggestions and feedback.

When you receive feedback, take it seriously and use it to improve your work. Don’t be afraid to ask your readers for specific feedback, and most importantly, never take their criticism personally.

Betas are your first readers, so try to choose people who read in your chosen genre. Don’t get friends and family to beta read for you, as they’re often not the audience you’re writing for and will find it hard to give you objective opinions. Also, avoid using only other writers as your beta readers, as they’ll often approach your work from a technical view, and not from a reader’s view.

You can learn more about how to get the most out of your beta readers in this post.

How to Get The Most From Your Beta Readers

Research Publishers and Agents

Researching publishers and agents is an essential step in the publishing process. Agents often have specialisations or work closely with specific publishers, so knowing that in advance can help you avoid a lot of wasted time, and save you from unnecessary rejections.

Not only will agencies have specific types of books they look for, but each individual agent within those agencies will also have specific genres they represent. For instance, a children’s book agency might have one agent who deals only in picture books, while another represents only YA. If you pick the right agency, but the wrong agent, you’ll get a rejection, so be sure to be diligent.

Research is also important because you want to find publishers and agents who work in your who are reputable. Not all agencies are created equal, so you want to make sure you’re vetting your agents. See who they represent, and also make sure they actually manage to sell books to publishers; there are, unfortunately, a number of scam agencies out there, so it doesn’t hurt to be diligent. Check online reviews, and ask for referrals from other writers.

Want a little more help on how to vet literary agents? We got you!

How to Vet a Literary Agent

Start Querying Agents

Once you have identified a list of agents and publishers you’d like to submit to, it’s time to start querying!

Agents, and publishers if you decide to submit directly, have very strict submission guidelines, so be sure to read them carefully in the research stage. And incorrectly submitted query will be an instant rejection.

It is essential to be patient during this process as it can take time to hear back from agents and publishers. If you’d like to learn more about querying agents, we’ve got a detailed outline in the Reading Room!

How to Pitch Your Novel to Agents Like a Pro

Don’t Stop Writing

While you’re waiting for responses from agents and publishers, it’s crucial to keep writing. Do not stop writing, even if the rejections come in. This might not be the book that makes it, but you’ll learn so much from the process that it’ll be even easier to navigate the next time.

Rejections will be part of the process, so be mentally prepared for that. But throwing yourself right back into the thing you love takes away a lot of the sting.

If you love to write, keep writing, and then keep trying. There are no quick wins when it comes to publishing. It’s hard work, and it’s not always joyful. So keep your eye on the prize, and make sure you stay on that horse. The world deserves to read your words.

Resources

Twitter is a great place to find information from agents. Agents will often post threads on what they’re looking for and will announce when they’re open for submissions. There are also fantastic Twitter pitch events that can help authors find agents. You can learn more about them here.

The Writers’ and Artists Yearbook is an annual publication from Bloomsbury that covers most of the big agents and publishers, going through their genre specialisation and submission guidelines. While the majority of the book is specific to UK agents, there is a useful section on US and overseas agents, too, that will list the biggest ones.

Revisit an old project

Take inspiration from classic stories/folk tales

Follow your interests

Start with genre (or a unique combination)

Start with a character

Start with setting

Combine or reinvent some classic tropes

Ask someone to share a story they don’t usually tell (be curious about the people around you)

Use something from your past

Focus on a hard to define feeling

Experience something new

Brainstorm with a writing friend

Read outside of your comfort zone

Talk to a stranger about their life

Wasn’t sure how to answer, so I found some other writers who could:

Writing on the Nose: what it is and why not to do it.

Show, Don’t Tell: What You Need to Know

Use All Five Senses To Enrich Your Writing

The Art of Subtlety

How being subtle can improve your descriptions

Definitely study more about the “show, don’t tell” guideline as well as the other senses that can be used in writing besides the essential five. Likewise, “on-the-nose” is generally used to refer to dialogue, so if you’re having trouble with that too, search “on-the-nose dialogue” for tips on improving.

+ HEY, Writers! other social media: Wattpad - Pinterest - Goodreads

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The Rumpus Interview With Kevin Brockmeier

This is, no surprise, really really great.

(via therumpus)

This is really interesting! Do you guys feel this way when you write? I think I only do sometimes, and I would categorize those times as when I feel “inspired” or when “the muses speak to me”, etc. But it’s definitely not how I feel when I’m slogging away at something.

requested by: various anons requests: heated argument lines between two spouses, a married couple having an argument

Feel free to use and reblog!

"Oh, don't look at me like this! It's not working."

"It's always the same with you!"

"Don't sugarcoat it!"

"I don't even need to hear it!"

"I've had enough of your empty promises!"

"No, stop your sweet-talking!"

"I'm really sick of you right now."

"You're not for real?!"

"I've had enough of your bullshit!"

"No, not with me. I know you. It's not working on me."

"Don't try me!"

"Stop evading my questions!"

"But I know you can't be mad at me for long."

"But you aren't even listening!"

"I don't need to listen! Because it's always the same!"

"Ugh, you're getting on my nerves."

"Hey! I didn't mean it that way!"

"Wait! We're not done yet!"

"Don't blame it all on me, my dear! You're not completely innocent about that!"

"No, you're unreasonable!"

"I don't need your clever sayings!"

"Oh, so we're getting personal now?!"

"But you're not making any sense!"

"We're not getting anywhere."

"Have you ever considered how it's making me feel?"

"You're egoistic! There. I said it."

"Stop beating around the bush!"

"Oh, come on! Don't act like you care!"

"Let's not go about this again."

Readers identify with characters who are relatable and peppered with imperfections. When a writer crafts believable character flaws, they open the door to interesting conflict, engaging personalities, and ample character development.

What Is a Character Flaw?

A character flaw is a trait that prevents a character from being perfect.

Sometimes this fatal flaw leads to a character’s demise or at least undercuts their character strengths and presents a prominent setback they must overcome.

Any character can have flaws, including a protagonist, antagonist, love interest, confidant, deuteragonist, tertiary character, or foil.

Why Give Your Characters Flaws?

A character’s flaws serve many functions, particularly ensuring that the character is relatable and engaged in inner conflict. Carefully crafted flaws can do the following:

Make the character relatable to an audience of readers or viewers

Present an obstacle that must be overcome during the course of the story

Create character weaknesses that another character in the story can exploit

Create an obstacle that prevents a character from immediately solving a conflict

Set off a character arc that allows a character to grow and change

Provide quirks that distinguish characters from one another and make them memorable to audiences

Emphasize broader themes that are amplified via specific character flaws

Create comedy—from Homer Simpson to Michael Scott, the best comedic characters are hopelessly flawed

What Is an Example of a Character Flaw?

In the Thomas Harris novel The Silence of the Lambs (and its subsequent film adaptation by director Jonathan Demme), Hannibal Lecter has what could charitably be called a personality disorder: He is a cannibal and a sadomasochist.

Lecter’s character flaws, however, are somewhat offset by his brilliant mind, which he uses to help the main character, Clarice Starling, apprehend a serial killer tormenting Appalachia.

Lecter is an example of how in fiction, even characters with the most severe personality flaws can embody a degree of three-dimensionality.

12 Character Flaws to Use in Your Writing

The array of possible character flaws is boundless. Here are 12 time-tested character traits that inherently generate conflict:

Perfectionism: A finicky perfectionist is never satisfied. They can rarely accept that a project has been completed, and they rarely accept the finished work of others. Perfectionism is a great flaw for a detective, a doctor, or an office worker.

A know-it-all attitude: An arrogant, self-righteous know-it-all has great potential to fall flat on their face, whether comically or dramatically. High school stories often feature a know-it-all foil to the main character. These archetypes work particularly well in comedy, especially when the know-it-all suffers from a broader lack of intelligence.

An inability to move on from the past: Many police procedurals and superhero stories feature heroes haunted by their past, such as murdered parents or the victim they could not save. This major flaw presents obstacles as they work to solve crimes—but when the obstacles are overcome, the story’s happy ending feels earned.

Laziness: Laziness is a flaw that leads to obvious conflict, some of which can be quite funny. Lazy sloth detectives and doctors can be either hilarious or the source of grave conflict, depending on the tone of your storytelling. A lazy character in a position of authority can generate a lot of tension for your plot.

Physical vulnerability: Some characters suffer from a physical weakness that can escalate into a fatal flaw. Superman’s tendency to wilt in the presence of kryptonite hamstrings him, while the great warrior Achilles was undone by his fabled heel.

Low self esteem: People who fundamentally dislike themselves make for fascinating characters. Jesse Pinkman’s self-loathing leads him down all sorts of dangerous paths in Breaking Bad. On the other end of the spectrum, the young adult author Judy Bloom has crafted gorgeous character arcs from youthful characters, like Linda Fischer in Blubber, who begin their journeys with low self esteem.

Vanity: Vanity is the undoing of many real world characters, and so it also works beautifully in fiction. Politicians, artists, models, and athletes in stories are routinely undone by vanity as they gradually develop a bad reputation. Ordinary people can be wrecked by vanity as well, so it’s a common character flaw in many forms of fiction.

Lust for power: Unbridled thirst for power has undone many a character, from Mr. Kurtz in Heart of Darkness to Frank Underwood in House of Cards. Power is intoxicating, and characters who seek it are both relatable and easy sources of conflict.

Lack of maturity: Many character arcs begin with a person in a hopeless state of immaturity who then grows over the course of the story. Immaturity can also manifest as rudeness, like when a bigmouth makes tactless remarks.

Fear: Common in action dramas and comedies alike, fear—be it cowardice in the face of duty, a specific phobia of spiders, or an irrational fear—is a great character flaw that naturally drives a story.

Hedonism: Some characters cannot resist temptation, whether that involves an illicit drug, food, or a fetish. Sometimes this excessive desire is due to addiction—it’s no secret that many famous protagonists are alcoholics—and sometimes it’s due to a general lack of self-restraint and willpower. For a character like Fyodor Karamazov in The Brothers Karamazov, hedonism and lechery make him both tragically amusing and subtly sinister.

A gruff exterior: Some characters seem initially impenetrable because they are taciturn, standoffish, or even hostile and lewd. Typically these characters house a vulnerable interior beneath their coarse shell. Bringing out that vulnerability and lack of self-worth can be a strong driver of story.

Scenes are the fundamental building blocks of novels and short stories, and each one should propel a story toward the climax.

Generally speaking, your scene structure should mirror the story structure. In other words, take a novel-writing approach to a scene, crafting a beginning, middle, and end. Like a story, the beginning of a scene should have a strong entry hook that pulls the reader in.

Start with the setting. Often a new scene signifies a change in time and location. Establishing the setting at the top of a scene helps your readers get oriented. It also sets the tone and mood of what will unfold in the coming pages. A setting can serve as much more than a backdrop in literature. Have your scene take place somewhere that builds tension and hinders your protagonist. If you’re writing a thriller, describe a dark and foreboding place where the worst might happen. Be descriptive and use sensory details to make your setting come alive before you jump into the action.

Use visual imagery. In screenwriting, writers have to think in pictures. What images will excite an audience at the top of a scene? Your approach should be the same when writing any kind of fiction. As you write the opening of a scene, use descriptive language to engage a reader through detailed imagery. Think like a screenwriter as you’re writing scenes.

Drop the reader into the middle of the action. Hit the ground running by starting a great scene in media res. It doesn’t have to be a fight scene or a car chase, but physical movement creates momentum and builds tension in a story. It’s also a way to instantly engage a reader. Be sure you begin the scene before the high points of the action so you build up to the scene’s climax.

Write a character-driven scene opener. A good scene starts by giving characters a goal. Start by putting your protagonist in a situation that creates an obstacle or opportunity for both the scene and the overarching storyline. Try starting with dialogue, like an intense conversation between your POV character and a mystery character whose identity is revealed later in the scene. If you’re writing from an omniscient third-person point of view, consider starting a scene with a secondary character, even the antagonist, and use it as a chance for deeper character development.

Summarize past events. You might choose to use the beginning of the scene to do a quick recap of what’s brought your main character to this place and moment in time. A summary is especially helpful if you’re writing in third-person and a new scene switches to a different character. Take the opportunity to remind the reader where we left off. Instead of a straight-forward update, get creative. Go into deep POV and let a character’s thoughts provide the summary instead of the narrator. Be sure to keep this summary brief—just a line or two—so you can get back into the action.

Introduce a plot twist. The start of a new scene is a chance to pivot and take your story in a new direction. Start a new scene at a turning point in your story. Dive into a flashback or character’s backstory, revealing critical information that changes the course of the story going forward.

Keep the purpose of the scene in mind. Effective scenes are clear about what they set out to accomplish and how they contribute to the overall plot. They might include plot points or reveal important information needed to move a story forward. Establish your scene’s intention from the very first word and keep the rest of the scene on point.

Rewrite until you’ve found the perfect scene opening. When you’ve finished the first draft of a scene, go back and read it through. If your scene needs something, but you can’t figure out what, it might be how the scene starts. The best way to know if your opening works is by reading how it plays with the rest of the scene. Review the last paragraph and see if it ties back to your beginning. If the intro feels weak, rewrite it. Maybe your real opener is hidden in plain sight somewhere else in the body of the scene.

Make sure your opening scene is your strongest. While your entire book should be filled with compelling scenes that start strong, the very first scene of your book needs to lead the pack. This is the reader’s introduction to your story and where you’re revealing the characters, the setting, and kicking off the plotline with the inciting incident. This first scene has to hook the reader from the first line so they keep turning the pages.

Read a lot of books. If this is your first novel and you need some inspiration and ideas to help you start off your scenes, start by reading other books. Choose a book by a bestselling writer like Dan Brown or Margaret Atwood. Study the different ways they approach every scene. Reading other authors is a great way to hone your scene-writing skills.