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Have you ever read a novel that evokes very specific imagery, or even a colour scheme, the whole way through?  Not quite sure what I mean?  Well, here’s an example.  Have you ever read Celeste Ng’s Little Fires Everywhere? Even if you haven’t you can probably guess that one of the principal motifs in this novel is fire. Throughout the narrative Ng cleverly uses this imagery in many different ways, from showing the power and strength of physical fire and its ability to cleanse and purify, to the sparks flying between two people, and the smothering of a character’s creative fire inside of her.  In this article, I’m going to answer the question \'what are motifs?\', explore how a motif can be developed throughout a story, teach you how to write a motif, and provide some more examples of motifs in well-known novels. What Are Motifs?  A motif is a literary device that occurs as a recurring element in a novel and often has symbolic significance. The key aspect of a motif is repetition, which helps illuminate dominant themes and ideas in a story. Sometimes it can be a recurring image, as we explored above with the use of fire in Little Fires Everywhere. But other times, it can be a repeated word, phrase or topic, and can even be a recurring situation, sound, smell, temperature, or colour scheme.  Think of literary motifs as little breadcrumbs or clues that an author will leave for their reader in order to reinforce or deepen a certain theme or perspective in their novel. They are often used to set the tone, change the atmosphere or conjure a particular mood. Think of how a darkening sky or a flock of noisy birds can suddenly instil apprehension, or how a soft, glowing candle or a sunset can build warmth and romance.  It’s important to note, however, that the use of motifs depends on the type of novel. Some novels are enhanced by one or more motifs, whilst in others, motifs serve no purpose at all.  Let\'s look at why that is...Motifs, Symbols and Themes - Key Differences Motifs, symbols and themes are often grouped together and sometimes used interchangeably, but to get the most out of them in your work, you should see them as overlapping but standalone literary devices.  Let’s refresh ourselves by looking at their distinct definitions.  Themes are the main ideas in a story. They are the backdrop or foundation on which the series of events and plot points of a narrative are then laid. Themes are abstract and conceptual.  Symbols are objects that represent something else. A white dove might represent innocence or peace and a snake might represent poison or fertility. They can appear in just a single point in a story.  Motifs are often symbols, but can also be repeated phrases and words, smells and colours. They are tangible and concrete and must be repeated throughout a story to bring the theme to life.  Now let’s look how each literary device might overlap and work together in a story.  A symbol in a story can be a wilting flower or shrivelled up leaves that symbolise death. If these images are repeated several times through the story, they will become a recurring literary motif, which is used to point to the theme of the story: grief and loss.  Examples Of Motifs In Literature As we’ve explored above, you can find motifs throughout literature, in many of your favourite novels. Let’s look at this in more depth.  The Picture Of Dorian Gray – Oscar Wilde Wilde uses a number of motifs in this novel but the most standout motif is the colour white which is used to chart Dorian’s trajectory from a figure of innocence to a figure of degradation. In the beginning, it is used to portray his innocence in boyhood, with his \"white purity\" being the key reason Lord Henry is enthralled by him. But later, when we learn that Dorian has sacrificed his innocence, there is a quote from the Book of Isaiah: \"though your sins be as scarlet, yet I will make them white as snow\" which outlines his longing to return to innocence.  Never Let Me Go – Kazuo Ishiguro The motif in Ishiguro’s bestselling novel is undoubtedly copies, which begins with the students themselves who are essentially clones of people in the outside world. This is how Kathy finds out that their world is but a copied one, as she sees students copy the gestures and mannerisms of the people they watch on television.  There is also a rebellion against this motif of copying throughout the novel, for example, with Kathy observing Tommy’s drawings to be intricate and original creations.  Romeo And Juliet – William Shakespeare Shakespeare uses light and dark throughout the play. For example, the lovers are described as \"stars\" that light the dark sky. Romeo often refers to Juliet as a powerful light source and Juliet, too, says that Romeo lights her. Who can forget the famous balcony scene when Romeo says, \"But, soft! What light through yonder window breaks? It is the east, and Juliet is the sun.\" But ultimately the dichotomy of light and dark is there to convey Romeo and Juliet’s doomed future. No matter how much light exists between them, the dark cannot exist alongside it, so one will ultimately prevail.  How To Use Motifs In Your Writing Now, onto the crucial information that I know you’ve been waiting patiently for – how you can use motifs in your own writing! Well, the first thing to note is that motifs aren’t for every story. If it isn’t obvious then don’t beat yourself up trying to find something that works. There is nothing worse than an ineffective motif! Yes, they may enhance a story and evoke different moods, but there are many other ways of doing so – from setting the tone and focusing on your sub-plot to working on your rising action and using descriptive adjectives.  The second crucial thing to note is that motifs may already appear in your story without you even realising it – your brain works in marvellous ways! Have a read of your work and see if you can spot them. They may be included with a light touch to begin with, but you can always deepen their connection to the underlying theme of your novel in subsequent drafts.  But if you do feel like giving it go, here are some tips to help you get started.  As we’ve discussed above, motifs are a way of pinpointing the central theme or themes of your novel so that must always be your starting point. Spend some time thinking (preferably on a nice long dog walk) about the underlying message or purpose of your novel.  Once you’ve spent some time reflecting, write down any themes that come to mind. Bullet point form is best so they can be reeled off in short, clear phrases.  Then, once you’ve written down the key themes of your novel, brainstorm any imagery, words, memories or events that come to mind for each. These will serve as the breadcrumbs of your motifs, which you can hone with every new draft.  Finally, take some time to review what you’ve noted down and focus on a handful of motifs that best represent the underlying themes of your novel. Remember that you need to make sure that they’re not out of place in your narrative or amongst the characters you have developed. For example, using sunshine as a motif in a novel that is based in the Arctic Circle in the depths of winter is probably not the best fit.  Writing MotifsNow that we\'ve answered the question \'what are motifs?\', and provided some great examples for you to use, you\'ll be able to effectively explore the use of motifs in your writing. Motifs are effective literary devices that can be used to set the mood of your novel and ultimately draw attention to its underlying themes. They are, however, by no means essential and should only be used if they can be integrated naturally within the narrative without distorting the plot or characterisation.   Take your time when adding motifs to your novel. Play around with different imagery and colours. Or if you’re feeling brave, get in the writing zone, and see what creativity flows out of your subconscious!  

How many times have you read a book and thought: ‘Now, where have I read this before?’ That is one of the first indications that you’ve entered into cliché territory. The word ‘cliché’ can be pretty vague with people often wondering what exactly it could mean. What are clichés in writing and why are they considered so harmful? This article will not only explore what they are, but also how to avoid using them in your writing.  In layman’s terms, clichés are phrases and expressions that have been so grossly overused with time that they’ve become largely meaningless. How many times have you read ‘in a nutshell’ and thought: not this again! That’s exactly what a cliché does. It tends to annoy the reader to the point that they simply overlook or ignore the clichés in the writing, or worse, put down the book altogether.  Examples Of Clichés In Writing There are many examples of clichés, such as ‘one bird in hand is better than the two in the bush’, ‘a chip off the old block’, or ‘laughter is the best medicine’. They might have been in vogue many years ago, but due to overuse, they’ve become tedious. However, clichés can also be found in descriptions and overall themes.  The Delicate Heroine And The Strong-Jawed Hero These descriptions are found in so many books that they’ve effectively become clichés. The ‘delicate as a daisy’ heroine who falls in love with the dark, handsome and athletic hero. While this may have once been very popular, and still has a lot of fans, most readers want to steer clear of this storyline. They’re more interested in three dimensional characters. Even when using this specific storyline, you can easily turn this cliché into an original concept and explore why the heroine is delicate and good-natured. What happened in her life that made her like that? How do the trials and tribulations of life awaken a darker side to her character? Now, we have something the reader would be more interested in reading. Similarly, the dark and handsome man could have a back story which allows us to envision him as a three-dimensional character.  Gone Girl by Gillian Flynn is an excellent example of a story that defies all sort of clichés. It is a bold and original idea which is why it took off so well upon publication. Readers simply couldn’t get enough of Amy and Nick Dunne precisely because they were so unexpected.  Using Dreams Or The Weather To Start A BookStarting off a book with a dream may sound like a brilliant idea, but it is not the most inventive. It has been used many times in the past to the point that readers quite simply skim through this to get to the actual content. Similarly, using the weather as a prop is also an example of a cliché. If the weather is somehow pushing the plot forward, then that is acceptable, but using it just for the sake of it is unoriginal and meaningless. Similarly, if the dream sequence is doing something to help the story along, then it makes sense, but including it just to increase the word count would not be a wise idea.  Using Well-Worn Plot Lines That Readers Have Become Well Versed To How much do you look forward to reading about a love triangle? Not much, right? It is such an overused trope that most readers simply sigh when they encounter two people who’ve fallen in love with the same person. In the past, this storyline has worked really well, but precisely because of that, it has become a bit of a cliché now. People want to read something different, something that takes them out of their comfort zone. If you add the demands of technology and social media with people not having enough time, it is more important than ever for stories to be fresh and fast-paced. If there’s a twist to the old love triangle, then that may be worth exploring, but it is easy for the traditional love triangle to become a cliché. How To Avoid Clichés In WritingIt may not be possible to completely avoid all the types of cliché in your writing, but you can definitely weed out most of them if you try. First of all, it is very important to edit and proofread your work. That in itself helps in highlighting any clichés that you may have used. The key is to put some time between writing and editing. Once you’re done writing your book or story, put it in a drawer and forget about it for a few weeks or a month. Afterwards, when you look at it with a fresh set of eyes, the clichés will jump right at you. It will be much easier to catch them.  While editing your work, pay close attention to sentences or passages that bore you or sound rehearsed. Chances are that those are clichés. For example, if you have used the weather to initiate conversation between two characters, try making the weather an important factor in the plot, or maybe change the thread of the conversation entirely. Changing the overall tone of the sentence or completely rephrasing it can also help in eliminating clichés.  Another way to avoid clichés is to think outside the box. Even if you’re writing a stereotypical plot that veers into cliché territory like a love triangle, adding original ideas can help make it stand out. The Twilight Saga by Stephenie Meyer might feature a traditional love triangle, but the reason it became such a huge hit is that Meyer added the vampire and werewolf element to help the plot stand out. In addition to that, there were other more complex plot strings that helped the series rise above the competition.  Why Should We Avoid Clichés? The reason for avoiding is simple: readers don’t want to read them. Not only do they make the writing seem clunky and boring, but they can also transform a perfectly fresh idea into a stale mess. Often our brains simply skim this kind of writing as it sounds repetitive or rehashed. Also, clichés are not good for a writer’s reputation. Using too many of these phrases and descriptions can cause you to be accused of being lazy or sloppy. Even if the novel is exploring a fresh idea that hasn’t been attempted in the past, the use of clichés can ruin its overall effect which is the last thing a writer could want.  Another reason to avoid clichés is that they can make the writing look shallow especially where it shouldn’t. Imagine for a moment that you’re writing a very tense scene between the two protagonists in your novel which will serve as a climax of sorts, and at the opportune moment, one of the characters ends up saying, ‘what goes around comes around.’ Not only would this deflate the entire scene, but it might actually make the reader abandon the book altogether because of course they’d expect something deeper from the character considering it’s the climax.  Are Clichés Necessarily A Bad Thing?I think the general consensus will remain that clichés in writing should be avoided. They make the writing seem dull, sloppy and uninspiring. They squeeze the life out of an interesting plot. However, in some cases, it may not be a bad thing to include a cliché or two especially when it looks like readers might be looking for something familiar.  Think of it like when editors ask writers to use fewer adjectives and adverbs, or to use them when it is absolutely necessary. The same could apply for clichés. Sometimes, it could be imperative to use a familiar phrase, or indeed, to repeat something for greater impact. Readers might enjoy the familiarity and that could help them immerse themselves in the book more.  Avoiding ClichésLooking at the above points, it is pretty obvious that clichés can dampen or completely ruin the impact of good writing. They include phrases, similes, metaphors or descriptions that have lost their meaning over time and are just easily overlooked and ignored by readers. Using too many clichés in writing can make writers look lazy and unoriginal.  It is important to avoid clichés by thoroughly editing and proofreading any work you produce and being more aware of what you are writing. Obviously, nobody plans on writing clichés… they have a knack for finding their way into a piece of writing. The key is to keep an eye out. The more clichés that are eliminated, the better and less clunky the writing will be.  While in some cases it may be pertinent to include a cliché or two for familiarity or effect, for the most part, clichés should be avoided to make your writing stand out. Readers today are looking for fresh, authentic voices with plots that shock and enthral them in equal measure. There is no room for clichés anymore.  

The use of the right type of tone in writing can be transformational for a reader. It can mean the difference between them connecting with a novel and wanting to read until the very last page or giving up and starting something else, which is undoubtedly every author’s worst nightmare! To avoid the latter, try to write with the end-user in mind – your readers. Think about the different tones in writing and what type of tone is suitable for your novel. Think about how you want a reader to feel when they are turning the pages of your novel.  In this guide, I’m going to explain the meaning of tone in literary terms and its importance, give you examples of how tone has been used successfully in literature and provide some pointers to help you develop the type of tone that is right for your novel.  What Is Tone In Writing? First, let’s consider tone during in-person communication, and how we use verbal, audial and visual cues to convey how we feel about what we are saying. Our words are only part of our communication. We can change our facial expressions and pitch, and we can use hand gestures and body language to give the people we are speaking to more information about our attitude towards our conversation.  Well, if you think about it, how we use tone in writing is not really that different to how we use tone in speech. Yes, we may not have the same tools at our disposal but there are other ways that an author can achieve similar goals of implying an attitude/mood and evoking an emotion.  Tone in fiction novels is essentially the attitude which the author/narrator (or POV character) has towards story events and other characters. A writer has the power to manipulate the tone of the novel by choosing what a narrator/character focuses on throughout a specific scene, detailing the character’s changing reactions/responses and the choice of words used in dialogue, and including their internal thoughts and actions. The ways in which a character acts towards the reader when a first-person POV is used also sets the tone. Tone can be set in a combination of ways: word choice (diction), sentence construction, imagery, word order and what viewpoint the character focuses on (i.e. their attitude towards the issues in the story, the events, and the other characters in the story). It is often confused with an author’s voice but is in fact very different. The voice is an author’s unique voice that ideally shouldn’t change from novel to novel, whereas the tone will be different depending on your story and your main characters.  The are many different types of tones – way too many to list them all!  But here are some common types of tone that you are likely to see in fiction and non-fiction:  Formal. Informal. Friendly.  Humorous.  Optimistic.  Assertive.  Concerned. Encouraging.  Surprised.  Co-operative.  Now let’s move to exploring types of tone in more detail.  Types Of Tone In Writing As mentioned above, tone in writing is used by the author to convey both a character’s attitude/mood and evoke a feeling in the reader.  There are many ways that this can be achieved.  Let’s explore some of the more common different types of tone below!  Light-hearted or cheerful. Using a light-hearted or cheerful tone immediately puts the reader at ease that they are sailing calmer waters in your novel and that there are unlikely to be any unexpected obstacles or challenges on the horizon.  Hopeful. A hopeful tone of voice can be used in different ways, depending on what genre you are writing in. For example, in a romantic comedy, it can be used to show an un-lucky in love protagonist being charmed by a dashing stranger. Whereas in a crime or thriller novel, it can used in a dark point of a protagonist’s journey to show that their bad fortune might finally be changing.  Uneasy or fearful. Using an uneasy or fearful tone of voice is the literary equivalent of the doom music in a horror movie. It will show the reader that they are creeping towards a potentially devastating or terrifying moment in the protagonist’s journey.  Nostalgic. Conveying a nostalgic tone can be used to evoke in the reader warm fuzzy memories of their childhood. It can often involve home and family but also a longing for long-gone moments.  There are many, many other descriptions of tone that you can play with, depending on what genre you are writing in and what is happening in your story.  While the type of tone used can vary with every character and scene, the overall tone of your story must remain consistent to keep from confusing your reader and hindering your message. A reader has certain expectations from a novel, depending on its genre, the synopsis and how it is marketed. Therefore, writers must try not to deviate from this consistent message in the tone of their novels. For example, a novel about tragedy should rarely break into a light-hearted or cheerful tone, whereas a romantic comedy should stay clear of fearful or serious tones.  Vocabulary is key in setting tone, so you need to ensure that you select the right words for a specific scene or setting in your novel, or even the overall theme. For example, a scene about falling in love would convey an entirely different emotion if written using words like ‘dark shadow of death’ and ‘veins popping out of his neck’! Examples Of Tone In Literature Pick up any book on your bookshelf. Turn to any page. And start reading. Straight way, you should be able to pick up on the overall tone of the novel and in that specific scene.  Here are some examples in well-known literature that demonstrate some of the common types of tone.  Open Water By Caleb Azumah Nelson‘’The barbershop was strangely quiet. Only the dull buzz of clippers shearing soft scalps. That was before the barber caught you watching her reflection in the mirror as he cut her hair, and saw something in her eyes too. He paused and turned towards you, his dreads like thick beautiful roots dancing with excitement as he spoke.’’ It is clear that Nelson has chosen his vocabularly with purpose - ‘’dancing’’, ‘’shearing soft scalps’’, ‘thick beautiful roots’’ to convey the underlying romantic tone of his novel.  A Little Life By Hanya Yanagihara  ‘’But as much as he fears sex, he also wants to be touched, he wants to feel someone else’s hands on him, although the thought of that too terrifies him. Sometimes he looks at his arms and is filled with a self-hatred so fiery that he can barely breathe…’’ Even in such a short extract of a 700-page novel, we as the reader can gauge the tragic, pessimistic and fearful tone that Yanagihara has conveyed through her beautiful prose.  The Stranding By Kate Sawyer ‘’They have a hut. A place to sleep. It is waterproof and windproof but the elements are still around them: they can hear the sea from their bed, see the light of the moon and the sun shining through the tarpaulin, little though it is through the constant cloud. It is not warm unless they are under their piles of blankets, but is somewhere they can rest after the toil of the day’’ In this short extract of Sawyer’s captivating novel, you can immediately get a feel of the narrator’s worried and anxious tone, and the strong current of hope within it.  How To Develop Your Writing Tone Now, let’s look at the key ways that you can set the tone of your novel.  1. Keep Your Tone Consistent Throughout  Think of the tone of your novel as the soul of a person. Yes, you can dress your body differently, depending on your mood and preference, just like you can layer tones for different characters and scenes. But the underlying tone of your novel must never change, from beginning to end.  Read through your manuscript and look for places where the tone fades or shifts. Focus your attention there. 2. Write With Your Reader/Target Audience In MindMost readers are loyal to genres and want to know that they are in safe hands every time they pick up a book. For example, a reader seeking escapism from dire world conflict will be fully thrown by a romantic comedy novel if it suddenly creeps into suspense and fear.  3. Play With Detail And Description Think about the characters and plot of your novel, and weave in appropriate detail and descriptions to set the tone. For instance, a depressed or lonely character may notice cracks forming on wall and mouldy tiles, whereas a love-struck, hopeful character will see vibrant wallpaper and intricate covings.  Make every word you use earn its place in your novel. Choose wisely and don’t be afraid to cut words if they are not serving their purpose.  Hone Your Use Of ToneI hope you’ve found this article useful and that you can see how significant tone is in determining how a reader will perceive your novel.  Now all that’s left for you to do is switch on your laptop, open up your Word document and let your creative juices flow!  

Rhetorical device. It’s not really a phrase that rolls off the tongue, is it?  That said, it’s an important linguistic tool that\'s used by pretty much everyone, from business people to politicians – and of course authors. You may not have heard of rhetorical devices by name but whether you’ve realised it or not, you’ve probably come across at least some of these devices before, and maybe even used them yourself!  In this guide, I’m going to be delving into the ins and outs of a rhetorical device, including what a rhetorical device is (in common use and in literature), the different types of rhetorical devices, and the purpose of a rhetorical device in a novel.  What Are Rhetorical Devices? A rhetorical device (otherwise known as a stylistic device, a persuasive device or more simply, rhetoric) is a technique or type of language that is used by a speaker or an author for the purpose of evoking a particular reaction from the listener or reader or persuading them to think in a certain way.  As mentioned above, rhetoric can be used by pretty much anyone in day-to-day communication. For example, any time you try to inform, persuade or debate with someone, you’ll be engaging in rhetoric. Or if you’ve ever found yourself being moved emotionally by someone’s speech or changed your mind about a certain topic, you’ve experienced the power of rhetoric in practice. Rhetorical devices in speech can be used in many different ways: your tone of voice, emphasis on certain words, sentence structure and repetition, or even asking questions for emphasis rather than for the answer.  In literature, you will have seen rhetoric devices used abundantly in the form of similes, alliteration and metaphors which are woven beautifully into prose. But rhetoric can be written into dialogue as well, although this is somewhat trickier as you will need to find a way of integrating it naturally so as not to disturb the authenticity of speech.  Now, let’s move on to consider the different types of rhetorical devices.  Types Of Rhetorical Devices Rhetorical devices are sometimes confused with literary devices. And no wonder because there is plenty of overlap between the two, and they both seek to serve the same ultimate purpose: to elevate one’s writing from good to magnificent. And what writer wouldn’t want that as their goal?  There is, however, one significant difference between the two. While literary devices express ideas artistically, rhetoric devices are confined to the following four specific ways.  Logos. A rhetorical device that falls within this category will seek to convince and persuade via logic, and will usually make use of statistics, facts or statements in support of their position.  Ethos. Ethical rhetorical devices will try and convince the reader/listener that they are a credible source, and that their words should be trusted because they have the experience and judgment necessary to make that decision/statement.  Pathos. This type of rhetorical device is grounded in emotion. For example, this could involve the writer/speaker invoking sympathy or pity, angering their audience or inspiring them to change their perspective.  Kairos. The final type of rhetoric device is quite a difficult concept to grasp, but the English translation of ‘opportune moment’ might be able to shed some light. Essentially, Kairos asks you to consider the context and atmosphere of the argument you are making to ensure that you are delivering it at the right time. As Aristotle famously said, “Anybody can become angry—that is easy, but to be angry with the right person and to the right degree and at the right time and for the right purpose, and in the right way—that is not within everybody\'s power and is not easy.” List Of Common Rhetorical Devices Now that we’ve considered the four types of rhetorical device, let’s look at some common rhetorical devices so we can understand how they can be used in practice.  Be prepared for some complicated and hard-to-pronounce words!  Alliteration. Let’s start with one that you will be familiar with. This is a sonic device, involving the repetition of the initial sound of each word (e.g. Maya melted marzipan in the microwave).  Anacoluthon. A mouthful of a word, which involves the unexpected shift or change in the syntax or structure of a sentence. This can be used to grab the reader’s attention and shift it in another direction.  Apophasis. This device creates irony. The narrator will attempt to deny something while still saying that exact thing. For example, a phrase that begins with “it goes without saying’’ and is followed by the exact thing that the narrator says they are not going to say is an apophasis.  Litotes. This is an ironic understatement in which an affirmative is expressed by the negative of its contrary. “He’s no fool” is a great example of a litotes in action.  Meiosis. Now a word that is less commonplace. It is a type of euphemism that is used intentionally to undermine the size or importance of its subject and is the opposite of hyperbole or exaggeration. An example of this is if someone who was badly injured (with a broken leg or deep wound etc) proclaimed “it’s just a scratch”. Oxymoron. A word that might take you back to English class at school, this is a device that is used where two things are placed in direct comparison to one another, even though they are complete opposites. This is a powerful figure of speech that can emphasise a specific point in your writing. A classic example is “the silence was deafening”. Hands up if you’ve used that one!  Syllepsis. The use of a word in the same grammatical relation to two adjacent words in the same context with one literal and the other metaphorical in sense. “He blew his nose and then he blew my mind.” Zeugma. This is the use of a word to modify or govern two or more words, usually in such a manner that it applies to each in a different sense or makes sense with only one. For example, “she opened the door to him and to her soul”. Examples Of Rhetorical Devices Can you think of any examples where rhetorical devices have been used in literature?  Here are a few that come to my mind.  Logos- Othello By William Shakespeare“On, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on… Who, certain of his fate, loves not his wronger,  But, oh, what damned minutes tell he o’er Who dotes, yet doubts – suspects, yet soundly loves… She did deceive her father, marrying you… She loved them most… I humbly beseech you of your pardon For too much loving you…’’ In this excerpt, Lago convinces Othello with logic and reasoning to make him doubtful of the secret relationship between Desdemona and Cassio. Pathos- I Know Why the Caged Bird Sings By Maya Angelou “If growing up is painful for the South Black girl, being aware of her displacement is the rust on the razor that threatens the throat. It is an unnecessary insult.’’ Angelou’s memoir focuses on the emotional events of her life from early childhood through to adolescence. She uses pathos throughout to appeal to the reader’s emotions and to evoke sympathy for her experiences, especially of trauma, abuse and racism.  Ethos- East of Eden By John Steinbeck“And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight against: any idea, religion, or government which limits or destroys the individual.’’ In this extract, the author is trying to create a sense of familiarity with the audience, who he hopes will agree with his opinions on freedom. By suggesting similarities of opinion, Steinbeck builds credibility as a narrator. Kairos- Animal Farm By George Orwell“Comrades, you have heard already about the strange dream that I had last night. But I will come to the dream later. I have something else to say first. I do not think, comrades, that I shall be with you for many months longer, and before I die, I feel it my duty to pass on to you such wisdom as I have acquired. I have had a long life, I have had much time for thought as I lay alone in my stall, and I think I may say that I understand the nature of life on this earth as well as any animal now living. It is about this that I wish to speak to you.’’ This is Old Major\'s speech where he addresses the animals, calling them his comrades, saying that he has a dream and that the moment has arrived that he should relate this dream to them. The timing of his speech is important as he stresses that he may not live long, so now is the right time to pass on his wisdom. This is the best use of Kairos in a practical way. How To Use Rhetorical Devices In Your Writing So now that we’ve seen how famous authors have used rhetorical devices in their writing, how can we mere mortals do the same?  I’m going to share my top three tips for doing so.  1. Adding EmphasisRhetorical devices can be used to create emphasis in your story. There are a number of different ways you can do this, from analogies, such as similes and metaphors, to repeating words or phrases within a sentence while adding more detail (amplification) and repeating an idea using different words (commoratio). An example of the latter is, “She was done. Finished. Dead.’’ 2. Creating Rhythm  We can strengthen a character’s voice by paying attention to the rhythm of our writing. Rhythmic prose can be more lyrical, smooth, or driving depending on how we decide to use rhetorical devices. We can repeat a word or phrase at the beginning of two or more phrases (anaphora), or at the end of the phrase (epistrophe). For example, “She would die. He would die. They’d all die.” 3. Adding HumourWe can use rhetorical devices to add touches of humour to our prose, even if we’re not writing a romantic comedy. Use pleonasm (using more words than necessary), tmesis (splitting a word and adding a word in the middle), antonomasia (using a description as a proper name) or zeugma (using an out-of-sync phrase for the last item of a list). For example, “before meeting up with her boss, she grabbed her diary, her laptop and her big-girl panties”. Next StepsSo, there we have it, your crash course in rhetorical devices! I hope that this article answers any questions you may have on rhetorical devices and has inspired you to play with them to strengthen your writing. If it’s good enough for the greats, then it’s good enough for the rest of us!  If you’re looking for more advice and guidance on your novel and how to break it into this highly opaque industry, then I’d encourage you to have a look at Jericho Writer’s leading online writers club. 

Epilogues and prologues are the bookends of novels, often a flashback at the beginning (prologue) and glance into the future or a quick summary at the end (epilogue).Though they\'re used in films and TV shows too, in this article we’ll be focusing on the role of epilogues in books. We\'ll be discussing what they are, how to write them, what to include, and whether they are even needed in your story.In order to discuss the last few pages of your story, we must start at the beginning...What Is The Epilogue Of A Book? ‘Epilogue’ comes from the Greek epilogos, which means “conclusion word.”  Along with prologues, chapters, sections, and POV headings, epilogues are a useful way for the reader to place themselves in the right context. These structural novel features make the plot clear for the reader, which is especially helpful if a book goes back and forth in time.An epilogue is always at the end of a novel - a separate, yet essential, part of a novel’s main plot. It almost always features a time jump (sometimes a few days later, sometimes decades later), shows the reader where the characters end up, and may resolve any unanswered questions. If the book is part of a series, the epilogue often links to the sequel and may foreshadow things to come. Epilogues sometimes intentionally leave the reader feeling on edge, as they may hint that the conflict of the book hasn’t truly been dealt with, and in crime fiction/thrillers this may mean that the murderer has escaped, and the protagonist is no longer safe.In classic literature (think Shakespeare and Grecian works) epilogues tie together the main lessons of the story with a clear and cohesive moral, and often feature a marriage or the birth of a child. Whether they help the book end neatly and provide closure, or make you want to read the next one, epilogues influence the reader’s perception of the book and what they take away from it. One important thing to note is that an epilogue is not the same as an afterword. The two are often confused because they both appear after the main body of the book. An epilogue acts as the final chapter and is part of the larger story. Whereas the afterword details the inspiration for a book, how it came to be, and promotes the writer and their other works. It isn’t part of the story itself. Afterwords are used in fiction, but they’re more common in non-fiction, especially in newly revised editions published a while after their initial release. Pros And Cons Of Epilogues Like prologues (found at the beginning of a book), epilogues evoke much discussion regarding their usefulness and purpose. So, what’s great about them? And what are their limitations?Here\'s a handy pro/con list to help you find out more:ProsOne of the main ways in which epilogues are great, is that they provide writers with an opportunity to highlight a character\'s growth and development. Readers become invested in well-written characters and are eager to know of their fates. Epilogues are a nice way to reassure readers that characters are safe or provide greater insight into an ambiguous ending. This doesn\'t necessarily mean that an epilogue should show your character\'s happily-ever-after, but if your book has a particularly tense finale, a calmer epilogue provides the reader with a cathartic release. Epilogues may also resolve a character’s personal story arc by showing that they are as content several years down the line as they were at the novel’s initial closing. As aforementioned, epilogues can also hint at future events which will appear in a sequel, which is a nice way to tie a series together. Especially if an epilogue is included in book one, as this hints to the reader that there will be more to follow, and that this won’t be the last they see of the characters they’ve become attached to. Epilogues may simply hint at this next instalment, or they could feature a major plot twist or cliffhanger, leaving the reader desperate to know what happens next. But plot twists must be applied with care, utilising the concealed clues placed throughout the main book, or the reader will feel baited and tricked. Additionally, a good epilogue will give readers one final thing to contemplate. Maybe it acknowledges one of the key themes but from a different perspective due to a shift in point of view or time, suggesting that the lessons the characters learned weren’t as clear cut as they initially thought. It’s important to be consistent with the tone and pacing of the book, so as not to pull so far away from it that it seems like the start of an entirely new book. Think of the epilogue as a nice bonus included in the novel. But it still needs to do something slightly different from the main body of the book, otherwise it’s not adding anything of value to the story. Ultimately, you want the reader to feel satisfied after reading the epilogue, not confused, so be careful not to overcomplicate it. If you\'re still struggling to think of a good epilogue, think of what Marvel do at the end of the credits of every one of their movies. It may only be for a minute or two, but they love to show us all tantalising clips of what\'s to come in future movies and it serves as a great hook!ConsLike everything, epilogues in books have their upsides and downsides. One such downside, is that sometimes epilogues underestimate the reader’s intellect. Some people think that the use of an epilogue suggests that a writer doesn’t trust their readership or the strength of their narrative, and thus, are using the epilogue to lay things out explicitly. If an epilogue over-emphasises the key themes of a novel, this can feel patronising. Readers are more than capable of inference, so if you’re writing an epilogue, it’s important to hint and not explicate your book on the reader’s behalf. Sometimes epilogues include a plot twist which is implemented to hint at a sequel. When used in this way, epilogues can sometimes be disingenuous to the main body of your story, or overwhelm the reader with too much new information. You want to intrigue and excite your reader without making the epilogue intrusive and unnatural, as it could overshadow the main part of the book. Any plot twists used should make sense and be plausible given the context of the rest of the narrative. The greatest limitation of epilogues is simply that not all books need an epilogue. Often, the enticing open ending of a book is most powerful when left as it is, or the story ends on a high note which needs no additions. The last chapter or section of a book should be strong and compelling enough to tie the story together and bring things to a natural conclusion without any further elaboration or embellishment. That being said, epilogues can be great if they are done well and complete the story by adding something meaningful to it. Examples Of Epilogues Epilogues can vary greatly in terms of tone, content, and what they aim to achieve. So it can be helpful to look at a few epilogue examples to see how they work. As epilogues are somewhat divisive, these examples have mixed reactions among their readership, so evaluate them yourself and see what you think. The Handmaid’s Tale By Margaret Atwood  This epilogue is told from the perspective of an historian, and set 200 years after the main story. The historian finds June’s collection of tapes detailing her experience as ’Offred’, and discusses them at a conference with his colleagues. The epilogue is set after the main narrative and from a different point of view, which means that the emphasis of the key themes resonates without being too explicit and overbearing as they are applied in a different context. It invites the reader to contemplate how these themes fit into their own lives and dwell on the repercussions of the novel’s events. June’s disappearance and the details of her live after the main story’s conclusion are left open ended, allowing the reader to imagine different endings for her. Neapolitan Novels: The Story Of The Lost Child By Elena FerranteIn the epilogue of The Story Of The Lost Child Elena receives the dolls that belonged to herself and her childhood friend Lila that they thought they had lost as children. This is a bittersweet ending, as their friendship became more complicated over time. This epilogue ties in the themes of friendship and love which are key to the book. It is also cyclical, as the two girls play with the same dolls at the beginning of the first novel in the series. It’s a hopeful addition to the book, and prompts the reader to contemplate their own childhood, friendships, and once treasured items. Jane Eyre By Charlotte Bronte  The epilogue of Jane Eyre is well known and is frequently discussed by scholars. Some consider it too saccharine and discordant in relation to Jane’s experiences and values in the main parts of the novel, while others view it as a woman’s reclamation of her own joy and desires. After Rochester’s house has burned down, he is left blind and disfigured. When he and Jane reunite, Jane feels that, due to the death of his estranged wife, they can now marry without her putting her morals into question, and so they wed. Jane is now financially independent due to the money she inherited, and it is now Rochester who depends on her. She now has the stability and peace she has always wanted, and the power balance between them is more even (and perhaps tilted slightly in her favour). This epilogue highlights Jane’s growth as a character and shows the reader that she is content. And it also echoes the book’s themes of morality and independence (or the lack of it). The Hunger Games: Mockingjay By Suzanne CollinsIn the concluding book of The Hunger Games series lies a much-debated epilogue. Time has passed, and Katniss and Peeta are still together and have children. This reassures the reader that the characters they care about are well and happy, while also emphasising the themes of power and privilege. The trauma from what the pair endured lingers, and the reader is subtly invited to reflect upon history and the long-lasting effects of horrific events. Bel Canto By Ann Patchett  Ann Patchett’s Bel Canto has an epilogue which raises more questions than answers, which is a common occurrence among epilogues. The marriage between Roxane and Gen is unexpected, and many feel that it is an odd way to conclude the story. Their exact reasons for marrying are somewhat unclear, and this ambiguous ending prompts the reader to question all that came before and ponder upon each of the character’s intentions. It serves as a reminder that nothing is ever truly clear cut. How To Write An Epilogue Now you know what an epilogue is, it’s time to learn how to write one. What Is The Purpose Of An Epilogue?When you\'re trying to decide whether to write an epilogue, this is the first question you should ask yourself. If there’s nothing interesting an epilogue would add to your writing, you don’t need one. Consider the purpose of your epilogue. It may be that you have a sequel which you want to link to, that there’s a way you can elaborate on the book’s main themes, or that you want to reassure your reader of your protagonist’s wellbeing in the future. An epilogue should benefit the reader in some way. Don’t be tempted to add an epilogue if you don’t have anything more to say, as it will dilute your overall message. If you think an epilogue would be the right fit for your book, then read on. Tips For Writing An Epilogue Here are our best tips for writing an epilogue which perfectly complements your book: Set it in the future. Whether it’s a few weeks later or several decades later, it’s best to set your epilogue in the future so that the reader can get an idea of the aftermath of the concluding events of the novel. This passing of time means that you can return to your story without things being stagnant and find slightly different areas of interest to explore. Reveal information which was previously withheld from the reader. Perhaps one of the characters was involved in one of the climatic events of the novel but the reader didn’t know about it. Present a wider picture of the situation to deepen your reader’s understanding of the book. Create a new narrative for an upcoming sequel (if applicable). If your book is one of many, you may want to include some new information which both adds intricacy to this book, and seamlessly leads it into the next one. This will both help you set up the sequel and leave the reader full of intrigue. Highlight your protagonist’s progress/development. Readers become attached to the main characters of a book and like to know more about their fates. As time will have passed from the book’s ending to the epilogue, this is an opportunity to give your readers some closure and indicate that the protagonist was able to overcome their strife and is somewhat content. This is especially useful if you ended the main body of the book shortly after a big fight scene or moment of tension, as it provides the reader with a cathartic release. Provide a point of view which isn’t featured in the main narrative. If there’s a side character who you enjoyed writing about, it may be that you write the epilogue from their point of view. This adds a different perspective, and can give the reader some insight into events which the protagonist wasn’t directly involved in. Implicitly reference the themes of the main novel. This one can be a little difficult to get right. Make sure that the references to themes are subtle, and included in a new way, so that the reader is still engaged and doesn’t feel as though they are being told things which they can easily be implied. Writing EpiloguesDeciding whether to include an epilogue in your book can be difficult. Epilogues are particularly useful if you’re writing a series, as they form a kind of liminal space between books. If your book is a standalone, and you’re uncertain, then it’s probably best to strengthen the ending of your novel and go without an epilogue. Hopefully, this article will help you make the best choice for you and your book.

Once Upon A Time…  We all recognise a fairy tale when we see one, characterised by wondrous settings, fantastical creatures and morals or life lessons. With traditional roots, fairy tales have become embedded in our culture and are often the first thing a child will read, listen to or consume. It seems that, plot-wise, almost anything goes in a magical fairy tale book – so how do we define the genre?  In this article we\'ll be exploring what a fairy tale is, modern retellings, and how to write your own fairy tale that will stand the test of time.Let\'s dive in. Once upon a time...What Is A Fairy Tale? Circulated by the quintessential Tales of Olden Times by Charles Perrault (1697) and most recognisably Grimm Brothers’ Children’s and Household Tales (1812–57), most traditional and famous fairy tales (such as Snow White, Cinderella and Rumpelstiltskin) were told and re-told through oral tradition, belonging to the mystical realm of folklore and folk tales. Because of this, most fairy tales don’t ‘belong’ to anyone and have been re-told and adapted countless times (think Disney). Fairy tales also don’t have to be written down to be legitimate and continue to be told all over the world, including The Tooth Fairy, Santa Claus and The Bogeyman. Typically aimed at and written for children, fairy tales continue to enchant all over the world and soundtrack and capture the never-ending possibility and magic of childhood.  When writing a fairy tale and transporting readers to fairy tale settings, there are no specific ‘rules’ to adhere to plot-wise, however, there are certain conventions and features of a fairy tale that make them so iconic and notoriously recognisable.  These are:  A short narrative.  The ‘once upon a time’ opening coupled with the ‘… and they lived happily ever after’ ending. Character tropes, in which there are usually categorised ‘the good’, ‘the bad’ and ‘the evil’. Fairy tales also often include but are not limited to the following characters: royalty; princesses and princes (usually the protagonists); villains; supernatural relatives (e.g. a fairy godmother); supernatural ‘helpers’ such as Puss In Boots; archetypes such as ‘The Evil Stepmother’ or guardian; talking animals; fantastical creatures such as dragons; magical or talking household items (think Beauty and the Beast); and transformative objects (e.g the pumpkin that turns into a horse-and-cart in Cinderella).  Mystical and fantastical lands and settings such as castles, a gingerbread house, the woods, and The Land of Far-Far Away.  The importance and significance of the numbers three and seven – think The Seven Dwarves, The Three Bears, Three Genie Wishes and the Three Blind Mice. In between the tumultuous beginning and the happy ending, the protagonist usually overcomes difficulty (good triumphs evil) and this contains the moral of the story (although it’s important to note that these aren’t the focal point of the story, unlike Fables); this could be rags-to-riches (like in Cinderella), a quest to overcome a wicked spell (as in Sleeping Beauty) or overcoming central conflict.  Modern RetellingsThough they are such an integral part of our literary history and culture, fairy tales are often criticised for upholding out-dated, sexist patriarchal values, such as the idea that a beautiful princess may only have her happily ever after when she is ‘saved’ by her dashing, masculine prince.  In recent years, many authors have taken to retelling these fairy tales in a contemporary or feminist way, subverting the traditional norms and stereotypes. Fairy tale retellings are perhaps the most common format of fairy tales that are currently released. They\'re also a great example of intertextuality.Famous examples include Duckling by Kamila Shamsie, a take on The Ugly Duckling where the unique duckling finds the right to celebrate being different and Nikita Gill’s Fierce Fairy Tales: & Other Stories to Stir You Soul, where Sleeping Beauty wakes up on her own accord and Tinkerbell quits anger management. Taking this further, there are even gender-bent retellings, such as Sleeping Handsome and the Princess Engineer by Kay Woodward.  How To Write Your Fairy Tale Story Many of us grew up reading, watching, and playing games about fairy tales. But reading them is different to writing them. Here are some key things to include. Choose Your Fairy Tale MoralThe moral of your fairy tale is one of the most important parts. Your characters and settings, plot and conflict, all draw from your chosen moral. A moral is built upon from the very start of a fairy tale. As an example, the moral of Peter Pan is that we all have to grow up sometime, and though it can be difficult, there are wonderful things about it too. Think about a message which is important to you, and that you would like to share in your fairy tale. Remember, that your audience is predominantly children, so it needs to be clear and understandable. Create Your CharactersIf you have a good understanding of what you want your characters to be like (particularly the hero/protagonist and the villain/antagonist) much of your fairy tale story will take shape from there.  Hero/HeroineYour hero/heroine must be relatable and they are often someone readers feel sympathy for. Fairy tale protagonists are often kind, hard-working, and underappreciated. Though these are important characteristics, you may want your hero/heroine to stand out a little more. Maybe they’re incredibly compassionate, and they show that by fiercely standing up for those who are wronged. Regardless, you need to make sure that your main character is so compelling that the reader is rooting for them throughout your fairy tale. VillainThough villains are the characters we dislike in fairy tales, they can be very fun to write! They prevent the hero/heroine from achieving their goals, and often test the protagonist’s abilities. Villains tend to be unpredictable, giving you the opportunity to surprise your reader, which is crucial if you want to engage them, as the structure of fairy tales is quite formulaic.  Consider Your ConflictAll fairy tales (and stories/creative writing in general) need to have some degree of conflict in order to keep the reader’s interest. Fairy tales are often rife with external conflict, which is particularly evident whenever the protagonist and antagonist are in a room together. You can also include inner conflict too. Perhaps your hero/heroine made a mistake in the past, and dwelling on it is preventing them from progressing or overcoming external obstacles. Or maybe they’re grieving the loss of a loved one and wondering whether they’d agree with the decisions they’re making in their life. Your conflict should be set up so that, once it has been inevitably overcome, your previously chosen moral is made blatantly clear.  Hone In On Your Happy EndingNo fairy tale is complete without a happy ending. In order to reach it, you need to decide how you want to resolve your conflict. Consider the outcomes you want for your characters. Is your villain vanquished, or are they now redeemable? Does your hero/heroine create a new life somewhere else, or do they now rule the palace and lead the people of the city? Jot down your ideas and remember that you can always change your mind later. When it comes to a fairy tale ending, there is no such thing as too much exaggeration; it’s a crucial part of their charm. So, bathe your protagonist in joy and splendour, and watch as your villain is punished for their cruelty. Decide On Your SettingsSettings in fairy tales are often used to hint at the protagonist’s mood, foreshadow things to come, or indicate the character of the inhabitants of a building. Often, bright cottages and sunny days suggest that the hero/heroine is happy and the people who live in the cottage are good. While villains tend to live in caves or deep in the forests, and it often rains after the protagonist has failed a conquest. You may want to establish the town/village your hero/heroine lives in, what their house (or mansion, or palace, or treehouse) looks like, and where your villain lives. This gives you a good place to start, and you can then build the rest of your settings around them. It’s also important to decide when you want to set your fairy tale (modern day, the 19th century, the future) as this will influence everything from your character’s speech, to how they’re clothed, and the kind of moral that will suit the story. Sprinkle In Some MagicThe magic element of fairy tales is what makes them so whimsical and appealing to the active imaginations of children. This is your opportunity to use your imagination as much as you want. Consider the things you fantasised about as a child (maybe you wanted a talking cat) or things you would find useful (like a doorway which acts as a portal to wherever you want to go). Have fun with it, and experiment with different fairy tale ideas. It’s often magic which gives the hero/heroine the last push they need that helps them save the day! So the inclusion of magic is as playful as it is important to the storyline. Fairy Tale Prompts/Retellings So, you know what a fairy tale is, and how to write one. But where do you start? Worry no more, because we have a list of prompts that will give you the inspiration you need to get writing. You’re a young member of a prestigious royal family that was cursed by a young wizard-in-training. The wizard intended to curse you so that everyone you touch is severely burned, but they made an error, and now you can heal people instead. You find yourself with a special power, and an even angrier enemy. So what do you do now? What happens when all the plants come alive at night, including the ones indoors? Her favourite animal is a unicorn, so when she stumbles upon one on a fine sunny morning, she’s sure she’s still dreaming. Until her mum asks why there’s a huge gap in the rose bush and hoof prints in the back garden.It’s Christmas. You’re made of gingerbread. How do you avoid getting eaten at the most terrifying time of the year?There’s always been a beautiful arched door tucked in the back corner of the kitchen. It’s old and hasn’t opened for decades. Then one night, Noah goes to get a glass of water and finds it wide open.  Imagine you are your favourite fairy tale character. How would you change the story to make things better?You’re a fairy who strays a little too far from home. You’re mistaken for a butterfly and placed in an exhibit. How will you escape? They all assumed that the person in the prophesy who was destined to save the town from the evil wizard’s curse was a boy. She proved them wrong.  Snow White eats the apple. A red toffee apple. The evil queen gasps as she realises what she just had for lunch.  She gets lost in the forest, and the deeper into it she goes, the more the animals talk to her. When she returns the next day, the same thing happens. But her pet cats and the animals in the garden don’t say anything at all. Ten-year-old Harper always talks about the robin which follows her home and keeps her safe. Once, it led the way when she got lost. No one believes her. But it turns out, the robin is her older sister Rosalie.  He could swim before he could walk. So, it shouldn’t be a surprise that he’s part merman.  Her horse-riding lessons are going well. Until she realises that she’s flying, and her horse is watching from the ground below.  He delivered a box of brand-new shoes to the palace, but accidentally dropped one on the front steps. Now the prince claims he will marry whoever the shoe fits. Should he admit his mistake? Peter Pan is the boy who never grew up. But something strange is happening in Neverland. He wakes up one morning… with a beard! Is he finally growing up? Find Your Own Happily Ever After Whether wanting to find out more about fairy tales, learn how to write one, or you\'ve been searching for help to get started, I hope in this article you\'ve found the guidance you\'re looking for.Just remember that fairy tales are supposed to be fun! For writers and readers alike. So use your boundless imagination, take storytelling risks, and connect with your childhood self and you\'ll live happily ever after!

Whether you\'re writing a book for the first time or this is your tenth attempt, at some point on your writing journey you will ask yourself - \'How long does it take to write a novel?\'And the answer is...as long as it takes.Although this is generally the answer to how long anything creative takes to achieve, if we stop right here this would be a very short and unhelpful article. So let\'s keep going.As an author of six published novels and counting, and having been traditionally published, self-published, written with co-writers and solo, over the last ten years I\'ve learned the hard way how long it takes to write a full length novel, a short story, and a novella.In this article I will be explaining what it takes to write a novel, the process of going from idea to bookstore, how you can better your chances of writing faster (without lowering the quality or getting too overwhelmed), and - to make us all feel better - we\'ll take a look at famous books and their authors and see how long they took to pen their masterpieces.So, let us start at the beginning...How Long Does It Take To Write A Novel?Some of the world\'s bestselling books have taken a mere number of weeks to come into existence, others have taken decades. On average, if you\'re already an experienced author with a few titles under your belt, you can write a good-enough-to-send-to-your-editor draft within 6-18 months. But there are many factors at play as to how long a book takes to write, and you won\'t know what your own speed is until you reach The End of your first novel.Also, please don\'t think that when someone says it took them a month to write their book that it means it took just four weeks to go from idea to publication. What that normally means is that it took them four weeks to get all the words down on paper, because many books start as as a little seed of an idea that grows and grows years before the first word is written. And then, after you\'re done with your very first rough draft that took a month to jot down, you still have a long way to go until your book is of a good enough quality to query an agent with, or send to your editor...let alone publish!So, talking of publishing, let\'s take a look at the entire process before I explain to you how you can write your novel in record time.How Long Does It Take To Publish A Book?In this section I\'ll be talking about the traditional publishing route.When you self-publish a novel, the process can be a lot quicker. When my co-writer and I sat down to write our self-published Caedis Knight book, Witches of Barcelona, we didn\'t start writing it properly until Christmastime and it was available to buy by late March. Now, I\'m not recommending you do that yourself if it\'s your first rodeo ride...but we are experienced authors, this was a 70k word genre novel, and our quick-release business model meant we had four books a year to produce. So writing and publishing a decent book in three months IS possible because when you self-publish it\'s totally up to you how long you take.But traditional publishing takes a lot longer!If you are starting from scratch, with no book deal or agent, then you may take up to a year or more to write your first book. You then need to ensure you\'ve run it past beta readers, maybe an editorial service, and then you start querying agents. If you\'re lucky enough to land an agent, they will then have some revisions they\'ll want you to do. This can take weeks or months (depending on how many edits and how fast you are). Once the agent is happy with the book, it then goes on submission. That means the agent sends your completed manuscript to various editors at various publishers to consider - hopefully leading to a book deal. That too can take anything from a month to a year. Or, as in some cases, you may not even get picked up. This is why it\'s wise to always be working on your next novel.If you do get a publishing deal (hurray!) then it can take weeks to sign the paperwork, and then a publishing date is set. This can be anything between 12 months to 2 years from signing your contract. In that time you will work with your new editor on various rounds of edits, they will design a cover, and you will be expected to assist them on their marketing plan. And, hopefully, you will have started working on the next book to speed things up.All in all, going from having an initial book idea for your first novel to standing in a bookstore holding your book in your hands, the entire process can take years!Let\'s do the maths...Writing a book - up to 12 monthsQuerying agents - 3-12 monthsGoing on sub - 3-12 monthsPost deal edits leading to release date - 12-24 monthsThat means, if you\'re just starting out on your writing journey, with dreams of being traditionally published by a top publisher (ie one that can only be approached via an agent), you are looking at anywhere between 2.5-5 years from idea to book store.So, along with needing knowledge, persistence, resilience and lots of time to write a book...you also need a lot of patience!Now let\'s go back to writing that book and see why some books take longer than others.Why Each Book Takes A Different Amount Of TimeAs you will see at the bottom of the article, some famous novels took a matter of weeks to accomplish while others took over ten years. Why? If your average book is 80-100k words, why do some take longer to write than others?With my own books, I\'m always shocked how fast some take to write and how others remain simmering away on the back-burner for years. There\'s no exact reason for this, but always having a few projects on the go at once certainly helps keep the frustration at bay and gives your muse some space to breathe.Here are 4 other reasons why books are written at different speeds:How Much Time Can You Spare?Let\'s start with the most obvious reason why a book may take more or less time to write.It\'s all very well when a successful writer says anyone can write a novel in a month. That\'s not true. If you know what you want to write, and you can spare 2-3 hours of uninterrupted time every single day for four weeks, then maybe you will get a decent first draft down on paper. But not everyone has that luxury!If you are planning to write your first book and you also have a full-time job, care for kids and family members, have dependants (including needy pets), have physical or mental health limitations, or you don\'t have the support network to help you carve out time for yourself...then, no...you can\'t comfortably write a book in a month without potentially making yourself ill.That\'s not to say \'I don\'t have the time\' is a valid excuse to not write a book. A lot of people do have the time, they just don\'t want to sacrifice other things to make time. But for those who can only spare a few hours a week to write, then it will take longer.And that\'s fine.My debut novel took three years to write as I was working every day and juggling two sleepless toddlers with very little time to sleep (let alone write). Ten years later, the first draft of my latest book took just four weeks to write because those kids are now self-sufficient, I work part-time, plus I know what I\'m doing.So don\'t beat yourself up. Work at your own pace.Are You A Pantser Or A Plotter?How you approach the foundations of your novel makes a big difference to speed. If this is your first book, it will probably take longer to write than your next novel as you are learning as you go. Most new writers are pantsers...that\'s to say they\'re making up the story as they go along (flying by the seat of their pants, as it were).What\'s wrong with that? Nothing. But, for a story to be good, it needs structure. If you plot your novel before writing it, knowing exactly (OK, more or less) what happens at what stage, you are more likely to be able to get your butt in a chair and churn out each chapter in the right order.Pantsers, on the other hand, discover the plot of their book as they go along, which can result in lots of deletions as well as chopping and changing sections. This also applies to research and data gathering. Doing as much as you can before sitting down to write your first word can help speed up the writing time.Although all that planning and plotting still counts as writing your book!What Genre Are You Writing?Writing a fantasy series is hard. Writing a romance novel is hard. Writing for children is hard (yes, even picture books). Writing any kind of book well is neither easy nor quick - but some do take longer than others.Writing a high fantasy novel of 140k words, for instance, where you have to create an entire world with magical lore, a different language, as well as invent customs and brand new monsters, can take a lot longer to research and plan than, say, a middle grade contemporary book of 55k words.Likewise, historical fiction can also involve a lot more research than, say, a rom com you are setting in your home town.And non-fiction, like a memoir or biography, can take longer to put together in terms of data gathering than a non-fiction book on how to communicate with your cat. Maybe.So, once again, go easy on yourself. I\'ve been nearly three years gathering information and working on snippets of my 17th century historical fantasy novel - whereas my contemporary thriller took no time at all to write. Neither is better or worse in quality, it\'s simply easier to write about what I already know.How Fast Can You Type?This may sound like an obvious reason for taking a long time to write a book, but not being a fast typer can really slow you down. As can writing it all in a notepad first, or (and I know some people enjoy this) using a typewriter or your phone to write on. Ultimately, your novel needs to end up as a Word document when sent to agents/publishers. So if you want to speed things up, get used to sitting in front of a laptop all day and get your head around how they work.So now you know how long it takes to publish a book and why you may take a while to write one, let\'s take a look at how many words your average book is and work out how long it will probably take you to write yours.How Many Words Are In A Novel?How long does a book have to be? Well, there\'s no precise law, but to be considered by an agent and edit you do need to know what your word count should be. And to discover how many words the average book has we need to look at what type of book it is.Here\'s a simple guide of word count by genre. Remember, no matter how wonderful your book is it may still be turned down by agents simply because it\'s 200,000 words long. Don\'t be that person. Do your research and ensure your word count fits your genre:Adult FictionLiterary and Commercial Fiction: 80,000-110,000Romance (inc rom com and historical): 80,000-100,000Category Romance (ie paranormal romance, cowboy romance etc): 40,000-75,000Mystery, Suspense and Thriller: 70,000-110,000Sci-Fi and Fantasy: 90,000-125,000Historical: 80,000-120,000Children\'s BooksContemporary Young Adult: 65,000-80,000 wordsFantasy Young Adult: 75,000-90,000 wordsMiddle Grade: 20,000-50,000 wordsChapter Books: 4,000-10,000 wordsEarly Reader: 200-3,500 wordsPicture Books: 400-700 wordsNonfictionNonfiction: 50,000-80,000 wordsSelf-help and How-to books: 40,000-50,000Memoirs: 80,000-100,000Yes, you will always find exceptions to these rules - but to be on the safe safe, stick to the correct word count!How Much Can You Write Per Day?The average writer, typing at a decent speed, can write1,000 words every hour or two (including the odd bit of research or proofreading). Can you spare an hour or two a day to write? If you can, then with just 1,000 words a day you could reach the end of your first draft in a couple of months.Here\'s some more maths to consider...30,000 – 50,000 words: 1000 words/day = 30 – 50 days50,000 – 80,000 words: 1000 words/day = 50 – 80 days80,000 – 100,000 words: 1000 words/day = 80 – 100 daysTips On Writing A Book Quickly (And Well)With my latest book, I went from initial idea to going on submission with the agent of my dreams in just six months. I know! Totally beyond my wildest dreams!How? Because a) it was my twelfth book and I\'ve learned a lot of things along the way and b) I was meticulous with my approach.The timeline for my feminist thriller book looked like this:Aug 2021: I had a great idea that I knew was commercial and uniqueSept-Oct 2021: I plotted the entire book using the Save The Cat beat method, used lots of post it notes, and mapped out what was to happen chapter by chapter.Nov 2021: I took part in NaNoWriMo and wrote one chapter per day (1.5-3k words) from 6am-8.30am every morning before work. In one month I had 30 chapters and a rough 72k word first draft.Dec 2021: I edited the book and sent it off to my beta readers to read over Christmas.Jan 2021: Early January, after getting feedback, I edited it again and it was complete at 85k words. I was ready to start querying!Then, by a fortunate twist of fate, my dream agent saw my author friend\'s tweet singing my book\'s praises, asked to read it, and within three days offered me representation. This time around (I\'d failed to get an agent with two previous books over the course of two years) my querying process was very fast and unusual. Yours may take months.Yet, if you have the time and tenacity, my writing process can easily work for you too.Here\'s How You Can Go From An Idea To Querying In Six Months:1. Get your life in order and make spaceTo avoid unnecessary stress and pressure, before starting your novel it\'s always best to carve out some time in your life. Be it getting up an hour earlier each morning, forfeiting nights out with friends, or letting your family know that Sunday mornings are writing mornings - whatever it takes, have strong boundaries and take it seriously. If you don\'t, you will cause tension in your relationships and be too hard on yourself. Writing needs to become part of your routine.2. Find an accountability partnerIt doesn\'t matter how you do this, but being accountable helps. When I started my latest book I told my closest author friends and I started a thread on Twitter. I\'m sure no one actually cared how many words I did that day, but imagining people waiting for me to update them each day helped keep me motivated.3. Set deadline datesNext, tell yourself how many words you will write each day/week and what stage of your book you will reach on what date. You may give yourself six weeks to research, or a month per chapter, whatever is realistic. Then stick to it.4. Research, plan and plot in advanceHow long does it take to write a chapter by chapter outline for a novel? That\'s up to you, but personally I love to have a plan before I start writing. So if it helps you, write out a character profile for all the protagonists and antagonists, get your rising action in place and all your beats plotted, decide the word count and chapter number in advance so you can roughly work out what happens when, and even create a Pinterest board for visual inspiration. Whatever gives you the confidence to get started.5. Stick to your daily word countAnd now write! Some people like to go back and edit each chapter as they go along before moving on to the next, some authors write out of sequence, others plough through the first draft without looking back and don\'t revise until they reach the end. However you do it, get your ass in that seat and get your word count down on the days you said you would. Even fifty words a day adds up to a book eventually (4.3 years to be precise).6. Celebrate each goalThis part is important! Whether you give yourself a tick on your list, a sticker on your bullet journal, or allow yourself to watch the next episode of your favourite Netflix series after each writing session - whatever it takes, keep giving yourself a pat on the back.Some authors even like to put a dollar/pound in a jar after they\'ve written each chapter, and then go on a book-buying spree to celebrate their first draft, while others spend it on a night out.Ultimately, you\'ve written a whole book in the time you gave yourself so CELEBRATE! You\'ve done something very few ever manage to do!How Long Does A Bestseller Take To Write?And finally, in case you need more reassurance as to whether you are writing too fast or too slow, take a look at these famous authors and how long their books took to write. Just goes to show that a fast book isn\'t necessarily a bad book! (Although, to be fair, some of them were hand-writing their book by candlelight and others created entire languages, so we\'ll let them off).John Boyne, The Boy in the Striped Pajamas: 3 daysStephenie Meyer, Twilight: 3 monthsEmily Brontë, Wuthering Heights: 9 monthsJane Austen, Pride and Prejudice: 10 monthsF. Scott Fitzgerald, The Great Gatsby: 2.5 yearsGillian Flynn, Gone Girl: 3 yearsJ.R.R. Tolkien, The Lord of the Rings: 16 years!Writing A Book Takes As Long As It Takes!I hope you have found this article inspiring and helpful (and not too daunting). The fact you want to write a novel is a fantastic thing in itself, so be realistic, get a plan together, and start writing. The only way you can fail as a writer is not to try at all.You\'ve got this!

Have you ever read a book and thought, ‘’Wow, that was such an interesting backstory’’ or ‘’I love how that explained why the protagonist did x?’ Well, the shrewd amongst you may recognise this interweaving of information and expansion of a backstory as the subplot of a novel.  Let’s dig deeper and delve into what a subplot means, the different types of sub-plot and how you can write a compelling sub-plot (or two) within your own narrative.What Is A Subplot? A subplot is otherwise known as a minor story or a secondary plot which often runs parallel to the main plot. It can be about your main character(s) or about another character whose narrative interacts or impacts their narrative. If, like me, you like to personify writing concepts, think of your subplot as your main plots’ loyal and supportive (but less glamorous) companion. It’s there in the background, being relied upon to move the narrative forward and help the main plot reach its full potential.  The story subplot is a highly underrated writing device. In fact, many new writers concentrate so hard on perfecting their main plot that their sub-plots are often neglected, which can make their whole story fall flat. Therefore, it’s important to recognise from the outset (i.e., when plotting your novel), that the possibilities of a well-crafted sub-plot are endless. Not only do they make the story more interesting and complex through the weaving in of multiple themes, but they can also allow you to develop characters further, cement a character’s motivation, create a plausible and rich backstory and/or increase tension and suspense within the story by creating obstacles and hurdles for your main character to overcome.  In short, a subplot is a story within a story.  Types Of Subplots As mentioned previously, a subplot can be used in many ways with many different objectives. In a compelling, tightly woven novel, you may not even recognise the sub-plot as it will be expertly integrated into the main plot. And often, a sub-plot may have more than one purpose.  Let’s explore some of the different ways to use a subplot.  Mirror Subplot A mirror subplot occurs when a secondary conflict mirrors the main conflict but doesn’t match it. Your main character will usually learn a valuable lesson from a mirror subplot, which will help them resolve their own issue. For example, in a rom-com, a mirror subplot could be the main character’s best friend also falling in love at the same time, but her love interest turns out to be a two-timing so-and-so. This may help your main character lookout for all the signs of infidelity in her own potential conquest.Romantic/Declaration Of Love Subplot   This is by far the most popular type of subplot across all different genres because it shows a more sensitive, relatable side to the main character and will inevitably help the reader empathise with or understand the character’s actions better. The important thing to note is that it doesn’t have to be a romantic interest, instead, it could be the relationship between a character and their family member, or the blossoming of a new friendship. For example, in a crime or thriller book, this subplot could be a serial killer’s relationship with their mother (in the past or present), which may help a detective anticipate their next move. Parallel Subplot Parallel subplots are often referred to as B-plots, C-plots and so on. In fact, some writers argue that whilst they are related to subplots, they are in fact not subplots at all as they function independently of the main plot. Parallel plots often involve interactions between secondary or tertiary characters, but they still relate to the underlying theme of the novel. For example, if your novel is about a woman’s journey of grieving the loss of her partner - a parallel plot could be about another person going through a similar loss, who at some point in the narrative guides your protagonist to find joy and hope in life again.  If you are creating a parallel plot, it’s important to ensure that it doesn’t stray too far from the main plot as there is a risk of it no longer supporting/enhancing the main story.  Conflict Subplot Conflict subplots seek to do what they say on the tin – add conflict and tension in your novel. They’re also a brilliant vehicle for in-depth characterisation as they allow you to show how a character overcomes certain conflicts. Be cautious about how, and where, in the story conflict subplots interact with the main plot because they have the potential to slow the main plot down.  Expository Subplot Expository subplots are a great way of adding in backstories – such as a character’s past or childhood, which explains the main plot. Do be careful with this one though. Don’t throw in everything about your character (i.e., what he or she ate for breakfast in 1975 or the name of their childhood best friend’s dog), only the information that your reader needs to know and what is significant in driving the main plot forward.  Complicating Subplot Subplots that complicate the situation for your protagonist are great ‘in action’ plot points to keep the reader turning the pages. For example, say your protagonist has arranged to meet their love interest at Grand Central Station when the clock strikes midnight, a complicating subplot could be their demanding job that causes them to work late, adding tension and higher stakes regarding reaching the station on time.  Foil Subplot A foil character in a novel is used by writers to contrast or reflect another character – often your protagonist – by highlighting their traits, appearance, personality or morals. In literature, a foil can take the form of an antagonist, but that isn’t always the case. The uniting theme is that the foil character and their journey shine a spotlight on your main character and their journey.  Foil subplots work in similar ways by literally foiling the plans of your main character. So, for example, your novel could show two different characters tackle the same problem in completely different ways, which at its core helps the reader identify the key personality traits of your protagonist and their narrative.  Bookend Subplot A bookended subplot essentially frames the main narrative – it’s introduced at the outset and then pretty much left alone until near the end when it’s resolved as part of the main plot.  A real, ‘oh yeah’ satisfying moment! Narrative Subplot This subplot design will often take the form of an otherwise throwaway incident or scene that then spirals out of control. Either the character is involved in the scene, or the impact of the scene is so significant that it becomes its own subplot, which then infiltrates the main plot.  Subplot Examples In Literature Let’s move on to look at some examples of subplots in literature.  Gone Girl – Gillian Flynn The main plot of the story is the relationship between Amy and Nick after Amy goes missing. But in true testament to Flynn’s skill as a writer, there are multiple sub-plots tightly woven into the fabric of this novel, many of which you may not even recognise. For example, the relationship between Amy and her high-school boyfriend, Desi, which acts as both a complicating and a conflict subplot.  Americanah - Chimamanda Ngozi Adichie  This award-winning novel tells the story of a young Nigerian woman, Ifemelu, who immigrates to the United States to attend university. The underlying themes of the novel are identity, race and belonging but there’s a romantic subplot seamlessly woven into the story regarding her relationship with Obinze, highlighting the importance of love and belonging.The Woman In The Window – A J FinnThe main plot of the story begins when Dr Anna Fox witnesses a murder from her bedroom window. But a large part of the novel delves into Anna’s backstory as to how she came to be agoraphobic and what happened to her husband and daughter, which works well as an expository subplot.  How To Write SubplotsNow we’ve discussed what a subplot is and the different types, here are my five top tips for weaving a subplot into your narrative.  Ensure that your subplot(s) plays second fiddle to the main plot (and continues to do so throughout the novel).  Remember that your subplot is there to compliment and enhance the main plot, not to overpower it. If, while writing, you find your subplot taking over, maybe have a think about reworking the narrative and making your subplot your main plot.   Experiment with your subplot to make your narrative more interesting.  For example, if your main plot is in third person present POV, consider writing the subplot in first person past POV.   Don’t leave a subplot hanging.  There’s nothing that infuriates a reader more than a subplot that’s not wrapped up and not tied to the main plot by the end of your novel. To avoid this happening, make sure you give your subplots a narrative arc (i.e. a beginning, a middle and an end).  Use subplots to avoid a flat middle.  If you find that your main plot starts to drag by the middle of your novel, consider using a subplot to add drama, suspense and action.   Don’t leave your subplot until the last minute.  Subplots that are written as a second thought or in a mad rush are easy to spot. Consider how you can maintain that depth and authenticity of character throughout the narrative arc.What Subplot Suits Your Story Best? I hope by now that you see the value of subplots in driving a story forward and are brimming with inspiration as to how you might add some exciting subplots to your novel. Before choosing what type of subplot your book needs, consider the topic, the genre, and (of course) the plot itself. Often, working on your characters first and getting as deep with them as you can, can lead to all sorts of subplot ideas regarding their motivation, their past or any secrets they may be hiding. And my final piece of advice – don’t get carried away.  Take a step back and take a look at your story structure first, considering where your subplot can seamlessly be woven in without jeopardising your main plot. You may want to do this by writing out Post It notes with each chapter and plot point written on it and moving things about, writing your story arc on a whiteboard, or using a plot-building function on Scrivener or other similar writing programs. And if you get stuck, simply pick up your favourite book and see how the author has woven their stories together. After all, reading is one of the most invaluable ways of learning how to write well – so if your favourite author can make it look easy, then you can do the same too! 

Every writer aims to create pieces of sparkling, seamless dialogue, that captivates the reader, moves the story forward and rings with authenticity. In this article, I will be illustrating how dialogue tags can be varied in writing to avoid repetition, improve the flow and pace of the story and shine a new light on characters. I will also suggest techniques to improve conversation writing and show how easy it is to find better words for ‘said.’What Is A Dialogue Tag? Dialogue tags are phrases that are used to break up, precede or follow written dialogue to convey which character is speaking, making it easier for the reader to follow the conversation. The most common dialogue tag is the word ‘said.’ The use of dialogue tags makes it clear who is talking and what is being said and they also convey how a character is feeling. However, the constant use of the simple “he said/she said” dialogue tag can very soon become monotonous and bland. So how can authors use alternative dialogue tags, so that repetitive dialogue can be avoided? And what alternative words are there to ‘said\'? To Adverb Or Not To Adverb? There’s a lot of debate in the publishing and writing world on whether adverb speech tags, such as “he said quietly” or “she moaned gently”, should be used by writers. There’s a general school of thought that drawing attention to dialogue tags by using adverbs is defeating the purpose of what they should be there for. For example, instead of writing:  “ ‘My goodness,’ Sally said with horror.”Most writers would prefer to show, not tell. Instead, they may write:“Sally’s eyes widened, and her hand flew to her mouth. ‘My goodness,’ she cried.”We then know that the way she says ‘my goodness’ is very clearly with horror because of the actions she’s making.Less Is More With Dialogue TagsSpeech tags should not be the main focus of writing, but simply a mechanical part of linking a story together by way of dialogue between characters. Having said that, using well-thought-out dialogue tags to compliment characters, story and pace, can improve the overall rhythm of a story and give it that extra polish. So where do dialogue tags play their part in dialogue? Well, they feature at the start of a piece of dialogue, in the middle of dialogue and at the end of the dialogue. Here is an example for each: Dialogue Tags At The Start Of Dialogue  A much more interesting way to use dialogue tags is at the start of a piece of dialogue. Instead of \"Rose said, \'I’m tired,\'\" it could be:  “Rose sighed. ‘I’m tired.’”   This takes away the need to use the word ‘said’ and shows how the character is feeling without having to use an adverb.Dialogue Tags In The Middle Of Dialogue Dialogue tags can also be inserted in the middle or at the end of a piece of dialogue too.  For example, in the middle of a sentence a dialogue tag could be, \"\'Look at the weather,\' said Clive’s mother. \'Awful!\'\" “Said Clive’s mother” is an effective dialogue tag placed in the middle of a sentence. It is sandwiched between what Clive’s mother is saying and adds variety to the dialogue. However, this can be improved upon, by changing the word “said” to “groaned”, to convey her annoyance and disappointment at the weather. Dialogue Tags At The End Of Dialogue A dialogue tag incorporated at the end of a sentence is another option:“I’m really tired,” he said.“He said” is the dialogue tag at the end of this sentence. Alternatively, the writer could add a little more flavour, by changing the dialogue tag to read, “\'I’m really tired,\' he whispered\", which conveys much more clearly how tired this particular character actually feels and is a much more emotive speech tag. Using the tried and tested dialogue tag of “said” too often can become annoying and take over. There should be a fine balance between using dialogue tags and not. Sometimes they are not required at all if the conversation is conveyed in the correct way. It helps to study the writing of brilliant authors and note how they use a mix of tags in different places to vary the rhythm of the writing. Action Instead Of Dialogue Tags To avoid over usage of dialogue tags, the author can implement action prior to a certain character speaking, so that the reader knows who is talking and recognises the tone in which they are speaking. An example of this is: “John slammed his hand down on the table. ‘Shut up!’” Immediately, the reader recognises the frustration and anger in John and knows he is the character who has just ordered someone to shut up. The word “said” has not been used here as a speech tag, but the action of John slamming down his hand illustrates how angry he is and that it is he who is speaking. Furthermore, by describing the voice in which an individual character is speaking (growled, snapped etc) the author can clarify who is saying what and how they are delivering the words, without having to resort to overuse of dialogue tags. The clever and intuitive use of speech tags can also provide valuable and teasing clues for the reader, as to what this character who is speaking is really like under the veneer of bluster or smarminess. This is where the show, don’t tell adage comes into play again. By fleshing out characters and their traits, a writer can make a character or characters express themselves through their actions, rather than the author having to literally spell it all out for the reader. Discover more about writing dialogue in this Jericho Writers article, and this one on points of view. Dialogue Tag Alternatives To ‘Said’ As mentioned before, the dialogue tag “said” to show a character is talking, is not the only dialogue tag option available to writers. There are many other words for \'said\' that authors can use in their work, which are better words than ‘said’ and which convey the tone, emotion and even physicality of a character. But do use them sparingly. In most cases ‘said’ or nothing at all reads a lot smoother. Here are a few alternatives to ‘said’: Inquired Moaned Sighed Replied Whispered Grumbled Screamed Muttered Asked Enquired Mumbled Growled Snapped Hissed Cried Shouted Hollered These are just some of the very many dialogue tag options out there, which are far more expressive than the word ‘said.’ Of course, authors are not at liberty (nor should they feel pressurised) into constantly using the likes of “moaned”’ and “sighed”, as this too would become annoying to write and to read, but for the sake of variety, it’s good to mix things up a little when writing conversation. Recognising A Character Via Their Speech Patterns Sometimes you don’t even need to say who is speaking in your dialogue because the way they speak is evident enough. An author may have a character who has a predilection for swearing or who has an annoying habit of throwing Latin phrases into their sentences. For a character like this, their way of speaking is so unique the reader will know it’s them speaking without the need for as many speech tags. Adding Rhythm And Action Beats Speech tags also provide a natural pause to the conversation – which is reflective of the natural, melodic speech patterns we use in real life that a writer should want to create in their work. It’s also important to consider what a character is doing during dialogue. Using more descriptive dialogue tags, such as yelled, hollered, bawled etc, allows a peek into their motivation, nature and traits. This is where action beats come in (what a character is doing as they speak).  Here’s an example of an action beat: “The man strode up to the bar and banged down his pint glass. ‘It’s empty. Fill it.’” The striding up to the bar and the banging down of the pint glass are what the character is doing as he speaks. The striding and the banging indicate his fiery mood, as well as the short, rude delivery of demanding to have his glass refilled. Such description can certainly play a part in strengthening a piece of dialogue or scene and is a lot more effective than writing “It’s empty. Fill it,” he said. Or even “It’s empty. Fill it,” he said, angrily. This is why most authors prefer action beats over adverbs. My Top Tip For Writing Authentic Dialogue The key to using successful dialogue tags is to endeavour to create a natural-sounding conversation between characters, which could be overheard anywhere, in any pub, home or street. There should be a lyrical fluency to it, with speech tags used to enhance the scenes, and not inhibit them. Therefore it’s important to experiment with a variety of speech tags so that the writing flows and doesn’t become two dimensional or stilted. The best way to ensure your dialogue sounds natural is to read it aloud and listen out for any awkward or clumsy dialogue tags. Sometimes it even helps to act out what you are saying so you know where to add actions or certain expressions.So Many Different Ways To Say ‘Said’ By channelling characters, their mannerisms and the way they deliver their words, and by using a variety of dialogue tags, you will be able to not only convey who is speaking but how, why and when. It cannot be underestimated that the benefits of using effective, imaginative and alternative dialogue tags in the right context, can bring drama, colour and clarification to dialogue writing. And, if you’re not sure what to write, remember there’s nothing wrong with a nice and simple ‘said’.  As the very successful author, Diana Gabaldon, famously said:“Don’t go overboard in avoiding the word ‘said.’ Basically, ‘said’ is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.” And that’s all that has to be said (explained, outlined, expressed, noted) about writing dialogue tags. I hope this article has helped make your dialogue more interesting, authentic and natural, and that you are now a lot more confident about how, when and what your characters are saying! 

Creating an atmosphere and effective world building are both paramount when engaging your readers. And being able to describe the effect of sounds is important when writing a book. From bands such as Pink Floyd and Thin Lizzy, to artists and writers like William Wordsworth, Eminem and James Joyce, the use of sound writing to trigger emotion has been used ever since creatives began putting pen to paper. In this article, I will demonstrate how we can channel the effect of sounds in writing, and how it can be used to chime (sorry for the pun!) with the reader\'s imagination. Sounds In WritingWriting is about showing, not telling, so being able to use all five senses in a piece of writing is a surefire way to draw your readers into the story. And that includes sound.   There are an infinite amount of words at our disposal to describe sounds in our work, whether it’s the sound something makes or the way someone says something. Everything from \'mumbled\', \'spat\' and \'whispered\' to demonstrate how a person is speaking, to \'shattered\', \'splintered\' and \'cracked\' to add a visual to a sound, helps to add emotion, character and/or tension to dialogue and prose. Good writers strive to create a picture in their reader’s mind so that the reader is able to see, hear, feel and imagine the same sounds the character is hearing - including tone, volume and intent. Through the use of effective sound writing techniques, readers should feel like they themselves have dropped that China cup onto a wooden floor, or that they’re in the same quiet room when the branch of a tree crashes through the window and sends glass flying in all directions. So how can a writer describe sounds in an effective way? Different Types Of Sounds The different types of sounds that can be incorporated into writing range from pleasing and melodic sounds, to mellow, brassy, banging or a jarringly insistent cacophony of noise. Writers can use these types of words and descriptions to create different moods (calm, suspense, tension, fear, overwhelm), pulling the reader into the story and heightening the atmosphere. Five of the most effective methods of using words and language to improve and enhance your sounds in writing are Onomatopoeia, Alliteration, Metaphors/Similes, Hyperbole and Assonance. So what do these five methods mean and how can they be used effectively to describe sounds in writing? OnomatopoeiaOnomatopoeia is the use of a word to imitate natural sounds. These words sound like the sound they are describing. Using onomatopoeia in your writing is a very effective way to add drama and punch to your sentence, and is used especially frequently when writing for children. For example: I trod on the leaves and they crunched and crackled under my feet.By using “crunched” and “crackled”, we are pulling our reader into the sensation of the dry and brittle leaves making such noises under the character’s feet. We are giving the reader the opportunity to recall how it feels to walk on dry leaves. The wind howled and rattled at the window pane.Again, the use of the words “howled” and “rattled”, personifies the wind, adding a more menacing touch to the sound of the wind outside. There is also an animalistic element to the word “howled” which, used in this context, helps the reader hear the loud, imposing noise of the wind as though it were a wild animal in pain. Again, this heightens tension and atmosphere and makes the reader feel as though they are standing in the shoes of the character.  The bird let out a screech, before flapping away.The words “screech” and “flapping” in this sentence, capture the ear-piercing sound of the bird before it flaps its wings and takes flight. Again, like in the previous sentence, the use of the word “screech” carries frightening, almost monstrous overtones, as we imagine the shrill sound of the bird before flying away. The word “flapping” (instead of simply “flying”) conjures up the sound of the bird’s wings beating together. AlliterationAlliteration is, put simply, when words start with the same letter and/or sound. An example of this would be “leaping lizards”, “fabulous flamingo” and  “wonderful whale watching.” Alliteration is about the repitition of sound. It creates a rythym and gives your writing an almost musical element. Poets very often use alliteration in their work, to enhance the sing-song sound as the work is read aloud.  It is also a fun way of writing for children, especially with picture books that are often read out loud.  The book Primrose, by Alex T Smith, uses alliteration really well. In this picture book we meet Primrose, a “princess who lives in a pretty pink palace and has a pretty pink tiara, two prancing pink ponies and a plump little pug named Percy.” Metaphors, Similes And HyperboleWhen describing sounds, sometimes it helps to compare them to something else using a simile or metaphor. Or, you may want to make an exaggerated comparison, using hyperbole to really drive home the tone of the scene.  For instance, instead of simply saying, “She dropped the book on the floor with a bang”, you could say, “She dropped the book on the floor with a thundering bang loud enough to wake her dead mother next door.”  It\'s dramatic, but if this is the first sentence of your novel your readers would instantly want to know what was happening. That loud sound would make them sit up!AssonanceAssonance is the repetition of the same or similar rhyming vowel sounds within a group of words. Here are three examples of assonance: He was too cool for the new school as a rule.It is the “oo” sound incorporated into this sentence,which matters, not the concoction of different letters. It makes the description soft and rhythmical. He creeps and sleeps, like an old man in a deep trance.In this example, it is the “ee” sound being used, that gives the sentence a certain resonance and elongates its delivery. It carries an almost easy, sleepy quality when said aloud, which fits in with the description of the old man being slow and sleepy. His spitting lips and jutting hips.It is the repeated use of the “i” in this description, which gives the idea of the man an almost whispering and soft sound. It is as if the spitting can be heard and the idea of “jutting” hips, is carried along by the extending sound of the “ju.”   Assonance can give a piece of writing musicality, and emphasises particular words or vowel sounds that resonate with the ideas and themes in a piece of work or book. It is a sound writing technique which is constantly used by song writers, to enscapulate beauty, mood and atmosphere in their music. It also tends to feature heavily in poetry, where rhythm and sound are key. An Example Of Different Sounds In WritingAnd how about a paragraph mixing them all up? You don’t want to do this too often, no one likes purple prose, but it can add drama and tension if used sparingly:  So instead of saying, “His feet thud along the pavement as he ran past her” you could say, “He ran past her - a man with a plan. With each step he took the pavement shook as if it were a herd of buffalo running past, so loud the birds in the trees cried out in protest, the frantic flurry of their feathered wings beating a rhythm in time with his.”  OK, this isn’t a great piece of writing, but you get the idea!Why Is Sound Important In Writing? The most important thing to ask yourself when considering sound in your writing is - what are you trying to achive? What mood or atmosphere are you hoping to create? What do you want your readers to hear and feel?  Selecting the right sound word for writing, can make the difference between making a scene jar or joyful to read.  For example, describing the sound of a wolf as having a “haunting howl,” is using alliteration to create an effective image and conjure up a sound which is both atmospheric and memorable. Describing a wolf’s cry as a “loud cackle” doesn’t make sense and fails to capture the real essence of what a wolf’s howl actually sounds like. This description, unlike the previous one, is neither chilling nor recognisable to anyone who has happened to hear an actual wolf howl. Using such a description in this way, would make the reader pause and possibly lose interest in the scene – unless your intention is to make the reader stop, re-read the sentence, and wonder whether the wolf is perhaps an evil witch in disguise! This is because a “loud cackle” is an effective piece of sound writing to describe the sound a witch would make. The word “cackle” has a raspy, edgy element to it. It’s similar to “crackle” and “shackle” – all words that are sharp, menacing and quite negative (don’t underestimate the power of the subconcious when using words that sound like others). Used effectively, sound writing and descriptions can paint pictures, trigger empathy and help the reader to get inside the mind of the book’s characters. By using effective sound writing in books, short stories or poetry, the writer is creating an immersive world for their readers. How Can Writers Add To Their Sound List? As writers it’s very easy to find ourselves using the same words to describe the same sounds. So how can we add texture to our work, and describe sounds in our stories in new and exciting ways? 1. Take a stroll through different areas of your neighbourhood and note the cacophony of sounds that can be heard.  Other than birds in the park, what else can you hear? Perhaps you can hear the distant sound of children playing, the scurry of small creatures in the undergrowth, the chattering of people, the squeaky wheel of a pushchair, the leaves rustling in the trees. What are you reminded of? How would you decribe each sound effectively or originally? Are the cries of the children in the playground shrill and piercing? Or are they distant and happy?  What if you’re in a more urban area? What do you hear?  The sound of car horns blaring, people shouting, the hiss of a teenager spraying a wall with graffitti, the clip clop of heels as a business woman marches by shouting into her phone. But these are all negative city sounds. If you want your reader to associate the same setting with something positive, perhaps you would describe the city having its own beat that the character is walking to, neighbours hanging over their balconies calling out greetings to one another, people laughing into their phones as they waltz by, the soft hum of traffic and the mix of music from different stores. 2. Pay attention to the way authors implement their own sound writing.   How are they able to capture the ringing tone of a bell so succinctly? What writing sound methods do they use? Perhaps they use similes and metaphors to compare the sound to other things (‘the bell chimed one singular time like Big Ben on the first hour of the day’). Or onomatepeia (‘the bell ding-donged once’). Or even alliteration (‘the brass bell binged and bonged’).  How does their description impact on what a character might have heard? Why might an author have opted for that particular method of sound writing? Who is their audience and what genre are they writing? 3. Let your imagination run wild. Listen out for how you can improve your sound writing. Play around with different techniques, mix them up, break the rules, surprise your readers – but never ever forget to immerse them fully into the story. Get Writing!Have fun with writing sounds in your work. And remember, by absorbing and paying attention to everyday sounds around you, you will not only benefit your writing but also your readers’ enjoyment, bringing an extra, sharper dimsension to the work. And that’s something every writer wants to hear! 

Do you want to know the secret to masterful, climatic storytelling that keeps readers turning the pages until the very last sentence?  In this guide, I’m going to show you that a carefully structured and robust plot is really all you need to make the most of your narrative arc.  What Is Rising Action? The rising action is the second of six essential plot elements, which comes right after the opening of a story, otherwise known as the exposition. It is usually made up of a series of events that lay down breadcrumbs, ask questions, and set roadblocks and conflicts that must be overcome. It also creates tension and suspense, which leads right up to the third essential element, the dramatic climax. For example, in a suspense or crime novel, the rising action could be the protagonist going on a journey to solve a mystery or crime. But in a romance novel, the rising action could be the characters’ journey to falling in love.  Some writers believe that the success of a story hinges on the effectiveness of the climax, but I vehemently disagree. Without a strong rising action (essentially, the fuel that powers your narrative, keeps it moving and prevents it from stalling) the climax will inevitably fall short or seem unbelievable.  In fact, I would go as far as saying that the rising action is your story.  Let’s delve further into the components of the rising action and how it fits into a traditional story structure.  How Rising Action Ties Into Your Story Structure The rising action is one of six, essential plot ingredients that make up the basic story structure. Let’s remind ourselves what they are.  Exposition. This is the beginning of the story (the opening chapters). It sets the scene and introduces the main character(s) and their dilemma. You will also get a feel of the underlying themes of the story here. For example, in Suzanne Collins’ The Hunger Games you are introduced to Panem, a North American country consisting of the wealthy Capitol and 13 districts in varying states of poverty. You also find out that every year, children from these districts are selected via a lottery to participate in a televised death match called The Hunger Games.  Inciting Incident. An inciting incident is an event that launches the main premise of the story. It typically occurs within the first one-third of a book. For example, in The Hunger Games, the inciting incident is the main character, Katniss Everdeen, volunteering as tribute and taking her younger sister Prim’s place.  Rising Action. As mentioned above, the rising action is the ‘meat’ of the story. It’s where most of the action occurs. To continue with our example, the rising action in The Hunger Games kicks off immediately after Katniss Everdeen volunteers as tribute. The reader is taken on Katniss’ journey in the games, the challenges she faces, the alliances she makes and her inner and external conflicts that she must overcome to survive.  Dilemma/Crisis. The dilemma/crisis is often confused with the climax of the story, particularly as they come hand in hand (or one after the other). Essentially, the dilemma is the do-or-die moment of the story. A final, life-changing decision for the protagonist. The Hunger Games presents Katniss Everdeen with a continuous moral dilemma, which is tested to the max when her competitor Peeta announces a \"fake\" story of his burgeoning love for her. But as the two grow closer, this moral dilemma is weighted with emotion as Katniss learns that the rules are changed so that there can only be one winner. Will she sacrifice herself to let Peeta live, or will she kill the person she cares for to be able to return home to her sister? Climax. This is when the building tension reaches a breaking point, and the conflict is resolved once and for all. For example, in The Hunger Games, this is where Katniss and Peeta threaten suicide rather than fight one another to the bitter end.  This is quickly followed by the falling action.Denouement. This is otherwise known as the resolution, and pretty much does what it says on the tin. It ties up loose ends, answers unanswered questions and shows the main character in their new normal, inevitably changed by the events of the story.  Freytag\'s PyramidAnother way of plotting your story is by following Freytag\'s Pyramid, which is the brainchild of nineteenth century playwright and novelist, Gustav Freytag who realised that all his favourite playwrights (including non-other than Shakespeare himself) followed the same distinct, five act arc, which could be plotted into a pyramid structure.  This structure is by no means perfect and is in some ways at odds with how modern-day writers plan their stories. But if you are a visual person, it’s a great starting point on which to build and develop your story because it enables you to see, at a glance, the value of rising action in driving your protagonist towards the top of the pyramid (aka the climax). Its structure differs slightly from the one I described above, but it touches on the same points.Examples Of Rising ActionNow that we have grasped what the rising action is and how it fits into a narrative, let’s take a look at some well-known novels to see the different ways rising action has been used. Example One: External And Internal Conflicts  Conflict is one of the most crucial ingredients of rising action. It is what will make your story unputdownable.  No matter what genre your story sits in – be it crime, romance, science fiction, literary or fantasy  – I guarantee you that your protagonist(s) will encounter some kind of conflict. Because let’s face it, no one wants to read eighty to one hundred thousand words about a main character leading a dull, monotonous life. Heading to the office. Doing their housework. Dropping the kids off at school. Readers want to witness the main character going through real-life trials and tribulations that they can relate to. Getting stood up on a date. Witnessing a murder. Facing the death of a loved one.  And this thirst can only be quenched by internal and/or external conflict.  No Honour by Awais Khan is a stunning novel about sixteen-year-old Abida who falls pregnant and is forced to leave her rural Pakistani village for the dangerous streets of Lahore. And Jamil, her father, who risks his own life to find her.   From this brief synopsis, we can immediately identify the inciting incident as Abida’s pregnancy and escape from the village. The key rising actions – being Abida and Jamil’s intertwining external and internal conflicts- stem directly from this event and drive the dual narratives forward. Abida faces the external conflicts of an abusive husband and keeping her newborn baby safe, while internally being plagued by her youthful innocence. Jamil is weighed down by guilt and fear for his daughter, while navigating the inevitable obstacles of finding her in a city with over eleven million people.  Now, consider your own story and write down what external and internal conflicts your protagonists might face on their journey.  Example Two: Roadblocks Roadblocks are concrete crises or obstacles that prevent the protagonist(s) from reaching their goal. Obvious examples can be found in the crime/thriller genre with main characters being injured or kidnapped. But you can find roadblocks in other genres too.  For example, in Beth O’Leary’s uplit debut The Flatshare the protagonists, Tiffy Moore and Leon Tworney, save on rent by sharing the same bed in the same flat but never meet due to their working shifts and routines.  As they learn how to communicate via notes left for one another, they soon realise they are falling for one another. The more they try to meet, the more obstacles stand in their way, until the reader is on the edge of their seat hoping the unlucky couple will get their happily ever after. Now look at your own novel. What roadblocks might your characters face as they strive towards their end goal/purpose?  Example Three: Tension And Suspense I can think of no better author to demonstrate the use of rising action to create tension and suspense than Agatha Christie, and her world best-selling mystery novel, And Then There Were None. And Then They Were None follows ten strangers who are lured to a remote British island under false pretences. The inciting incident of the novel occurs at the outset as the guests realise that their host is not there to greet them. Then when they sit down to dinner, a mysterious recording is played to the guests on a gramophone accusing each of them of murder. This dramatic incident triggers a series of rising actions, as one by one each guest is killed, and the remaining guests must find the murderer before death catches up with them too. Rising actions are utilised to perfection in this novel to create an intense, claustrophobic environment with a \'ticking time bomb\' narrative.  But remember, you don’t have to keep killing people off to create tension and intrigue. For example, rising actions can be the revelation of secrets and lies on a family holiday or children trying to sabotage their recently widowed mother’s new relationship.  Can you think of other ways you might use rising action events to keep suspense and tension alive?  To create a strong rising action for your story arc, think carefully about where your main character is now (both physically and psychologically) and where you want them to end up. Reflect on who they are as people (their inner conflicts), the actions they are likely to take, and any challenges (external conflicts) they are likely to face along the way.  Some Final Thoughts On Rising ActionI hope I’ve managed to convince you that there is no magic involved in compelling and climatic storytelling, but rather that it is all lies in a well-developed plot.  Once you have the concept for a story, instead of diving right in, take a step back and flesh out how the events might play out, bearing in mind that you need a lot of plot points to keep your reader engaged for the full length of a novel.  Think of your rising actions as the building blocks of the story, a chance for you to develop and refine your plot, flesh out your characters and really get under their skin to establish their strengths and weaknesses. Raise the stakes with dramatic turning points. Add subplots to throw the reader off the scent. And create tension and intrigue that propels your narrative towards the climax.  Remember, this is your story and these are your characters. This is your chance to push them to their limits.  And most importantly, have fun with it. Because when an author enjoys putting their characters through hell, the readers will enjoy cheering them on and watching them win! 

Are you trying to write a festive novel but have run out of ideas? Or perhaps you need some snowy inspiration for your Christmas short story. In this article we will be sharing lots of fun Christmas writing prompts to kick-start your winter writing – plus we’ve also asked top Christmas book authors for their inspiring tips. Why Write Christmas Novels? Christmas is a magical time of year. And for many of us who experience it during the darkest, coldest months, it can be the only fun and joyous occasion of the entire season. That\'s why Christmas novels are so popular. There’s nothing cosier, on a bleak winter’s day, than huddling under a blanket with a mug of hot cocoa and a book full of festive cheer, plus all the nostalgia and decadence that goes with it. That’s not to say all Christmas books have to be romances or women’s fiction. The great thing about writing with Christmas in mind is that it can be applied to any genre – from festive chillers and thrillers, to horror stories and gruesome tales that take place during the most magical time of the year.  Read on to discover some great Christmas writing prompts, plus top tips from leading authors of festive books. Although bear in mind that these are adult writing prompts – so may not be suitable if you’re looking for December writing prompts for your classroom or children!  20 Christmas Story Starters And Festive Prompts The great thing about writing a Christmas short story, novel or novella is that no one expects anything too serious in winter. So let your imagination run wild! As long as you include plenty of festive fun, nostalgic traditions, and a sprinkle of magic then you’re on to a winter winner.  Here are our twenty Christmas story ideas and prompts, split into four different Christmas genres…. Christmas Rom-ComA teacher is putting on a school nativity play. She don’t get on with the new teaching assistant and things start to go terribly wrong…until they realise love is blooming among the mistletoe. She hates Christmas day at her parents as all they ever talk about is how she is single and childless. Except this year they’ve invited the neighbours – along with their three very different (and very attractive) sons! Her boyfriend dumped her on Christmas Eve, so she jets off to an exotic hot country to forget all about the festive season. But the local waiter refuses to let her remain sad and grumpy. Ever since his cat, Snowy, was run over on Christmas Day Tom has hated Christmas. This year he decides to stay home alone…until a cat appears on his doorstep. A cat belonging to his crazy new neighbour. Single mother, Carol, has to attend ten different Christmas school events for her three children and she’s at the end of her tether. Then she realises the same handsome man is at all of them too. Coincidence? Or fate? Christmas RomanceShe’s gone on a trip to Lapland to get away for the winter as the man she has always loved is getting married over Christmas. But when she’s snowed in at a secluded log cabin only the rugged local Finnish guy can help her. She’s so frustrated with her annoying parents on Christmas Day that she goes on a long country walk, steps into a secluded old chapel, and finds herself face to face with a very handsome man. The only problem is she’s gone back 100 years in history. Christmas day 1998 was perfect because Danny, the boy next door, shared his first kiss with her. Guess who just moved in next door to her new house? Ivy has built a snowman. Not only has he come to life…but she’s fallen in love with him. Will their love last longer than the winter? She’s new to the village and is struggling to make friends. She’s thinking of going back home for Christmas, until the community pull together to convince her to stay…all orchestrated by one very special someone. Christmas Thriller A mother and father wake up one Christmas morning wondering why it’s so quiet. Where are the kids? They go into their room and the beds are empty, the stockings untouched. The window is open and the cookies have been eaten. Next to the carrot is a note. They thought renting a little cottage in the secluded countryside would be romantic for Christmas. Until they discovered a body. Nancy is overjoyed to be invited to the lavish New Year’s Eve party that the McPartlans throw every year. Except this year it’s different. This year, every hour on the hour, a new guest is discovered dead. Sally wants to stay home alone for Christmas. But someone has trapped her in her house, and now she can’t get out even if she tries. Christmas shopping on the high street is crazy. Holly is convinced she’s seen a store Santa bundling a woman into the back of a car. But no one believes her…until the woman turns up dead. Christmas Horror Father Christmas is real, but he’s not entering your house to leave gifts. It’s something a lot more sinister. Santa’s elves are real and they are living inside the walls of your house. When Harry kissed Anabelle under the mistletoe he didn’t expect her to grow fangs. Christmas day in a secluded log cabin is ever so romantic…unless you discover someone is trying to kill you. No one can hear you scream when it’s midnight, you’re in the middle of nowhere and the world is muffled with snow. For added fun, why not mix and match some of these ideas or change their genres. Let’s see what wondrous seasonal ideas you can come up with! 10 Top Tips For Writing Seasonal Stories By Successful Christmas Authors1. Seek Out Other Christmas Book Writers Writing At The Same Time As You A Christmas Club, if you wish! it\'s a great way of batting over and back in terms of keeping you in the flow and reminding you of those little things that might not be exactly obvious when writing out of season.  Faith Hogan, author of On The First Day Of Christmas 2. Recreate The Sensory Atmosphere Of Christmas You may want to light some scented candles that smell like Christmas trees, enjoy freshly baked mince pies, make the room dark and put up fairy lights etc. Even watching a Christmas movie or seeking out snowy landscapes (or other seasonal landscape depending on where you are in the world) on Youtube can help too.  Beth Kempton, author of Calm Christmas and a Happy New Year: A Little Book of Festive Joy 3. Plan Well Ahead!I start my Christmas novellas as early as February! Victoria Connelly, author of Christmas with the Book Lovers4. Follow Your Favourite Christmas Book Author On Social Media Reach out and tell them about what you\'re writing, they may be able to give you more tips! It’s always good to expand your circle of writers in the same genre as you! Faith Hogan, author of On The First Day Of Christmas 5. Research Christmas Traditions From All Around The World Our Christmas novella is set in Lapland, and because our books are paranormal romance we created some fun monsters inspired by Finnish folklore, and added plenty of local Christmas customs too. Think outside of your own experiences and talk to people who have other wonderful and (sometimes creepy) customs. Caedis Knight, author of Goblins of Lapland6. Make Notes Throughout The WinterIf you have a long lead time, make notes about your mood and emotions throughout the winter (or look back at old journals). Rereading them will help if you then have to write out of season. Beth Kempton, author of Calm Christmas and a Happy New Year: A Little Book of Festive Joy 7. Give Them What They Came ForPeople who buy Christmas novels expect to see certain things. So give it to them! Make sure to describe the beautiful tree, the hot chocolate, the ice skating, the kiss under the mistletoe. Don\'t try and be clever by adding a twist to what they\'re expecting...it may fall flat. Caedis Knight, author of Goblins of Lapland8. Listen To Lots Of Christmas musicI wrote my last Christmas book during a heatwave, at the height of the pandemic. I listened to a lot of Christmas music to get me in the right frame of mind. Rachel Wells, author of Alfie The Christmas Cat9. Make a List (And Check It Twice)Make a sheet with five columns for each sensory aspect of Christmas and jot down everything you can think of that\'s Christmassy - from what you smell, see and hear, to what you expect to see at Christmas. This also helps with setting and plot. Rosie Blake, author of How To Stuff Up Christmas10. You can Never Be TOO Christmassy!Add all the festive cheer fun and heartwarming cheer you possibly can. there\'s no such thing as too much when it comes to this time of year! Emma Jackson, author of A Mistletoe Miracle and One Kiss Before ChristmasTen Top Tips From Author Isabella May We asked Isabella May, author of deliciously adorable Christmas rom-com, Twinkle Twinkle Little Bar, to share what it takes to write festive foodie fiction.  Here are her 10 tips on writing an unforgettable Christmas story: 1. More Is MoreThis is Christmas we are talking about so there\'s no such thing as too many decorations appearing in your story.2. Read And Watch Christmas Books And MoviesDon\'t try to emulate what others have done but look at the many festive tropes that are out there and try to bring your own fresh angle. 3. Immerse Yourself In The Tastes And Smells Of ChristmasIt may seem a little extravagant but eating that Christmas pud that\'s been lying in wait since FOREVER in the kitchen cupboard and/or buying yourself a fragrant pine-scented Yankee candle, will turbo boost your festive thoughts and lead to some great plot ideas.4. Think Snow Globe Community Spirit!The most successful Christmas books have all the characters united in festive fizz... eventually. \'Tis the season of goodwill, after all.5. It\'s Back To The Senses AgainDust off the Wham/Cliff Richard/Mariah Carey and play all the Yuletide jingles. You\'ll cringe at first but honestly, this is another tried and tested way to get in the spirit and up your daily word count. 6. Think Of Christmas PastNo, not in a Scrooge way... but reminiscing on the highlights of your own Christmas holidays from childhood can shape and inspire so many scenes in your book.7. Fact CheckIt\'s easy to get carried away with the celebratory side of Christmas when we are knee-deep in a glowy, hygge, and twinkly-light festooned story, so we need to be certain that the Italian festive foodie delights we\'ve just added to our MC\'s dialogue really are typically served in December (and spelt correctly).8. Research Your Destination WellNobody is saying you can\'t set your story in Iceland (complete with those tantalising views of the Northern Lights) but if you haven\'t been to the location of your Christmas book\'s setting, you\'d better do some serious armchair travelling (and talking with locals who are native to the area, if possible) to give your readers the most authentic portrayal of the place.9. Keep It LightThe best Christmas stories are fluffy, frivolous and entertaining. There are always exceptions to the rule, but generally speaking, bookworms turn to festive fiction for escapism/to get themselves in the Christmas spirit when their own may be flagging. Always remember, Christmas can be a hard time of year for many people. Avoid sensitive and/or trigger warning subjects. Readers want to be uplifted and entertained. Your goal as a writer is to give them that warm fuzzy feeling from tip to toe; a hot chocolate hug in a book.10. Once You Start Writing Christmas Books, Know That It\'s Almost Impossible To Stop! Readers have a VORACIOUS appetite for Christmas books and this genre is growing by the season. It\'s fine to dabble but your fans will expect an annual festive work of fiction from you (if you first went down with the joy of a Bailey\'s on ice), so it\'s best to have a word with your inner Grinch before you commit to typing your very first Christmassy word... Christmas Title Ideas And finally, no Christmas book is complete without the perfect title. But how do you choose one that demonstrates it’s a Christmas book in your genre, yet isn’t a title that’s been used a million times already?   Here are our top ten title tips! 1. Look At Other Festive Books In Your GenreCheck for consistencies and see how many words they use. Thrillers tend to be 2-5 short words and really self-explanatory (ie The Christmas Killer, Alex Pine), whereas Christmas romance and romcoms can have longer, prettier, and more intricate titles (ie One More Christmas At The Castle, Trisha Ashley). 2. Describe The StoryUnless you are writing literary fiction, it helps to have a title that makes it very clear what the book is about. So if your book is about Christmas on a desert island, then call your book something like ‘A Desert Island Christmas.’ 3. Use Lyrics From A Christmas Song Or Hymn ‘All I Want For Christmas’ is a popular book title for romance novels, as is ‘Silent Night’ for thrillers and horror books. So get original and have fun seeing what matches the theme of your book. For instance, you may write a book about two best friends and call it ‘Holly And Ivy’ or a rom-com set in the 50s called ‘Rocking Around The Christmas Tree.’ 4. Don’t Be Scared Of Puns Christmas is the cheesiest time of the year, so don’t hold back from getting corny if need be. You may name your rom-com novel about reindeer farmers in Finland, ‘Looks Like Rain, Dear,’ or your Christmas horror ‘Santa Claws Bites Back’. These are all silly suggestions, I know, but you get the idea. A much classier example is Isabella May’s Christmas novel ‘Twinkle Twinkle Little Bar.’ 5. Make It Clear That It’s Part Of A SeriesIf you’re writing a series of books, your cover designer will no doubt ensure that they all look the same but different – so do make sure the titles match too. Nancy Revell has done that with her Shipyard Girls books (Shipyard Girls Under The Mistletoe, Christmas with The Shipyard Girls and A Christmas Wish For The Shipyard Girls). 6. Use The Word ‘Christmas’ In The TitleThis may sound simple, perhaps too simple, but it works. If you’re writing a modern Cinderella retelling, calling it ‘A Cinderella Christmas’ means people who are looking for a Christmas book that’s like Cinderella, and type those words into Google or Amazon, will find your book more easily!7. Keep It Simple People looking for a festive read are rarely interested in anything too complicated or highbrow. Depending on the genre, choose a title that reflects the mood of the book – but keep it simple. Instead of calling it ‘The Haunted Mind and Festive Regrets of Peter Cumberbatch’ you could simply call it ‘Ghosts of Christmas Past’. 8. Use Words Associated With ChristmasIf your book is more literary or a thriller, and you don’t want readers to think they’ll be getting a cutesy festive read, then use words associated with Christmas that are a little more serious: Snow, Winter, Snowflake, Midnight, Night, Cold etc.9. State Where The Book Takes Place If you’re writing cosy Christmas romance or women’s fiction, ‘Christmas at (insert location)’ Works really well. It may seem formulaic but there’s a reason why these books sell well. ‘Christmas at…the cosy café…the olde bookshop…Mannering Manor…Penny Lane’ – you get the picture.  10. Have Fun With The TitleSometimes people don’t even know they want to read a Christmas book until they see the title. So choose something that will make them feel nostalgic, make them smile, or make them yearn for the comfort and excitement of Christmas.Get Cracking!We hope you found our Christmas prompts and ideas article interested. Once you’ve played around with some fun festive ideas, made a note of our top author tips, and seen what kind of titles will get the attention of agents, editors and readers, you should be ready to get started on your Christmas cracker of a novel.  There’s snow time like the (Christmas) present. Get writing and have fun! 

Romance novels continue to be one of the top selling book genres, with lots of different sub-genres to explore. So, if you’re looking for heartfelt inspiration, some super swoony ideas or even saucy erotica prompts, then look no further.  We’ve compiled 69 romance prompts to kick-start your imagination and help you get your readers’ heart a-fluttering. Dark Romance Writing Prompts Not all romance has to be light and fluffy. Romance, like anything in life, is many shades of grey (ahem). So take a look at these thrilling and mysteriously sultry ideas if you want to add a little suspense to your romance. Your ex has wronged you for the very last time. It’s time for revenge. It’s time to get in contact with the mysterious and sexy ex you have stayed away from for so long...  I was hired to kill you – I didn’t realise you were the person I used to have a crush on. They were paid to kidnap the evil sister, not this one! But now it’s too late, and if they can’t find the correct sister, they risk killing an innocent woman and their chance for happiness and redemption. The plan was to kill everyone in the bank and steal the money. He didn’t know that his long-lost love worked there. The only option was to take her with the money... but will love conquer greed? They realise they’ve been stalking each other for a long time and both know a lot more about the other than they bargained for. Seeing as we’re both trying to murder the same person, should we team up?  At school they were friends, but their mob families are enemies. When love takes over, can they escape their toxic families and start a safe life for themselves and their child? Fantasy Romance Writing Prompts  Fancy a bit of magic with your romance? In fantastical worlds full of monsters and mayhem, can love still win? The world is ending and only two rival tribes remain to save it. Can two young people from opposing tribes come together to save the world, and each other? Being a witch is hard enough without falling in love with a witch from a rival coven... Three apprentice wizards get caught up in a love triangle when they are abandoned by their mentor and left to fend – and learn – for themselves. A werewolf falls in love with a vampire – but they must keep it a secret or risk death from both parties. The ghost in your house has fallen in love with you and starts leaving romantic notes on the mirror. They are the last two fertile people on earth. Problem is, they hate each other. Romance Prompts From The Classics Some of the most famous love stories of our time were written years ago. So why not take inspiration from these classics and turn them into modern day treasures full of contemporary challenges! Romeo and Juliet both lived, but what happened next? What if it wasn’t Mr Rochester that Jane Eyre fell for, but, instead, his first wife in the attic? Imagine that Elizabeth Bennett didn’t put up with Mr Darcy’s unpredictable moods, and in fact fell for a delightful servant in the building? Pretty Woman, only feminist and on OnlyFans.  After learning about Stockholm Syndrome, Beauty and the Beast decide to give couples therapy a try. Snow White must marry the prince, but she’s much happier hanging out with her seven wonderful friends. But what she doesn’t realise is that Grumpy is only grumpy because the prince has called off their secret love affair. Contemporary Romance PromptsLove isn’t just reserved for the olden days or for princesses from fairytales, there’s a lot of romantic inspiration you can find in your everyday life. Especially when you throw online dating into the mix! Here are a few contemporary writing prompts to get you started... You text the wrong person in a hurry and the person who replies is an old flame... You bump into someone who you matched with years ago on a dating app/site but never got talking to. He recognises you and you hit it off, except he’s now engaged. You go on a double date with a friend – what are you supposed to do when you like their date too?  When you start talking about your romantic history with the new love of your life, you realise that you share an ex... You meet at the vaccine center after one of you passes out. The awkward part is he’s the nurse and he passed out! On your third date, you decide to follow each other on Twitter. When they get up your profile, you see they already have you blocked. Then they remember why. In order to get over his ex, he tries to get under someone else. He meets an older man on Grindr who invites him over for dinner but seems to want nothing else. Is our young protagonist about to learn that love doesn’t always need to be about sex? You meet your date but they look nothing like their profile picture, which was taken before the accident. Can you look further than the surface and see what really lies underneath? They start leaving notes for each other on the pinboard of their local coffee shop. But they have no idea they’ve already met before. She sells a sofa on a local Facebook group, and he replies. Then she remembers she left money in one of the cushions. Should she contact him? Your mum set you up with the snotty kid who used to live next door. Except he’s hot now and you’re...not what he was expecting. General Romance Prompts Romance is romance is romance, there’s no need to put a label on it. Here are some general romance writing ideas to inspire you.  What starts as a ‘fake’ Visa wedding, starts a complicated but intense relationship. You didn’t realise that when you arranged to meet, they would also bring their boyfriend. You’ve been making eyes at them across the office for months but never spoken. Only now, on a team-building day, are you forced to speak and he’s nothing like what you expected... They’ve been friends for years, but a disaster in their friendship group brings them closer than they ever imagined. She hires him to help her build a website selling the products she started making after her husband’s tragic and early death. But she never meant to fall for him. After a head-injury, you’re forced to re-live every one of your previous relationships while in a coma. But who will be there when you wake up? Our children are best friends. I thought your kid was a bad influence on mine and now I think you’re becoming a bad influence on me...  They meet at a gallery, both looking at a painting that unlocks secret from their mysterious pasts.You’re a tattoo artist and they visit your parlor twice – once to get their partner’s name tattooed on them, and then a month later to have it covered up. You ask if they want to talk about it.  No one can tell the difference between you and your twin – but he can. The new girl across the corridor looks really familiar, but why won’t she look you in the eye? I’m locked out of my flat and I really don’t want to wait in the snow until my flat mate comes home – can I come in? I promise I’ll be really quiet, you’ll barely know I’m here.  You’re my child’s favourite teacher and I don’t want to ruin it, but we have so much in common and you’re really attractive. They’re co-stars on a comedy special. Both trying to out-do each other to win a writing contract. But when they get together over drinks and realise that two heads are better than one, can love beat ambition? You’ve moved to the Scottish Highlands to renovate your late great-aunt\'s cottage. The only local tradesman is the last person you want to see, but after an unexpected snowstorm hits, you’re both stuck there for the night and the past is unearthed. Can you put it aside and move on, together? You’ve both gone to a silent retreat to heal from past events. Although you’re not allowed to speak, the chemistry is palpable. But will it be the same once you can speak to each other? In Transit Romance PromptsNothing says romance like being stuck in a car, plane and train together. Take a look at these ‘love in transit’ prompts and meet cutes, and get your romance novel going full speed!  You fall asleep on a plane and your head falls on the shoulder of an attractive stranger next to you. When you wake up you’ve missed your stop and they offer to get you home. The tube lurches and you grab for the nearest pole to hold on to, and so does someone else... You lock eyes in the queue for a train ticket and are delighted when their allocated seat is in front of yours. The person next to you on the train is reading your favourite book. Do you strike up a conversation? Or pretend to be the author? A cyclist knocks the coffee out of your hand and offers to buy you another one. You get talking...and realise he’s the guy you nearly ran over last week. Will he notice? You’re getting on a plane for the first time since a traumatic incident. It’s a long flight and the last thing that’s on your mind is sleep. You start to talk to an insomniac flight attendant. The plane hits trouble and has to make an emergency landing. the last thing you expect is to be saving someone’s life... You – both single parents – ride your children’s micro-scooters back from the drop-off and accidentally scoot face first into each other. You have always hated one another. But now, with two broken noses and stuck in A&E, you have no choice but to talk. They pulled up to the hard shoulder to help you . Neither of you knew that a lorry would crash into both your vehicles and leave you with no choice but to spend a night in a road-side hotel together. But (you guessed it) there’s only one bed! Sci-Fi Romance PromptsIn space no one can hear you scream. Even screams of pleasure! From robots to planetary travel, when it comes to romance there’s no frontier that can’t be crossed. Here are our sci-fi romance prompts to take your readers on an out of this world adventure.  You’re the only two surviving people on a spaceship heading for Venus. They are the artificially created clone of your deceased ex-colleague and secret love. You have finally met the perfect person for you... the only issue is that you have to work for a corrupt government in order to be with them. Will you do it? When you inherited the moonstone necklace, your dying grandfather told you to find the owner of the other half. Connecting the necklaces is the only way to save the world, but when you find each other, and fall in love, you realise that it’s not as simple as you thought it was. You didn’t read the small print on a medical trial and discover it\'s a year-long residency where you had to give up all technology and move to an off-the-grid island outside of Alaska. With one other person. Who you really really hate...or do you? There are limited seats on the spaceship to Planet B. You decide to seduce the captain to guarantee your safety, but things are complicated when you fall for the co-pilot instead...  Things haven’t been the same since the crash. All the young people have been drafted to fight, you are the only one left under sixty. Can you make it to the next planet to find someone special? Is love worth dying for?  Only the very rich can afford electricity and the internet these days. When people are not allowed to speak in person to anyone outside their immediate family, how do they fall in love? YA Romance Prompts There’s nothing more special than first love, and there’s nothing more painful either. Everyone remembers their first kiss...and more. Here are our young adult writing prompts to help you write your teen romance novel. You are in rival BMX troops/cheerleading groups/chess teams, but when push comes to shove and the national competition looms, will you sacrifice your potential chance for happiness for a year-long residency in LA? Your friends have been trying to set you up for years, but the night they finally get you in the same room, disaster strikes and you need to work together to save your friends. And, more importantly, save the rest of the world. The class ‘bad guy’ and ‘bad girl’ are both sent to a residential weekend for badly behaved children as a new incentive to change disruptive behaviour. When it turns out that the course is run by con men and criminals, they need to work together to escape. Your parents are leaders of a cult. You hate it there. When a new family joins, you and their oldest child form a bond that is unbreakable and decide to leave the cult and start a life for yourselves. But it doesn’t come without sacrifices... He has psychotic episodes. You work as a trainee mental health nurse. What if his diagnosis is wrong, and he’s trying to tell you something from his dark past that might also be the key to free him? You haven’t spoken a word since the incident two years ago. When they join your class, and you discover they can’t hear anything, you strike an unlikely friendship. But can it ever be romantic? You’ve been ignored for so long at school that you’ve turned invisible. When the new kid in class says hi, you think you must be imagining things...  Relish Writing RomanceAnd there you have it, 69 writing prompts for you old romantics.   Now, you may have noticed that we didn’t include any erotica scenarios and that’s for a good reason...because ANY of these can be turned into an erotica novel. They meet on a train (but what do they get up to?), they’re new neighbours (but he wants more than to borrow a cup of sugar). Neither did we include an LGBT section – because any one of our romance ideas can be applied to any couple!  So have fun adapting each prompt to a different romantic sub-genre, or better yet combine two or three together to build your plot and spark your imagination.  We hope you LOVED picking through our romance prompt, and we can’t wait to see what beautiful stories you create!

80 Thriller Prompts To Get Hearts Racing Thrillers are commercially one of the most competitive genres to write in. Walk into any bookstore or visit any online shop and you’ll see bestseller tables covered with thrillers. So how do you make your thriller stand out from the crowd? How can you ensure your story idea is unique and engaging and able to stand up against the greats? We’ve reached out to some of the best thriller authors around for their story ideas, as well as adding some writing prompts of our own. Whether you’re writing a psychological thriller, a thriller suspense, murder mystery, crime drama, historical or contemporary, we have something for everyone.Why Use Thriller Prompts? The key to all successful thrillers is creating a sense of suspense. Your reader wants to be kept on the edge of their seat while they fly through the pages of your novel because they simply can’t put it down.  Thrillers don’t tend to have many (if any!) comedic events, instead you must maintain a level of suspense, excitement, and interest throughout. Your aim is to pull your reader in, and keep them there, with your suspenseful and plot-driven narrative. Although ‘thriller’ is the over-arching term, there are a number of sub-genres you might choose to explore.  Psychological thriller Crime thriller Mystery thriller Spy thriller Action thriller Political thriller Legal thriller Historical thriller Sci-fi thrillers Why Are Thriller Writing Prompts Helpful? Thriller writers find the interesting in the ordinary, everyday things. But sometimes the pressure in making the ordinary into the extraordinary is overwhelming. That’s where our thriller writing prompts come in – here to help break you out of the self-imposed pressure to find the right twist and simply encourage you to start writing. So welcome to our 80 writing thriller prompts!  These won’t necessarily be the basis of your next novel, but what they will do is inspire you and help you break through the writers’ block and think outside the box. They may even remind you of something, maybe a character will resonate with you, or perhaps all they’ll do is encourage you to write your own prompt. Thriller PromptsPsychological Thriller PromptsIf your thriller focuses on the psychology of its characters as well as a pacy and plot-driven narrative, then it’s likely you’ll find these psychological thriller writing prompts helpful. If you’d like to see some comparable titles then try Gone Girl (Gillian Flynn), Misery (Stephen King), and The Girl on the Train (Paula Hawkins).On the third Friday of every month, you switch off your phone and disappear for 24 hours. No one knows where you go, until now…… When clearing out your late husband’s things, you discover a list of names titled ‘conquests\'. The first name shocks you to the core. When your daughter doesn’t come home on Friday night, the last person you want help from comes to your aid. Two women catch the same 7:20am train every day, never talking. Until one day when one desperately needs the other... You barely knew your neighbour. So why did they have your name on a note in their pocket the night they died? Your daughter says a man has hurt her. You know she’s lying because that man is dead - except no one but you knows that.  It’s 10pm on Monday night. You haven’t left the house in 271 days. If you don’t leave before midnight tonight, you never will.  An email lands in your inbox with instructions for how to save a life. But the email was never meant for you.  You\'re walking through the city centre when a woman hands you a package then flees. What\'s inside turns your stomach. You\'re a happily married father of two. So why has no one seen your wife for 36 days? Crime Thriller PromptsA crime thriller tends to focus more on the premise that a future crime hangs in the balance, while your characters work to prevent it. Think: Both of You (Adele Parks) and The Thursday Murder Club (Richard Osman). A man gets off the Eurostar in Paris. His luggage seems oddly heavy. Opening his suitcase in the taxi, he finds a severed limb. Whose is it? The old ghosts club: A detective, a judge, and a hitman can’t go to heaven – they haven’t learned enough on earth. But figuring out crimes and making people pay? That’s easy for them. Not just easy, it’s a pleasure. And maybe they’ll learn something on the way … Eight years ago, a young woman disappears from a Welsh valley. A sexual crime is suspected, but no body is ever recovered. Today, a different woman is found, dead, in a nearby village. There are no marks of violence. The first incident suggests a crime without a corpse, the second one suggests a corpse without a crime. What’s going on? (This is the actual premise of Harry Bingham’s The Dead House, by the way, but you’re welcome to use it.) The IT guy keeps himself to himself. But he used to work for the Pentagon. His coding skills are exceptional. He’s a highly skilled diver and a judo black belt. And what exactly does he get up to at the weekends? Cally had truly loved him. It had taken her years to get over his death in a train wreck. Her marriage to Noah now always seemed like a bit of a second best. But why does she have a letter from him today? And how the hell could he be quoting yesterday’s newspaper headline? The British Crown Jewels are the best defended precious objects in the world. No one in the world could steal them. No one except … Moriarty’s Story: Sherlock Holmes always gets all the publicity, right? But Moriarty’s story is darker, older and more interesting. It all began one foggy London night in 1889 … A man wakes up in Texas / Wolverhampton / at the end of your street. It is a starlit night. He has what looks like a bullet-wound in his thigh. A scrap of paper in his hand, with an address on it. No name. The man remembers nothing except for one word  - “run.” Wall Street’s most famous hedge fund manager, Ponzi Scheme owner and all-round bad guy is finally in court facing a 150-year sentence. But one juror isn’t who he claims to be. For the juror, this isn’t business, it’s personal. The first paragraph of your story: “The truth, the whole truth and nothing but the truth?” I stare at the court and the judge. “You must know by now that I am an expert liar. It’s my superpower. I’ll raise my hand if you want me to, and say whatever nonsense you have on this paper, but truth? No. I’ll lie and lie and make you believe me anyway. So help me God.” The last paragraph of your story: “Reader, I murdered him.” Detective Inspector Ryan Jackson is diligent, successful, hard-working, boozy, and sometimes a little too prone to use his fists. What worries him, though, is these memory blackouts he tells no one about. Ten of fifteen minutes, to start with. Then an hour or two. Once a whole weekend. And why are his fists sometimes red and blooded? And why did his shotgun smell of powder? She’s the perfect wife, with the perfect home, and the perfect husband. There’s nothing wrong with them, nothing. Her husband isn’t too controlling. And that’s definitely not arsenic in the cleaning cupboard. “A murder club?” I asked. “Do you mean solving it?” It was Davina who answered. 16 years old. Pretty, pouty, preppy: all the Ps. “Don’t be boring, darling,” she said. “Solving it, committing it. We go both ways you know.” She kissed the tip of her finger and ran it down my face, over my lips to my heart. A detective in recovery from Cotard’s Syndrome – a real life condition in which sufferers believe themselves to be dead. (That’s Harry’s detective character, by the way, but you’re welcome to take the idea and use it however you want.) Mystery Thriller PromptsMystery thrillers tend to work in the opposite direction to a crime thriller: revealing a crime, and then working backwards so its characters can solve it. You could try You (Caroline Kepnes), Sharp Objects (Gillian Flynn), or The Seven Deaths of Evelyn Hardcastle (Stuart Turton) for inspiration. No-one believes you, but you are certain the daily newspaper crossword is spelling out a warning… or a threat. You check into a secluded hotel where you’ll sleep in a luxury stilted hut on the private beach. The first morning that you wake up, someone has written ‘DO NOT TRUST THEM’ in pebbles. From the comfort of your bed, you check your video doorbell to see if a disputed delivery was left yesterday and who took it. Instead, you see a stranger letting themselves into your house. You do not see them leave. Someone is sending you diary extracts, a new one every day… You go to collect your teenager from school, but they aren’t there. When you ask in the office, they are confused – they’d agreed you could take your child out of school for a holiday, they show you the form with your signature on it and look at you strangely. But you didn’t sign that form and you had no plans to take them anywhere… You move into a new house and start to dig in the garden. You find bones and they look human. But there’s a reason you can’t call the police… Your father died when you were still a baby, but you’ve just been sent an obituary for him, dated last week.    You wake in the night and can’t find your partner. There is no trace of them in the house and no-one knows where they are. When you report them missing to the police, they say there is no record of them existing. So who is the person you’ve been living with for five years?  When you turned 10, your parents died in mysterious circumstances. On your 20th birthday, your best friend was murdered. It’s your 30th next week…  Best friends are both accused of murder. Each insists the other one is innocent. Who is to blame?  Spy And Action Thriller PromptsSpy and action thrillers tend to focus on secret agents and espionage. Packed full of action-adventure, suspense, and spy stories – think race against time to uncover an unseemly plot or overthrow a coup! Try Jason Bourne’s The Bourne Identity, Robert Ludlum, or Clear and Present Danger by Tom Clancy for some background reading in this sub-genre.You’re a special agent, chasing an international art thief across Europe. Finally, you find something in Prague that leaves you wondering: is the art theft a cover for something even more heinous? And are you the right person for the job? You’re a probationary special agent. The lowest of the low on the career ladder. You’re charged with research and filing. When you find something that could finally bring in an international arms dealer, no one believes you. It’s up to you find the proof needed to bring him in. 8.07 am on the tube was always an experience. Commuters crammed into carriages. Hot air emphasising the distinctive sweaty, stale smell of the Circle Line. While a tinny voice proclaimed “Euston Square” over the tannoy. A pair of eyes found her through the crowd. They trailed her as she hopped off the carriage, narrowly avoiding the gap between platform and tube. They followed her as she ran up the escalator; clearly late, again. And surveyed the path she took as she made her way through the commuters, her red hair glinting in the sun. A different route this morning. It could only mean one thing. It was a short walk back to the house after Lou’s surprise birthday drinks, but it took an age. Blisters threatened to render Kat’s toes useless for days to follow. Toes throbbing and head dizzy from the vodka lime and sodas, Kat reached for the door. Before the tip of the key could graze the lock, the door swung open. Stepping over the threshold, a neon yellow post-it note caught Kat’s attention. Sitting on the hall table, beside a lidded sharpie, a note lay expectantly. You’re the victim of a crime, but you don’t report it. Why? Are you guiltier of something worse? What are you hiding? Who are you hiding from? James is a creature of habit. Everyday the same routine. Until one day he starts running…in the wrong direction. Political Thriller PromptsYour political thriller should be set against a political backdrop – perhaps a power struggle or political intrigue with suspense and high stakes throughout. Try reading The Sum of All Fears (Tom Clancy), or House of Cards (Michael Dobbs) for some ideas. There in the tree line a gloved hand waited; a finger poised and ready to take the photo they’ve come for. Crunched-up leaves and broken branches litters the ground beneath their feet. Biding their time. Waiting. Patience has always been his gift. You’re a journalist and receive a tip that could change everything in the election next week. But first, you need to validate it. An assertive knock on the inner door announced the visit she’d been dreading. COBRA’s been taken hostage. Legal Thriller PromptsSimilar to the crime thriller, a legal thriller focuses on the procedures and investigation, whether that’s the police procedural or the court case. Think The Partner (John Grisham), The Devil’s Advocate (Steve Cavanagh) or You Don’t Know Me (Imran Mahmood). “Decisive” was not a word you’d use to describe DC White. Changeable; dim; easily manipulated. But “Decisive”? Not at all. Or at least that’s what they banked on. After finishing work late one night, you find a brown paper packet neatly tied with red string on your passenger seat. Alongside a note: “He’s innocent.” The cell door clangs shut behind you. Looking down at your hands you see dried mud, dirt, and something that looks a lot like blood. You arrange to meet your client in your office. When they don’t arrive, you go out to find them. 12 years, 17 days, 6 hours and 32 minutes. That’s how long she had been locked away for. Away from her family. Away from her child. Away from the world as she knew it. But, 12 years, 17 days, 6 hours and 32 minutes is also how long she’s had to plan her revenge. And in 12 minutes she’ll finally be free to do it. There’s something not quite right about Mr Hallow.  They’re hiding something. You can’t put your finger on it, but you know. Your 30 years on the force is telling you there’s something they’re not saying.  Historical Thriller PromptsThe historical thriller is just that, a thriller set in the past. Make sure to research how to write historical fiction novels too, so you can get the balance between embedding the story within the historical period and keeping the narrative pacy and suspense filled. Titles for background reading could include The Alienist (Caleb Carr), The Doll Factory (Elizabeth Macneal) and Liar (Lesley Pearse). The rain came early that year. Forcing Fowler and his farmhands to sprint back to the field to bring the rest of the harvest in. It was now or never. Stealing out from behind his hiding place beside the carriage, he headed towards the house. Tucking himself into a dark corner of the entry room, he waited. The truth behind Mary Shelley’s Frankenstein: who was the real Frankenstein and how was he injured so unrecognisably? The year is 1536. A time when everyone was at risk of losing their head, even the queen. Clay did what he had to do to survive, even if that meant he was the executioner. Her masque hung listlessly on a seat in the corner of her bed chamber. The blue damask gown she had ordered specifically for the masquerade that night lay ruined at her feet. Tinged with the brownish-red hues of now dry blood. What had she done? What was she going to do now? Somewhere in the French Quarter a saxophone serenaded the inky night sky. The streets thrummed with music and laughter, while colours rebounded off the buildings and along the streets. New Orleans in 1932 was something to behold. But here, in this tiny side street taunted by the distant celebrations, a private investigator was finally closing in. The funny thing about not attending your wife’s execution is that you didn’t actually witness her death. In Henry’s case, his wife is back and she’s ready for revenge.  Life in Victorian London is hard, but especially so when your fiancé has been accused of murder and you have to fight to find the true killer.  Science Fiction Thriller PromptsA science fiction thriller tends to place the action in an alternative reality – whether that’s a dystopian society or a different planet all together – the action and intrigue of the thriller will be heavily laced with Sci-Fi themes but will remain within the confines of existing science to create a believable risk scenario. Think 11/22/63 (Stephen King) or 1984 (George Orwell). Fairgrounds are normally bright and colourful, alive. But today, today it feels different. Cold. Empty. Dark. You’re on a carousel. High up above the crowds you spot something in the distance. Unsure what you see, it takes a while for your eyes to adjust, but when they do, you realise things will never the be same again. You run a Detective Agency with a twist: specialising in paranormal crimes and activity. Liam is tired of being called a conspiracy theorist, but nothing will stop him from proving that the president is not from this earth. His proof? He isn’t either. Some might want to use a time machine to see the future, but I know where I’m going. Back to 7th February 2004 to find out who really killed Suzy. In a post-apocalyptic world, all that stands between building a new future and certain death, is you. In a dystopian world technology has become the currency that life depends on, that is until something threatens the very core of that technology.No kissing is allowed in this world, let alone sex. Babies are made by machines and love is against the law. But one couple have fallen for one another and she\'s pregnant. Will they escape before it\'s too late?Ten Bonus Prompts68. Two non-identical twins are separated at birth. One of them is murdered and the other twin\'s DNA is found all over the dead body.  69. Sarah Daniel\'s credit card is rejected at a coffee shop. She calls her bank who tell her she isn\'t Sarah Daniels. Sarah Daniels is dead. 70. A stranger hands Michelle a phone before jumping off a building to her death. The phone contains a voice message from the stranger accusing Michelle of her death.  71. Tania\'s best friend Mariah disappeared fifteen years ago. Her body was never found. A young woman moves in next door who looks exactly like Mariah did, back then. But then she vanishes too.  72. Rachelle wakes up to her sleep talking husband confessing to a murder. 73. A man lies on his death bed in hospital. He whispers into the nurse\'s ear. \'I know what you did and your son will pay.\'\' Her son doesn\'t return home from school that afternoon. 74. You come across a news story about a missing person. A woman in her forties, with mid-length black hair, brown eyes, 5\'5. It\'s you. Your face, your description, only... a different name. The story is dated with tomorrow\'s date. But you\'re safe. Aren\'t you?75. You\'ve been getting away with minor crimes (fraud, theft, a little arson) for a while now. And you\'re ready for something more challenging. But what will it be? Maybe you could do something about your rude neighbour...76. Your cat saunters in, carrying what you imagine is yet another mouse in her mouth. Only it\'s not a mouse. It\'s a finger.77. A woman returns home after a work trip away. She opens the front door and there is a strange family sitting in her kitchen, at her table. They claim to be her family, but they\'re not the family she remembers at all. 78. A woman tweets \'\'Live or die\'\'. The votes are 65% in favour of death. The next day she is found murdered in her home. 79. A recent widow takes a sole cruise around the Atlantic. One by one passengers start to go missing. Scraps of paper found in their rooms spell out the name of her dead husband.80. A woman wakes up in a stranger\'s bed with no memory of what happened last night. Then she sees the dead man lying next to her and his blood on her hands. Follow The Footsteps Of Top Thriller WritersA huge thank you to our guest contributors for sharing some of their psychological and crime thriller story ideas and prompts. Find out more about them and their latest projects here: Harry Bingham Harry is not only the founder of Jericho Writers, but he\'s also the bestselling author of a dozen thriller novels and multiple works of non-fiction. Published all over the world, his work has been adapted for TV, he\'s been on prize short- and long-lists, and had worldwide critical acclaim. Click here to discover his books.Holly Seddon Holly\'s first thriller novel, TRY NOT TO BREATHE, was published in 2016 and went on to be a bestseller in the UK, Ireland, Germany and Australia. A USA Today bestseller, it was also an audiobook, paperback and e-book bestseller in various countries. Her second novel, DON’T CLOSE YOUR EYES, was published in July 2017 in the UK, USA and in many other countries. In May 2018, it hit number one in the audiobook charts. LOVE WILL TEAR US APART was published in June 2018 and THE WOMAN ON THE BRIDGE is out March 2022. She\'s also one half of the Honest Authors, co-hosting a fortnightly podcast on the realities of life as a published author. Click here to pre-order her new book!Sophie Flynn Sophie is a Cotswolds based psychological thriller author with an MA in Creative Writing from Oxford Brookes. Her debut novel ALL MY LIES was published by Simon & Schuster in April, 2021. Alongside writing, Sophie is also the Head of Marketing at Jericho Writers. Meera Shah Meera Shah is a psychological suspense writer based in London, UK. Her debut novel will be published by Hodder Studio, an imprint of Hodder & Stoughton, in Spring ’23. To follow her journey to publication you can visit her author website or Twitter page.More Thriller Writing TipsI hope these thriller writing prompts helped you fight off your writers’ block and sparked a source of inspiration for you.  If you want to learn a little more about thriller writing, check out our favourite Jericho Writers thriller articles below.  How Crime Writers can Research Police ProcedureTips for Writing Crime Fiction and ThrillersHow to Get an Agent for Your Thriller 7 Top Tips for Writing Gripping ThrillersHow to Plot a Novel (Using our Easy Plot Template Technique) – Jericho Writers How to Create a Great Inciting Incident – Jericho Writers And remember, even the very best thriller writers started out staring at a blank white blank page. So don’t worry if you haven’t hit upon the perfect idea yet; start out by looking through the story ideas we’ve listed here, or better yet, start listing your own prompts from inspiration you find in everyday life.  You never know, a tiny spark of an idea may inspire you to write something you weren’t expecting and you will be joining the greats at the bestselling thriller table at your favourite bookstore! 

150 Heinous Horror Prompts and Ideas to Make your Readers TrembleWhether you\'re looking to scare, horrify, or make your readers jump, we are here with all the inspiration you need! We\'ve created a horrific list of 50 horror writing prompts to give your writing that hair-raising, back-of-the-neck eerie touch.Why Use Horror Prompts?Horror books (as well as movies and TV shows) exist because human fear exists. And all readers love to feel something with each genre! Classic horror fiction books aim to frighten, and over time authors have found a myriad of ways to do that. Common themes include ghosts, ghouls, monsters, vampires, werewolves, demons, zombies, murderers, serial killers, paranormal forces, witchcraft, apocalypses, psychological fear, and gore.So if you\'re feeling uninspired, you think all the good ideas have already been taken (they haven\'t), or you simply want to kick-start your imagination - take a look at our horror prompts list. We have included 50 specific examples of horror story ideas organised under sub-genres. We hope some of them send a tingle down your spine and inspire you to write your own creepy novel!50 Horror Story PromptsWord of warning: in keeping with the nature of the genre, most of these prompts contain violent or upsetting themes.Comedic Horror PromptsYou survive the apocalypse purely due to a series of happy accidents. It turns out, an alien race orchestrated the doomsday events on Earth to see if humans were ready to ascend. As lone survivor, you\'re selected to be the sole representative of humanity in the new world order. Unpopular new arrivals in a town that treasures natural beauty, Michaela takes pity on her plastic surgeon father and goes to bed one night wishing that all of her classmates’ worst fears of their physical insecurities would come true.You work at a Zombie Rehabilitation Centre in LA. It was your dream job until you realise you\'re stuck teaching \'Bite Inhibition\' classes.Flattered to be one of the few freshmen listed on the most popular sorority\'s website \"Fresh Meat\", you turn up to a party in your honour at the Kappa Kappa house. At the end of the night, you discover a secret book containing a step-by-step plan of \'How to eat the class of 2022\'. Former beauty pageant queen transforms into a hungry werewolf on the most important full moon of the year, on the prowl for the ‘next pretty young thing’. This year\'s pageant hopefuls are armed to the teethed and willing to fight for the crown. You\'re a vain, ancient witch adapting to the 21st century by getting a job at the Apple Store so that you can enchant teenagers\' smartphones and sap their youth through their devices.Demonic Possession Horror PromptsStacey’s perfect family life begins to unravel one day when a malicious spirit moves in and inflicts itself upon its host, jumping around between her, her husband, and her two daughters.  You terrify your family when you wake up floating two metres above your bed. An exorcist tells them he\'s cured you, but the demon doesn\'t actually leave your body. It\'s learned to come out only when you are alone.Taking part in a prison experiment for extra credit, 11 university students are unable to explain the violence that overcame them, and the brutal death of the 12th student, citing demons over any psychological element.You\'re trying to put your house on the market. You\'ve lived there all your life, and you\'re the last surviving member of your family. Every estate agent you bring in to the house dies in a tragic accident days later.Gore Horror PromptsUni student Jamie was looking for some extra cash when he signed away two weeks of his summer vacation to take part in a simple clinical trial. But when he realises patients are having their organs harvested against their will, his experience turns into a brutal, bloody nightmare.  Someone in your neighbourhood has been committing grisly acts of violence on people at night. You set up a camera to investigate and catch an exact replica of yourself in the act. A well-intentioned break-in turns nasty for a group of friends who become trapped in a ‘chalet of death’ as the stunning vacation home turns into a gruesome automated killing machine at night. You take a summer job at an amusement park. When covering for a coworker on the rollercoaster booth one night, body parts start flying off the ride. You stop the train and find that all the passengers are long-dead corpses.Monster Horror PromptsNight-time brings terror for caring but agoraphobic cat lady as her six beloved pets transform into flesh-hungry demons as soon as it’s dark out. You’ve seen The Quiet Place and Birdbox, but what if the monstrous entity who invaded Earth destroyed humanity through touch? Each ‘spore’ is as big as a city, growing bigger each time it absorbs a victim. A pack of survivors must spread out if they want to make it through an ever-narrowing world in order to find, and destroy, the epicentre.Susie is a wedding photographer whose camera starts to reveal monsters unseen to the eye that prey on the love of newlyweds. When Susie’s clients start to disappear from their honeymoons, she is the only person who knows what\'s really happening to them.  You\'re a teacher chaperoning swimming lessons at your school. You inspected the pool yourself, but when the kids get in you see an enormous, invisible creature come to life. The first drowning is ruled as accidental, and to your horror, the lessons continue.Paranormal Horror PromptsCollege student Josh is tapped as a pledge for an ultra-secret society via coded messages, which are unbeknownst to him left by the ghosts of past members who each met gruesome ends. The final test forces him into an abandoned storage facility where he must carry out increasingly punishing tasks on other pledges.A close relative who died before you were born is standing in the upstairs window of the house across the street. You have no doubt it\'s them. When you work up the courage to break in to the neighbour\'s house and confront them, you turn to see the person you came to find now visible in the window of your own house.The local sheriff’s night turns hellish when the man he locked up uses his telekinesis to lethally booby trap the station. A mother of three does all she can to protect her family from imminent doom when she begins having visions of their collective deaths.You\'re out walking the dog one afternoon when you find yourself caught in a physical endless loop in the woods. You feel yourself losing time but you can\'t find a way out.Post-Apocalyptic Horror PromptsHumanity took to the sea to survive the rising sea levels caused by climate change, but now their ocean rigs are massively overcrowded, resource-poor, and steeped in disease. A deadly class struggle breaks out on one of the stations. A wayward AI has slowly infected all computers and devices, subtly turning humans against each other. Now living in a culture of suspicion and distrust running on the currency of violence, nomadic young Kit refuses to kill to survive. You\'ve grown up as the next generation of the most wealthy and successful humans who survived the end of the world. Your world unravels when you realise that those raising you have in fact been the robot overlords who destroyed humanity. They copied the skins of those they found locked in an emergency bunker and started to artificially grow humans as pets and slaves.Trapped inside a small cabin by her phobia of the rain, one of the last surviving human women on earth tries to survive the night when a horde of those infected with the plague (that wiped out most of the human race) track her down hungry for blood.Psychological Horror PromptsAfter a tragic accident on his 21st birthday, Peter gets back in touch with his estranged father via email. He flies 6000 miles to stay with him, but when he arrives he\'s pulled into a deadly catfishing game carried out by a wolf in sheep’s clothing.You wake up in your childhood bed, look down at yourself, and find that you\'re 12 again. You can\'t see yourself in the mirror, or in photos, but everyone else can see you. You\'re convinced you\'re going to disappear altogether. Suspecting his wife of infidelity, Ben hires a private investigator to catch her in the act. When she disappears without her lover, Ben begins to suspect the man he hired had something to do with it. You work the graveyard shift at a 24 hour on-campus library. While snooping around you come across a handwritten book that was started three decades ago. It contains a record of all the accidents and atrocities that have happened at the school since then. A week later, a girl falls off the roof and dies. During your next shift, you see a beloved professor writing in the book. You start to doubt everything when the death is ruled an accident.Religious/Folk Beliefs Horror PromptsSummer is excited to be spending her semester abroad, until she witnesses some locals performing a horrifying ritual on her fellow traveller.Your parents reveal a horrid secret to you on your 18th birthday. Your idyllic lifestyle in a small, isolated community will come to an end if you don\'t start participating in the cult\'s obscene rituals. If you refuse, you\'ll be sacrificed against your will for the cause. Born into a futuristic fringe community that abhors physical contact, a young woman’s attempts to break free are met with the harshest repercussions.  Slasher Horror PromptsCallie is delighted to be driving to college in her graduation gift – a brand new electric Mercedes – when an EMP attack leaves her stranded by the side of the road. There’s nothing but forest around for miles, until a lumberjack with a dark past pulls up beside her.  Ten years after you said goodbye to your imaginary friend, you see their face on the evening news next to the headline \'The Redfield Ripper\'s Recent Attacks\'.An insane chef renting a cabin in the woods sharpens up their knife skills on whoever is unlucky enough to disturb them.Vampire Horror PromptsCal is a postman resigned to a boring new route in a rural valley when he comes across three beautiful sisters living alone in a big house. He finds himself there almost every day hauling curious packages. A bout of bad weather knocks a tree down on the only road in, and a few days later, Cal is greeted with a terrifying scenario at the front door.  For months, your dog keeps waking you up at the same time every night. He barks at the window. When you look out onto the street, you see the same stranger watching you. The stranger can\'t be recorded, and nobody believes you when you tell them. One night, thinking yourself delirious, you invite him in. Told from the POV of the youngest sibling of an ancient coven of vampires, Clara and her family are ‘monsters’ living their lives in fear of a powerful new hunter who has trapped them in a small town and is threatening to pick them off one by one.Witchcraft Horror PromptsDown on her luck librarian Eliza idolises famous American movie star Marsha Green. When she comes across an ancient tome under some rotten floorboards and begins to meddle with unknown forces, she sets events in motion which alter Marsha’s life forever.You win the lottery. But every time you spend some of the money, no matter what you use it for, bad things happen. You go back to where you found the lucky ticket, pinned to a tree, and it\'s now covered in unfamiliar symbols. A revolutionary new computer game downloads itself onto the laptops of a group of 11-year-olds. After playing all night, they return to school to find their in-game actions inflicted on their classmates. Suspecting their strict teacher to be behind it, the kids must figure out how to undo her spell and reverse the damage they have done. You\'re an overbearing mother who wishes she could give her daughter the perfect life. You do more harm than good with your cosmetic spells and emotional enchantments, nearly destroying the life of your sixteen year old, who eventually exacts her revenge in equal measure. Working late one night, an exec finds himself unable to leave his bewitched office chair as a scorned investor instructs him to perform humiliating acts in front of his webcam as penance.Zombie Horror PromptsA teenage girl goes to an illicit gathering in the woods one night and meets a boy. Their encounter ends badly. She wakes up to find teeth and nail marks, and realises she is a little less alive than she was the day before.  You dreamt of the zombie pandemic as a child. You dedicated your life to preparing an antidote, waiting for the outbreak so you could develop a cure. You are shunned from the scientific community for your \'fringe beliefs\'. At the first signs of sickness in your loved ones, you kidnap them and take them to an underground research facility where you push yourself to your limits and make dire choices in anticipation of saving the human race. Years after her best friend is murdered, detective Alana’s latest case leads her to a mansion overrun by a horde of zombies led by a hauntingly familiar face.You\'ve never questioned your landlord\'s odd behaviour, desperate as you were for cheap rent. But when the fuse blows and no one is around to fix it, you uncover a nasty truth in the basement\'s freezer. It\'s overflowing with brains! You\'re a doctor volunteering in the latest wave of deadly outbreaks across Europe. When you\'re morally unable to kill patient zero in the early stages of a new unknown strain, you must live with unleashing the zombie virus across the world\'s population.50 Places to Find Inspiration for your Horror StoryThe setting of a horror story is everything - but not all scary novels have to take place in a scary place (in fact, sometimes the most mundane of places can be given a horrifying twist by adding a bit of the unknown). When looking for inspiration, it really helps to physically go to a place, or research old relics, to help kick-start your imagination. Take a look at our 50 places that may inspire your next creepy tale. In fact, see if you can think of a horror book or movie set in some of these places (we certainly can!).An empty schoolA graveyardLook at old paintingsGo through old photo albumsAn empty houseThe basementThe atticA toy store after closing timeVisit an old libraryA museumAn old lady\'s house that hasn\'t changed in decadesA scrapyardThe dessertThe ocean (the deeper, the scarier)A secluded islandThe forrest on a misty dayA snowy tundraA corn field A zooA shopping mallAn abandoned...well...anythingA hospitalPrisonA locked roomA hotelA log cabinA swelteringly hot daySuburbia...but differentA run-down urban streetA room full of puppetsBackstage of the theatreEmpty corridors leading nowhereA morgueA rubbish dumpAn empty road in the rainThe top of a mountainAncient ruinsThe inside of a churchA fairground after closing hoursA circusA caveBeneath the streets of a big cityA metro station/the tubeAn airportThe kitchens of a hotel or restaurantA factoryAn old stone quarryOvergrown railway lineA bookshopA boat50 Horror Story Characters to Inspire youSometimes, the most simplest of storylines with the most mundane of setting, can be utterly horrifying of you add one very complicated character. Of course you can use monsters and fantastical characters you have created, but often the best effect is mixing an everyday character with a setting where they belong; for instance a clown hiding inside a car at an empty scrapyard, or a little old lady, bony and bent double, in the middle of the jungle. And remember - these characters can be the good gifs, the bad guys, or maybe a mix of both!ClownLittle old ladyTroubled teenagerA person with no eyesPolice officerNurseWoman with dramatically applied make-upLumberjackWriterGangsterSex worker or pimpSomeone with blades for fingersBaby in a cribToddler that doesn\'t speakGirl in bedclothes with hair that covers her faceA character that belongs in another timeScarecrowAnimal that can talkPerson with wings for armsA very normal looking mother. A bit too normal.RobotSomeone who is meant to be deadThiefZoo keeperChefLibrarianTeacherA goody-two-shoes childCowboyAirline pilotCaptain of a shipFirefighterScientist (everyone loves a mad scientist)A single dadA mother with more kids than she can handleFarmerWaitressSewage workerLion tamerBuilder working on an new houseArcheologistSecurity guardTraffic warden/meter maidArtistSomeone with wheels for feetJudgePrison wardenDoor to door salespersonShy secretaryNun or priestWriting Horror Doesn\'t Have To Be HardWe hope our list of writing prompts for horror, along with settings and characters, has sparked your imagination! If not, here\'s how to take our horror ideas to the next level:Found a horror story prompt you like but unsure of where to take it next? Let\'s take #8 from the top list, for example, and add a few interesting characters from our list and choose a setting or two. Then start to build an information bank on your protagonist from there. At this point focus on the character, not the plot - because often one thing can lead to another. The Prompt: You\'re a troubled teen who terrifies your family when you wake up floating two metres above your bed. You just moved into an old house in a quiet, creepy suburban street. An exorcist tells your family he has cured you, but the demon doesn\'t actually leave your body, and learns to come out only when you are alone.You\'re still a teenager, living at home. Your name is Jackson, but you go by Jax. You\'re a second generation immigrant and you speak Greek at home with your family. Your father named you after his favourite American baseball player. You have dark hair, dark eyes, and when you would steal your grandmother\'s baklavas off the kitchen counter she would say she could see the devil in your face. You spend the weekends riding the coastal roads on motorbikes with your friends, doing your best to stay out the way of your spoiled little sister and your overworked father. You\'re closest to your YaYa but too afraid to tell her where you spend most of your time. Moving house unsettled you and took away everything you ever loved.Or, why not map out a rough plot first? The inciting incident for this prompt could be: You\'ve snuck back into your room after a long night out with your friends. You left the window open. Four hours after you collapsed onto your bed in your clothes, you wake with a start to find yourself hovering inexplicably in the air. Your body is locked into position. You spend a panicked hour trying to wriggle free of its grip, but you can feel another presence inside your own body, forcing you down. You\'re going to be late for your new school, your sister is turning the doorknob and your father is yelling for you. Your feet frame the pure terror in the three faces at the door as your eyes strain to see them. Your grandmother recovers the quickest, stuffing her komboskini into your frozen fist and running out of the room to phone her priest. Whether you start your horror story with just a vibe, a small seed of an idea, a great setting, character, or a full plot - it doesn\'t matter. A great story can start anywhere, you just have to make sure that (like any scary monster) you keep feeding it and watch it grow bigger and more horrifying every day!

Creative Writing Prompts And Ideas To Inspire Your Fantasy WritingWriting fantasy stories can be a lot of fun, but where do you find inspiration when it feels like everything has already been done before?N J Simmonds (RONA shortlisted fantasy author and Jericho Writer’s Head of Community & Editorial Commissions) shares her 140 fantasy book ideas and writing prompts to help get your creativity going and transport you to another world.These story prompts are divided into 7 different fantasy categories, with 20 suggestions for each: Historical Fantasy prompts MG Fantasy prompts YA Fantasy prompts Fairy-tale retelling inspiration Paranormal Fantasy ideas Magical Realism prompts High Fantasy ideas  And don’t forget, these are all just starting points, so feel free to add to these ideas or twist them up. Better yet why not pick two or three creative writing ideas and mix them together? See what crazy story you can come up with by combining some of the most dissimilar concepts and creating a plot from them. Are you ready? Hold on tight, it’s time to see where my fantastical writing prompts are about to take you and your writing... 1. Historical Fantasy PromptsRe-writing history can be fun (especially if you mix it up with a little magic and monsters!). So whether your book is a time-slip novel, your character is thrown back in time, or you’re imagining history completely differently just for the hell of it – remember to have fun and don’t hold back. Did you know Pride and Prejudice and Zombies was not only a successful book, but it was also made into a very entertaining film? There are no limits as to where you can take your ideas. Here are 20 to start you off.Henry The Eighth only pretended to kill and divorce his wives. The reality is that they weren’t human - and now they’re out for revenge. Jane Eyre (but vampires).We all know Egyptians didn’t build pyramids. But what if aliens did? And what if Hieroglyphics were their warning to us about what was to come? She’s a rich Victorian lady looking for a suitor – when she’s not prowling the streets at night looking for monsters. Amy has found the perfect man; the only problem is he’s just arrived from the year 1782. During a visit to a three-hundred-year-old stately home, Sam finds himself transported back in time and is mistaken for the master of the house. A distant relative of a Reiki healer was burned at the stake for being a witch. The two woman are linked by one very special family heirloom that is about to change everything. Emily and Hooper’s son keeps talking about his past lives. So many lives, all linked by one woman...his mother. Can his parents unravel the stories and stop the cycle? She can’t die and for two hundred years she’s been looking for the one other person the same as her. And then she finds him. The Great Gatsby (but zombies). Jack the Ripper was a werewolf. Only one woman knows how to make him human again, as long as he doesn’t find her first! Pick a famous battle in history, any battle, then add magic. Macbeth, except the entire story is from the point of view of the three witches. She’s just about to say I Do to the love of her life when a storm destroys the church. When she rises from the rubble her husband is no longer there, just one very handsome Roman soldier. A history scholar believes the Nazis were using dark magic. When he comes across Winston Churchill’s diaries, he has all the proof he needs. Except dark magic never dies. The only reason Sir Francis Drake was able to circumnavigate the globe and bring back so much stolen treasure was because of the dragons. But nobody knows that...until now. He’s an Elizabethan ghost, she’s a modern-day Tinder and coffee addict. It will never work. Will it? She told her husband she didn’t want to build their new home over an old graveyard. Now every room belongs to a different time. In 1867 someone nearly caught the Loch Ness Monster and went on to shape history. This is his story.  Machu Pichu was built by magic. This is how it came to ruins. 2. MG Fantasy PromptsEvery child loves a magical story. Take a look at these fantasy prompts for children’s books and see if any of our ideas inspire your next Middle Grade novel. Writing fantasy kidlit didn’t do J K Rowling any harm, that’s for sure! Henry is scared to look under the bed, because he knows that’s where the monsters live. Then one day he looks and finds a portal to another world. Before he died, her Grandfather gives her a magical red stone. ‘Get this to Mannering,’ he says. ‘He will teach you how to use your powers.’ Those were his last words. What now?  No one believes Kimmy when she says that the new teacher is an alien - that is until Miss eats the class hamster!  Kate has never felt part of her family. Then one night she grows wings, and she realises exactly what she is.  Tommy’s not looking forward to spending the weekend at his creepy Aunt’s house, but then his Mum takes the wrong turn in the woods and they arrive at a very magical place!  Garden gnomes are not real – so why does Sally have a terrible issue keeping hers under control? What if a boy had tentacles instead of fingers?  Every time Kayleigh wishes for cakes and candy, her wishes come true. Until the day everything and everyone she touches turns to sweets.  The story of the monster in a child’s closet – from the point of view of the monster. Fairies have stolen Clara’s baby sister!  Tilly lives in a world full of darkness...then one day, a boy arrives. A boy made of sunshine! Saee can step inside every painting she draws. Then one day she gets trapped! Everyone in Noah’s family has a magical power...except for him.  Rosie loves her garden, but she had no idea of the magical creatures that lived there.  Imagine a world with no parents...just robots!  Strange objects keep appearing in Jeremy’s room. Then one day he discovers who’s been leaving them. Zara’s cat can talk, and she has something very important to tell her.  It’s Christmas, but Santa has been replaced by three children in a trenchcoat. And they aren’t very nice children!  Santa, the Easter Bunny and a Halloween ghost have all decided to swap jobs this year. This is not going to end well!   When Sofia eats broccoli, something very magical happens...3. YA Fantasy PromptsBeing a teenager is hard work, so is it any wonder so many of them choose to lose themselves in fantastical books? From books such asTo Kill a Kingdom and The Six of Crows, to Ready Player One and The Hunger Games - killer mermaids, fantastical worlds, and games that will kill you are all great fun when it comes to capturing the imagination of young adults. School is already tough as it is, but this school is even more of a challenge. Because in this school everyone but Toby is supernatural.  Two sisters move into an old house. One of the rooms won’t open. When they finally get inside, they’re transported to a different world. Tom is really good at chemistry and Dan will do anything for a dare. But when Tom dares Dan to drink the new potion he’s made, the last thing they expect to happen is THAT! Rashid has always been told to stay out of the basement, but one night he disobeys his parents. The room is empty except for one strange key in the middle of the floor – a key that is glowing.  Every 20 years all the teens of the kingdom are entered into a competition to become the next ruler. All they have to do is win a fight against a dragon...and not die. Tia’s dreams always come true. Literally. One night she starts dreaming about a very special boy. Now she just has to wait for him to enter her life. He can talk to animals, and she’s accidentally turned into one. The problem is, they both hate one another. They used to be the best of friends, until they discover who they were in a past life and what they did! Clare has a magical gift – she can bake emotions into cakes. Tomorrow is the school bake sale and things are about to get interesting. She’s a pirate, he’s a prince, and they both want the gold! People laugh at new girl Kit because she’s hairy, but what they don’t realise is that every full moon she turns into a werewolf. People better start behaving! Giant spiders live in the trees, scaly dragons live in the ocean, and sharks can fly. In this world nowhere is safe...but it’s this world Tariq has to cross to save his sister. Two warring families but only one kingdom. And to make things worse, both heirs to the throne have run away together. Romeo and Juliet – but in space. Teens hackers get more than they bargained for when they accidentally bring computer characters to life. Her best friend was murdered. Her best friend is now a ghost. Revenge has never been more fun! She made a big mistake and wishes to go back in time. On her birthday she does - but she didn’t expect to go THAT far back. When best friends swap bodies for a week, all hell breaks loose.Tim is in a coma. His family think he can’t hear them, but he can do more than that...he can float about and see what everyone is up to at all times. When he discovers a huge secret, he has to try and wake up before it’s too late! When Harry was seven, he kept a newt as a pet. Then it grew, and grew, and now (15 years later) he has a giant monster in his dad’s shed. Except the shed door is open…which means the monster has gone.  4. Fairy-Tale Retelling InspirationYou can’t go wrong with a classic fairy-tale, but you CAN make them more current and fun. Fairy-tale retellings are huge in the book world (especially in self-publishing and YA) – so play around with old ideas and make them as outrageous as you want.  Snow White stumbles upon a house where seven other people live. What they don’t know is that the girl they just took in is a serial killer.  The three bears are not happy. It’s time for them to visit Goldilocks house.   Rapunzel is stuck in the tower, but when she lets down her long hair for the prince she pulls him up to her instead. They’re both trapped. Now what?  Sleeping Beauty isn’t asleep, she’s dead. The prince just bought a blood-thirsty zombie back to life.  Cinderella doesn’t care about the ball, or the prince; she wants her father’s house back and she wants revenge! Tinkerbell loves Peter, Peter loves Wendy, but Wendy loves Tinkerbell. Someone\'s heart is going to get broken.  When Aladdin rubs the lamp it’s not a genie that comes out, it’s the last person he ever wanted to see!  Puss doesn’t like boots...he likes stilettos.  Ariel swaps her fin for legs. The only problem is that now the woman whose legs she has, has got her fin, and she needs Ariel’s help!  She kissed the frog but instead of the frog turning into a prince, it turned into a princess. Everyone has heard of Snow White and Little Red Riding Hood – but what about the Pink and Green Sisters?  Wendy kills Peter Pan and takes over Neverland.  Goldilocks and Snow White are professionals when it comes to breaking into people’s homes. But this time they’ve met their match!  Little Red Riding Hood, but from the point of view of the wolf...because it was her family who slaughtered everyone he ever cared about!  Hansel and Gretel...except the children are evil and the old lady has no idea what’s coming.Beauty and the Beat. When a provincial girl from a small town stays in a mansion with a grumpy famous DJ, she soon learns that she has lots to teach him about compassion, community, and love.   Jackie and the Bean Stalk. When Jackie climbs a giant plant in her garden she’s taken to another world. But this time she’s the giant!  The Emperor’s New Clothes. Except it’s British politics.  The Princess and the Peanut. The heir to the thrown has a peanut allergy. Who hid them in her bed and who killed her?  She’s kissed so many frogs she’s not only given up looking for her prince, but she now has a skin infection. Luckily, her sexy doctor has the perfect cure. 5. Paranormal FantasyParanormal fantasy generally involves monsters, ghosts, spooky happenings and, often, plenty of blood (think Twilight and The Picture of Dorian Grey), but that doesn’t mean it has to be scary or full of forbidden love and angst, it can also be humorous, fun and a little bit saucy. Check out these paranormal prompts and take your monsters to the next level.  Don is hesitant about moving to an old creepy house that’s meant to be full of Victorian ghosts. So imagine his surprise when he discovers his new house IS haunted, but by a family who died only 20 years ago. A family with a secret. She used to be a vampire until she was bitten by a werewolf. Now she’s completely out of control. She killed her boyfriend...and now his ghost is going to kill her right back. This tooth fairy needs your teeth (and doesn’t care if they’re still attached). Banshees protect themselves by screaming, but this one has lost her voice. What will she do now the bad guys are nearing? They’ve fallen in love but are unable to touch one another because they’re both ghosts. But what if they were to jump in the body of two people who are alive?  Zombies can’t run very fast – but robot zombies can! She doesn’t know she’s a witch until she accidentally puts everyone she cares about in mortal danger. Now she just needs to find the right spell to turn back time. He knows his boss isn’t human. Will he save the world...or join him? Her baby was playing in the park, then she crawled into a fairy ring and disappeared. Every day Rowan and Stan take a walk in the woods, until one day Stan walks away and returns with a different personality. She was recording something for work and left the voice recorder app running. When she plays it back, she’s shocked by what she hears. The children’s boarding school has a high fence. It’s not to protect the children from strangers, though, it’s to protect the public from them! His job is to collect nightmares and destroy them – but this time he’s decided to sell them to the highest bidder. Who is about to have their life ruined forever? She’s dead. No one can see her. Then one day a very special boy does. When Harriet’s Grandmother died she was gifted a ring, a ring that gives her the power to know when someone is lying. That’s when she discovers her entire life has been a lie – including her family, her friends, and her boyfriend! He hears voices. They tell him to do things. He says no. Then one day they start to control his body too. She’s a nurse working the night shift. But where have all the patients gone? He’s a security guard at an old shopping centre after hours. What the hell did he just see on the security camera?  Cate loves how her boyfriend leaves her messages in the mist of the mirror. The only problem is he’s been dead for a year. 6. Magical Realism/Adult Fantasy IdeasFantasy doesn’t have to take place in another world or be full of scary monsters. Sometimes everyday life can be sprinkled with magic. From Chocolat to The Ten Thousand Doors of January, strange goings on set against the backdrop of very normal places can be a lot of fun to write (and read). It’s always hard coming to terms with new powers, but Katie has a particularly difficult time when she discovers hers at her 60th surprise birthday party.  Clara wakes up one morning to find she has laid a large, pale blue egg overnight. The egg is warm and somehow eager, or expectant. She decides to keep it warm ...  The village was pretty and dated far back to Medieval times. The little village green had always had the same two stupid attractions: A wishing well and a large stone with a sword protruding. One moonlit night, Tom realises he can easily remove the sword. Alice used to have an imaginary friend as a child. And now he’s back.  Words have power, but Rayanne had no idea just how much power her writing had over others.  He first saw her when he was 18 and fell madly in love. Then he saw the same woman when he was 22, and now again at 30. Who is she, and why does she never age?  “There’s one thing you need to know,” her mother always used to say. “If you try really hard, you can get people to do whatever you want them to. You will know when your magic comes in.” And she was right.  As a child, as soon as the wind changed direction, they had to move on to the next place. She used to think her parents were restless travellers – then she discovered the real reason. These boots were made for walking...and now he can’t stop.  They say bad pennies always keep coming back. But there’s something strange about this one. Her garden is full of flowers. Very special flowers. With each one she hands out, she’s changing the life of that lucky recipient.  Every window in the house opens up to a different view.She loves being a dressmaker, just be careful what emotions she’s stitching into the clothes she’s making you.  Ever since she was a little girl she loved to dance. Yet she had no idea she was the only one who could hear the music.  One for sorrow, two for joy...every Magpie is her toy.  ‘Sleep is for the lazy,’ her father used to say. ‘Real dreams live in the meadows during the witching hour.’  She’s woken up in a strange bed, in a strange house, with no memory of the night before. All she remembers is what the fortune teller told her. Her husband has been having an affair. Luckily she has the ability to see into the future, and it’s not panning out as she imagined it would.   She hears in colour, and she sees in taste. Life is very different for Molly Jones.  The story of a magical painting has been passed down her family for centuries. Then one day she finds a painting hidden in the walls of their family property. 7. High Fantasy And Epic Fantasy Writing PromptsHigh fantasy book ideas can be a lot trickier than your average fantasy inspiration because they involve in-depth world building and creating entire races of people out of your imagination. But you don’t have to stick to whatever worlds George R R Martin, Sarah J Mass, or J R R Tolkien created. Be inventive and have fun with it. After all, Terry Pratchett never held back from adding magic, humour and political justice to his Discworld books! Elves, Orcs and Wizards are meant to hate one another. But not these three. They have to keep their polyamorous love affair hidden from the rest of the kingdom.  Unicorns aren’t horses, they’re giraffes. Have you ever tried flying on a giraffe?  A spaceship crashes into an uninhabitable planet. Except it’s not empty and uninhabitable...everyone is hiding from something awful.  A Wizard put a spell on the land. Everything and everyone will die in one month if the chosen one doesn’t bring back a leaf from the Tree of Plenty. What a shame five people believe they’re the chosen one.  The Village of Imps is the lowliest of the land, until they discover they are the only ones who can keep the Trolls away. Three families. Two worlds. One throne.  It’s a race against time to cross the ocean and rescue the princess from the island. But the sea is full of dangers...most of which have more than eight legs.  In this world, the young are wise and the old are stupid. The only problem is the old are faster and stronger.  Two worlds connected by one mirror. If the mirror cracks, all hell will break loose.  Pirates and angels don’t normally mix. But then again, this isn’t a normal voyage. A magical crown, a key, and three sisters that will stop at nothing.  In a world of evil Elves and kind Trolls, only the Dwarfs know how to bring peace to their land. At the grand feast of Dawn Day the King of Sentary declares his daughter is to wed a prince. The only problem is his daughter has just been turned into a crow.  One spaceship, two planets, and three choices. What a shame he made the wrong one.  Star Wars – but at sea. She loved reading her book about a magical land...until one day she fell into its pages and couldn’t get out.  When her brother goes missing, she must cross the four Etheral Kingdoms with just a talking Ferret by her side.  Life is hard for Sal because he lives in a land of giants, monsters and deadly creatures - and he’s just a slug.  In a land of superheroes, the one who has no powers is the special one.  She rides a dragon, he rides a unicorn, and they’re both racing to be the first to reach the crest of Mount Orndorf and find the golden chalice. The only thing they must not do is fall in love. Fantasy Inspiration Is EverywhereI hope you enjoyed dipping into these fantasy writing prompts and seeing what ideas they sparked in your fantasy writing. Why not take a look at our article on how to write fantasy characters for more ideas? Other ways you can find fantasy inspiration include: Looking at old paintings and photos. Walking in nature. Looking at nature’s real beasts.  Studying myths and legends. Watching fantasy and sci-fi films and giving those stories your own unique twist. And remember, there’s no such thing as an original idea. Some of these concepts may have already been written, one way or another; but with a setting tweak, different characters, new motivations, and your own unique voice you can create a fantastical story that is brand new and will be enjoyed by your readers. 

It’s no secret that coming up with a great book title can make or break a book. But how can you choose the best book title for your work?  This guide will not only show you how to write a book title, but it will also advise you on how to come up with your own title ideas for your next project in any genre.  Why Are Book Titles Important?Have you ever bought a book purely because of its title? I know I have. And plenty of other readers have, too.  Books such as A Good Girl’s Guide to Murder by Holly Jackson have become instant bestsellers thanks to their clever, intriguing titles. In the case of this example, the title not only tells a reader what genre it is (crime), but also sets up a series of questions that the reader will want to read on to answer. How can a ‘good’ girl be involved in a murder?  Word of mouth equates for a huge proportion of books that have achieved a runaway success. If a title is memorable, it’s more likely to stick in the forefront of a reader’s mind when they’re speaking to friends. To use our previous example, A Good Girl’s Guide to Murder, uses alliteration to great effect, and uses many of the same words in subsequent titles in the series to create a clear and memorable link.  On the other hand, a bad title can be forgettable. Take Stranger from Within for example – have you heard of that? Chances are you haven’t as this title was later changed to Lord of the Flies (William Golding), which is far more intriguing and memorable. So – what is it that makes a book title great? What Makes A Good Book Title?Authors with an established track record can afford to take risks with their book titles. But for new and emerging authors, it’s worth sticking to these tried-and-tested rules:  * Be Unique That’s not to say that you can’t call your book a name shared by something else, but it will help your title be easier to find by readers if it’s unique.  * Be Memorable  As readers, we can come across hundreds of books every day. Be clever with your use of words to create a title that will stick in a reader’s mind.  * Spark Interest You can do this by generating a question for the reader, or by clearly signposting what the book is about from the title. For example, The Man who Died Twice by Richard Osman.  * Grab AttentionIn a bookshop or online, this is mainly the job of the cover. But what about when the book is being spoken about in a conversation, or on the radio? Choose a book title with impact, for example, Tall Bones by Anna Bailey.  These rules sound simple, but they can be difficult to get right. There are lots of other factors that might turn a reader off, even if your title conforms to all these rules.  How Long Should Your Title Be?One of the things that concern a writer when choosing the title of their book is its length.  How Does It Look On The Cover? Titles must be long enough to be clear, unique and intriguing, but short enough to be memorable (and fit on the cover nicely). Most popular book titles are four words long, but a surprising 10% of the Amazon top 100 at the time of writing include titles over eighteen words.  Of course, this will vary according to genre (subject-led non-fiction can stand a longer, more specific title), and also Amazon metadata (including subtitles with keywords can help a book become more searchable). But as a general rule of thumb, you’ll want to be keeping your title in that magic space between too short, and too long.  Language & Clarity You should also pay close attention to the use of language in your title. With such a small space to pack an impact, every word you choose has to be pulling its weight.  To help, try to avoid jargon and technical terms in your title that might be hard for the average reader to remember. You should aim to provoke an emotional response and provide clarity, whilst trying to avoid making your reader angry or hurt with the use of derogatory language.   Relevance It’s also useful to keep the title themed around your book, so that readers can easily associate it with your story long after reading. In the same way, using common genre structures found in the genre you’re writing can help with this.  For example, thriller titles tend to be short, using emotive language: The Silent Patient, Alex Michaelides. Romantic comedies can stand to be a little longer and can often include a name, such as Lucy in the Sky by Paige Toon.  So how can you use these tips to come up with your own book title? How To Come Up With Book Title IdeasBefore sitting down to come up with your own title, I recommend making a note of the advice above, so you can keep it in mind. In particular, it’s important that your ideas maintain clarity, relevance, and stay within your genre.  To help with this, the first step to creating a book title is to look at books similar to yours. Make a note of:  The number of words in the title. Emotive words (what emotions do they conjure?)  Any questions they pose (do they make you want to read on to answer them?)  Anything else interesting about the title, such as the use of character names.  This step is important, as you’ll want to ensure your title communicates what your reader is to expect from your book, as well as being unique.  Get brainstorming! I like brainstorming on paper or on a whiteboard, but you can do it anywhere, at any time. For each of the following headings, spend fifteen to twenty minutes thinking of possible titles relating to your specific book:  Who the book is aboutThis can be a name, or a description of the character in some way. For example, The Girl of Ink and Stars by Kiran Millwood Hargrave.  What the book is aboutThink carefully about the themes and motifs you’ve used in your book. Looking at your synopsis can be a useful reminder here. For example, Normal People by Sally Rooney.  Where the story takes placeThis can be interior settings, as well as exterior. Where in this world or the next is the book set? If there’s a journey, can this be used? For example, The Salt Path by Raynor Winn.  When the story takes placeThink dates, as well as seasons, days and time. You can also use important past or future events as a title. For example, A Week in December, Sebastian Faulks.  Research When you have some keywords, try mixing them around to create something unique and interesting. Alliteration can be your friend here, as we saw in A Good Girl’s Guide to Murder. You can also employ one of the following devices with your keywords to make it unique:  Find a synonymIs there another, lesser-used word that packs a bigger punch?  Subvert expectationsTwist the meaning of your phrase to assign a new meaning to it, for example, Everything I Never Told You, by Celeste Ng.   Tell a mini-storyFind the hook of your story and tell it in a small space, such as The House with Chicken Legs, by Sophie Anderson. Focus on your USP (Unique Selling Point)Is there something about your story that sets it apart from the rest? Perhaps it’s that it’s a true story, or perhaps something as simple as a character name. If it’s good, use it in your title! For example, Aristotle and Dante Discover the Secrets of the Universe.   Try other titles on for sizeIs there a title you particularly like? Try mixing that with some of the words you’ve come up with – sometimes this can help you stumble across your own unique version, which contains all the elements of a title you love.  Look at what’s trendingIt’s no coincidence that, like with any product, there are trends with book titles. You may have noticed in certain genres, that once a book has had great success, other similar titles start to pop up. How many thrillers can you name with the word ‘Girl’ in the title? How many fantasy YA books do you know with the word ‘wicked’ in the title, or using the standard ‘A _ of _ and _’ combination?  Pick out phrases  Another trick is to read through your book, specifically looking for phrases that might make a good title. Some of my favourite book titles are ones that are almost small poems in themselves, such as On Earth We’re Briefly Gorgeous by Ocean Vuong. Reading your manuscript on an e-reader can sometimes help you spot these.  If you’re still finding it difficult, then try an automatic word or title generator. Then, it’s just the simple matter of choosing the right title for you… How To Choose A Book TitleThe best book title for your book will be one that conforms to all the rules we’ve outlined here, including that it’s clear, memorable, relevant, and unique. It will also be the one you feel most excited about and are most likely to remember yourself.  Try one or two on for size in conversation. Does it roll off the tongue? What was the reaction? You may also find that other people can be useful – ask friends who have read the book for their thoughts and include other people in your process. In particular, agents and editors often bring their own thoughts to a title before publication, so be prepared to change it for the market if you’re planning on traditional publishing.  For those who are self-publishing, using social media or reader focus groups can be a great way of testing a title before going forward with it. You may even find that the most popular title is the one you’d least expect.  Whatever title you come up with, your primary goal is to make readers want to read your book and remember it long after they’ve finished reading. Spend time studying book titles, mind-mapping ideas relevant to your themes and then choose the title that you feel most excited by.  For more information on other important book metadata, including book covers, choosing your author name, and that all-important pitch, take a look at our vast library of free articles on our blog.More than ready to get the ball rolling with agents, but just need a little push? Or perhaps you’ve had a few rejections but aren’t sure why? Our Agent Submission Pack Review gives you detailed professional advice on how to perfect your submission and increase your chances of securing an agent.

Your character is sprinting down a dark tunnel, footsteps crashing against the hard stone and echoing all around. The tunnel opens wide, a ledge rapidly approaches – this is the lair! Your character slides to a stop and sees… what? Something awe-inspiring? Something terrifying? Perhaps both? All readers, and indeed writers, love nothing more than seeing fresh and exciting fantasy beasts and mythical beings in their books. The presence of unique, creative monsters and imaginary races emboldens any fantasy, sci-fi, gothic or horror story. Their presence brings a book’s setting to life, inspiring questions of how they came to be, and how the inhabitants of that world interact with them - or not.  Imaginary literary creatures also massively inform a story’s plot and even enhance character, whilst being wonderful vehicles for symbolism and allegory. So, as a writer, how do you get your monster right?  What Are Fantasy Creatures?Fantasy creatures are nothing new. Monsters made from our imagination have been around as long as the humans who created them. When it comes to inspiration, the greatest place to start is in the past and studying the legends that have inspired many an iconic story and influenced human civilisations. Every country in the world has its own myths and legends, and in turn, its own fantastical beasts. Take the Twelve Labours of Heracles from Ancient Greece. They are rife with legendary beasts based on very real creatures from our world, such as the Nemean Lion. What makes the Nemean Lion mythical is the small but important detail that its golden fur is impenetrable, so it could not be killed by conventional means. This elevates the labour of the hero by heightening the stakes and presenting a unique challenge for them to overcome. Another of the monsters, the Hydra, has inspired many terrifying literary monsters. A highly venomous snake-like beast with many heads, it seems imposing enough upon first glance, but when we realise that its heads grow back after being cut off – then it becomes a true terror (anyone spot the similarities between the Hydra and Hagrid’s three-headed dog, Fluffy, in the Harry Potter series?). Moving away from Greece, we find all sorts of mythical creatures in the infamous Chinese tale Journey to the West. Not only are there dragons, demon kings and ogres, but also a jade rabbit spirit, great white turtle and, above all, the protagonist is the cheeky, troublemaking Monkey King, Sun Wukong. Norse mythology has frost giants, a giant wolf, undead Draugar, dwarves, elves and even the Mare – a monster that would give people bad dreams by sitting on them in their sleep (I wonder which Norseman’s sleep paralysis conjured that up!).  In Norse myth especially, the design of the creatures was directly used to inform their society and beliefs. Back then townsfolk would wear metal rings around their arms depicting Jormungandr, the great snake that represented the circle of life by biting its own tail. They would swear oaths to their gods, believing they would be protected. In those times, the creatures they created weren’t myths, but real monsters and deities that delivered cautionary tales. There are mythical creatures in every culture – and all of them are exceptional in their own way. They are often reminiscent of terrifying or intriguing creatures in our real-world or derived from their mythical precursors. And almost all of these fantastical creatures have wound their way into unforgettable fantasy settings, both in our much-loved classics and modern storytelling. But do these monsters make a difference? In short, yes. Benefits Of Using Unique Fantasy Creatures In Your NovelAs we excitedly plunge into the vibrant ocean of fantasy creatures, we should take a step back and try to understand what they bring to our stories. Often a character’s interaction with a fantasy creature will form part of the plot. If we take the earlier example of the Hydra and Nemean Lion, Heracles daubs his arrows in the Hydra’s venomous blood and wears the impenetrable hide of the lion as a cloak. As you can imagine, both concepts have been used in numerous fantasy stories since. A great deal of exploration of the human soul can be done with monster stories too. In Mary Shelley’s Frankenstein, we get an insight into love, abandonment and discrimination through the lens of a horrifying creature. The monster, as it’s known in the tale, receives its own chapters demonstrating how it thinks and feels. Shelley’s work was a remarkable forerunner for stories using fantasy creatures as a lens of symbolism and theme, such as Octavia E. Butler’s Fledgling. The existence of a unique fantasy creature, in turn, makes your story unique too. This extends to mythical races such as elves and orcs. Take Lord of the Rings as an example. Would Tolkien’s famous world have had half the cultural impact were it only filled with squabbling human races? Even in a more grounded fantasy setting, such as George R. R. Martin’s A Song of Ice and Fire (the series that conjured A Game of Thrones) - if we were to remove Targaryen Dragons and White Walkers, would it be the same? So many mythical creatures have become iconic to the point where their world-building has become canon. Vampires, werewolves, dragons, krakens, and probably a dozen more you’re cursing me for not mentioning. The truth of the matter is that what makes a fantasy tale stand above the crowd is the strength of its creatures, and how they are used. An unforgettable fantasy world is built of many bricks, but it is the consistency and uniqueness of its creatures that glues those bricks together. So how do we bring originality to our own creatures?  How To Create Unique Fantasy CreaturesAs all writers know, creating something truly unique is a near-impossible task. But don’t be disheartened, as it doesn’t take much to mould something that already exists into something new and gruesome.  Let’s take a look at six ways of doing that: 1. Combine More Than One Magical Element Let us take the story of the Nemean Lion mentioned earlier. The story uses a very real creature (a lion) but adds the small tweak of its golden fur being impenetrable.  We can do the same thing. What if we take a boar, but say its tusks can conjure lightning? If we want whimsy, what if a character has to catch a quite ordinary-looking mouse, but this mouse weighs as much as an elephant? In a similar vein, many mythical creatures are mashups of two real creatures. The Chimera was depicted as a fire-breathing lion, with the head of a goat protruding from its back, and a venomous snake as its tail. What if we gave the horn of a rhino to a horse? What if we gave sharks wings? You get the picture…2. Make Them Human The term ‘uncanny valley’ (the relationship between the human-like appearance of a robotic object and the emotional response it evokes) is a wonderful tool to use when trying to understand what makes something scary. Taking something into that uncanny valley – that halfway point between familiar and unnatural – plays on some of the deepest shared human fears. When a werewolf is turned by a full moon, we can’t help but remember who they were as a human. Vampires are so tantalising but unnerving because they can present themselves as humans, but they kill in such a gruesome way. Creatures like Pennywise from Stephen King’s IT tap into that uncanny valley all the time. As would a human who crawls like a spider, or a woman who glides instead of walks, or a child with buttons for eyes (thank you, Neil Gaiman).3. Give Your Monsters Motivation Or better yet, an origin story. Fantasy creatures and monsters are often the villains of a novel, so why not give them depth and complexity? It could be argued supervillains like The Joker, from Batman, or Thanos, from The Avengers, are monsters in their own rights.  Both have penetrated the modern zeitgeist thanks to their detailed backstory and purposeful (or anarchic) motivations. It’s often not enough to make your scary creature bad, if you give them a good enough reason it heightens the stakes and creates discomfort in your readers as they start to question their own morals (perhaps even the monster within themselves). 4. Give Them A HomeWhere does your monster live? In its own world? In ours? Or maybe both? Ask yourself what’s scarier, or a bigger challenge, for your characters. Trans-dimensional monsters are cropping up more and more often in books, TV and film, providing great inspiration for writers. In the Netflix show, Stranger Things, the Demogorgon monster moves between a rural 80s US town and a mouldy mirrored world known as the ‘Upside Down’. Having contrasting locations (much like foil characters) not only brings style to the story, but also provides parameters and boundaries for your creature. How the creature interacts with our own world will influence the plot, how it behaves, and ultimately how the hero will defeat it. 5. Ask Yourself If The Creature Is Even Needed (Or If You’re Just Having Fun)Is your creature simply another barrier in your hero’s quest? Are they an integral part of that world? Are they crucial to the plot? Perhaps they’re only there to deliver a message to your reader (or even character). Whatever their purpose, how and why you have created this fantastical being will change the attributes you give it and how/where it’s featured in your story. We all love a great monster, but a monster for a monster’s sake doesn’t make for a great story. In fact, it may do the opposite, and detract your reader so much from the main plot they stop caring about your hero altogether.6. Use Nature To Inspire YouAs the old adage goes, ‘fact can be scarier than fiction’. You don’t have to look far in the world of animals, plants and unusual habitats, to find inspiration. Mermaids have strong ties to manatees, vampires were inspired by bats, and even something as simple as Jaws, a shark that looks like a shark and acts like a shark but is just really big and really mean, was enough to make an entire generation scared of the water.  Fascinating creatures exist all over our natural world, especially in the depths of the ocean or in uninhabitable rainforests. So get searching and add some of nature’s wonders to your own monsters. Our Monster ChecklistOnce you have come up with your fantastical concept, take a look at our checklist to ensure your creature is consistent within your world and story. Here are some things to consider: What are its strengths and weaknesses? Vital in any potential confrontation with a creature, we must know what makes it a threat, what makes it special and what might bring it low. Your hero has to overcome it after all. What does it look like? Consider how many limbs it has, its facial structure, if it has skin or fur, its colouring and textures. A big one for me is eyes – missing eyes can be uncanny, beady eyes feels insectoid, large eyes feels cute (perhaps as a trap). How large is the creature?  A seemingly inane question, but an important one. If the world is filled with enormous titans, what is their food source? If there isn’t one, are they going extinct? Or, if a creature is tiny, how does it overcome larger foe? Does it exist in a swarm? How intelligent is the creature? In some stories dragons are devastating monsters that never speak a word and sleep on their treasure horde. In others, they talk and even participate in society. Has your creature learned to avoid mortal society? Or have they learned to infiltrate it…or rule it? How old is the creature? This works both for individual creatures and for a species. If a creature lives for millennia, how has it changed? What has it lived through? If a species has existed for only a few centuries, why? Did they have precursors they evolved from? Are they hunted? Particularly for dangerous creatures, are the societies around them large and advanced enough to undertake hunts to cull them? If yes, why has this particular creature survived? How does it interact with other creatures in the story? Is it adversarial to your protagonist but buddies with everyone else? Does it forge a bond with your protagonist only? Maybe it’s not a scary monster but a kind and helpful one? Name? With some fantastical creatures the name can come first, but it’s always important to consider why it has the name it does. Did it claim its own name, or did others give it the name? Does it have different names in different cultures?Fantasy GeneratorsIf you want a jumping-off point for creating a fantasy creature, don’t be afraid to use an online fantasy creatures generator. A few good ones include: For generating names, story concepts, plot obstacles – it has a little bit of everything! A direct fantast creatures generator. For generating ideas and briefs for creatures. For help with fantasy creatures names’. Another option for fantasy creatures\' names.But do remember, when using these generators, you don’t have to stick to the ideas they give you! Often the best way to use a fantasy creatures generator is to cherry-pick what you like and drop what you don’t. If you’re generating a name and like the suffix but not the main body of the word, keep the suffix and either come up with the rest yourself, or combine it with a body you like elsewhere in the generated list. Likewise with creature skills, weaknesses, looks and so on. ConclusionFantasy creatures have become truly iconic over the years. Having such a rich depth of reference points at our fingertips (from classic books and modern movies, to disturbing works of art and the internet) only makes our jobs as authors more fun.  Never has so much inspiration for such creatures been so accessible, across all cultures. And never before has such strong support existed for adventurous authors wanting to carve their own take on old monsters, as well as feature their own culture and legends into their own work.  So, when creating your fantastical monsters, remember that the sky is the limit. And for some truly horrifying creatures… there’s no limit at all as to how far you can go to make sure we never forget them.

Flashbacks can be extremely effective tools when it comes to telling your story. You may have read advice to avoid them if possible - yet good flashbacks can reveal backstory, and they can surprise and delight readers, while giving authors the freedom to tell story events out of chronological order. So why are some people lukewarm about them?  It’s all about technique. As with so many elements of writing, flashbacks can work brilliantly if used well, but can ruin your story when used incorrectly.  If you’re considering whether your book will benefit from one or many flashbacks, this guide will help you understand their uses and teach you how to use flashbacks effectively in your writing. Purpose Of A FlashbackAuthors don’t always want to show the reader the scenes in the order they happened. There can be many reasons we want to play with time: We don’t want to bombard a reader with detailed information too early – we want the reader to get hooked by the characters or situation first. We are holding back a key plot point for a twist, or the ‘shock factor’. We want to draw comparison between the past and the present – to show irony, or character growth.  There may be character backstory that only becomes relevant partway through the story – if shared too early, the reader won’t understand the relevance. We generally use flashbacks in literature, not to dwell on what happened in the past, but to provide insight into a character and their decision-making in the present.  For instance, a flashback helps a reader learn it’s because a character was bullied in high school that they are oversensitive to a throwaway comment now. Or that a character is reluctant to believe what her father is saying in the present, because we see from the past he has a history of lying to her.  Flashbacks are a way of illustrating this link between past and present, but the best flashbacks do more than this. They work on multiple levels, enhancing knowledge of plot and character. Flashback Examples In FictionMany novels flip between past and present timelines, such as The House at Riverton by Kate Morton or The Vanishing Act of Esme Lennox by Maggie O’Farrell in contemporary literature, or The Good Soldier by Ford Madox Ford and Heart of Darkness by Joseph Conrad in classic fiction. See how Conrad uses this line of dialogue to trigger a reminiscence in Heart of Darkness:  “We looked on, waiting patiently—there was nothing else to do till the end of the flood; but it was only after a long silence, when he said, in a hesitating voice, “I suppose you fellows remember I did once turn fresh-water sailor for a bit,” that we knew we were fated, before the ebb began to run, to hear about one of Marlow’s inconclusive experiences.”  In My Sister, The Serial Killer by Oyinkan Braithwaite we see flashback being used in a seamless way:  “According to family lore, the first time I laid eyes on Ayoola I thought she was a doll.”  The description that follows, of Ayoola as an innocent baby, adds a layer of irony to Ayoola’s willingness to murder in the present. How To Write A Flashback In FictionThe key to managing a flashback technically well is to ensure the reader always knows ‘where’ and ‘when’ they are in a story, by giving the reader timing prompts, to clearly differentiate past and present. There are several ways you can do this, and they can be used alone, or in conjunction with each other: 1. Using HeadersThere are many novels which tell stories over two timelines, often in alternating chapters headed something like ‘Then’ and ‘Now’, to orientate the reader. These ‘Then’ chapters operate as a series of flashbacks. Novels which flashback to more than one timeline can use different headers like ‘2008’ or ‘Earlier That Day’. This is the most straightforward way of writing flashbacks – it’s neat and tidy, and the headings make it clear for the reader where they are. This can be used in conjunction with:2. Changing TenseMany novels use the technique of changing tenses – with ‘Now’ sections told in the present tense and ‘Then’ sections told in past tense.  In Mhairi McFarlane’s Don’t you Forget About Me, one chapter’s ‘Now’ section ends with:  “It’s also the first time I’d been near a funeral since my dad’s, twelve years ago.”  There is then a line space before:  “When I was fifteen or so, my mum pinned the order of service for her cousin Janet, a physiotherapist in Swansea, to the corkboard in the kitchen.”  In the final line of the previous section “it’s” is in the present tense. There’s a line space, then “pinned” is past tense.  This is a simple technique for stories told in the present tense – but changing tenses can also be used for stories told in the past tense. Early Morning Riser by Katherine Heiny uses ‘had\'s – past present tense – to show the story is moving into flashback: “Jane’s memory of the night of the accident was patchy. She remembered Luke driving her to the hospital in Petoskey to see her mother in the ER. The sight of her mother sitting on a gurney with her left arm in a sling, her large leonine face looking so slack and old, had caused Jane to burst into tears. Her mother had turned to her and held out her good hand. “Don’t cry, dearheart,’ she said. “I’m okay.”” One tip many writers who write in past tense use for flashbacks is to place a past present tense description – he had jumped, he had eaten – in the first and last lines of a flashback, to indicate the section starting and finishing. They then write the rest of the section in plain past tense, the same as the rest of the novel. This technique is invisible to a general reader – but it works! 3. Framing TechniquesYour character could see a photograph or hear specific line of dialogue to prompt reminiscing, and then the reader is taken to a flashback scene. A timely doorbell or someone entering the room can break the spell and trigger your narrator back to the present.  In the example from Mhairi McFarlane’s, Don’t Forget About Me, McFarlane ends this flashback section with “I return to these memories reluctantly. Then I push them away again. It’s like forcing too many things into a cupboard and using the door to keep them jammed in.”  This is a framing technique, showing the character has ended their reminiscence.Why Have I Read Advice Saying Authors Shouldn’t Use Flashbacks?There is a lot of writing advice out there, and you can find people arguing for and against pretty much anything! And flashbacks, in particular, get a bad rap.  As with most elements of writing, there is no absolute right or wrong – just personal preferences, and ways of doing things effectively, or ineffectively.  The main reason some people dissuade new authors from using flashbacks is that a flashback is always backstory. If not earned and relevant, it can slow story pace – so we need to use caution. We want our readers to be desperate to turn the page to find out what happens next – yet we are delaying their gratification by moving out of the present to a completely different scene. No reader likes to be pushed away from the action. This is why it’s so important to ensure your flashback is done well and has earned its place in the text.  Questions To Ask Yourself When Deciding Whether To Use A FlashbackIs your flashback relevant and directly related to the main plot? Does the reader need to see this scene? Can the scene be cut without the story losing coherence?  Could you share this information easily another way – in a line of dialogue, for example?  Is this the right place for a flashback? Are your readers invested in your story enough at this point to be willing to take a change of pace? Have you earned the reader’s interest enough to start playing around with chronology? Is your flashback clear to follow? Is your reader able to clearly intuit where they are in the timeline of the story? Do you have too many flashbacks? Are you risking irritating the reader by repeatedly interrupting them, and not giving them enough forward momentum in the present? Is the flashback scene exciting in its own right? Does it contain internal or external conflict, as well as providing backstory?  Does your scene work on multiple levels? Does it advance character and plot and read well?  After All That, Are Flashbacks For You?They may be, and they may not. A lot of it comes down to the story you are trying to tell, and your preferences.  Some authors write for their whole careers without using a single flashback but, for those of us who want to bend story time for narrative purposes, they are a crucial tool. Flashbacks are powerful story elements, and sparingly and effectively used, they can really benefit your writing.  Good luck! 

Backstory is a brilliant tool when creating well-rounded characters. Read any writing guide and it will tell you the importance of creating three-dimensional characters, because readers want to know what makes a character tick.  The problem is, in our excitement to share our character’s backstory, we are often tempted to spill all of this out in our first chapter. It’s a common mistake, but too much backstory, too soon, will slow down your pace and draw the reader away from your plot. It’s like presenting your reader with a mouth-watering cake, but before you give them the fork, you explain the entire baking process when all they want to do is get stuck in.  So let’s take a closer look at the meaning of backstory and how by doing it right, your reader will be able to have their cake and eat it too.What Is A Backstory?In a nutshell, the backstory is everything that has happened to your character before the novel begins. This can be revealed by: Exposition – simply telling the reader about the past Flashbacks – where the reader is thrown back in time into the mind of the protagonist when the event occurred Reflection – where the character ‘thinks’ about the past while doing something else  Dialogue – when a conversation explains past events Sometimes, your protagonist doesn’t always know all of their backstory beforehand; some of the best novels reveal parts of a character’s backstory to the character, not just the reader. Backstory impacts everything in your novel; who your character is, where they come from, why they react the way they do and ultimately your plot. Think about your own backstory, and the events that shape the person you are. All of your own backstory will impact the decisions you make, your view of the world and your reactions to certain events. Knowing your characters as well as you know yourself, and transferring this quality, is what makes a good story. Give your characters authenticity and make their decisions realistic. The reader doesn’t need to know everything about them though, just as your friends and family don’t need to know everything about you. Steven King said: ‘The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting.’ How To Create A Character BackstoryNow we understand what a backstory is, let’s look at how to create a good backstory. There are many examples through literature that do this well, from The Great Gatsby to A Christmas Carol.  Something to also consider is how for actors, knowledge of backstory is imperative in order to represent the characters they are playing better, which is why it’s just as important for you as a writer to know your character’s motivation. After all, aren’t we all acting out our character in our heads?  A good example is the hugely successful Star Wars. In Star Wars we have Luke Skywalker. Mark Hamill portrays the character at the beginning as humble and bored with his life. He does this by portraying his impatience and by revealing his ambitious nature (just like his father, but he doesn’t know that yet!). It’s also a great way of seeing how effective it is to keep some backstory hidden from the characters as well as the viewers.  George Lucas would have known from inception that Luke was fathered by Anakin Skywalker who we then discover is the big baddie, Darth Vader. Imagine if this had all been blurted out in the first few scenes … there would have been a lot less excited kids in the cinema, that’s for sure!   With Luke’s discovery of this and his journey to becoming a Jedi, we see his character evolving as we discover more of his backstory. This is a really good way of seeing how effective a slow backstory reveal can be. In fact, a whole other series of films was built on Anakin’s backstory and the events that led up to the original film.  So, how can you create a compelling backstory for your characters? Tips To Write Compelling Character BackstoriesThe best way to write a compelling backstory is to really dig deep into your character’s experiences and, most importantly, make them interesting (take a look at our guide on creating character bios). Nobody wants to read a lot of backstory about a protagonist hanging out the washing on a day it rained, unless fetching it in meant they were late for picking up their child who was then abducted! There are many ways to write compelling backstories, but here are a few ideas to help you: Create a timeline for your character focusing on important life events. Sketch out small snapshots of their life around the time of these events – such as a diary. Writing a diary page can really help you step into your character’s shoes. Fill it with small details of your character’s likes and dislikes, friends, their favourite foods, books, films, songs, sayings, pieces of nostalgia around the time of the events. Your character’s likes and dislikes may change throughout their life. They may have loved a certain song around the time of a happy or sad event but now can’t stand it. This could trigger a reveal for this part of your backstory if it was heard on the radio at a key point in your story. Identify formative events which are relevant to your work. A near-death experience or an embarrassing moment, which dented your character’s confidence, could then be the crux that holds your character back later in life. Use real-life experiences. If you lost your parents in a busy shopping centre at Christmas when you were a small child, use this! It may have put you off large crowds or busy shopping centres. Maybe you forgot your lines in a school play once and it’s left you terrified of public speaking as an adult. There are so many experiences in our lives that impact our actions. So take some time to examine what it is that makes you, you. A reader will often feel a greater connection when a writer has used genuine experiences, because the chances are you will use something that others have experienced themselves.  Do all of this with the knowledge that you will not need all of it in your novel. Much like a marinade, all these ingredients won’t go in the dish…you are just adding nuance and enhancing the flavour! How To Include Backstory In Your Novel  The most important element to consider when including backstory is deciding when and where to reveal your information. Ask yourself what the backstory achieves, if it is necessary and why it needs to be revealed at that stage in your novel. Use backstory to your advantage, to reveal snippets to gain empathy from a reader, to explain a reaction to a situation, or to add a reveal or twist to your plot.Know When To Reveal Your BackstoryGoing back to drawing good writing from personal experiences, let’s say you almost drowned as a child and your friend invites you to an all-expenses-paid cruise. The idea horrifies you, your fear of water is something you never talk about, but in the circumstances, you may decide to reveal this past experience to explain your reaction to the invitation.  It’s exactly the same when revealing backstory for your characters. Let’s say you are at a cocktail party; the atmosphere is lively, and a funny anecdote is being told by a peer. Would you suddenly jump in with this long and detailed story of how you almost drowned as a child? Of course, you wouldn’t, it would feel inappropriate.  Revealing backstory in a novel should be the same as in life, it should be prompted by real-time events, songs, smells, or something that evokes that memory. Don’t Overload The Reader With Backstory Early OnOne of the most common mistakes I find, when reading first drafts, is opening chapters overloaded with backstory. We are living during a time where there is an abundance of published books hitting the shelves and with the surge in digital versions at low prices, it’s more important than ever to grab your reader’s attention from the first few pages.  It’s fine to add a small amount of backstory within these chapters, but keep them short. If you overload the reader with unnecessary information about a character they don’t yet know and love, your pace will fall flat very early on, and you may lose your reader before you’ve shown them the real beauty of your novel.  Focus on the best places to reveal your backstory in small digestible pieces to avoid your reader becoming overwhelmed with information. Action Verses BackstoryOnce you’ve written your first draft, go through your chapters and highlight the ‘action’ happening in real-time in yellow, then the ‘backstory’ – whether it is reflection or a flashback – in green. If you can see a large amount in green, you will be able to see just how much you are pulling your reader away from the contemporary plot and pace of your story.  Go through this section carefully, be hard on yourself and ask if it is all needed, especially if this is early on in your novel. One rule of thumb is to remember this saying: ‘If in doubt, leave it out.’  Show Don’t TellWhen you have identified essential backstory, try not to ‘tell’ it all to the reader. Although there are times where exposition works, it must be written incredibly well to keep the reader engaged.  Show don\'t tell is one of those phrases that we use a lot in writing, and this is one of those instances that it really applies. Show and tell is all about balance, both are needed, but when backstory is involved, the more you show rather than tell, the better, because it keeps the reader in the ‘now’. You can do this either through dialogue, or by your character’s actions, or both!  For example, you could show the reader a character wearing an expensive suit, stepping up to a podium in front of a hundred people, beginning their speech with an unwavering smile: ‘When I was five, I wore hand-me-downs and had a stutter…’ Yes, I’m ‘telling’ in the literal sense, but here, I’ve shown my character’s backstory. You now know a) that my character is confident and doing well financially (or so it would seem!) b) they have overcome adversity and c) they used to have a stutter and were poor; all of this information is passed on quickly through an active scene. If I told this backstory, the ‘action’ would be paused, my reader would be pulled away, while leaving my ‘present’ character inanimately hovering at the edge of the stage.  Is Your Backstory Actually Plot?If you’re reading this and have realised that you have a huge amount of interesting and relevant backstory to add to your novel, without which your story wouldn’t work, consider if this is actually a good plotline in its own right. If it is, set these scenes in the past and punctuate them throughout your story. That way, you can still reveal backstory in active scenes, rather than as flashbacks or reflection. As long as it really is relevant and interesting, it should continue to push your plot forward rather than dragging the pace behind.Wrap UpSo there we have it. I hope by reading this, you can see how important writing a compelling backstory is, and how revealing your important and exciting information at the right time will help make your novel as exciting as you know it can be.Congratulations on finishing your book! Keen to improve the first draft and polish your manuscript, but not sure where to start? Get help from an experienced professional editor with our Manuscript Assessment Service. Premium Members get 10% off!

A few weeks ago, I was asked what I do for a living. When I said, ‘I’m an author,’ the gentleman said, ‘Oh, what do you write? Crime?’ ‘No, romantic comedies.’ ‘What, like Dame Barbara Cartland?’ ‘Er, no. She wrote historical romance.’ ‘So not like that E. L. James either then?’ ‘No. She writes erotica.’ He looked disappointed by this and sloped off, presumably to go and lose himself in a gritty murder or a rampant bodice-ripper. What Is A Book Genre?So what genre is your book and how would you describe it? In simplistic terms, a genre is the category or style of a book - for example, romance, crime or horror. It comes from the French word, for ‘type.’ In essence, it describes the type of story being told. There are many book genres, ranging from dystopian to horror (more on that soon) but two of the most popular book genres, in terms of sales figures right now, are romance and crime. Bestselling names in the romance genre include authors such as Danielle Steele and Sophie Kinsella, whilst for crime, authors such as Ian Rankin and Martina Cole reign supreme. Romance has an enduring, escapist appeal and has seen a huge variety of its authors and titles consistently topping the bestseller charts for a number of years. The tales of love overcoming adversity, sometimes whilst in sun-soaked climates, set in sprawling castles or with a good dose of humour, continue to enchant and enthral readers of all ages and from a wide demographic.Romance SubgenresBut, to make things more complicated, there are also subgenres within each genre. As my Cartland vs E. L. James example shows above, just because there’s a lot of kissing in two different books doesn’t mean the reader is going to get the same kind of romance in both.So, when looking at genre, it’s important to also consider subgenres. In romance, the subgenres are plenty – often crossing over into other genres: Romantic comedyParanormal romance Fantasy romance Queer romance Christian romance Young adult romance New adult romance Historical romance Regency romance Contemporary romance Erotic romance Romanic suspense The list goes on…and, much like love itself, there’s something for everyone. Crime SubgenresBut readers, and authors, don’t always stick to enjoying just one genre. As I’m an author of romantic comedies, you won’t be surprised to learn that romance is my favourite genre, but I am in no way adverse to any others. I have just finished reading The Affair by Hilary Boyd, an often dark thriller about a married woman having an affair, who then finds that her ex-lover begins to stalk her. As most writers know, reading across all genres helps hone your craft enormously. In recent times, crime and thriller novels have seen a huge resurgence in popularity. Perhaps due to the odd times we are living in, it is the appeal of good triumphing over evil and justice prevailing, which explains why so many readers are keen to lose themselves amongst their pages. Cosy crime, described as a gentler form of the crime genre, has also seen a massive rise in readership in recent times. Authors like Richard Osman and M.C Beaton are hugely popular in this book category.  Let’s look at some more crime and thriller subgenres: Cosy mysteries Classic detective/PI Police procedural Hard-boiled crime Thrillers (legal, medical, forensic, military) Suspense thriller Psychological thriller Book Genre ListThere are frequent debates as to how many different book genres exist. During my research for this article, I read claims that there were approximately thirty-five varying book genres, whilst other articles insisted there were around fifty.  I have therefore pulled together a book genre list (excluding subgenres) which I consider to be the most prominent ones – with some details as to how they may be defined.FantasyCategorised by works including elements of magic or the supernatural. This can encompass high fantasy, like Tolkien\'s Lord of the Rings and George R.R. Martin\'s Game of Thrones, or magical children’s books, like Rowling\'s Harry Potter. But it also includes steamy novels like the fae-filled series A Court of Thorns and Roses by Sarah J. Maas.Sci-FiSci-fi stands for ‘science fiction,’ meaning it looks at outer worlds with a heavy leaning towards space, technology and science. Think aliens, time-travel or exploration to other planets. This includes anything from Star Wars to Ernest Cline\'s Ready, Player One.Speculative FictionThis can encompass all the above – basically anything with a twist of magic – but can also include fabulism and magical realism. That’s to say stories based in our world (past or present) with a hint of magic. Think Chocolat by Joanne Harris, or The Once and Future Witches by Alix E. Harrow.HorrorWhen you say ‘horror book’ most people think of Stephen King – for good reason. Horror is known for its frightening, often graphic, elements and paranormal elements. Anything from The Shining to The Invisible Man by H. G. Wells. A subgenre of this is Gothic books, such as the classics Rebecca by Daphne du Maurier and Brontë\'s Wuthering Heights – think eerie and spooky, more than blood, guts and monsters. MysteryFiction that includes a mysterious occurrence and a gripping plot to be solved. This can include a good old-fashioned Agatha Christie ‘whodunnit’, or bestselling novels like Flynn\'s Gone Girl. CrimeStories that incorporate a crime being committed and illustrate the protagonist’s struggle to solve it. Think Lee Child, P. D. James, and Martina Cole. HistoricalBooks defined by a time period from the past. Fictional stories based in a historical setting such as the Bridgerton series by Julia Quinn or Gabaldon\'s romantic Outlander novels set in eighteenth century Scotland. Or many of the books by Tracey Chevalier or Philippa Gregory. ThrillerA step up from Mystery, more edge-of-your-seat stuff, this fiction is often charged with lots of excitement. For example, a life-or-death scenario, huge stakes, cliff-hangers and action. Think of all of Dan Brown’s books, or modern classics such as Hawkins\' Girl on the Train or Larsson\'s The Girl with the Dragon Tattoo. WesternFiction focusing on the American Frontier. Genre usually set in latter 19th and early 20th century, centred around the lives of cowboys and gunfighters. Although more modern stories, such as Proulx\'s Brokeback Mountain (as the tale of two cowboys falling in love set against the backdrop of bigotry and judgement) was a huge hit when it won the National Magazine Award for Fiction in 1998, and then went on to become a Hollywood blockbuster. RomanceRomantic relationships are at the heart of this genre (if you’ll pardon the pun!) Stories may follow various tropes including star-crossed lovers, love triangles, unlikely lovers, and soulmates. As we saw earlier, it can reflect anything from Me Before You by Jojo Moyes to Jackie Collins\' works.EroticaFiction designed to arouse the reader with explicit sexual scenes and imagery. The Fifty Shades of Grey trilogy was the highest grossing book series of the last decade. DystopianPart of the science-fiction genre, dystopian novels usually describe a frightening aspect of the future, such as oppressive governments. Think Sweeney-Baird\'s The End of Men, Atwood\'s The Handmaid’s Tale, and Mandel\'s Station Eleven.LiteraryLiterary fiction concentrates on real-life issues and, unlike commercial fiction which is plot-driven, this form of storytelling is a lot more character-driven. It also often has a more complicated or convoluted story structure, using a more complex vocabulary. Sally Rooney has had great acclaim in this genre with her books Conversations With Friends, Normal People, and Beautiful World, Where Are You. Children\'s FictionThis is a broad subject that includes everything from picture and board books for very young children, through to Middle Grade and Young Adult. Classic Middle Grade authors would include Roald Dahl, and more contemporary novels would include Wonder by R. J. Palacio, Sophie Anderson\'s The House With Chicken Legs, and The boy At The Back Of The Class by Onjali Q. Raúf. These books are written predominantly for 9-12 year olds, and often cover important life lessons.   Likewise, Young Adult (for 13-18 year olds) is very varied in style, themes and content, and includes books such as Angie Thomas\' The Hate You Give, Suzanne Collins\' The Hunger Games, and They Both Die At the End by Adam Silvera. Why Is Genre Important?You might ask yourself whether the question of book genre really matters. Surely it’s the plot and characters that are important, not the category?  Well, genre does matter as it acts like a building block to establish where your book will sit in the market and what readership it’s likely to attract. By having an awareness of what genre your book is, you’re able to carve out not only your own unique voice, but also an audience who enjoys reading that genre of novel. You are enabling your readers to identify your book as one which they will enjoy reading.  Being able to neatly categorise your book into a particular genre means you’re creating a strong author brand in a genre where other authors have already established themselves. You’re creating a foundation for (hopefully) solid book sales and letting agents, editors, booksellers, and readers know what to expect from your work. For a book to therefore become successful, the writer, reader and marketer must all possess the same vision and understanding of what the story is and how it’s being told. Agents And EditorsIt also makes prudent sense to have identified what book genre your novel is, when the time comes for you to pitch to agents and publishers. Targeting the right publisher and agent for your work, via the genres they publish and represent, means that you will be giving yourself the best possible chance of achieving representation and publication.  I once read a great quote from an agent who said, ‘Imagine yourself in a lift with the agent of your dreams. You have ten seconds to pitch your latest novel to them before they get out. How would you describe it to them?’ This elevator hook or pitch should draw in the agent, enticing them to ask for your manuscript. It would also, if it has done its job properly, give them an idea of where your book would sit alongside their current authors and in the market generally. For instance - sending your completed manuscript to an agent who represents science fiction, when you have penned a rollercoaster 110k word espionage tale, is a waste of not only your time, but also that of the agent. Booksellers And LibrariansWhen someone is looking for a book, the first thing they do is head for the shelves categorised by genre. If the genre of your book isn’t clear, and it’s wrongly categorised, then it won’t reach your ideal market.Your ReadersEstablishing an author platform in the book genre you write in means you stand a good chance of readers of that genre returning for more. It’s therefore essential to create a certain anticipation in your prospective readership, so they know what they can expect from you. This is why authors often write in just one genre – and don’t spread out into others without either waiting to become very established or writing under a number of pseudonyms. How To Identify The Genre Of Your BookTo increase your novel’s chances of success, you, as the author, together with your publisher, agent and marketing team, should have a certain expectation as to where your book will fit into the market. Where do you imagine your novel sitting on the shelf in a library or in a book store? Which other authors would it sit comfortably beside? Is it a heart-warming romantic comedy, in the vein of Jenny Colgan and Trisha Ashley, or a political thriller similar to that of Ken Follet and Jeffrey Archer? Book genres often cause a degree of heated discussion amongst the writing, reading, publishing and agenting communities. Everyone, to a greater or lesser degree, has a different idea of what each genre represents. The question of what each genre should carry, can elicit strong feelings, not to mention very differing views. Even book covers in particular genres can cause much debate about their style and substance. How often have you read quotes on the cover of books which have said things like, ‘For readers who love Maeve Binchy’ or ‘For fans of Stephen King?’ This is a publisher communicating a book’s genre to its readership. This is a clever marketing tool, designed to appeal to the loyal readers of these authors, that your novel is in the same book genre as these giants of commercial fiction and therefore they would enjoy yours too. The most important thing is that you, your agent and editor agree (or, if you are self-published, you are consistent with your marketing).So, How Can You Define The Genre Of The Book You\'re Writing?My advice would be: Read a lot of books and see what elements are featured, and which chime with yours. Familiarise yourself with the book genre options out there and how they relate to your book. Identify the genre elements that are contained within your novel. How do they reflect those? Pull together a short list of potential genres and also subgenres. How does your novel compare with others in those categories? Concentrate on the most relevant genre/subgenre for your book. Think about the audience of the books that you enjoy reading in your favourite genre. Are they the same readers who you think would enjoy your book?  Check out book genre labels which are often featured for each of the different book genres for Kindle reads. Do any of these relate to what you are writing? For example, words such as ‘dark’ and ‘conspiracy’ are often applied to books in the Thriller genre.   Remember, you’re not trying to explain the entirety of your book, you’re trying to advertise its aesthetic. You are aiming to create a similar air of anticipation amongst the book-buying public, so that they too will be drawn to your novel. Once you have done that, take a look at your own book and ensure your writing style, characters, and plot stick to one (at most, two, genres). For instance, if your spy is getting more action in the sheets than the streets, ask yourself whether you are really writing a spy thriller – or a spy romance novel. Then amend accordingly. Determine Your GenreNailing the genre of your book is not the most important element of your writing journey – at least not to begin with.  However, the importance of identifying the most appropriate genre and subgenre of your book, should not be underestimated. Finding that commercial aspect to your writing and to your novels is crucial, if you are to identify a reading audience for your book and appeal to their reading tastes – not to mention hook the right agent and editor. So, have a clear genre (and audience) in mind when you start plotting and writing, and make sure you don’t veer too much into too many other styles and categories. It’s the first step to ensuring your readers will one day find your book and savour every page – no matter which genre it ultimately finds a home in!More than ready to get the ball rolling with agents, but just need a little push? Or perhaps you’ve had a few rejections but aren’t sure why? Our Agent Submission Pack Review gives you detailed professional advice on how to perfect your submission and increase your chances of securing an agent. 

Every year, I vow to write more and write better. Sounds easy peasy, doesn’t it? The truth is, becoming a better writer takes time, work, and commitment – and when you add that to the countless hours we already spend on our current writing projects and day-to-day commitments, putting even more work in can feel daunting.Suddenly, your “simple” goal to improve your craft no longer feels do-able, let alone desirable or attainable. After all, there are only so many hours in a day, and so many of us struggle to protect whatever precious writing time we can find.  No two writers are the same. How we define “better writer” changes as our careers evolve. You may want to know how to write good dialogue, how to get better at creative writing, or simply get more words down on the page. Yet, I’ve never met a writer who didn’t want to improve their craft. Writers are strivers and dreamers - my favourite people – and that’s why I’m here to share my top tips on how I’ve become a better writer. Make A List Of Your Writing GoalsArtistic paths differ from writer to writer. So, let’s start by making a list of your writing goals, big and small.This list is for your eyes only so feel free to go for the gold and the glory.  Don’t hold back. You want to win the Nobel Prize, the Man Booker Prize, the Pulitzer, and the Neustadt International Prize for Literature? Sure, why not, don’t we all in our heart of hearts?   Propose Action Steps To Support Your Writing GoalsOkay, now that you’ve compiled a list, let’s go over each goal one by one. What actions can you take to support your goal of becoming a better writer? Think of it as your personal GPS. Map out the route to get there. Step by step.For example, if your goal is more production and more publications, but you fear rejection (who doesn’t?) then being a better writer might involve putting yourself out there and submitting your work to more opportunities.How to improve your writing could also mean increasing your productivity and output – writing more pages – which we all know has been difficult during this pandemic.  Perhaps you’ve always been shy about self-promotion and how to be a good writer for you means improving your sales and reaching a wider audience. What are some steps you could take to increase sales? Network?   If ‘writing in another genre’ made it on your list, now might be the perfect time to take that risk and invest in yourself. Pursue that new interest that keeps you awake at night and take that course you’ve always had your eye on. Check out the creative writing classes Jericho Writers offers here.Becoming a better writer takes courage, faith, and action. When in doubt, remember, it and you are worth it.Carve Out Sacred Writing TimeA writer writes. Ideally, as often as possible. I know life is messy yet the only way to become a better writer is to carve out some time to write. Establish a routine. It can be thirty minutes a day. One hour a day. Five hours a week. Your routine might vary week to week. I know mine does. This is why I plan ahead.  Look at your schedule next week, find the pockets of time and book appointments with your muse. Act like it’s a hot date. Show up.  Hold this time sacred. That is, put your cell phone in another room and don’t check your email or your social media feeds. In fact, just turn off the Wi-Fi and write. At the end of the week, if you honoured all your “dates” with your muse, please treat yourself. A little chocolate. A leisurely walk in the park. Even that new notebook you had your eye on. This serves to remind you a writer’s life is rewarding.  Be A Voracious ReaderIt may be a cliché but it’s true, if you don’t read a lot, you won’t improve your writing. Read as much as possible. Read the classics, the award winners, the up-and-comers, the off-beat, self-published, and commercial. Read magazines and newspapers. There’s a wealth of information out there waiting for you to discover and grab hold of it.  One time I read an article about the difficulties of finding organ donors, and for some reason, a lightbulb flicked on and kept flickering until I wrote a play that explores that topic. This has happened more than once, and it always feels like magic. That book you couldn’t put down, that you had to read from start to finish – what was it about that story that grabbed you? What made it a page-turner? Was it the point of view, the story structure, the gorgeous language, the plot?  Take note of the books you couldn’t finish too. Why did you lose interest? Perhaps you were too stressed, too tired, and should give it another read later?  If that’s not the case, what would you have done differently?  We can learn so much from other writers and stories that are not our own, and it can all lead to becoming better writers. Document Your IdeasWriters are curious observers so be sure to carry a handy notebook wherever you go so you can jot down ideas. It may be:  Swatches of dialogue or a bizarre turn of phrase you overhear that spark intrigue.  What someone was wearing…or not wearing.   A street sign or joke that made you laugh out loud.  A scenario that made your blood curl.  Unusual or annoying mannerisms that might inform one of your characters.  That musical phrase you keep humming.  Secrets spilt at that family gathering. Keep a writing pad near your bedside.  Sometimes a weird dream will jolt me awake and I need to write down the details before I forget. Of course, you can use your smartphone to make notes, record audio notes, and take photos as well.  Capture the vivid colours that surrounded you. Record the sound of the beach. Make a note of how the Hunter’s Moon glowed that night.  Take a photo of that statue or landmark that inspires you to do further research. Life is full of wonder and delight. It’s our job to live it and write it. Find A Writing BuddyWriting is a solitary profession, but we don’t have to go it alone. Having a writing friend can be tremendously uplifting in these unsteady times. I have a few writing buddies and we check in with each other regularly. We share resources, what we’re working on, our ups and downs, what we’ve done to advance our careers, and what we hope to do in the next week or two. We hold each other accountable in an honest, supportive, and kind relationship. Choose wisely. Your writing buddy should be someone who has your best interests at heart, and vice versa. We rarely succeed at the same time or the same rate, so it’s essential to pair up with someone you respect and trust.   Write To Win, Place, Or ShowWriting contests provide excellent opportunities to improve your craft, create new work, and have fun. These contests often offer prompts or themes that ignite and stretch our imagination. The fact that these opportunities come with deadlines is a bonus – added encouragement to stick to our writing routines.  I usually choose contests where there are no or low submission fees, but that is a personal choice. Everyone should do their own cost/benefit analyses and compare those results to their goals and finances. Sometimes the benefits outweigh the costs. While rewards vary from opportunity to opportunity – publication, reading, production or a cash prize – the overall goal remains the same: to challenge ourselves and become better writers.  ‘No’ Is Simply A NumberI love American baseball because it showed me a new, healthier way to accept that dreaded word - “failure.”  Professional baseball players strike out a lot. In fact, they strike out 70% more often than they hit. If they hit three out of ten balls, they end up in the Hall of Fame. That’s right, three out of ten and you’re in the Hall of Fame. Like baseball, the arts is also a business of frustration and failure. You will receive more “no’s” than “yesses.” It is very much a numbers game. The more we submit, the more we step up to the plate, the more likely we will get hits. If we’re lucky, we knock it out of the park and end up on some bestseller lists. The trick is to keep showing up at the plate.  Rejection still hurts and Imposter Syndrome is very real, but one way to soften the blow is to think of each “no” as a pass. Yes, a pass, because many times that’s what it is. A question of fit or taste. Not a reflection on the quality of your work. Maybe the literary magazine just published a story with a similar theme, or an agent is looking for something specific. When a pass shows up in your email box, make it a policy to send out another request or pitch. Beating up on yourself never helps, never leads to your best work. I know, I am my own Tiger Mom. Alligators are known for their tough skin; good writers are known for their resilience.  Whenever I feel myself falling down that rabbit hole, I pull myself back up with Norman Lear’s motto: “Over and Next.”  Norman Lear is an American television and film writer who has created, written, and produced over 100 shows. Listen To FeedbackNow, if we get repetitive feedback that pinpoints a specific area that needs work, then consider that a blessing. That’s information we can process and use to improve our next draft. Perhaps there’s an unclear plot jump and the timeline is confusing to readers. Maybe the dialogue feels stilted and strains credibility because we inadvertently head hopped. Put these notes on your list of goals. Brainstorm the action steps you can tackle your revision. Find resources. Reach out. Outline. Rewrite. You got this.Keep writing, rewriting, and sending work out. Three hits out of ten. That’s what we should all be aiming for. Keep Growing Remember your voice and your vision are gifts to the world. Cherish and nurture those gifts. Court your muse. When you’re feeling blue, keep your eye on the prize. Talent is unstoppable. Three out of ten. Over and next!   I’m so happy you want to become a better writer. Me, too. I hope my tips inspire you to be the best writer you can be, and show you there are so many ways we can keep on becoming better.  So many resources are available, too, at your fingertips, starting right here.  We don’t have to do it alone. We form a community and do this together. We can even have fun along our journey.  The writer’s life is rewarding when we stay curious, stay resilient, and we keep getting better.Our writing goals change as we become better writers and our careers evolve, but one thing never changes: You know best better. See you at the Writer’s Hall of Fame!

You can’t have a story without conflict. But what types of conflict should your characters be dealing with? Will it be the bad guys that get between them and their end goal – or will they be the ones standing in their own way? This internal vs. external conflict debate may sound unnecessary, and some writers simply choose to ignore it, however injecting various types of conflict in your story can be incredibly useful and makes for a deeper (and more tension-filled) story.  There’s a general misconception that a literary fiction novel can’t have external conflict and a fast-paced thriller can’t have internal conflict – that commercial work is all about action, and ‘deeper’ books are more character-driven. That is simply not true.  Before we delve into this discussion, let’s establish what constitutes internal and external conflict - or indeed, conflict itself. What Is Conflict?Conflict is the stuff of drama. It’s the main reason people read books. Nobody is interested in a protagonist that’s like a cork bobbing aimlessly in the water. No. Readers want to root for a protagonist that has some sort of aim in life, stakes that are high and difficult to achieve. To be more specific, a book character needs motivation and the drive to achieve something. The obstacles that arise to prevent that from happening are conflict and they only make us root for the protagonist harder.  There’s a reason why plot-driven series like The Hunger Games and Divergent are so popular. They provide us with solid main characters who are thrust into an inhospitable environment and are asked to survive through them. With plenty of obstacles thrown in their way (be it people trying to kill them, or trauma from their past preventing them from moving on), it makes for popcorn-worthy entertainment. For the same reason, film franchises like Jurassic World, Star Wars and The Lord of the Rings have enduring appeal.  Conflict is what makes a story world compelling and a book ‘unputdownable’. If a conflict is weak then so is the story. The more complex and hard to resolve the issue is, the better the story. The best conflicts are an amalgamation of internal and external conflicts. So what’s the difference between internal and external conflict?  Internal ConflictIn simple terms, internal conflict pertains to a character’s fight with the self.This internal struggle tells us a great deal about the kind of person they are. In the film The Woman in the Window, the main character, Anna Fox, suffers from agoraphobia which makes it near impossible for her to venture out of her house. That is internal conflict. It’s this which drives the story forward. Everything that happens in the film basically revolves around Anna’s agoraphobia. It’s incorrect to say internal conflict only exists in literary fiction. Sure, it can help in exploring the various nuances of a character, but it can also be vital in pushing the story forward. The Woman in the Window is a psychological thriller that thrives on the main character’s internal conflict. Similarly, in Anna Karenina, we have an example of internal conflict in yet another character called Anna. Unhappy in her marriage, she falls in love with a man she can’t have. Her internal struggle is part of the novel’s enduring appeal.External ConflictExternal conflicts arise when things happen that are out of the character’s control and how they affect their life and prevent them from achieving whatever they want. External conflict is plot-driven and thus is used to great effect in thrillers and action novels. However, that isn’t to say that external conflict has no use in character-driven novels. In Anna Karenina, her society is one of the reasons Anna can’t be with the man she loves. This is a great external conflict example that appears to be a lot more internal.In the Jurassic World franchise, the conflict doesn’t only arise between the main characters, but mostly due to rampaging dinosaurs being an integral part of the plot. The franchise shows us how, despite every precaution being taken, life itself is difficult to control. Turning to YA literature, The Hunger Games offers an excellent example of external conflict. Survival is in jeopardy when Katniss Everdeen takes her sister’s place for the games that are held on the order of the Capital. Whatever action she takes against the external forces she’s forced to deal with determine her survival.The Difference Between Internal And External ConflictInternal vs external conflicts can be more nuanced than this, but here’s a handy reference to distinguish between the two… Internal: Psychological, emotional, and the past: fears, mental health, trauma, social conditioning and self-doubt. External: People/animals/monsters who are out to get your character, an inhospitable landscape, and events out of their control. Adding Conflict To Your WritingThere’s no better way to move a story forward than to create conflict between characters, their environment, or their internal angst. Without anything to overcome there’s no hero. Conflict can take many forms, but it can mostly be categorised into two camps: internal and external. A novel that possesses both forms of literary conflict affords readers a well-rounded view of not only the characters but also of the story world and overall theme.  There are plenty of examples of novels that have both. Some that come to mind are: The House at Riverton by Kate Morton, Fates and Furies by Lauren Groff, The Alias Grace by Margaret Atwood and The Corset by Laura Purcell.  Remember, conflict isn’t only about fistfights and weapons causing widespread destruction. Conflict can be as simple as a person applying for a job and the insecurity they might feel from the other participants.  Let’s take a look at how we can add conflict to our work in more subtle ways. DialogueArguments between characters, not to mention those powerful one-liners, are what drive conflict. Dialogue is often considered one of the best devices for introducing immediate conflict. By applying the old adage ‘Show Don’t Tell’, instead of telling us a character is mean, it’s better to show them being unkind through mannerisms, action and dialogue.  This leads us on to… Creating Characters With Opposing ViewsNovels are generally categorised as follows: Action-based (external conflict) Reflective (internal conflict) The action-based novel is driven by events happening in the plot and how the characters respond to them in order to move forward and fulfil whatever purpose they may have. The reflective novel, on the other hand, takes a more languid pace with plenty of characterization. Both of these can be enhanced by introducing characters with opposing views. Pride and Prejudice, for instance, is an excellent example of a reflective novel where Elizabeth Bennett is torn about her feelings for Mr Darcy throughout the novel. She seems to love and hate him, but ultimately love trumps all. The same goes for North and South by Elizabeth Gaskell where the main characters engage in a dance of love and hate. That is an example of internal conflict and opposing characters.  SubplotsIn addition to dialogue and characterisation, subplots are also a great way of adding conflict. Subplots allow minor characters to have storylines of their own, and since a subplot always complements the main plot and never competes with it, we get to understand a bit more about the main characters. Think of ways a subplot and the main plot meet, and how they can create conflict for one another. FlashbacksFlashbacks are also a useful device and are useful in establishing the character as three-dimensional, illustrating why the character is struggling with internal conflict. For instance, if a character has faced trauma in the past, the flashback may explain their behaviour in certain situations in the present.  ConclusionAs we’ve demonstrated, conflict in storytelling is a complex subject, but not something that should overwhelm us. On the contrary, conflict is our friend as it can help us write fast-paced scenes and it may be the answer to our plot holes or writing slumps.  Writing conflict doesn’t have to be hard. In fact, whenever the pace of the novel is lagging, conflict is the one thing that will come to your rescue and elevate your novel back to the pace it had in the first place.   So have fun building your worlds and creating characters your readers will root for – then put them through hell!

How To Find Inspiration For Your WritingAll authors, at some point in their writing journey, have found themselves staring at a blank page and wondering where writers find their inspiration. There’s nothing more intimidating than finishing a great book and thinking to yourself ‘I will never come up with an idea that original.’ If your creative well has run dry and you’re panicking you will never be inspired again, read on for some top author inspiration. YA and children’s writer, Patrice Lawrence MBE, shares with us all the fun ways she has ignited her imagination when penning her award-winning books. Potential Sources Of InspirationI must admit I don’t really struggle for lack of inspiration to start stories. I have so many ideas wrestling with each other in my brain that one day I’ll cough, and a mouthguard will fly out of my ear. But whether you are struggling with the concept of your next book, or your mind and notebooks are bursting with ideas, the following tips and games are fun for every writer to do as they will push your imagination even further! In this article I will be talking about what inspired me to write my books, how I keep my ideas fresh and original, and how to find inspiration for writing from everyday life and by looking at other inspirational authors.  Writing PromptsOne of my favourite sources of inspiration is writing prompts. (Try one of our prompts for thrillers, fantasy, horror, romance, or Christmas stories.) My first published novel, Orangeboy, surfaced from a writing prompt on a residential creative writing course. The slip of paper I pulled out of a hat read - He woke up dreaming of yellow.  It was an exercise about hiding clues in crime fiction. We were supposed to write a paragraph or two and other writers would guess the prompt. I thought about a recent trip to Hyde Park Winter Wonderland in London, mustard on hotdogs and yellow fairground tokens. I imagined a geeky boy on a first date with a girl way above his league. She’s buying hot dogs for them. The vendor squirts on the mustard. The boy hates mustard, but he sure as hell isn’t going to tell her. What else would he do to impress her? And what could possibly go wrong? That book went on to win the Bookseller YA Prize and Waterstone\'s Prize for Older Children\'s Fiction. Not bad for a bit of paper pulled out of a hat! Let’s play a writer’s block inspiration game of our own. Pick up your pen or pencil, or poise your fingers over your keyboard, and set your timer for seven minutes. Ready? Christopher Columbus meets the Wicked Witch of the West in a blender.Go! I’ll come back to this later… Asking Others To Inspire YouFor some reason, prompts feel more powerful if they come to me from other people. When I was struggling to find a direction for Rose, Interrupted, I asked my daughter to send me prompts on Whatsapp. I’d write the sentence at the top of a blank page then carrying on writing below it. Her prompts took me in new and satisfying directions and unexpectedly helped me with a plot point.  Until recently, I was part of a writing critique group. Once a year or so we’d devote a session to rekindling our creativity. We’d all bring different types of prompts. One writer might favour images. (Old postcards are a fantastic source of inspiration. Somewhere in the past I asked children to write a story inspired by a postcard of a camel being hoisted on to a boat.) Other writers might suggest rewriting fairy-tales or set up a potential scenario for us to populate with characters and dialogue.  Poetry As InspirationOne writer in my critique group enjoyed extracting prompts from poetry books. Try it – select a page number and find a line or even a poem that inspires you. As a child, I loved Samuel Taylor Coleridge’s ‘Kubla Khan’. I had no idea what it was about, but the imagery sparked such vivid images in my head. I wanted to see that wild land and find out why a lady was playing a dulcimer there. Whatever a dulcimer was. Ideas Are All Around YouSome prompts are vignettes of life I’ve passed on a bus. Some are snippets of conversation. Others are just weird speculations or take idioms literally. By the time I get to look at them again, they are new and totally out of context which is perfect for free writing.  I now have a small hardback day-a-page diary where I record random prompts:What happens if you have to carry your air in a rucksack on your back? What if a train stops just outside your station and everyone else has disappeared? What if you really did have all your butterflies tied up? That first prompt about carrying air in a rucksack came in very useful when I was commissioned to write a short story for environmental scientists.  Free Writing From PromptsNow let’s talk free writing. I love free writing. Just pouring my ideas onto a page without censoring or editing myself is incredibly liberating. Reading through afterwards, I always find something that excites me. But if the words don’t flow and the prompt just prompts panic, what next? I always start with questions. I am insatiably curious. I want to know what makes people tick, so for me, my first thought about a prompt is ‘why’? Why is that happening? Why is that person doing that? Why now?  Then I open the imagination tap and let the subconscious flow out – usually pretty messily. So, for instance, let’s head back to the famous Italian seafarer and the fictional monkey-wrangling witch from the prompt at the start of this article. (There’s nothing like putting too widely dissimilar characters in a peculiar situation to help me the ease the words out.)  My first question would be - why is Christopher Columbus in a blender? Perhaps an idea would dominate my thoughts. Possibly, the indigenous folk of Jamaica saw him coming and built a giant, manually operated blender with sharpened bamboo blades to greet him. Then the Wicked Witch of the West flew back in time to rescue him so that together they can plan a super-heist that involves a hurricane that blasts away all the islands in the Caribbean Sea. Or perhaps he’s been shrunk. (Who shrunk him and why?) Or perhaps it’s a metaphor for western colonialism, or he’s starring in a Covid fever-dream. Or alternatively, you could start with the Wicked Witch. Or a description of the blender that contains these two unlikely personages.  Alternative NarratorsOnce I’ve teased out all the possibilities and settled on an idea, my second question is – who is telling the story?  Inspiration can be found by prodding around the margins for the untold stories. The musical Wicked, of course, tells the story of Elphaba, the so-called Wicked Witch of the West. Jesus Christ Superstar explores the rise of Jesus from Judas’s point of view. Sections of Elif Shafak’s The Island of Missing Trees are told by a fig tree and the world of Elif’s earlier book, 10 Minutes, 38 Seconds in This Strange World is realised through the consciousness of a murdered woman. I remember reading James Herbert’s, Fluke, as a teenager, narrated by a man who is transformed into a dog.  Challenge yourself to free-write a paragraph or two from different points of view, not all necessarily human. Set a timer for a short writing sprint. Did you produce more material? Did anything unexpected emerge? (If you’re writing from the point of view of the blender, it’s bound to, isn’t it?) Let’s take a look at two other rich sources of inspiration that are a lot of fun to indulge in... Books Inspired By Other Books: Revisiting And RetellingThe first is myth and legend.  My first published book, Granny Ting Ting, was part of a guided reading scheme for primary schools. I’d recently visited my family in Trinidad and I wanted to set the story there. It includes a chapter about duennes, sort of ghost babies, that confuse late night travellers and lure them into the forest. In my follow-up guided reading book, Wild Papa Woods, the wild papa is based on the mythical Papa Bois who turns into a stag to protect his forest. I’ve recently written a short story for an anthology, ‘Happy Here’, for upper-primary school readers. It’s about three generations of soucouyant – Caribbean shapeshifting witches – who live in a tower block in south London and run a bureau that organises real world experiences for jaded fairy-tale, mythical and legendary folk. (Sisyphus, who was sentenced by Hades in Greek myth to push a boulder up a steep hill for eternity spends his down time bowling in a subterranean alley near London Bridge.)  Alexandra Sheppard (Oh My Gods) and Maz Evans (Who Let the Gods Out?) have great fun bringing Greek gods to the contemporary world in books for children and young people. Pat Barker and Madeline Millar are among writers who have retold myths from alternative points of view for adults. Or you could go full Tolkien and create a whole new mythology. Different Types Of StorytellingAnother way to find inspiration for writing is popular culture. I’ve never been a cool kid, so I have no problem finding joy in pop music and superhero films.  Have you seen the music video of My Universe by Coldplay X BTS? It’s neither BTS nor Coldplay, or indeed the song, that keeps bringing me back to it. It’s that video. I want to write a story about the Silencers or, more importantly, DJ Lafrique on her alien radio ship. She needs a comic book series and a film franchise.  Korean dramas have also been an unexpected source of inspiration for me, particularly for the mechanics of storytelling. They are sponsored by brands like Body Shop and Subway sandwiches, so are obliged to bring as many viewers to the screen as possible, week after week (you’re so hooked you happily overlook the blatant and sometimes bizarre product placement). Characters must be compelling and relatable but surprising. Plots must twist and turn making the improbable acceptable. And each episode must end dangling on frayed string from the highest cliff.  Look at storytelling outside of your own culture and see how they tell tales. There are so many ways to find inspiration in everyday life, and the lives of others. Inspiration Is InfiniteI like to think that inspiration is infinite. It’s in the everyday and the bizarre, possibly juxtaposed in the same sentence. It’s unpicking moments that seem well-known then creating alternative narratives, perhaps told by unlikely storytellers. It’s keeping a notebook of random prompts that you can draw on when your creativity is running dry.  I hope I’ve given you some ideas, as well as permission to sink yourself into K-drama, pop videos and Marvel films. From now on, your excuse for playing games, watching TV, eavesdropping, and discovering new and wonderful examples of storytelling, is that an unexpected prompt might lead to an unexpected – and successful – book… 

You’ve taken the time to write a perfectly flawed character, you’ve ticked all the literary boxes making sure they have a solid backstory, they have a clear motivation and you’ve taken the time to showcase witty or cynical dialogue. Yet somehow there’s still something missing, that missing gem that you can’t quite put your finger on.Why isn’t your character shining? Fear not, because I’m about to explain how to polish your power as a writer by using a foil character. Foil characters are an incredibly powerful and yet often subtle device to showcase and emphasise certain character traits in your MC, by offering another character in a contrasting light. In this short piece, I will explain what a foil character is, how to use them effectively, and give examples of foils in literature, as well as film. I will also be showing you how to get the most of these often-forgetful characters, which when used effectively will give your characters that little extra time in the spotlight.  Before I continue, here’s a little fun fact for you! Foil was once placed behind gems to make them shine brighter. Clever, hey? I’m going to let you in on a secret, that is exactly what a foil character does! So let’s look a little closer at these magical tricksters. What Are Foil Characters?A foil character by definition is a device used by writers to contrast or reflect another character – often your protagonist (main character)- by highlighting their traits, appearance, personality or morals. Often, a foil in literature comes in the form of an antagonist (an adversary) but they can also be a sidekick, mentor, friend or parent; they can also even be an animal, or a subplot which foils your character’s progress. By using a foil character, you will essentially be shining a spotlight on your character’s attributes and behaviour, revealing those contrasting elements. How Foil Characters Are UsedA good foil character will draw your reader’s attention to the qualities of your protagonist, often without your reader even knowing you’re doing it. This can be done in a variety of ways. Let’s take a look at some contrasting examples and match them to famous foil characters. Your protagonist may be a law-abiding citizen, so the foil could be a law breaker (think how different Harry Potter’s friends, Hermione and Ron, are). An adventurous character may have a more cautious foil (look at the old man and the boy scout in the animation Up).A more reserved character may have a loud friend (the perfect example of this is Dr. Jekyll and Mr. Hyde).One may be violent and one wanting to keep the peace (Tybalt trying to fight a loved-up Romeo). Foil characters can be used in a variety of ways, but whichever way you wish to do this, a good foil can make all the difference to how the reader identifies with your character. This adds to the underlying strength of your writing and may not be so obvious to your reader without their inclusion. MotivationFoil characters are there not only to highlight how different they are from another character, but also to help the reader see what it is that motivates them.  For example, by having a foil character as a close member of the family, who perhaps often puts the safety of the family in danger, the protagonist’s determination to fix the foil’s mistakes or do the polar opposite with his own choices, shows the reader his motivation is to protect his family. A perfect example of this is Alex and her mother in the Netflix series Maid. BackstoryA foil can also highlight the differences in your character’s upbringing or background.  Picture a scene showing your protagonist as someone who comes from a deprived background that they have kept hidden but who has worked their way up and is now starting to finally believe they belong at the posh business lunch with their new peers. Now say they use the wrong etiquette in this social situation; perhaps they return a palette cleansing sorbet when it’s first served to them, saying they didn’t order it. On its own, we wouldn’t perhaps see the significance of the sorbet being a standard part of this kind of luncheon, but by having a foil character alongside the MC accepting the sorbet without a second thought highlights the MC\'s mistake. Although the protagonist is now qualified and being accepted in their new world, this underlying fear of not quite belonging would be subtly highlighted, drawing deeper empathy and understanding from your reader. SettingYou can also use a setting as a foil. In Harry Potter, for example, we have Harry living in the cupboard under the stairs, then in huge contrast we have Hogwarts will all its majesty, magic and splendour, highlighting the very different life he has now been thrown into.AnimalsYes, that’s right, animals can be great foils too. Bagheera in The Jungle Book serves as a brilliant foil, being a mature and cautious character as opposed to Mowgli’s inexperienced youth and adventure.SubplotsSubplots can also serve as a foil, literally foiling the plans of your main character. All you need is the same problem and two different characters solving that problem in different ways. In Lord of the Rings, for example, we have Boromir and Faramir, brothers who are charged with protecting Gondor and whose motivation is driven by gaining their father’s approval. Boromir tries to take the ring from Frodo to gain power over the enemy, in contrast, Faramir allows Frodo to take the ring to destroy the enemy. Not only are these both foil characters in their own right, but this subplot highlights how the ring can influence everyone around it and has the reader focussing on how different personality traits in the many subplots surrounding Frodo’s journey can determine the fate of the story.At its core, a foil character helps the reader understand the traits and motivations of other characters, helping them identify good from evil, strength from weakness, dark versus light.Examples Of Foil CharactersSome of the most famous foil characters in movies include Captain America and Iron Man, Woody and Buzz Lightyear, and not to mention Superman who has the perfect foil character in his alter ego, Clark Kent. As for foil characters in literature, there are far too many to count. Let’s look at the classic example of Wuthering Heights, and the more contemporary novel, Me Before You.  In Wuthering Heights we have Heathcliff and Edgar Linton. These foil characters are set up not only in personality but in physical appearances too. Edgar is fair, with blonde hair and blue eyes, whereas Heathcliff has dark hair and dark eyes. Both men have contrasting upbringings too - Heathcliff an adopted orphan, Linton brought up in a wealthy family. Not to mention their differences in demeanour towards Catherine; Heathcliff is passionate and moody around her, yet Linton treats Catherine with kindness. We even have a setting foil in the dark and menacing Wuthering Heights, which reflects and strengthens Heathcliff’s doomed passion and strength whilst sitting in direct contradiction to Thrushcross Grange, a setting filled with wealth but essentially etched in kindness. It is with the use of these opposing sides of the story, each side underscoring the differences in the other, that makes it such a powerful and evocative narrative. Let’s now examine a completely different type of love story, Me Before You.  This novel serves as a brilliant example of contrasting characters, using foils in a slightly less dramatic way that is equally effective. And it does so with the two foils barely having any direct contact with each other.To begin with, let’s look at the setting and subplot. At the beginning of the story Lou is living in a small and crowded house filled with family and noise, we discover that money is tight and this is one of the reasons she’s wasted her potential to become a fashion designer and finds herself applying for a job looking after Will, a quadriplegic, at Granta House. In contrast to her own home, Will’s is empty, tidy, quiet and his family distant and non-communicative. Louisa has a boyfriend in the form of personal trainer and wannabe-athlete, Patrick, who is obsessed with training for triathlons; again, the complete opposite to Will. Patrick often puts his own wants and needs above Louisa’s, displayed clearly when he books ‘them’ a holiday but is actually an excuse so he can take part in the Extreme Viking challenge.Once Louisa gets the job at Granta House, she is given the task of companionship to wealthy and, at first, hostile Will. Although Will is rude and closed with Louisa at the beginning of the story, the two form a bond with Lou’s primary goal to fill Will’s life with fun and adventure despite his injuries. With Patrick, she is desperate to avoid Patrick’s fun activities and would much prefer a less exhausting relationship. What the author, Jojo Moyes, does so brilliantly in this example, is she uses the foil characters to reflect the opposing traits of both Will and Patrick onto Lou so that she begins to see all the things that both foil characters bring out in herself. In the one scene where Will and Patrick do meet, Patrick gives Lou a birthday gift of a gold necklace with a star pendant which is nothing like the type of jewellery she has ever worn and doesn’t suit her at all. In contrast, Will gets her a pair of black and yellow tights, a replica of a pair she had loved when she was a child, revealing how Will understands and knows her better than her boyfriend of several years. And although Will is wealthy, and Patrick is not, it wasn’t the expensive gift that impressed her. By highlighting the differences between Patrick and Will to the reader, Moyes uses this device to also reveal these oppositional aspects to her character, Lou. It is then through this contrasting lens, that Lou understands how different she is with both men. With Patrick, she accommodates his needs, is unhappy and bound to a life she doesn’t want while wasting her potential. With Will, she realises that he’s putting her needs before his own, that she is happy when she is with him and ultimately discovers she is capable of achieving her full potential in the life she wants.ConclusionIn short, foil characters are often the unsung heroes of the literary world. Although sometimes minor characters (often even forgettable) what they do is shine a light on your main character, making them three-dimensional and stand out on your page.  When defining foil characters, think of them as a pinch of salt in your caramel sauce. It may play a small role, the main ingredients are big hitters (syrup, butter, cream) but it’s that little hit of contrast, that your guests may not even know is there, that cuts through and makes the rest of the ingredients that much sweeter! 

A lot of authors have their doubts about writing sex. How much do you include? What should you leave out? How do you structure a sex scene? How do you move past the awkwardness of it all?Most writers find sex scenes harder to write than dialogue and action. Yet sultry scenes don’t have to be a literary challenge.In this guide, you will learn how to approach your sex scenes, how to have fun writing them, how to use them as vessels for characterisation and plot development, and lastly, how to decide whether you need the sex scenes in the first place.The Challenge of Writing Sex ScenesWriting sex can be challenging, and many authors fear how their scenes will be received by readers. Readers can be highly critical when it comes to a bad sex scene. In fact, there’s even an award by the Literary Review for bad sex in literature. Take a look at these eye-opening excerpts from last year’s contenders.Writing about sex makes us vulnerable – no one would deny that. Writers worry their family might read it, that readers may cringe or gasp or yawn at their scenes and judge them. It’s a lot more intimate to be judged on your sex scene than on your action, settings or dialogue, and many authors dread receiving feedback on how they write sex. Other authors want to include a sex scene but are worried about the mechanics of putting the scene on paper. How should the characters act? What should you describe? What should you not describe? How much is too much?These worries, albeit valid, should not stop you from including sex scenes in your work. A sex scene is still just a scene, and chances are if you’re applying the same craftsmanship to these scenes that you apply to the rest of your work, then your readers are no more or less likely to judge it harshly or like it any less. And yes, your aunt Margaret might get a hold of your spicy scene, but that’s just something you’re going to have to live with (unless you consider using a pen name. Check out our complete guide to pen names and our pros and cons of pen names).If you feel that sex scenes will add depth to your work (no one appreciates a gratuitous sex scene that’s irrelevant to the plot), or if sex is integral to your genre (such as romance novels), then there are ways to make writing a sex scene easier and even fun.Tips for Writing Effective Sex ScenesDepending on your genre, readers will either be surprised by your sex scenes, or already expecting them. Expectations such as these can add more pressure to the writer, but here are some things you can do to make sure your scene delivers.Read Many Sex ScenesTo write decent sex scenes then it’s important to read sex scenes written by other authors. When you sit down to write your hot scene, it’s likely you will quickly run out of creative ways to say “thrust,” or “straddled” or “throbbing member” (perhaps don’t say ‘throbbing member’). Seeing how other authors are able to keep descriptions interesting and avoid repetition or laugh-out-loud clichés (like comparing genitals to fruit), will inspire you in your own work and help you with your scene. Reading sex scenes from highly acclaimed and popular romance novels means you will be reading carefully edited scenes where the rhythm, metaphors and terminology have all been edited to the highest standard, meaning you can study and incorporate this flow into your own first attempts. Also, try to read diversely - from a sex scene in a thriller or a romance novel, to hardcore erotica. A lot can be learned across genres and understanding the varying degrees of intensity you may require for your own work.Ensure it’s NecessaryIf you are questioning whether to write a sex scene, ask yourself how integral it is to the plot. Does it move the action forward? Does it deepen the stakes and the characterisation? Will the story be as enjoyable without it? Will it carry as much meaning? Is a sex scene expected in your genre?If you can fade to black or allude to them having slept together in another way, and that feels more natural for your book – then try that. Just because your characters have sex doesn’t mean your readers need to be in the room too. Sex scenes that are forced or gratuitous are like any other unnecessary scene – a waste of time, energy, and words.Hot Tip: Examine Your Chosen GenreSex scenes can be very important for a novel’s plot, and in some genres they are downright integral. Sexier genres include Erotica, Romance, Paranormal Romance, and a branch of steamy adult Fantasy (think bestselling authors like Sarah J. Maas, who are currently taking bookstores by storm). Sex scenes are important because they characterise relationships and move the plot along, but they can also be important because the reader expects and wants them. The idea that sex sells is not lost in the literary business and it’s no surprise the 50 Shades of Grey books took the top three spots for the bestselling books from 2010-2020!If you are writing in these genres, consider including a well-placed sex scene. If you are writing outside of genres that expect sex, only include it if it feels genuine to you, integral to the story, or necessary for character or relationship development. Sex scenes can also be used to add colour to the setting (such as a drunken orgy to illustrate the gluttony and wealth of a Roman family in your book) but whatever you do, do not include it gratuitously. The advice would be the same for any type of scene. Don’t be ModestLook, no one wants porn shot by a nun. Writing a sex scene is like art directing a tasteful nude shoot - shame, modesty, indignation, and personal bias all need to be left at the door along with the robe if the scene is to come across as genuine. Your discomfort will affect how you write and how a scene will read, so it’s the first thing you need to tackle. Think of it this way, you wouldn’t let the fact you feel uncomfortable stabbing people with swords keep you from writing an epic medieval fight scene.If you leave out too much detail or keep it too vague, you will only be cheating the reader.Include Enough DetailGreat sex writing leaves a lot to the reader’s imagination, yet it must also convey a balanced amount of detail. Of course, how much you include also depends on genre (as you can imagine, Erotica leaves absolutely nothing to the imagination, laying out each tryst in all its sordid glory).Researching and reading widely across your genre will also help you decide how much detail to include. As an artist you are of course free to break these conventions, but make sure it’s with good reason and with your target audience in mind.If you feel your historical fiction needs a 5,000-word sex scene, which is uncommon in that genre, make sure you know why it will add depth to your story. Don’t indulge in too much detail (yes, I know it can be fun), but likewise don’t skim over details either.And remember – most people know how sex works. You don’t have to include every literal in and out. Good sex writing isn’t about the mechanics but about the emotion, flow, and imagery.Write from the Characters’ PerspectivesJust like sex between two people in the real world, no sex between two characters should or would ever be the same. Sex is a direct extension of the character’s personality. You have to be true to their perspective when writing it, and true to your story so far. The last thing you want to do is insert a generic “who put what where” scene.Put yourself in both the minds and positions of the characters in the scene. If your novel is dual POV, try describing the sex from both perspectives and treat it as a way of extending the reader’s understanding of the character - including mannerisms and deep characterisation. Why would the character like this and that? What would they say? Which actions would make them feel embarrassment, or joy, or excitement? What rhythm would feel natural to them and why? How a character has sex is no different to imagining what they would order in a restaurant, or how they dress. Even if your book isn’t split POV, doing a writing exercise where you write out the scene from the perspective of both participants could be beneficial.Build TensionBuilding tension is important in any scene, and even more so in a sex scene. You can’t have a two hundred page lead-up to a steamy scene and then have the sex be over in one page. Similarly, if your romantic interests just met and they are already going at it, your readers are not likely to be invested emotionally. So, build tension leading up to the act, but also don’t forget to build tension throughout the scene itself. No one wants the literary equivalent of a ‘wham bam thank you ma\'am.’Don’t Overlook EmotionSex scenes shouldn’t be all about the mechanics - they should include the emotional responses and experiences of the characters involved. This is the perfect moment to incorporate characterisation into the scene. What is the character feeling? How are they responding? What do their actions and rhythm say about what they are feeling? Sex should reveal as much about a character as a good piece of dialogue, or showing them in a high-stakes situation, would do.Make it Real (or Don’t)  In order for sex scenes to be believable they need to be realistic and not idealised. That’s not to say you can’t have an alien having sex with a vampire. Just that if they both keep overpraising each other, and the emotions are flat, and everyone climaxes after two minutes, your reader will feel like they’ve been pulled out of the story and doused with a bucket of cold water.Try to stay true to the characters, their individual personalities, the world and the setting the characters are currently in. If your characters are having sex outdoors don’t feel the need to say the thorns scraping their backsides felt like silk. Stay real, even within fantasy.Here are a few things you should keep in mind:If you are writing romance, remember real-life sex can be bumpy, messy and imperfect. I mean, maybe Edward’s penis glittered like a jewel in Twilight, but no one is using that scene as a barometer anytime soon.Consider the need to accurately represent orgasms and how they are experienced by characters of all genders. Sadly, it’s not difficult to find erotica where a woman nearly climaxes simply because she glanced at the man’s thirteen-inch member. Maybe in your dreams, but readers will laugh…not get aroused.If you are writing a sex scene in Young Adult (they are usually subtle but they do exist) consider important aspects such as contraception and consent. Always stay mindful of the responsibility you carry as a writer for young people.Don’t shy away from things that could go wrong. This type of attention to detail can help contribute towards creating believable sex scenes.Use Appropriate VocabularyIt’s all good and well to say, “call a spade a spade” and all that, but the word spade can get tiring if you say it fifty times in a row. His spade did that, then he took his spade away, then he put his spade on the table. See how monotonous that sounds? Though we might think that euphemisms are cheesy, they are also essential for the simple reason that you can’t write ‘vagina’ eight times in a paragraph and still expect the prose to flow well. But you also don’t want to use overly floral comparisons, or terms that sound outright ridiculous. The best thing is to go back to your research on sex scenes and see what kind of vocabulary is appropriate in your genre. Create a list of synonyms, a spreadsheet, fill a notebook up – whatever works for you.Don’t Overdo ItThe number of sex scenes in a story should be carefully considered and not overdone. Include a few scenes too many and you are teetering on the brink of erotica territory. So consider if that’s the genre you initially wanted to write in, or if you’re being self-indulgent.Consider Using HumourWe know sex can be funny and there’s no reason to shy away from adding humour in a sex scene. Maybe your MC cracks a joke because that would be true to their nature. Maybe funny sounds from the weird neighbour next door adds a pinch of humour to an awkward start. Whatever feels true to you and your story is great, just make sure you don’t cockblock humour just because it’s a sex scene.Use VarietyJust like any other action scene, if you are planning on having multiple sex scenes, consider introducing variety (you wouldn’t have three car chases in one movie if you could have a motorcycle chase as well). This will make the scenes more believable and retain the readers’ attention. A mental copy and paste simply won’t work because each time your MC has sex is unique, so each interaction must be marked with its own characterisation and emotional weight. Consider also adding variety to the setting, reactions, dialogue, clothing, and rhythm, in order to keep the reader engaged.In SummaryThere you have it; sex scenes don’t have to be rocket science. Consider your genre and your story when deciding whether you want sex scenes, and how many of them you might want. Treat the sex scenes as if they were any other scene, apply the same meticulous care to them as you would with dialogue and action. Make sure the scenes move the plot forward, and that characterisation is as evident in them as in the rest of your work.Yes, sex scenes can be challenging but (as we all know with real relationships) practice makes perfect.

Sex in young adult literature is one of the topics with the most ‘hot takes’ you’ll ever find. From ‘It’s never appropriate!’ to ‘It’s always appropriate!’ this article will look at the tricky, sometimes controversial, issues involved, before I share some of my top tips for tackling sexual content in your own work.  Writing for Young AdultsLet’s start by defining what young adult literature encompasses. YA fiction will typically feature a protagonist between the ages of thirteen to eighteen, although increasingly they’re predominantly in their upper teens. The themes of young adult novels will correlate with the age and experience of the protagonists, mirroring adolescent concerns, motivations and inner thoughts. Young adult fiction is aimed at readers in a similar demographic to the protagonists, although some readers are younger (often eleven or twelve) and an estimated fifty per cent of YA books are actually bought by adults.  You might have already seen what the issue is here. At the lower end, YA fiction has readers who haven’t even started puberty yet. At the upper end, they’re heading off to university. That’s a huge gap in terms of experience and stage of life, and what might be right (and entertaining) for a seventeen year-old reader might not be for a thirteen year-old.  While not everyone has sex, and not every book needs to include sexual content, to not sometimes include it when writing teen characters feels like a glaring omission. Yet what’s acceptable varies from publisher to publisher. When my debut Noah Can’t Even was on submission, some agents and publishers couldn’t get their heads around the fact it featured a fifteen year-old boy who… wait for it…  masturbated. Something that is normal and commonplace for a teenage boy was too much for some gatekeepers in the industry – even against the backdrop of popular publishing ‘buzz phrases’ about how authenticity is important, and teens need to see their lives on the page.  The inclusion of sexual content can also make some schools and libraries nervous, especially if they come under pressure from parents or campaign groups - the recent challenge to Lev Rosen’s Jack of Hearts in a Texas library being a prime example. Meanwhile, some parents are blissfully unaware of the sexual content their children are accessing online, but weirdly furious about content that is far less explicit appearing in written form. When you also factor in religious and cultural sensibilities, it’s a minefield.  Can You Write Sex in YA?Of course you can! With YA books, you’re striving to be authentic to the teen experience, and whether they’re thinking about it, just curious, or doing it, that experience often includes sex.  Before we look at how, it’s important to address the use of the word ‘appropriate’, which regularly crops up in these discussions, and which often masks what someone’s real objection is – namely the inclusion of LGBTQ+ storylines.  “I don’t want my child reading about same sex relationships - it’s not appropriate,” goes the refrain. For other people, no mention of sex will ever be ‘appropriate’, and these people will also typically withdraw their children from sex education classes too.  So, let’s be clear: not discussing these things, not being open and honest, but living in shame, fear and ignorance –those are the things that hurt people. We shouldn’t, as creators, shy away from giving young people the tools they need to help them make safe, informed choices. Some young people can’t access that information easily elsewhere. Maybe home isn’t a supportive environment. Perhaps school sex ed. is lacking. This is so often the experience of LGBTQ+ teens, but it also applies to many other situations young people find themselves in. For me, this is why this subject is so important, and why, while accepting I have to tow the publishing line to an extent, I’ll always fight to include realistic portrayals of teen sexuality in my books.  So, rather than talking about appropriateness, let’s frame this in terms of how much is too much for this age group and their gatekeepers. After all, you want to get published at the end of the day, and a novel containing a hundred pages of overt erotica probably isn’t going to make the cut. However, a storyline featuring teenagers having sex, if described sensitively, will often be deemed acceptable. While there are a few exceptions (Doing It by Melvin Burgess springs to mind) the issue of how explicit you can be is usually the key factor here, and it’s probably the biggest thing that separates YA from adult fiction in terms of writing about sex. While it’s undoubtedly a constraint, you can also use it to your advantage.  How to Write Sex in YAKeep it real. Remember that teenage sexual encounters are often awkward. Conveying this fumbling, nerve-wracking inexperience is important, not just for authenticity, but because many young people use literature as an information source. While porn is overblown, Hollywood is rose-tinted, and the internet is awash with misinformation, YA fiction can be a safe and reassuring place for teenagers looking for realistic portrayals of sex.  This is one reason why explicit material isn’t always helpful, but also why it isn’t necessary – realism is more valuable to the readership than titillation, addressing issues of consent, shame, and safe practices, while giving young people the understanding and language to discuss and explore their own sexual experiences. The best writers do this without it ever being didactic, of course – Lev Rosen, William Hussey, Juno Dawson and Holly Bourne being just a few cases in point.  Don’t Overdo ItIt’s important not to include sex scenes gratuitously – they need to work within the narrative and support the story. In many YA novels, such scenes may well be the culmination of a romance plot running the entire length of the story. In others, like Lev Rosen’s Jack of Hearts, the content may feature throughout as it’s a key facet of the plot. In the former case, the scenes work because they’re deeply connected with the emotional journey of the characters, so they feel like a natural progression. In the latter, Rosen ensures all his scenes emerge organically from the plot, providing information and a realistic portrayal – a type of sex education, if you like – which is refreshingly upfront without ever feeling gratuitous.  Be Subtle and SensitiveLess can sometimes be more. Writing good sex scenes is incredibly difficult, and you don’t want to stray into cringe territory. In some cases, leaving exact details to the imagination is your best bet, but regardless, be mindful of anything too explicit, especially in books targeted towards the younger end of the market.  Be sensitive to some of your readers’ lack of experience – something that’s too hardcore might not engage your teen reader as much as something that introduces them to the topic a little more gently. Subtle can also make for a pleasing shared joke, which can break the ice when it comes to discussing themes of a sexual nature, which some readers might find awkward. A brilliant example of this:Read the whole of  Sex and Reproduction in bed last night. Woke up to find that a few hundred million sperm had leaked out. Still, it will give the remaining sperm room to wag their tails about a bit. Sue Townsend’s Adrian MoleUse Appropriate LanguageBe aware that your choice of language can have a huge impact on what gatekeepers consider suitable for their young charges. While you need to make sure your voice is authentic for a YA novel, (and you need to use language familiar to teens) an over reliance on slang and swear words in a sex scene may have the consequence of making it read more crassly and being perceived as more explicit.  What if it’s Us? by Becky Albertalli and Adam Silvera has some good examples of getting this right, where the sexual scenes never read as explicit. Remember Emotions  Don’t forget the avalanche of feelings that run through a teen’s head during sex scenes – especially if it’s their first time. Spotlighting these internal thoughts can be a very effective way of conveying the scene, rather than focusing too much on physicality and mechanics. It will also resonate with many of the fears and concerns your target readership will have – Is this right? Are they ready?  Anticipation is Exciting Anyone familiar with thriller or horror writing knows that there’s as much fun to be had in the build-up and anticipation of something happening, as the event itself. The same can be true of sex scenes. If you get the connection right between your characters, your reader will be willing them together - ‘shipping them’ as the kids say - and doing a lot of the work for you in the process. Sometimes, they’ll then go away and write fan fiction featuring the type of material you weren’t allowed to include, in a sex scene that will make your eyes water.  Funny and Awkward is Good Humour can be a very effective tool for sex scenes. Sex can be built up into such a huge ‘make or break’ momentous occasion, thanks to the proliferation of that attitude in popular culture. So, why not turn that idea on its head and take a lighter approach? Teens will probably thank you for being honest about the messy, embarrassing, awkward side of it, rather than what the movies and porn tell us it should be.  Lobsters by Tom Ellen and Lucy Ivison is great at using humour to convey some of the most real sexual scenes I’ve ever read, and Editing Emma by Chloe Seager is definitely worth a look too.  Know Your Age Group, Trust Your Reader, and Trust Librarians If your story is aimed at younger teens, ensure the content you include is right for them. Many books are listed as being ‘Suitable for 12+’ or ‘14+’ and while age banding is a blunt tool, it does mean readers, and gatekeepers, have less cause for complaint when they encounter sexual content. While your book may be picked up by younger readers, in my experience teens are good at knowing whether a book is right for them, and will often abandon one that isn’t. Children mature at vastly different rates and it’s impossible to account for that. Meanwhile, all the school librarians I know are experts at knowing what book is right for which student at which time. There\'s No Formula...There are myriad challenges when writing sex scenes in young adult fiction and there’s no ‘one size fits all’ solution when including this sort of content. The needs, experiences, and maturity levels of YA readers are so vastly different, you won’t ever tick the right boxes for everyone.  However, sex scenes are an authentic and valuable part of YA stories, and by ensuring your portrayals are sensitive, and emerge out of plot and character you can create something highly effective, rewarding for you as a writer, and truly appreciated by your teen audience.  

Budding writers often ask whether they should use their real name or create a pen name.The truth is pen names can be very handy. Whether you don’t want your boss to know that you spend your nights writing about peacocking lords and their throbbing members, or you don’t want your aunt Susan to find out she was the sole inspiration for your serial killer MC. Hey, it’s her fault for being a countryside taxidermist, right?In this complete guide to using a pen name we will cover the many reasons authors might consider using pen names for their work, explain why it might be right for you, and how to pick a pen name of your very own. And check out our post on the pros and cons of using a pen name to help you decide if it\'s the right move for you.What is a Pen Name?Simply put, a pen name is a pseudonym chosen by an author and used on their by-lines for their work. It’s also referred to as a Nom de Plume. Despite the words being French the expression originates from England, when the English failed to use the then common French expression Nom de Guerre (Name of War) which was used by the French at the time to describe pseudonyms. They later switched to using the catchier expression Nom de Plume (Name of Feather – as in a feathered quill).Famous pen names include Lewis Carroll (Charles Lutwidge Dodgson), George Orwell (Eric Arthur Blair), Dr. Seuss (Theodor Seuss Geisel), Mark Twain (Samuel Clemens), and even the mighty Voltaire (Francois-Marie Arouet.)Why Authors Use Pen NamesThere are countless reasons authors may choose to write under pen names - from privacy concerns, legal reasons, or preferring the sound and visual aesthetics, to the desire to choose a pen name that will better appeal to their readers. The reasons can range from the obvious to the very specific.In order to help you make your decision on whether or not you should use a pen name and how to use one, we will delve into the most common reasons pen names are used in the first place.PrivacyOf all the uses pen names have, keeping your identity secret is probably the least useful. Yet, nonetheless, one of the most common.Consider this, a book will flail and burn if not properly promoted, and since we know author promotion starts with your existing network, being completely secretive about your work will probably not do you any favours in the long run.With that said, there are reasons authors would like to keep their identities secret from families, colleagues, and institutions. A few notable examples include stories inspired by true events or memoirs that depict toxic family members or dysfunctional family dynamics. Some authors may want to write about the domestic abuse they’ve experienced, but don’t want to write under their own name and have the work traced back to them.Often people will choose pen names to retain privacy from their employers. Just because an employer can look you up on LinkedIn and Facebook doesn’t mean you want them to read your violent novels, or know that you write erotica, or have access to your dark poetry collections.The truth is many authors retain their day jobs whilst simultaneously pursuing careers as authors and it makes sense to keep both worlds apart. Though the degree of anonymity you are able to retain is up for debate.As we mentioned earlier, the success of a book depends heavily on marketing – basic requirements, such as author bios and author pictures, will still give you away – but you can still retain a degree of anonymity with employers and control what they see when they google you.Pen names can also be beneficial if you are being critical of an employer or institution in your work. If you, for example, are on the police force but are writing about incompetent cops and corruption, you may wish to keep the two separate.All in all, privacy plays a large role in people choosing to use pen names.Change GenderFemale authors are (whether we like it or not) more popular in the romance genre, and male readers tend to buy more crime thrillers written by other men. This is of course all very outdated, but nonetheless factually accurate.Of course, this won’t stop an author penning the book of their dreams - so those worried that the gendering of their name might affect their sales may opt for a unisex pen name, or a pen name with initials. Back in the mid-nineteenth century, when women weren’t as prolific in the world of writing, Mary Ann Evans wrote under the pseudonym George Eliot in order to be taken more seriously. And it worked!Clashing NamesSome authors adopt pen names because their real names clash with, or are the same as, those of existing authors, actors, politicians or even people famous for a negative reason. Before setting off on your author career it’s probably a good idea to look at the viability of your name from a legal, practical, and even SEO standpoint (how easily Google can find you).Something I realised only a year into my career was that Sylvester Stallone’s mother was named Jacqueline, which means I (Jacqueline Silvester) often have to contend with Rambo’s mom trumping my SEO. Of course, this isn’t going to affect my writing career too much, but if your name is similar or the same as someone with a lot of internet presence, you might want to consider a pen name. You especially don’t want your name to clash with an existing author or media personality, it will just cause unnecessary confusion and you will be fighting an uphill SEO battle.GenreIt’s common for authors to pick pen names or alter their current name (i.e add an initial or swap to a maiden name or deviation) when switching genres. As an author you build a personal brand, and (hopefully) a loyal following. A readership will have expectations about what sort of work you release. So if you have a following that has read your last six quirky romance books and suddenly you release a bloody psychological thriller, they might be put off and lose faith in your brand. This is especially true if you’re making a massive leap in genre (erotica to middle grade, for instance) in which case it\'s vital you change your author name. You certainly don’t want readers to be confused or auto-buy your books, or for a child who has loved your kids’ mermaid stories to end up getting a hold of your much more…umm… 18+ mermaid content.Another thing to consider is that authors often choose names that suit their genre. Names in children’s literature tend to be easy to pronounce, light and airy, with an air of magic or mystery. For example, the famous pen name Lewis Carroll sounds more delightful than his birth name Charles Lutwidge Dodgson, and Lemony Snicket (author of A Series of Unfortunate Events) sounds more whimsical and adventurous than Daniel Handler. Consider creating a new, more fitting, pen name when switching genres.Aesthetical PreferenceSome people simply don’t like their name and don’t think it will look good on the cover of a book, or the by-line of a heart-breaking poem. Sometimes authors want something with more flare, or a less common name. We can’t all have Kris Jenner’s foresight and be born into a family with perfectly trademarkable names peppered with alliteration, like the Kardashian clan. And we can’t all be born with a perfect sounding name like Stephen King. Although even King resorted to using a pen name (Richard Brachman) when he realised his incredible output required two names instead of one, so he chose a separate name for his more twisted work.Author Output and Co-WritingSpeaking of Stephen King, in trade publishing authors are generally expected to release one book a year (it takes a long time for trade publishing to market and position all their books), so if your output exceeds that you may choose to use a different pen name so you can churn out more work. Stephen King did it, and so does Sophie Kinsella (who also writes under the pen name Madeline Wickham) because trade publishers will very rarely publish and market multiple books a year under one name.Co-authors will often choose to co-write under one joint pen name too. It simplifies marketing and PR, plus one cohesive name on the cover instead of both names means their new work won’t be mistaken for their previous solo backlist.How to Choose a Pen NameAs outlined above if privacy is a concern, or if you would like to distance parts of your life from your work, a pen name could be just the ticket. If you don’t like the way your name looks on a book, or if you don’t think it’s easy to remember or pronounce, or if you think you’ll be fighting an uphill battle with SEO, you should opt for a pen name. Whatever your reason (you don’t even need one), here are some ways to help you pick a pen name.Did you know, like with any other trends, there are trends for author names in your genre?Romance novelists, for instance, often choose names with a romantic flare. When choosing a joint pen name for our paranormal romance series Blood Web Chronicles, my co-author and I landed on Caedis Knight. ‘Caedis’ means ‘slaughter and bloodshed.’ We write romance, and the name sounds quite modern with a heroic surname, but we also wanted to make it clear we write dark paranormal romance. Had we opted to write more floral country romance, then a name like Rose Delacourt would have been a better fit. Or had it been BDSM erotica, we may have opted for Scarlett Pane. Yes, this pen name game is a lot of fun!The first step of choosing the perfect pen name is research. Go to a bookshop (or go online) and browse your intended genre. See what trends you see in the way names look and sound. Examine the names in depth. What are their genders? Do they use full names or initials? Is there anything distinctive about the chosen names? Who is your target audience and what would they like? Ask yourself what sort of name your target audience would find memorable?When you have a shortlist, choose a name that’s easy to spell and pronounce. Make sure it’s not already used and isn’t associated with anything bad (e.g. Fred West). Check the name’s SEO viability; are you competing against the name of a popular brand? For example, Kath Kidson might sound like a great pen name but, because of the brand, you would be crazy to use it. Even if it’s your actual name. Also check whether the URL is already owned. Having your author name as your website is ideal, so if you get to choose your name choose one where the domain name isn’t already taken.Once you’ve completed all your research, start putting pen to paper and get brainstorming!In ConclusionPicking a pen name is a very personal choice, but one you can approach freely and confidently knowing that countless authors have chosen this route. Remember that a pen name is akin to a stage name - it serves a purpose and that purpose can be whatever you want it to be. Consider your genre first, your personal privacy preferences, the aesthetic appeal of your name, and make sure to check it for SEO, legal issues, commonality, and genre appeal.Lastly, make sure that you absolutely love it – because if things go well, your author name will be everywhere!

Have you been meaning to write flash fiction, but been put off by the different word counts and apparent ‘rules’?In this guide you’ll get a brief introduction to flash and its history, then we’ll talk about the essential elements to include in your flashes. I’ll also give you a checklist as an aide-mémoire at the end of the guide. And if by the end you feel confident enough to enter a few competitions, check out our guide to the best flash fiction competitions.What Is Flash Fiction?‘Smoke-long’ is my favourite (albeit not very healthy) description for a piece of flash fiction, because it refers to the time it takes you to read the story – the same amount of time it would take you to smoke a cigarette. Some flash fiction is even shorter, one puff-long if you like. Japanese writer Yasunari Kawabata referred to them as palm-of-the-hand stories. Flash fiction is also known as fast fiction, sudden fiction, postcard fiction, a micro-story, a nanotale, a short short, amongst other names. So what exactly is flash fiction? In a nutshell it simply means very short fiction. The longest flashes are generally considered to be 1,000 words, the shortest 6 words. Try writing and reading each of these and you’ll soon realise there’s a big difference. In 2007, the Guardian newspaper challenged several well-known writers to write 6-word short stories. Take a look and decide for yourself whether they succeeded. Just as a short story isn’t a truncated novel, flash fiction isn’t a truncated short story. The challenge, with very short fiction, is to tell a complete story within the word count, one thing that differentiates flash fiction from prose poetry. This gets harder the shorter the word count, and that sense of challenge is one reason flash fiction is so popular.For example, in the above Guardian article, Blake Morrison’s story “Womb. Bloom. Groom. Gloom. Rheum. Tomb” gives a sense of a whole life, with a beginning, middle and end, or an overarching narrative – but contains no detail – whereas Jim Crace’s “See that shadow? (It\'s not yours.)” suggests a story, which readers tell themselves. Arguably a piece of flash fiction is unique in the way it invites the reader to tell themselves the story like this. Other forms of prose writing do this, but because of their length, they also provide detail and narratorial incursion. In flash, this detail and incursion has to be nifty, playful – or cut out entirely.Hemingway’s $10 BetThe above two stories were written in response to the famous 6-word short story allegedly written by Ernest Hemingway as part of a bet over dinner, which won him $10: “For sale: baby shoes, never worn.” As with Crace’s story, this one suggests a story which the reader then infers, and it’s probably the most famous flash fiction story in circulation today. However, it is likely Hemingway never wrote this story. You can read the background in this article. There isn’t much evidence that the bet took place, and if it did, earlier versions of the story had appeared in newspapers several years earlier, so he was probably repeating something he had read, as an amusing riposte. Writers from all over the world have used the flash form, including Jorge Luis Borges, Kate Chopin, and Italo Calvino. In fact, ancient myths and fables can be considered a form of flash fiction. This article by Sandra Arnold will give you a sense of the history of flash fiction – very handy if you want to learn about flash fiction in literature. She attributes the first use of the word ‘flash’ to an anthology edited by James Thomas in 1992 – giving more of a sense of the experience of reading the finished story, rather than the word length.Flash Fiction Sub-GenresFlash fiction has a range of subgenres but in the same way, they don’t necessarily have strict definitions either. But if you’re looking for a general guide to flash fiction word counts, we’re here to help. Here’s a rundown, from the longest to the shortest:1. Novel-in-a-flash and Novella-in-a-flash. This is essentially a sequence of flashes up to around 18,000 words.2. ‘Sudden fiction’ or simply ‘flash fiction’ refers to stories of up to 1000 words or sometimes 1500 words, or two pages of an anthology. The ‘up to’ is important. These are usually loose guidelines. 3. Nanofiction or microfiction refers to stories up to 300 words, but the constraint can be stricter than that. Here are some examples:Postcard fiction: stories that can be written on the back of a postcard. Twitterature: microfiction, derived the original Tweet limit of 140 characters. Stories of exactly 100 words http://www.100wordstory.org/, known as the Drabble, or exactly 50 words https://fiftywordstories.com/, known as the Dribble. Not so exacting, some calls for submissions ask for fiction under 50 or under 10 words.Twitter FlashesTwitter is alive with flash fiction. I recently tweeted out a call for resources and the flash fiction writers of Twitter didn’t disappoint. Here are some of the responses. Thank you to Laura Besley (@laurabesley) who suggested the following journals:@FictiveDream@EllipsisZine@FracturedLit@EmergeJournal@CraftLiterary@50wordstories@101words@flashficmag@flashfroglitmagAnd these follows: @kathyfish (who has a flash fiction newsletter)@megpokrass@TommyDeanWriter@nancystohlmanThank you to El Rhodes (@electra_rhodes) who suggested the following:@BBludgers for competition info.@sagetyrtle for a list of UK flash mags. @FlashFicFest runs an event end of October.@FlashRoundup digests new flash regularly. Edited highlights of the rest of the responses include: Shorts Podcast (@ShortsthePod), a podcast about the contemporary short story, including flash, @SmokeLong, a journal that has 18 years\' worth of archives, and @RetreatWest, which has over 150 flash stories published on their website, plus 9 anthologies of flash and shorts.Key Elements Of Flash FictionHow do you go about writing flash fiction? Flash fiction stories usually include certain key elements, which I’ll explain here, but having said that, one of the elements of flash is its ability to surprise, and the continuous development of the form, creating new writing challenges and new ways of thinking about storytelling. Therefore, it is best to check several different sets of submission guidelines before editing and sending out your work.Story PlotHere are some general guidelines on how to create flash fiction, part of a range of techniques that go into creating short short stories:A piece of flash fiction isn’t a scene from a larger piece of fiction, or an extract. It is a stand-alone, and a complete story. Flash isn’t usually a ‘moment in time’ like a prose poem could be, or a discussion of the narrator’s opinion on something. It has narrative drive. Most flash fiction stories have a beginning, middle and end. This is possible even with the shortest short stories, like Blake Morrison’s “Womb. Bloom. Groom. Gloom. Rheum. Tomb.”But the shorter the flash gets, the more likely it is to use Jim Crace’s “See that shadow? (It\'s not yours.)”  technique and to require the reader to create the complete story for themselves, through implication. Morrison and Crace both provide us with a guide to plotting flash: 1) begin, grow, develop, make things get bad, provide resolution, and 2) make the reader form the story in their own mind.Few CharactersWhat do you do about characters? How many should you include? Read plenty of examples so you can see how other writers do it, but here’s a rough guide:Keep the number of characters in your flashes to a minimum. Often, you’ll only use one character, or two, as protagonist and antagonist.As you only have a few words available you can’t dwell on anything very much, and that includes character development.To create characters, you can use brief but pertinent descriptions (he wore his best suit trousers over his broken leg), unusual connections (petunias always make the best guard dogs), suggestive statements connecting place and character (he worked as a stripper at the fire station) or assumptions (I didn’t fit in and neither did my imaginary friend).A HookIt’s important to start strongly when writing flash fiction. You don’t have time for explanations. The aim is to ‘hook’ your reader in, engaging them from the first few words. When Tania Hershman starts a story with ‘My mother was an upright piano’, from a collection of the same name, we’re hooked in by the unusual image, which hints at conflict with the narrator. Create your ‘hook’ from conflict because stories thrive on conflict.Both ‘in media res’ and ‘mis en scene’ are important when writing flash. ‘In media res’ means starting in the middle of things, whereas ‘mis en scene’ refers to the arrangement of actors and props, scenery etc. to create a ‘stage picture’. With fiction, the stage is the reader’s mind. 1) Plunge right into the action, cutting extraneous introductions, and 2) create a picture in the mind of the reader using as few words as possible. Don’t do one without the other.Strong FinishFlash fiction writers often use a twist or (more loosely) an unexpected ending. The unexpected ending is like a punchline, it emphasises the ending. They make the ending live on in the readers’ memory, aiding the sense of the reader creating the story in their own mind. If the ending were subtle, the short short story could easily feel like an extract. Making the ending like a sort of punchline gives the flash a shape. That doesn’t mean to say that all short story stories use twists or the unexpected, but it is a technique you’ll see a lot when you read examples of the form.Honed EditingEditing is important with any piece of writing. In fact, I’d go as far as to say redrafting is writing. The first draft provides you with the words you’re going to play with, and in subsequent drafts you form those words into what you want them to be. Editing takes on an extra function in short fiction writing – I mean specifically anything under 2,500 words – and the shorter the word count, the more this special function applies. Within whatever wordcount constraint you’ve undertaken, you are attempting to hone the writing to create the maximum meaning and story experience for the reader in the fewest words possible. You need to do both of those things for the story to be successful.When writing flash, you may well write much more than you need in the first draft and then cut by chipping away at extraneous words and story threads until you’ve reached the word count required. It sometimes helps to do this in sections, like this: Divide the word count into beginning, middle and end. Usually the middle is twice the length of the beginning and end, so in a 1,000 word story, the beginning and end = roughly 250 words and the middle = 500 words.Write your story without worrying too much about word count.Now edit each section in turn to get it to the required amount.When editing, you’ve got to be hyper-aware of every word you choose to use.Read Plenty Of Flash FictionFrom reading plenty of flash you’ll learn how to create a strong start, launching straight into the action, how other writers create characters economically and how they use as few words as possible. Because the flash fiction community is so vibrant, and there are so many opportunities to share your work, from reading you’ll also learn about being a literary citizen, and how to promote the work of other writers, while putting your own work out there.Up For A Fun Challenge?Writing flash fiction is a fun challenge and a great exercise for writers. You also get the chance to become part of the online flash fiction community. Here’s a quick summary of this guide:Read plenty of flash fiction and become part of the flash fiction community. Use your first draft to get your ideas down without worrying about word count, then edit.Create a strong start by launching straight into the action.Use as few words as possible. Use ‘in media res’ and ‘mis en scene’: 1) Plunge right in, and 2) create a picture in the reader’s mind.Use one or two characters and develop them economically.End with a twist or an unexpected ending.Use ruthless editing and redrafting to hone your flashes to get them down to the required word count.Have fun, keep practicing, and in a flash you’ll become a flash fiction aficionado!

Writing flash fiction can be a lot of fun, but it can also be a real challenge.I’ve been a children’s author for the past fifteen years, and I’ve also been writing flash fiction stories since before I knew the term. In this article I will be exploring the meaning and definition of flash fiction, its characteristics, and sharing my 12 top tips while drawing on my own writing experience.What Is Flash Fiction?Flash fiction is also known as Sudden Fiction, Drabble, Nanotale or Microfiction. It refers to very short pieces of prose writing. Usually under 1,500 words, the word limit can vary depending on which publication, website, or competition you are writing for. It was popularized in the nineteenth century by writers like Walt Whitman, Kate Chopin, and Ambrose Bierce, but some of the best flash fiction is still being written (have a Google and see what’s out there). It is also a genre that lends itself well to competitions (way quicker for judges to read entries than your average writing comp). In a world of thumb scrolling and multimedia distractions, it is also an appealing form for writers and readers, because once you get the hang of it you can write an entire story on just one page.Flash Fiction CharacteristicsThe defining characteristic of flash fiction is that it is both short and fictional. So, what is so appealing about having such constraints imposed on your creativity?One of my publishers once set up a competition called 24/7 which involved several authors writing stories with a maximum of 247 words. After I had submitted mine, the editor commented that he was surprised that all the authors had chosen to make their stories precisely 247 words (and no less). It was not a surprise to me. Often the constraints of a commission like this are part of the appeal. They present a challenge. They are puzzles to be solved, and ones which require intricate and precise solutions.So let’s take a look at my top tips for tackling the trickiest of short story writing…How To Write Flash Fiction – 12 Top TipsA good flash fiction story takes the reader into a world which is already established - where things are happening. But it’s not as simple as merely hitting a small word count. Here are some things to consider when writing flash fiction.Select Your GenreFlash fiction can be in any genre, therefore the perfect opportunity to try something new. Whether you usually write romance, thriller, horror or sci fi, consider using your flash fiction to try something new. Unlike novel writing, there’s no need to worry about worldbuilding or backstories – just jump straight in!Choose An Overarching ThemeOne of the things I notice when I write my flash fiction is that the ideas that most attract me are often related to current events: things I’ve heard on the radio or read about online. I take a news story then think about how one moment of that story could affect one or two of the people involved. From these thin slices of life, you can explore broader subjects such as love, death, power or family. Have a go yourself at re-writing a piece of history in just a handful of words.Use One Or Two Key CharactersWith such a limited word count, you might find it helpful to focus on fewer characters. Try making your protagonist complex or flawed or putting them up against their antagonist from the onset. Choosing first person over third person is also worth considering as it throws the reader straight into the action.Make Every Sentence Count And Don’t RushAs a writer, I both suffer and benefit from both optimism and selective amnesia. I always think that things won’t take long to write. You need a picture book text about dragons in a week? Sure? You need a short story on the subject of sharks in a few days? No problem. I never learn. Just because you have fewer word to manage, that doesn’t mean your piece of flash fiction will take any less time to write. Quite the opposite. In many cases, shorter pieces of writing will take more time than longer ones, as you are forced to peel away the unnecessary words in order to find the core of your narrative.I often imagine writing as an act of carving. I throw a pile of words at the page then, through editing, chisel away until I find the shape of the story. This is precisely the technique that is required to make a short piece of fiction impactful and worth reading.Prompt VisualisationOne way to draw readers into your story is to focus on one powerful picture or piece of imagery around which to build the story. For inspiration why not look at pictures in a magazine or newspaper, an old photo album, or a piece of art. Sometimes, something as simple as an image of a half-eaten apple, can inspire you to create a glimpse into a story that will entice your readers. Because that is what flash fiction is, a glimpse – a flash – of a story that could easily belong in a much larger world.Start In The Middle & Use Descriptive, Concise LanguageThe reason a lot of flash fiction starts in the middle, is because there’s no time (ie words) to build a rambling intro. It’s the same when writing my children’s books - I don’t have time to spend on floral descriptions, I need to grab my readers from the first line. That’s why the story must start at the most exciting (or most dramatic/upsetting) point, which is often the inciting incident in a longer novel (at about 20%) or the midway point. This is also true of Flash Fiction. Don’t introduce the story - tell it. Your characterisation has to be precise, efficient and entertaining too, without relying on lazy stereotypes. Whether its dialogue or description, every word needs to earn its keep. Deal With A Single ConflictFlash fiction is not the same as prose poetry. Something should happen. Something should change. It requires a beginning, middle and end. In other words, your story requires movement. It is unlikely that you will have time for a subplot or backstory, but the longer you spend on your piece of writing, the more you will discover you can wrap things up in surprisingly few words. Most fiction is driven by conflict, but with flash fiction you will most likely need to limit your conflicts to one single struggle or choice that your character encounters.Use Descriptive, Concise LanguageGood writing is all about precision and there’s nothing quite like a strict word count to really sharpen your text. Keep sentences short, and don’t use three words where one will do. Even if you have no intention of submitting your flash fiction for competition or publication, it is still a useful exercise to try to hone your writing skills. It’s also useful to learn if you write non-fiction or marketing copy - the more you can say, in as fewer words as possible, the more impactful your message.Create Surprise And Provide A TwistOne subgenre of flash fiction is Twitterature, in which you have to tell a story in the form of a tweet. That’s 280 characters these days but it was even shorter when I wrote this in answer for a call for twitter stories using the hashtag #StoryShop. “The shop sold plots, themes, characters, dialogue etc, but reaching the section on twists I realised it wasn\'t what it seemed. #StoryShop”One of the things I struggle with when I write my own flash fiction is my natural inclination to include a dramatic or amusing twist. This is often seen as a key component for a good short story, and one which can certainly be put to good use in flash fiction, but for many publishers and judges it is not as necessary as you may think.A good piece of flash fiction often simply illuminates a fleeting moment, causing the reader to pause and reflect on something or see something differently. If you can surprise your reader then you’re onto a good thing, but that surprise doesn’t necessarily need to appear at the end.Present A Memorable Last LineI once wrote a joke book, which also included hints and tips on writing jokes. In a sense, joke writing is another form a flash fiction. Comedians will tell you that a good gag relies on a precise choice of words and carefully formulated sentences to ensure that the punchline lands in exactly the right place. Just as flash fiction doesn’t require a twist, neither does it call for a punchline, but you’ll still want to find a final line with a little punch.Write A Powerful TitleWith my own writing, I often start with the title as that can ignite all sorts of ideas for the story. With so few words to play with in flash fiction, your title is a part of the story. Make it catchy, memorable, and in keeping with the theme. You can even be clever with it. Like a piece of art, the title may well provide a different angle in which to view the story.Get Others To Review And Critique Your StorySometimes it’s hard to find beta readers to read your novel, but when writing flash fiction there’s no excuse for your story-loving friends not to take five minutes to look over your story and see if it impacts them the way you intended. Like with all forms of writing, it’s vital to be open to criticism and suggestions – plus you’ll be getting your friends hooked on flash fiction too!And Finally… Enjoy The ChallengeI read various examples of flash fiction before I sat down to write this article, including several stories penned long before the term was coined. One of the most famous flash fiction stories - and one of the shortest - is this example of the six-word story.“For sale: baby shoes. Never worn.” The origin of this story is unclear, but the story of the story (that Ernest Hemmingway wrote it to win a bar bet) is as intoxicating as the alcohol that Hemmingway is said that have earned for writing it. It’s the idea that you don’t need a lot of words to move and inspire your readers. But to do this, you do need to find the heart of the story. However short your piece of writing, flash fiction can be extremely rewarding. Not just in how it forces you to hack away all unnecessary words, but also because it affords you the opportunity to play with a nugget of an idea and, hopefully, come up with something interesting, fresh and illuminating.

Finding an affordable and engaging fiction competitions to enter is harder than you think- especially if you\'re a flash fiction writer.Flash fiction writing contests are gaining popularity as well as notoriety. With many affordable (or even free entry) options out there today, it is no wonder that flash fiction competitions are worth seeking out!But what exactly is flash fiction, and where can you find some of these fantastic opportunities so that you can submit your work to them? In this article I\'ll be introducing you to some great competitions, including deadlines and fees.Let’s get started.What Is Flash Fiction?Flash fiction is its own unique form of short story. I’m sure you could have already guessed that it is designed to be brief - typically with word counts ranging from 5 words to rarely more than 1000.There are many other terms used to refer to flash fiction: micro-story, nanotale, short short… It all depends on who you are talking to or submitting your work to. Short fiction competitions will all have their own specific guidelines to go over as well.Keep in mind however that flash fiction isn’t simply a truncated short story - it’s a unique story form. Chopping up and editing your existing novella into a flash fiction piece is possible, but not necessarily recommended.This writing style is unique, to the point, and fun, should you feel comfortable limiting your word count! Verbosity is common for writers, but whittling words down in order to fit a flash fiction brief is a talent all on its own.So, what are some of these flash fiction competitions like, and what will they require of you before submitting your work? Let’s take a look at some of Jericho’s top recommended fiction contests out there in 2021, including up-to-date and relevant deadlines!Flash Fiction CompetitionsI doubt I’m the first person to tell you, but: there are a wide variety of flash fiction competitions.Some are regular and routine to a particular magazine or website, some have annual submission opportunities with larger prizes, some are considered prestigious with publications, and there are also one-off contests with interesting themes.There is a lot of merit to submitting flash fiction for contests and competitions. The most obvious is winning awards and prizes, and therefore becoming an award winning author.However, there are many other reasons to consider writing and submitting your flash fiction, including gaining exposure, getting published, and receiving critiques or more experience writing in this innovative genre.Looking for a home for your piece of flash fiction? Look no further! Here are some of the best contests out there, with upcoming deadlines and low-cost or free entry fees so that you don’t miss a beat.Prime Number Magazine 53-Word Story ContestFirst Prize: Publication in Prime Number Magazine + a free book from Press 53Entry Fee: FreeDeadline: 15th of each monthPrime Number Magazine has a wonderful flash fiction competition posted every month, under a different theme. Each prompt should be inspired by a single word and can only be 53 words long. Should you win, you will receive publication of your short story and bio in Prime Number magazine, as well as a free book. Submission guidelines and prompts can be found on their site- just be sure to submit by the 15th of each month!Flash 500 ContestFirst Prize: £300Entry Fee: £5Deadline: Quarterly- 31st March, 30th June, 30th September, 31st DecemberLooking for a flash fiction contest with some decent monetary reward? Check out the Flash Fiction Competition from Flash 500. There is a small entry fee, and you can even receive critique on your work if you submit a little extra fee. The prize money truly reflects the skill required to encapsulate an entire story in just 500 words- and there’s even money for second and third place too! Check out more about this contest and submit at their website, here.Tadpole Press 100 Word Writing ContestFirst Prize: $1,000Entry Fee: $10Deadline:  Twice a year- 30th April and 30th NovemberNow here’s a first prize! Tadpole Press has a flash fiction competition, normally reserved for writers on their own specific retreat. They have decided to open up the competition to everyone, with a $1,000 first prize to boot. Second and third place also get rewards. All it takes is 100 words to potentially win! More information regarding the submission guidelines can be found here. River Styx Micro-Fiction ContestFirst Prize: $1000Entry Fee: $15–$20Deadline: 21st December 2021This flash fiction challenge comes from River Styx, with a word count maximum of 500. You can choose two different submission prices (the higher amount including a yearly subscription to River Styx’s magazine), and first, second, and third prize winners will be published. First prize wins $1000! You can learn more about this micro-fiction contest on their website here.WOW! Women On Writing Quarterly Flash Fiction ContestFirst Prize: $400Entry Fee: $10Deadline: Quarterly- 28th February, 31st May, 31st August, 30th NovemberWOW! is all about promoting the communication between women writers, and their quarterly flash fiction contest is no exception. With an open prompt and a low entry fee, submitting your flash fiction is easier than ever. Make sure your work is a minimum of 250 words and a maximum of 750 before you submit. More guidelines (including how to get your piece critiqued) can be found here.The Third Word Press Great Eighty ChallengeFirst Prize: PublicationEntry Fee: FreeDeadline: OngoingWith a free entry fee and as many short submissions as you’d like, The Third Word Press has a wonderful flash fiction submission option. Submit a piece of flash fiction of exactly 80 words of your own work- no theme, no genre. You can even take from a larger piece, if you’d like. Submit using this form here, and keep it 80 words or less!Cranked Anvil Press Flash Fiction CompetitionFirst Prize: £100Entry Fee: £3 for 1 entry; £5 for 2 entriesDeadline: Quarterly- 28th (or 29th) February, 31st May, 31st August, 30th NovemberWith a monetary reward for both first and second place, this flash fiction contest from Cranked Anvil Press may be worth checking out. You can even submit a second entry with a slightly raised submission fee. The deadline is quarterly, so don’t stress about missing out on this one. And you can read more about their publication here.Bath Flash Fiction AwardFirst Prize: £1,000Entry Fee: £9Deadline: Tri-AnnuallyWith a goal of bringing flash fiction to a wider audience, Bath hosts two international flash fiction competitions, including a novella option. With three yearly submission opportunities and a low entry fee, this contest is well worth checking out. There’s a large first prize, and decent second and third place rewards. Keep it all under 300 words, and learn more about Bath here.Reflex FictionFirst Prize: £1,200Entry Fee: £7Deadline: QuarterlyOne of my favorite flash fiction competitions is this one from Reflex fiction. It has a robust prize system, with monetary rewards for first, second, and third place. Their rules are also simple: entries must be at least 180 words but no more than 360 words. You can submit more than one piece, but you will need to pay the entry fee for each one. Winners (and many of the non-winning, honorable mention entries) are published on the Reflex Fiction website, where you can find more submission requirements here.Craft Flash Fiction ContestFirst Prize: $1,000Entry Fee: $20Deadline: 31st OctoberWith $1,000 awarded to first, second, and third place, this flash fiction contest from Craft is well-worth considering. Your piece will be published on their website, you will be interviewed by their editor, and you will even receive a book bundle of amazing works from Rose Metal Press. While $20 isn’t the cheapest submission fee out there, you can submit up to two 1,000 word pieces. Learn more about this competition here.ConclusionWhile this is a comprehensive guide to flash fiction competitions, there are still many more opportunities to consider. I encourage you to research contests that interest you, and submit before deadlines loom!Have you found many flash fiction opportunities that spark your creativity? Let us know in the comments!

When I used to dream about being a published author, I always imagined taking a paperback off the shelf and seeing my name on it. I’m working on book fourteen now and none of them have my full name on. Instead, I have two pen names - Rhoda Baxter and Jeevani Charika. A great many authors use pen names (or a ‘nom de plume’ if you want to be fancy) for a whole variety of reasons. But what are the pitfalls to look out for? Do the positives outweigh the negatives? Read on to find out.Why Writers Use Pen NamesSteven King is also Richard Bachmann, Nora Roberts is also J D Robb, Jill March and Sarah Hardesty, and Dean Koonz has had so many names that it’s hard to keep count. Having all these different names seems unnecessarily complicated. So why do it? Here are some common reasons:PrivacyBrand differentiationDisguising gender or raceTo consolidate several writers under one nameAll of these and more are discussed below and, because this is a pros and cons article, there are some pitfalls to watch out for too.Advantages of Writing Under a Pen NamePrivacyThis is probably the number one reason that most people want a pen name. Being a public personality can be scary. It may be that you don’t want prospective employers (or clients) to put your name into Google and come up with all the dinosaur sci fi novels you wrote. Or perhaps you write erotica, and you really don’t want your friends and family to know (or worse, if you’re a teacher - the school to know!). If you’ve written something highly political or an exposé about real people, you might not want journalists hounding you for comment. There is no wrong reason for wanting to maintain your privacy. In this hyper-connected age, it’s nice to be able to put some space between your public persona and your private life.BrandingSome genres have expectations attached. A name like Amy Silver lends itself well to a Christmas romcom, for example, but might jar a bit on the cover of a psychological thriller. But ‘Paula Hawkins’, now that’s a nice thriller name. In case you haven’t guessed, they are the same person writing in two very different genres. If you write in more than one genre, having two pen names helps you keep your reader groups separate. Sticking with the Paula Hawkins example - having two names stops a reader expecting a romcom and getting a thriller.Some authors write across genres under the same name, but your publisher may ask you to think about using a different pen name if your new book is a departure from your usual style, or if they want to build a new brand for you. For me, the Jeevani Charika books all feature at least one Asian protagonist, while the Rhoda Baxter ones are mostly about white protagonists.To Create a Distinct Public Persona It can be helpful to have a distinct writer persona, especially if you’re shy in real life.One of my favourite things about having a pen name is that ‘Rhoda’ is slightly different to the real me on social media. While the fundamentals were the same, she’s more outgoing, and much more cheerful than I am. When speaking at events I always feel less self-conscious if I imagine that Rhoda or even Jeevani Charika is a completely different person to me. Hiding Your GenderIf you’re a woman writing in a traditionally male dominated genre, you might want to use a male pen name in order to sell more books. If you\'re a man writing romance or sagas, you might consider writing under a female pen name. Many writers like to keep things ambiguous and use their initials and a last name (which doesn’t have to be their real last name). Making Your Race Less ObviousOkay, this is a contentious one. This was one of the reasons my early romcoms came out under the name Rhoda Baxter, rather than my Sri Lankan name. My first book was about Sri Lankans. I got a lot of very nice rejections from agents with notes along the lines of ‘I like it, but I don’t know where I’d place it’. After a while, I wrote a second book - a romcom about a white heroine. I found a publisher (in the US) relatively quickly. They asked if I was going to use a pen name. I’m a microbiologist by training, so I named myself after Rhodobacter sphaeroides, the bacterium I did my thesis on). ‘Much easier to Google’, the publisher said, approvingly. I used my own photo in the bio and talked about my Sri Lankan heritage openly - this was not a catfishing exercise - but it meant that on the shelf, my romcom looked like all the other romcoms. That was 2011. I didn’t get a publishing contract for a book under the name Jeevani Charika until 2018. I know a few other romance authors of colour who started off using white-sounding pen names to get established and then moved to using names closer to their real ones as romance publishers became more open to the idea of non-white names on the cover.It\'s not a good idea to try this if you’re actually white.To Make Your Name More MemorableIf you have a fairly unremarkable name, then you can have fun choosing a dramatic and memorable author name.To Differentiate Yourself From Another Author With a Similar NameOccasionally, you’ll find two different authors who have the same name. This is a huge pain because it confuses retailer algorithms, and it confounds readers. You can avoid this by using a pseudonym or just adding a middle initial to your name. To Combine the Work of Two (or More) PeopleThe author Juliet Bell writes Bronte retellings set in the early 20th century. Behind the name are two authors (Janet Gover and Alison May) who write romance and women’s fiction. Sometimes a prolific pen name like Franklin W Dixon (The Hardy Boys) and Carolyn Keene (Nancy Drew) can be supported by a whole host of ghostwriters.As a Whimsical Touch to Enhance the BookOccasionally, you see pen names that are closely related to the characters in the book, which make it look like the book was written by one of the characters. For example, Daniel Handler’s children’s books in A Series of Unfortunate Events are presented as the memoirs written by Lemony Snickett.Because the Publisher Requested itSometimes publishers will ask you to choose a different pseudonym - either for branding reasons, as discussed above; because you’re too prolific and they can’t publish more than a couple of books under each name in any given year; or simply because they want to market you as a ‘new’ author (especially if your last book didn’t sell very well). Disadvantages of Using a Pen NameThere are undoubtedly many advantages to using a pen name, but it’s not all sunshine and roses. Here is the counter argument.Your Friends May Not Recognise the Book as YoursImagine you’ve just told your friend about the publication of your new book. Being a supportive and delightful person, they talk about it in the pub later ... except they can’t remember your pen name. Since friends and family can be a good way to spread the word, you could lose some word-of-mouth recommendations.More Names Mean More MarketingI found this out to my cost. When the first Jeevani Charika book came out, I excitedly set up new social media accounts and a new website. But keeping up a presence in all these places is quite hard work with one name - keeping up TWO was exhausting.In the end, I gave up and changed the name of my Rhoda Twitter account to include both names. I still maintain two separate websites, though. Despite the websites mentioning the other pen name, not many readers click through from one site to the other. Achievements in One Name Don’t Translate to the OtherAs I mentioned before, readers don’t often go from one pen name to another, even in genres that appear to be closely related. So your achievements in one pen name will mean nothing to readers who read the other pen name. In real life, you could win a major award, but none of your friends would know about it because they didn’t make the connection.Sometimes the consequences of this disconnect can be massive. An inverse example is Robert Galbraith - whose novels did moderately well, until it was revealed that Robert Galbraith was a pen name for JK Rowling. The books became instant bestsellers.Financial ComplicationsIt is usual to sign publishing contracts under your real name, despite the books coming out under a pen name (you can request that your identity is kept confidential). This makes it easier for the publisher to pay you, as they can send payment to your real name. If you need to keep your identity secret, you can sign contracts in your pen name, but that may make it harder for you to prove that you are the owner of the copyright and there may be additional hoops to jump through to get your royalties paid.Consolidation DifficultyWhat if one of your pen names becomes a runaway bestseller? You might want to consolidate all the other books you have under the more popular pen name.This is difficult, but not insurmountable. Before the Shopaholic books took off, Sophie Kinsella wrote novels under the name \'Madeleine Wickham’ - they have now been remarketed as ‘Sophie Kinsella writing as Madeleine Wickham’, so that Sophie’s readers can find them easily.Being More Than One Person is ConfusingOkay, this might be just me, but sometimes I forget which writer persona I’m meant to be. If you’re going on a podcast, for example, it’s good to work out which persona you’re going to be beforehand, especially if your pen names belong to very different genres.Sometimes Readers Feel BetrayedThis is a strange one. Using pen names is long established in the writing world (George Elliot, George Orwell, Mark Twain are all pseudonyms), but some readers are offended by well-known authors using new pen names. They feel like the author is ‘lying’ to them, especially if an established author is being presented as an exciting new debut. There isn’t a lot you can do about this, apart from telling your followers when you’re starting a new pen name. Legal issues to Using a Pen NameIt is not advisable to use an established author’s name as a pen name. If you write a horror novel and stick ‘Stephen King’ on the cover - you will almost certainly hear from his lawyers. You can trademark a pen name.Signing a contract under a pen name does not let you get out of your contractual obligations.In the US, you can register copyright under your real name or your pen name (but the length of copyright is different).So Should You Use a Pen Name?Now that you know all the pros and cons of using a pen name, should you use a pen name? There is no right or wrong answer. Personally, I like having pen names (although I find having two hard work). The pen names provide a tiny bit of separation from my books, which helps me feel a little less awkward about promoting them. Think about the pros and cons and work out what would work best for you.Good luck … whatever you end up calling yourself.

So, you want to learn how to make your readers burst out laughing, but you can’t even get a pity laugh out of your own grandma?This guide is all you need to gain an understanding of the common forms of humour in writing, and how to use humorous writing techniques to inject comedy into your own writing. Read on to find out how!What Is Humour Writing?Humorous writing is any piece of writing that’s written with the intention to prompt amusement and to be funny. There are many forms of humour you can inject into your writing to turn a ho-hum piece into a side-splitter. Types Of Humour In LiteratureFrom the subtle humour of satire or deadpan, through to in-your-face farce and slapstick, once you have a solid grasp on what forms of humour exist and how to use them, you’ll have a vast toolbox at your fingertips to make your readers smirk, giggle and howl with laughter in any situation. Let’s dive into some of the most common ones, along with some humorous writing examples to help you recognise these techniques in the wild.AnecdotalAn anecdote is a brief, humorous story about a real-life experience. Think of Michelle Flaherty from American Pie, and her endless anecdotes revolving around “this one time, at band camp”.DarkDark humour, also known as black humour, morbid humour or gallows humour, is a form of humour that makes light of anything especially sad or serious. The term ‘gallows humour’ actually dates back to the 1800s, when people would joke about being hanged at the gallows.‘On my license, it says I\'m an organ donor. . . I wonder what poor asshole would get stuck with whatever it is in me that passes for a heart.’‘My Sister’s Keeper’ – Jodi PicoultDeadpanDeadpan humour, otherwise known as dry humour, relies on delivery to land correctly. Usually a statement will be humorous in content, perhaps even over-the-top or ridiculous, but the wording and delivery of it is intended to be casual, almost as though the speaker is unaware they’re making a joke at all.The word deadpan comes from the slang term ‘pan’, used for ‘face’ in the early 20th century. So, to have a dead pan was to have a face that showed no expression or emotion.‘Through my curtains I can see a big yellow moon. I’m thinking of all the people in the world who will be looking at that same moon. I wonder how many of them haven’t got any eyebrows?’‘Angus, Thongs and Full-Frontal Snogging’ – Louise RennisonFarcicalA farce, or farcical humour, is a form of humour that derives its comedy through the absurd ridiculousness of a situation.A farce will often use miscommunication to create humorous scenarios and misunderstandings. For example, Shakespeare loved to employ farce. Think of A Midsummer Night’s Dream, where mistaken identity and confusion causes a love quadrangle.IronicWhen something appears to be the case, or should be the case, but the reality is the opposite, you’re dealing with irony. For example, a fire department catching on fire, or the world’s leading skin cancer expert dying after they mistake their own melanoma for a benign mole.At the start of Pride and Prejudice, Jane Austen writes: ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.’ As the narrative quickly goes on to show us single women spending much time and energy finding a husband, we grow to understand the irony in that opening sentence.ParodicA parody is an entertainment piece produced to mimic an existing work, artist or genre, but dialled up to a hundred in order to poke fun at it. The humour comes from highlighting flaws and overdone tropes through an exaggerated portrayal.For example, think of Austin Powers, which parodies James Bond. Or Bored of the Rings by Douglas Kenney, a parody of Lord of the Rings.SatiricalSatirical writing uses wit to make a point about power—be it a commentary on the government, the privileged, large corporations, etc—and aims to cause readers to think deeply about society, and what can be done to improve it.Satirical works range from political cartoons you’ll find in the newspaper, through to books like Small Gods by Terry Pratchett, which satirises organised religion.Self-DeprecatingSelf-deprecation is a form of humour where an individual makes a comment about their own flaws and shortcomings in a light-hearted manner.‘They all laughed when I said I\'d become a comedian. Well, they\'re not laughing now.’‘Crying with Laughter: My Life Story’ – Bob MonkhouseSituationalSituational humour is any type of humour that arises from the situation characters find themselves in. Think of a character going to a babysitting job and finding out the child is actually the antichrist, or a character going on a blind date only to find themselves face to face with the horrible customer they served at work earlier that day. SlapstickSlapstick refers to physical humour involving the body. It often involves some form of pain (think falling, or having something fall on you, or accidentally breaking a piece of furniture while using it) or otherwise odd things happening to a body (like a hose going off in someone’s face unexpectedly). An excellent example is America’s Funniest Home Videos.Tips For Writing Humorous StoriesOkay, so we’ve covered some of the more common types of humour, and you’re ready to find out how to develop your own humorous writing style? Luckily, all writers have the ability to write humour, even if it’s not something that comes easily to you at first. All it takes is practice!Here are some humorous writing tips to leave your audience cackling.Study Other WritersThink of a piece of writing you found hilarious. Read it carefully. Note what it is that makes it so amusing. Can you spot any of the forms of humour we covered above? Once you can recognise and categorise humour techniques and forms, you’ll find that determining which form of humour fits your own writing in which situation will start to come more naturally.Use Your Own MaterialDo you sometimes make comments that other people find hilarious? Take note of your own jokes (literally—write it down for yourself to use later) and refer back to them while writing. You’ll be surprised how often you can find a natural spot for that joke to make a recurrence.Use JuxtapositionUtilise juxtaposition, or pairing opposites near each other to highlight the differences between them. Think The Odd Couple, or Bert and Ernie from Sesame Street. There are plenty of humorous opportunities for a slacker character or a type-A character, but that humour is magnified if those two characters share scenes.Master Comedic TimingComedic timing plays a huge role in how a joke lands. Pay attention while you’re reading or watching comedy, and notice how long a joke goes on for, and where the punchline lands. Like stories, jokes have their own arcs: setup, anticipation and payoff. For an example of excellent comedic timing, give Don Quixote a read.Use AlliterationAlliteration, or stringing together words beginning with the same consonant, can make text both more amusing and memorable. Roald Dahl was very partial to this technique. Willy Wonka and Bruce Bogtrotter are amusing and memorable names. Steve Wonka and Bruce Robertson would’ve been less so. Use Amusing WordsSimilarly, note how some words simply sound funnier than others. Some comedians believe words with a ‘k’ sound in them are perceived to be funnier. Think about some of the more absurd words in the English language, like filibuster or absquatulate. Get in the habit of searching for synonyms, and ask yourself if the joke would be funnier with a different word choice.Provide SurpriseJokes often involve the rule of three, or listing three things, two straight, and one punchline. Think two brunettes and a blonde, or an Englishman, an Irishman and an American. The first two points establish a pattern, and the third point breaks the pattern, creating humour through surprise. \'FEDERAL FUNDING, TRAVEL EXPENSES, BOOTY CALLS, AND YOU.\'‘Red White and Royal Blue’—Casey McQuistonExaggerateExaggeration is a widely used humorous technique. Make sure to exaggerate to an extreme extent, going well over-the-top. For example: ‘Mum said I should walk to the shops, but it was about fifty thousand billion degrees outside, so obviously that wasn’t happening.’Writing HumourBy knowing these forms of humour, and following these tips, you can learn to inject humour into your writing in a way that will both amuse your readers, and make your writing more memorable. 

If you’re a writer looking for some sound advice and a little inspiration, or perhaps you’re in the gloomy depths of your work-in-progress with no hint of light in sight, then I have some fantastic news for you. A plethora of incredible FREE podcasts await you!In this article, I’ll share some of the absolute BEST podcasts for writers. Whether you’re working on your first novel, have a few books under your belt, or if you’ve already been published, I have a novel writing podcast perfect for you. Why Subscribe To Podcasts For Writers?As a writer who had her very first foray into the world of podcasts just a few short years ago (I’m usually late to the party), I’ve already learned a great deal from them. Not only do author podcasts provide much-needed insight and inspiration, episodes exist on nearly every topic imaginable. Writing is often a solitary and difficult endeavour but hearing from other writers and industry experts reminds us we’re not alone. Good writing podcasts give us the tools and techniques we need to get the job done. And the best part is you can listen and learn while doing other things – driving, cooking, and walking the dog will never be boring again.Don’t know which writing podcasts are worth listening to? We gotcha covered. Read on…22 Inspiring Writing PodcastsThe Creative Writer’s Tool BeltHosted by author and creative writing mentor, Andrew Chamberlain, The Creative Writers Toolbelt publishes new episodes bi-monthly, giving writers practical, accessible advice and encouragement. Each episode explores an aspect of creative writing technique, sharing plenty of examples, and allowing writers to immediately apply what they learn to their writing. This fiction writing podcast also shares the occasional interview with writers or artists, exploring their wisdom on subjects like story, style, character, and writing process.Listen on Apple Podcasts, Spotify, and Podomatic.Minorities In PublishingMinorities in Publishing is the brainchild of publishing professional, Jenn Baker. As its name implies, this podcast focuses on diversity (or the lack thereof) in the book publishing industry. In each episode, Baker talks with other publishing professionals, as well as authors and other people involved in the literary scene. Listen on Apple Podcasts, Spotify, and Podbay. Beautiful Writers PodcastBeautiful Writers Podcast is hosted by bestselling author, writing coach, ex-ghostwriter, and magazine editor, Linda Sivertsen. This podcast features up-close conversations with the world’s most beloved, bestselling authors about writing, publishing, deal-making, spirituality, activism, and the art of romancing creativity. Episodes are heart-centered and encouraging with street-smart advice and insider success (and failure), featuring stories for every writer and creative type. Listen on all American Airlines, in-flight entertainment systems, as well as iTunes, Spotify, iHeartradio, Stitcher, Google Podcasts, PlayerFM, Castbox, PodTail, PodbayFM, and ListenNotes. My Dad Wrote A PornoThe title of this podcast says it all! Imagine if your dad wrote an erotic book. Most people would try to ignore it—but that’s not what Jamie Morton did. Instead, he decided to read it to the world in this groundbreaking comedic podcast. With the help of his best mates, Jamie reads a chapter a week and discovers more about his father than he ever bargained for. My Dad Wrote a Porno is quite simply sex scene-writing gold (lessons in both what and what not to do).Listen on Acast and Apple Podcast. Create If Writing PodcastCreate If Writing Podcast, hosted by author and writing coach, Kirsten Oliphant, is for any writer, blogger, or creative who wants to build an online platform without being smarmy. The episodes provide a balanced mix of inspiration and technical advice to help writers get their name out there. Listen on Apple Podcasts, Stitcher, Google Play, and Spotify.Between The CoversFeeling stuck? We’ve all been there. Between the Covers, hosted by David Naimon, might be just what you need. This literary radio show and podcast features in-depth conversations with both fiction and non-fiction writers, as well as poets. It’s been proclaimed by the Guardian, Book Riot, the Financial Times, and BuzzFeed as one of the most notable book podcasts for writers and readers around.Listen on iTunes, Stitcher, and Apple Podcasts. Dead Robots’ SocietyDead Robots’ Society was created by Justin Macumber in an effort to offer advice and support to other aspiring writers. This podcast is currently helmed by Macumber, Terry Mixon, and Paul E. Cooley, all of whom have writing experience of some kind. The hosts produce weekly episodes, sharing stories of their individual journeys and discussing topics important to the world of writing. Listen on PodHoster and Apple Podcasts. Where Should We BeginWhile not your typical writing podcast, Where Should We Begin, hosted by therapist Esther Perel, provides behind-the-scenes counselling sessions of real couples. Listening to episodes can help writers better understand the resentments and hopes we all harbour and transfer these emotions over to their fictional writing. Listen on Spotify. Otherppl With Brad ListiAre you just starting your writing career? If so, then Otherppl with Brad Listi is the podcast to begin with. Weekly episodes feature interviews with today’s leading writers, poets, and screenwriters. The podcast has been described by NPR as “fun, quirky, and in-depth.” Listen on Apple Podcasts, Podbay, or get the official free app.Please, Finish Your BookThis is another great podcast for beginner writers. Brought to you by John P. Smith, Jr., Please, Finish Your Book is a case study as well as a celebration of how busy people were able to write and publish inspiring, educational, and/or entertaining books despite the distractions from other major priorities. Listen on Apple Podcasts and Podchaser.Unpublished From Amie McNeeUnpublished from Amie McNee is all about building a sustainable, creative life. This podcast delves into the many trials, tribulations, as well as the magic of being a writer seeking publication. It\'s a place to take your art seriously and where you can go to reflect on your own personal journey and build a thriving, creative practice. Listen on Apple Podcasts and Spotify. Grammar Girl Quick And Dirty Tips For Better WritingDo you struggle with the grammatical side of writing? If so, Grammar Girl Quick and Dirty Tips for Better Writing is the place to go. This podcast provides short, friendly tips to help you improve your writing and feed your love of the English language. Whether English is your first or second language, these grammar, punctuation, style, and business tips will help to make you a better and more successful writer. Listen on Apple Podcasts.Guardian Books PodcastLooking to learn more about books, in general? Guardian Books Podcast, presented by Claire Armitstead, Richard Lea, and Sian Cain, shares in-depth interviews with authors from all over the world. The discussions and investigations make Guardian Books the perfect companion for readers and writers alike. Listen on Apple Podcasts and Spotify.Writing ExcusesWriting Excuses was one of the first writing podcasts I ever listened to, and it’s chock full of high quality, easily applicable advice. Hosted by Brandon Sanderson, Mary Robinette Kowal, Margaret Dunlap, Mahtab Narsimhan, Howard Tyler, and Dan Wells, this fast-paced, educational podcast airs short-ish episodes every Sunday evening. The hosts’ goal is to help listeners become better writers whether they write for fun or for profit. Listen on Apple Podcasts. Literary SpeakingLiterary Speaking is one of the top podcasts for aspiring writers. Hosted by Crystal-Lee Quibell, this podcast features conversations with best-selling authors, literary agents, publishers, and publicity firms. Answering questions such as: How do I establish a writing practice? Find an agent? Get published? Build a platform? Literary Speaking will help you discover all the tips and tricks. Listen on Apple Podcasts. Reading WomenIf you look back at the history of literary awards, few women have received the recognition they deserve. Reading Women reclaims the bookshelf by interviewing authors and reviewing books by or about women from a wide variety of backgrounds and experiences. This highly-acclaimed podcast releases new episodes every Wednesday.Listen on iTunes, Stitcher, Google Play, and Spotify.First DraftFirst Draft is another one of my personal faves. Every Thursday, host Sarah Enni talks to writers and storytellers about their lives, their craft, and how the two overlap. First Draft has over a million downloads and was named one of Apple Podcasts Top 25 Podcasts for Book Lovers. If you\'re a new or aspiring writer, you can learn about the traditional publishing industry by listening to the Track Changes miniseries on First Draft.Listen on Apple Podcasts and Spotify. The Writing Community Chat ShowHosted by author Christopher Aggett, The Writing Community Chat Show was born out of Aggett\'s appreciation for the Twitter writing community. Episodes feature stories of indie authors, traditionally-published authors, and other professionals in the writing world. The podcast is unique in that their shows are live-streamed on YouTube before they are converted into a podcast. New episodes are produced twice weekly.Listen on Spotify, Podchaser, YouTube, and Apple Podcasts.The Honest Authors PodcastOn The Honest Authors Podcast, bestselling authors Gillian McAllister and Holly Seddon answer all-important questions such as How do you get a book deal? Why does it take so long for a book to come out? and How many abandoned manuscripts does it take to finally hit a home run? Once authors get published, they often have more questions than before! This podcast releases bi-monthly episodes with lively discussions, interviews with new and upcoming authors, as well as honest answers to all our burning questions. Listen on Spreaker, Stitcher, and Apple Podcasts. The Shit No One Tells You About WritingThe Shit No One Tells You About Writing, hosted by author Bianca Marais, has a title no one will forget in a hurry. This podcast is for emerging writers looking to improve their work with an aim of publication, or anyone wanting a behind-the-scenes look at the publishing industry. Marias interviews authors, editors, agents, publicists, copy editors, and many other types of professionals within the world of writing and publishing. She is also joined by agents Carly Watters and CeCe Lyra from P.S. Literary Agency who read and critique query letters and opening pages in their regular Books with Hooks segment. Listeners can expect good advice, honest insights, and a few laughs along the way. Listen on Apple Podcasts.No Write WayHosted by bestselling author, Victoria Schwab, No Write Way shares chats with writers about their creative processes, origin stories, hurdles, work-life balance, and how they write books. Episodes are replays of live video casts, but you can catch the interviews live on Instagram @veschwab. Listen on Apple Podcasts or Spotify. Write-Off With Francesca SteeleIf there’s one thing every writer must face, it\'s rejection. Lucky for us, award-winning journalist and writer, Francesca Steele, talks to authors about their own experiences with rejection and how they manage to get past it on her podcast Write-Off. A must-listen for every writer!Listen on Spotify. Best Writing Podcasts- It’s A WrapI\'ve listed 22 of the best fiction writing podcasts available, but, of course, there are many more great ones out there, full of helpful writing quotes and tips. If you\'re new to the world of writing podcasts, I hope this list will inspire you to get listening and find a few literary faves of your own.   

You’ve just typed ‘The End’ and you know that this story or article is hands down the best thing you have ever written. I believe you. I do.But before you go attaching your work and bashing out an email where you will tell the recipient that this story will take the world by storm, let’s take a little time to concentrate on arguably the most important part of your road to publication: Your story pitch.With submissions in publishing at an all-time high, with most agents receiving around forty to fifty submissions a day, the job of your story pitch is to (as quickly as possible) make your story stand out from the crowd.In this guide we will look at how to grab the attention of your pitch reviewer from the minute they open your email.  In just the opening line, we are going to make your reader sit up and take notice of your submission. Not only that, but we’re also going to tell them why it will sell, why they should pick your story above all the other submissions, using the example below of a story pitch template.So, before you go hitting that send button, let’s talk about why getting your story pitch right is important and what you need to do to get it right the first time.What Is A Story Pitch?A story pitch is a succinct way of explaining what your story is about, what makes it right for the person you are pitching it to, and why it will sell.Pitches are used throughout the publishing industry, be it journalists pitching to newspapers and magazines, screenwriters wanting the next hit on Netflix, or authors hoping to grab an agent’s attention with a view to bagging that all important publishing deal. Regardless of where in the industry you are aiming to see your work, a good story pitch is vital if you’re hoping to break into this highly competitive market.Why Is It Important To Know How To Pitch Your Story?As a new writer, the question I most dreaded was, ‘What’s your story about?’ I would describe what happens at the beginning of the book, waffle on using words like, ‘oh and then’ and ‘meanwhile,’ and after five minutes I would see the person’s eyes glaze over. Publishers, agents, and booksellers do not have that time.Not only do you need to be able to pitch your idea quickly, but they will also need to when they try to sell it to publishers or bookshops.The good news is that if you can show them how easily your story will grab a reader’s attention from the onset, then you’ve just made their job a whole lot easier.How To Pitch A StoryRight, so you have this killer story, you know it’s something special, so how on earth do you describe this masterpiece in just one line or, at best, a short paragraph? The easiest way is to focus on the key elements of your story (for novel submissions, forget about your side characters and subplots for now, that will all become apparent in your synopsis). To hone your pitch, you need to concentrate on the key elements of your story, why it will fit that publishing establishment and why they need you.So, what does a good story pitch include?A hooky first lineA short paragraph describing your story by focusing on the key elements. For fiction these will be your protagonist - the event that upsets their world; what they hope to achieve and what is getting in their wayA popular comparison to explain genre, setting, themeA reason why your work will fit that establishmentCredentials explaining why they should work with youSimple right? But what if you’re not sure of the answers to these questions?Know Your StoryBefore you begin writing your pitch, you must be able to identify the key elements of your story.For a novel submission, here are five key components you must highlight when writing a good story pitch.1. Your ProtagonistThe first thing a pitch reviewer will be asking is who is your protagonist and most importantly why should we be rooting for them? You might know the answer to this, but to pitch successfully, you need to tell that agent/publisher why your readers are going to want them to succeed. Unless we are rooting for them, why should we care what happens to them? Why would we keep turning the pages?Your explanation of your protagonist can be as simple as a bubbly hard-working woman called Helen who has never caught a break, or on the other end of the spectrum, we could have Rob, a grieving father who has tracked down the person who killed his daughter.2. The Event That Upsets Their WorldNow we know and are championing your protagonist, what happens to push them out of their comfort zone and into a new world?This is very important because this is often where you will find the hook of your novel, the reason that a reader will have picked up your story from the shelf, the thing that screams out from the blurb.So, does Helen, the bubbly hardworking woman suddenly get offered the job of a lifetime? Or does Rob the grieving father kill the wrong person?3. What Do They Eventually Want To Achieve? What Is Their Goal?Now we have your lovable protagonist thrown into a new world, what is it they want? Does Helen now want to leave the new high-pressure job? Does Rob want to atone for his mistake?4. What Is Standing In Their Way?Next, what is stopping your protagonist from getting what they want?  Has Helen become tangled up in some dodgy dealings with her new employer? Does Rob’s victim’s family come after him?Now you know these answers, it’s time to show where your story fits in the market.5. Compare Your StoryFinally, and very importantly, what book can your story be compared to?Not sure? No problem, these comparisons can be a mix of literature, film or simply an author. It’s all about highlighting the story and the style of writing. Feel free to mix them up! The above examples could be ‘If Sophie Kinsella had written The Firm’ or ‘Dexter meets Gone Girl.’ Take some time to think about comparisons, your examples should reflect your genre, protagonist, and style.  Do Your ResearchCongratulations, you can now identify the key elements to your story and you have your comparisons ready - so what now?The first thing is to research the organisation you are targeting. Take some time to look at the novels on their lists, or if you’re pitching a magazine or newspaper check if they have published similar articles and when? Follow Submission GuidelinesI know you’re chomping at the bit to get your story out there, but a word of caution. Check the submission guidelines. If the agent/editor/magazine asks for a one-page synopsis, do not send them three. If they only accept email submissions, do not send them a hard copy.If you can’t find submission guidelines on their website, then contact them for clarification.Ensure A Clear Subject Line For Email PitchesOnce again, make sure you comply with the submission guidelines. Often an agency will have an email address specifically for submissions; the most common format in this case would be to have your book title followed by your name in the subject line. Check what they are looking for.Engage With A Strong Opening LineRight then, here we go.  You’ve checked who you are sending your submission to and you have stuck to the guidelines - so now it’s time to grab their attention.Remember that first impressions count, so before you explain your idea in more detail, grab your pitch reviewer’s attention with the very first line.A good way to do this is by using the words ‘what if’ or ‘imagine’: ‘What if you landed your dream job only to find out that you couldn’t escape it?’ or ‘Imagine if your daughter was murdered and you knew where her killer lived.’Within your first line you have grabbed their attention, pitched your hook, genre and shown your protagonist.Construct The PitchNow is the time to expand your story pitch in a short paragraph revealing those all-important key elements: ‘Imagine if Sophie Kinsella had written The Firm, this is what you get in my romantic comedy THE DREAM JOB where we meet Helen who…’ or ‘With shades of Gone Girl and Dexter, my psychological thriller I KNOW WHERE YOU LIVE follows Robert Green, a grieving father who is set on a path of revenge when he finds out where his daughter’s killer lives…’ Provide Compelling Reasons To PublishYou have their attention, they like your idea, so why should they consider your story for publication as opposed to the other pitches in their submission pile?Easy, you tell them! You tell them where it sits in the market, which titles are similar but what makes your story stand out: Do you have an unusual protagonist? Is it set over the course of just one week? Or in a village during a power cut? This is your chance to show them you know what you’re talking about and how this book is going to make them (and you!) a lot of money.Tell Them About YourselfYou’ve done it, you’ve intrigued them - now they need to know about you.Tell them about your qualifications, your credentials and background but keep it brief.  If you haven’t got any qualifications, explain why you’ve decided to become a writer.If you have been published before, mention this and provide a link to any relevant online resources or profiles. Thank Them For Their AttentionLast, but not least, thank the pitch reviewer for their time and attention.  Always be polite and professional.  If you have established a positive professional relationship already, they may keep you in mind for future projects. Story Pitch TemplateExcited? I am! You now have all the tools to pitch your story - so here is a basic story pitch template to help you along the way:Subject line: Follow the guidelines for story pitches to agents/publishers. This will often be your book title followed by your name.Salutation: Be sure to address this to the correct person. If you are unsure who will read your submission, a simple ‘Hi!’ will suffice.Headline and Introduction: Start with a simple and brief ‘I hope this email finds you well’ then get straight to your one-line story pitch or headline, if you are approaching magazines/newspapers.  Make this as engaging and grabby as you can! For fiction, here is where you can use your ‘Imagine’ and ‘What if…’ sentence starters.Story Summary:  Make this a short, concise paragraph where you focus on the key elements to your story.Story Relevance: Explain who this story will appeal to, why it stands out from the crowd, why it will sell.Author Bio: Add your credentials, background, qualifications, or if this is your first foray into the publishing world, explain why; be passionate about your decision.Contact Details: Give details of how you wish to be contacted.  Make sure this is all correct. One typo in an email or missing number in your phone number could mean all the difference.Thanks: Thank them for reading your pitch, be polite, friendly and professional at all times (especially if you are rejected).Writing A Story PitchAnd there we have it! I hope that this guide helps you understand the importance of your story pitch and what is needed to pitch successfully. 

Secondary Characters - Definition And ExamplesWe’ve all done it; spent hours and hours defining the minutiae of our protagonists, even down to their favourite ice cream flavour and dream holiday destination. But what about the people who surround them? These secondary characters, also called supporting characters, are vitally important to our stories. They may even become the fan favourite: just think about the beloved Dumbledore or Shakespeare’s Mercutio.Secondary characters are frequently described as supporting characters because of the role they play. They are often supporting the protagonist and driving the story forward, for example acting as a sidekick or love interest. Or they are supporting the development of the protagonist’s character arc, acting as a foil or to build a character’s backstory. Secondary characters may even offer comic relief or carry subplots all of their own.There is no ‘hard and fast’ rule for how many characters there should be in a novel. Some novels make use of a vast cast of characters (think of George R. R. Martin’s A Song of Ice and Fire); while others focus on a single protagonist. But even novels with a minuscule cast will still have secondary characters, even if we only meet them through flashback or another literary mechanism.What Is A Secondary Character?So, what are secondary characters? They are those in our stories who play a significant role, and appear in multiple scenes, but who are not the main focus of the primary plot. These supporting characters may be the focal point of their own subplots and so they are integral to the story as a whole. Characters who only appear in one or two scenes, or who exist entirely on the periphery of the story, are unlikely to be secondary characters. Some characters exist only for a very narrow purpose: a waiter serving dinner, a taxi driver, a colleague who is seen only once. We often refer to these characters as tertiary.Why Do Secondary Characters Matter?Secondary characters matter because they add layers to our stories. When we read a book, of course we want to know what happens to the main characters, but we also want to see them as part of the wider world. Secondary characters provide that anchor and an opportunity to showcase a more complex fictional surrounding.One of the most useful things they do is offer our protagonists someone to talk to. It sounds so simple, but without someone to talk to, our protagonists may need to do a lot of pontificating, which is unlikely to feel particularly exciting for our readers!Secondary characters may also provide a subplot of their own to drive the narrative, solidify the themes, or provide a necessary change in pace. Think of the death of Rue in The Hunger Games; the reverence of Katniss’s memorial to her was in stark contrast to the high-octane action during that part of the story.How To Develop Secondary CharactersThe main thing to remember when creating secondary characters is that they are characters first and supporters second. They should feel like whole people who could step straight off the page, so we must avoid them becoming clichés, or even worse, being contradictory in order to progress the main plot. There is nothing more off-putting, or likely to throw us out of a story, than if a secondary character does something we know they wouldn’t, just to make a plot point work.  The best supporting characters will have all the things we expect from good primary characters: a clear arc, recognisable personality traits, and consistent points of view. So, how do we write brilliant secondary characters?First and foremost, remember that they are real people; they are the product of their life experiences, and this informs how they interact with the world around them and the other characters that meet them. Do we need to write them all a whole and elaborate backstory? No. But we do need to think of some of the key things they have been through that have shaped them. What about their hobbies, their families, their hopes and dreams, the little idiosyncrasies that make them unique? Secondly, make them interesting and special. Secondary characters are a perfect opportunity to surprise our readers and grab their attention. Keep readers on their toes and they won’t be able to put the story down. These characters don’t have to be likeable, or sympathetic, so have some fun!  Make sure that the secondary characters have purpose within the context of the overall story. They need to be connected to the main narrative, even though that narrative doesn’t revolve solely around them as it does for the protagonist. Remember that old saying ‘kill your darlings’? Secondary characters must be necessary, they aren’t just an opportunity to pad a story with an unrelated back story or sub-plot. And if they are? Well, you know what you must do.When I’m planning my secondary and supporting cast, I create a character profile for each one to enable me to keep track. This includes their names, relationship to other key characters, age, sex etc. But I will also include other more interesting information: where were they at the turn of the millennium for example, although a more up to date example might be what they did during the first lockdown in 2020! These character profiles or bio templates can also be very helpful for making sure that our secondary characters are all unique and we don’t have multiple characters who are too much like one another. We don’t need as much detail for our secondary characters as for our protagonists, but we still need to ensure that are fully formed and feel real.A quick point on names: make sure they are also memorable. Most of us agonise over the names for our protagonists, ensuring it is perfectly suited to their personality and perhaps even finding something with a double meaning to the story. We must make sure our names for supporting characters are similarly suited to them and also that they are different from each other; there is nothing more frustrating as a reader than not knowing who is who because they are all called Dave!Dynamic CharactersDynamic characters are those who have a character arc and therefore change over time. This change may result from a significant crisis or from resolving a major conflict. Our protagonist and other major characters will undoubtedly be dynamic characters, but there is ample opportunity for us to make secondary characters dynamic too.Static CharactersStatic characters are the opposite of dynamic characters in that they do not change over time. They remain the same throughout the story, with no major transformation or evolution. They are often used to provide a contrast to the main characters’ journeys, especially to highlight the evolution of the protagonist. We can also use static characters to provide some lighter relief to the narrative.Round CharactersRound characters are those who are complete and complex individuals. They are likely to have elements of their personality that contradict or provide inner conflict. We can craft these complex personality types to ensure that the reader connects more fully to our characters, as they are seen as more ‘real’.Flat CharactersFlat characters are the opposite to round characters and are defined by just one main personality trait or characteristic. Flat characters are most useful as tertiary characters, those incidental people our primary or secondary characters interact with. These flat characters are likely to ‘blend in the background’ and so do not slow down the narrative. Examples Of Secondary CharactersWe’ve talked about the types of secondary characters, but these supporting characters play a number of important roles too, including acting as companions, assistants, foils, roadblocks, and antagonists.The companion, or sidekick, is a secondary character who stands with the protagonist on their journey. They might be a love interest, a friend, a sibling, or just someone who goes along for the ride. They don’t even need to be human, there have been some great animal companions in literature, offering the protagonist company and someone to talk to, such as Buck in The Call of the Wild. Some companions play more of an assistant role, offering help and guidance to the protagonist. Probably the most recognisable assistant in literature is Arthur Conan Doyle’s Dr Watson, without whom Sherlock Holmes would seriously flounder. Batman’s Robin is another great example. Another significant supporting character role is the foil. The foil exists to contrast against the main character and therefore we can use them to highlight the qualities of the protagonist we wish to accentuate. JK Rowling used this technique to highlight the inherent good in Harry Potter by pitching him against Draco Malfoy. Draco also epitomises the naked ambition that is in direct contrast to Harry’s initial reluctance to see himself as the hero, which only makes us love him more.We often use secondary characters as roadblocks, using them to put challenges in our protagonist’s path. This may provide essential plot elements, or form part of the main character’s arc by providing opportunities for them to grow and change. How they react to these roadblocks may provide significant illumination about the main characters. In Cormac McCarthy’s post-apocalyptic masterpiece, The Road, a father and his son are travelling by foot with all their possessions in a supermarket trolley. The man who steals their cart is an excellent example of a roadblock, this man’s actions may literally spell death for the father and his son. The father responds by tracking the man down and preparing to execute him, but instead leaves him alive, demonstrating that despite their prolonged ordeal, the father still wishes to model compassion for his son.Antagonists provide adversarial opportunities for our protagonists. We use them to generate conflict for the main characters. Antagonists are often the evil villain, such as the White Witch in The Chronicles of Narnia or Mrs Trunchbull in Matilda.Don\'t Neglect Your Secondary Characters!As we’ve seen, secondary characters play a vital role in fiction. They are the companions, the villains, the ones who offer assistance, or the ones that put obstacles in the way. Without these supporting characters, our stories would feel flat, our plots less exciting, and our main characters less rounded.Just because they are described as secondary, don’t scrimp on the way you develop these characters. Make them believable and ‘real’ and they will really help to make your work leap off the page and keep your readers happy and engaged.Try making a list of every character in your story. How many of them are secondary? Now take each of these in turn and build a short character profile. You might want to consider their main characteristics. What kind of person are they? What is their role in the story? Are they round or flat, and does that work well? Are they dynamic or static?

How To Spot Purple Prose In Your Writing And Make Your Prose Tighter And More EffectiveIn this guide we’ll look at the definition of purple prose and consider examples of its use. If you’re worried your writing is dangerously close to the purple zone, we’ll help you transform it into tight, effective prose that agents and editors will fall in love with.Purple Prose DefinitionPurple prose is flowery and ornate writing that makes a piece of text impenetrable. It is characterised by long sentences, multi-syllabic words, excessive emotion, and a plethora of clichés. It’s typically melodramatic and often too poetic. It’s frowned upon because it breaks the flow of a story, slows the pace, detracts from the text, and leaves the reader perplexed or, even worse, bored. It can pop up in patches throughout a story, or it can weigh down an entire novel.Purple prose is most likely to creep into your writing if you’re trying too hard to impress your readers by emulating the style of your favourite author. Or perhaps you’re just being a little over-zealous with your word choices. We’re all guilty of over-embellishing our writing from time to time. We’re writers - we love words, so who can blame us for getting a little carried away when immersed in a powerful new scene? But if we want our writing to be taken seriously, we need to make sure we don’t go too far.Purple Prose ExamplesMany authors have been accused of the sin of writing purple prose over the years. Harriet Beecher Stowe’s ‘Uncle Tom\'s Cabin’ oozes mushy sentimentality, with sentences such as, ‘Even so, beloved Eva! Fair star of thy dwelling! Thou art passing away; but they that love thee dearest know it not.’ Even though it was written in 1852 when such contrivances were more accepted, this is still considered one of the most purple of the classic texts.Another great example is this short extract from Jim Theis’s 1970 fantasy novella, The Eye of Argon which seeps purple prose from every pore. ‘Glancing about the dust swirled room in the gloomily dancing glare of his flickering cresset, Grignr eyed evidences of the enclosure being nothing more than a forgotten storeroom. Miscellaneous articles required for the maintenance of a castle were piled in disorganized heaps at infrequent intervals toward the wall opposite the barbarian\'s piercing stare.’If you’re worried your writing might be tinged with too much purple, take a look at the following red flags, and read how to make your writing leaner and more readable.Purple Prose Red Flags:1. Too Many Adjectives And AdverbsWriters love adjectives, but if used excessively they become a distraction, interfering with your story and making your prose a deep shade of purple. William Strunk and E.B. White, in The Elements of Style, say: ‘Write with nouns and verbs, not with adjectives and adverbs.’ Scrutinise every adjective in your writing and consider how it earns its place. If you can do without it, delete it. For example, if you’re describing a lawn, only use the word ‘green’ if that’s out of the ordinary. Or find a stronger noun that doesn’t need an adjective at all – for example ‘light rain’ could be replaced with ‘drizzle.’ And try to avoid using two adjectives if one will do, as increasing the number of adjectives before a noun severely reduces its clout and makes your prose even more purple. The same goes for adverbs. Does the drunk person ‘walk erratically’ or do they ‘stagger’?Pro tip: Use your thesaurus with caution. It will throw up all sorts of unnecessary distractions your story doesn’t need. Only use a thesaurus to help you recall known words.Good writers use adjectives and adverbs sparingly. Cut them with care and decide if your sentences seem less purple as a result.2. Excessive Sentence LengthEvery definition of purple prose highlights the excessive use of long, winding and overly dramatic sentences. By the time your reader has reached the end, they won’t remember where they began. The following example is by Victorian writer, Jerome K. Jerome in his book, Three Men in a Boat. He was writing at a time when authors were paid by the word, so perhaps we can forgive him for this lyrical, but rather convoluted and distinctly purple sentence.‘The river—with the sunlight flashing from its dancing wavelets, gilding gold the grey-green beech-trunks, glinting through the dark, cool wood paths, chasing shadows o\'er the shallows, flinging diamonds from the mill-wheels, throwing kisses to the lilies, wantoning with the weirs\' white waters, silvering moss-grown walls and bridges, brightening every tiny townlet, making sweet each lane and meadow, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a far sail, making soft the air with glory—is a golden fairy stream.’Did reading that make you a little breathless? Be kind to your reader and keep an eye out for overly long sentences. Limit the number of clauses and play with length, mixing up shorter and longer sentences to give your writing a sense of rhythm. 3. Excessive EmotionSome authors unwittingly make their prose purple by sledge-hammering emotions onto the page, especially when describing a visceral reaction to a situation. Trust your reader to get it without telling them twenty times in twenty different ways. Of course, much depends on the genre of your writing. Romantic fiction readers will be more tolerant of a little emotional embellishment than steely-eyed crime fiction fans. As you write or edit, think about whether the magnitude of the reaction matches the event. Will your main character’s breast heave that violently at the sight of her love interest? Or will Philip’s teeth really gnash and his brow drip with sweat on hearing that Sally has been promoted ahead of him? Think of other ways to create authentic tension without resorting to purple prose.If you’re unsure how to go about this, identify the essence of your scene; what really matters? Make it exciting in its own right and don’t rely on flowery language to jazz it up. The story, not the distracting writing, should be the thing that grabs the reader’s attention. And if you’ve forgotten what’s going on, then so will your reader!4. Generic Or Clichéd ImagesA reliance on clichés is considered the number one crime in creative writing, and for good reason. Clichés are lazy shortcuts to expressing an emotion or situation, suggesting the writer hasn’t been able to think up their own words. They’re old and boring and offer nothing to surprise or shock your reader. Examples of purple prose across the internet cite the deployment of clichés as a key feature.Every first draft will have the odd cliché skulking in its shadows, but if you spot one, get rid of it. And then say what you’re trying to say in your own words. Clichés will only hint at your inexperience, so be brutal and delete those tired old phrases without mercy. If you’re struggling to spot clichés in your writing, ask a friend or beta reader to read it through or consider signing up for one of our tutored courses to help you identify problem areas such as this.5. Lack Of ClarityAll of the above conspire to create writing that lacks clarity. Imagine for a moment you’re the reader of your book. You’re walking through a forest, surrounded by new and exciting sights, but as you progress, the path turns to mud. It sucks at your boots, slowing your pace. Brambles run their thorns along your bare arms and mosquitos nip at your cheeks. The birds screech, laughing at your sluggish progress. You’re desperate now to get to your destination, but come upon a patch of tall nettles. You beat your way through, your shins stinging … I’m getting a little carried away here, but do you get my point? When a piece of prose becomes too purple, the overly-ornate text becomes an impediment to the reader’s progress and they’ll simply turn back and go home, or put your book down. As an author, it’s your job to take your reader by the hand and guide your reader to the end of the story without unnecessary hurdles to impede their progress.The following extract from Sean Penn’s debut novel, Bob Honey, is a perfect example of an author’s purple prose affecting clarity. Even though the book is a satire, the text is as impenetrable as my imaginary forest.“There is pride to be had where the prejudicial is practiced with precision in the trenchant triage of tactile terminations. This came to him via the crucible-forged fact that all humans are themselves animal, and that rifle-ready human hunters of alternately-species prey should best beware the raging ricochet that soon will come their way.”I think Mr Penn is trying to say something about hunting animals, but I really can’t be sure.So, how do you make sure your writing never lacks clarity? Leave plenty of time between writing and editing so you can read your work with fresh eyes. Does it make sense? Do you understand what you’re writing about after time away from it? Is anything confusing? Think how you could make it clearer using the advice listed above. If you’re still not sure, ask a beta reader to help, or consider using our editorial services.It takes skill and experience to write with clarity, so remember, as you write, focus on your story, and keep your reader in mind. Do you really want them to battle their way through that forest, arriving battered and bruised at their destination, or would you rather they enjoyed the journey?How To Write Tight, Effective ProseEven if your writing isn’t that purple, or only purple in patches, thinking about the above will help your writing become tighter and more effective. Keep your reader in mind as you write. Ensure every word, sentence, paragraph and scene drives the story on.Pro tip: Take a narrow-eyed look at your dialogue tags too. Keep them simple, so if possible, use ‘said’. Nothing makes a reader cringe more than a character ‘blustering’ or ‘interjecting’.While you’re busy trimming your work, keep an eye out for modifiers too, like the word ‘very’. Find a better, stronger word, and your writing will be less purple because of it. Professional, publication-ready writing is lean. The author has taken the time to cut unnecessary adjectives, adverbs and dialogue tags. Only the essence of the story remains, making the text easier to read because not one word is wasted. Read more tips on writing perfect prose here.A Final Thought On Purple ProseWriting purple prose is a part of the writing journey, and we should never be ashamed to spot it in our work. But we need to learn to recognise it when we see it, and be brave enough to get rid of it. Experienced writers have learnt that the big idea is what makes something meaningful, not the language used to embellish it. The idea should always come first. Don’t try to be Daphne du Maurier. Be you. Play with language until you find your voice and then pare your writing right back until it gleams.

What is Freytag’s Pyramid?You might be familiar with the Three Act Structure, or the ‘Beats’ of Save The Cat, but have you heard of their predecessor, Freytag’s Pyramid? Freytag’s Pyramid was the brainchild of Gustav Freytag, a nineteenth century playwright and novelist who liked to peer beneath the surface of his favourite plays – namely Greek tragedies and Shakespearean drama – and figure out how they worked. He realised they all followed a distinct dramatic arc, which he plotted out in a pyramid for everyone to see. It’s one of the more popular dramatic structures that writers use, and likely the oldest. It consists of two halves, the play, and the counterplay, which together form a pyramid that contains five acts. These five acts are the introduction, rising movement, climax, falling action, and catastrophe.How Does Freytag’s Pyramid Work?As we just found out, Freytag’s Pyramid is formed by five acts:IntroductionRising actionClimax (midpoint)Falling ActionCatastrophe (denouement)In a nutshell, Freytag’s Pyramid works by giving writers a way to structure their story that makes it comprehensible to readers. Each act represents a different stage of conflict or tension.A little disclaimer here: this might not be a structure you’ll want to use if you’re writing a rom-com. Freytag was all about the tragic. It’s not a one-size-fits-all approach, but Freytag’s Pyramid is in essence all about storytelling, and understanding it will help any aspiring novelist really nail their plotting, whatever their genre.Freytag’s Pyramid, Act by ActSo that you can see the Pyramid in action, as well as explaining the acts, we’re going to use one of his most famous sources as our example. Namely the classic Shakespeare play, ‘Macbeth.’ Spoiler alert: everyone dies.Act 1: IntroductionIt’s always helpful to consider your reader when beginning your novel. Where are we? What’s going on? This is where you show us the world you’ve created and introduce us to your characters. Your first act also needs to tell us what situation your characters are in and it needs to end with the famous ‘inciting incident’ – the kick-off, the discovery, the moment everything changes. In ‘Macbeth’ we see our anti-hero emerge victorious from war. We’re introduced to our other main players, Banquo, King Duncan, Macduff, Malcolm, and the most excellent of characters, Lady Macbeth. The inciting incident is the three witches putting the worm of ambition into Macbeth’s mind when they prophesy that he could be king… All hail, Macbeth.Act 2: Rising ActionThis is usually the longest act and it’s where things get meaty. The inciting incident will have set off a series of events that are building to the climax (or midpoint if you prefer). Obstacles that your character must overcome to get what they want will become more and more difficult. They will really have to strive.This is where we can start to learn about the motives of your creations – how far are they going to go to get what they desire? Why do they want it? Your protagonists might make bad choices in this act and get themselves into trouble. Maybe they’ll face danger from enemies, or they might even be the danger themselves. Or things could just be going really well because you know pride always comes before a fall. New characters can cause new problems, but all the elements in this section need to be raising the temperature. Back to our Scottish friends. The Rising Action of ‘Macbeth’ is full of drama. Macbeth and his wife have plotted and schemed and actually murdered poor King Duncan. Not only that, but they’ve managed to get his sons to run away, making them look very guilty indeed. They’ve also bumped off some pesky guard witnesses. They knew what they wanted and they went to extremes in order to get it – they’re nearly there and things are looking good for them. Or are they?Act 3: Climax (Midpoint)This is the pointy bit of Freytag’s Pyramid, where all the lovely tension has been leading up to so far. From this point on, in our tragedies at least, it’s a race to the bottom. Unlike in other dramatic models where the power scene is at the end (think Battle of Hogwarts or Frodo at the crater of Mount Doom) this instead is a crisis in the middle of the narrative. It was all going so well, but now it’s time to pull the thread that will cause everything in your characters’ lives to unravel. As for Macbeth, he’s done it. He’s finally been crowned King; his ambition has peaked. Unfortunately, he has also sent some frankly useless assassins to get Banquo, and they’ve let his son escape to tell the tale. And this is before the ghost of poor murdered ex-King Duncan turns up at the coronation banquet and terrifies Macbeth so badly that his lords think perhaps, he’s not such a great kingly option after all. Down we go into Act 4, the Falling Action.Act 4: Falling ActionIt’s important to know here that ‘falling’ does not necessarily mean winding down – rather once you’ve crossed the point of no return, the protagonists star is falling where it was rising before. It can and should still be full of tension and anticipation. We know the final catastrophe is coming, and we can’t tear our eyes away from the inevitability of it all. This is where you can tidy up some of the plot points that began in Rising Action, and reveal some of the secrets you might have hidden away.You can throw in some hints at hope to make us think maybe everything will be okay if you want to add some suspense, but this is a tragedy template after all. We know it won’t end well. Back in Scotland, it’s all going terribly for Macbeth. The witches have conned him into thinking he’s invincible, he’s slaughtered his friend’s family in an attempt to strengthen his hold on the throne, and his enemies are coming. Oh, and Lady Macbeth has driven herself to the edge with guilt. Out, damned spot!Act 5: Catastrophe (Denouement)And here we are, all is undone, your character has brought themselves, or been brought, to an ultimate low. It’s the end of the road. This act ends in a roundup of what happens next – if anything – and it’ll be up to you whether there’s a glimpse of redemption or happiness to be had. If this is the case, your final act is a denouement rather than just a catastrophe. If you’re Freytag, it’s catastrophe all round, as per Macbeth, who really has messed everything right up. Wild ambition is bad, guys, keep away from those daggers. At Glamis, enemies have crept on the castle hiding behind branches, Lady Macbeth is dead, and all Macbeth can think about is the utter meaningless of life. It’s his own fault really, and it’s almost a mercy when untimely ripped Macduff ends his suffering, and Malcolm is made king, restoring the correct order of things.Some Final Thoughts on Freytag’s Pyramid...While this is quite a specific structural template, it has its uses across the board of writing fiction. The idea of the central reversal, a rise, and a fall can really give an emotional hit to a narrative, especially if you have a relatable and sympathetic character in mind. Even Lady Macbeth, who essentially convinces her husband to commit regicide, is doing so out of misguided love for him. We can kind of understand that, and there’s satisfaction in seeing the story resolve itself, even if it is tragic. This pyramid structure really lets you explore the classic human pattern of desire and denial, and what happens when you lose yourself in pursuit of something impossible or wrong.It also provides a helpful way to think of your novel in the sense that each scene needs to be one side of the pyramid – your characters are either pushing the boundaries to breaking point, or they’re suffering the consequences and likely making things worse. This can help you balance your narrative.You could also skew the pyramid if you don’t want to go full-Gustav. In this interpretation, the catastrophe becomes more a resolution of sorts where your character survives the disaster in a slightly better shape than they started out despite their misbehaviour – they learn their lesson. Obviously, this was not the case for poor old Macbeth who really should have been happy with what he had.There are more modern ways of approaching structure that you might be interested in reading about, be that using character arc templates or thinking about different methods of plotting, but Freytag’s Pyramid is a classic and seamless way of structuring a tragedy. If it worked for Shakespeare it can work for us, right?

You have a great idea for a book, but you don’t yet know anything about your main character (being ‘tall, dark, and handsome’ is not enough to move a story forward). Or perhaps you’re struggling with your latest novel and can’t work out your character’s motivation.Elevating a book from a good idea, to a compelling and addictive read, hinges on deep characterisation. This is where a well-crafted character bio template comes in. Or, in this case, all the ingredients you need to create your own bespoke character profile template.You can also sign up for our FREE Jericho Writers Character Building worksheet.What Is A Character Profile?A character profile is a document that you, as an author, compiles during the (preferably) beginning stages of a first draft. The character template should document everything about your character’s life – from how they look to mannerisms and their back story.A character profile template will allow you to keep all the important details about your protagonist/antagonist in one place to be used as a writing resource when attempting your first draft. It can also be a handy tool to check details and continuity during the editing process. But don’t be intimidated! Character template writing needn’t be boring or laborious. And your character bios don’t have to be cumbersome, lengthy or complicated. There are no hard and fast ‘rules’ about what you can and can’t include.In short, your character template sheet should be crammed with as much information as you can think of.Why Is A Character Bio Important?Writing your character creation template is important, because if you don’t understand your character fully, then neither will your readers. We all know that the concept or plot is what makes us read the first few chapters, but it’s the characters that keep us turning the pages. In fact, even the most implausible story ideas can capture the hearts of many, if they get the connection with the characters right. Take, for instance, the story of Eleanor Oliphant, in the novel Eleanor Oliphant Is Completely Fine. Any other character in her place, anyone less unique and complicated than her, would have made an intriguing and riveting book really quite dull.Readers get invested in a story because they relate to the character on the page, or because they are invested in their growth. They stick around because the characters feel real. But characters won’t feel real to your readers if they aren’t real to you. So how do you create that with the help of a character bio profile?**Before we start - a word of warningOnce you learn the art of writing a character profile template, you will never look at your characters the same way again. So let’s begin…What To Include In Your Character Bio TemplateCreating a character profile will essentially develop the bible that your leading players will live by. And although 90% of what you discover about your characters will never make it to your novel, having a deeper understanding of your characters and their motivations means that when you put them in certain situations, they will show their true selves in the most natural way.There are plenty of detailed character profile templates out there for you to use, adapt, and play with. Some are spreadsheets, some Word documents, some forms to fill in. But I think the best way to get to know your characters is to develop your own outline based on the questions highlighted in this article. Whether that means cutting and pasting my prompts into a Word doc, or even buying a notebook and filling it with nothing but characterisation notes, you need to construct a template of headers and questions that work for you!Let’s start with the simple questions first.Basic CharacteristicsIt’s so important to be able to see your characters in your mind, therefore start with what they look like and who they are. NameAgeNationalityDon’t skip the easy stuff, but don’t stop there. When deciding on a character name, question why. Was that name passed down by a grandmother? Does that mean that family ties are important to this character? Something as basic as a name can throw up so much depth and understanding about a character, and small important details can be dropped into your novel to add depth and roundness. Same applies to their nationality and heritage.Physical AttributesAgain, these help your reader see your character.Start with:Hair colour Eye colour HeightAny physical disabilitiesThen take those simple thoughts and dig around some more. What about that scar on his left cheek? Why is that there? Who gave it to him and why? Is he self-conscious about it? Does this change his behaviour when out in public?Does she have painted nails, or chipped bitten nails? Could this be a sign of vanity, or maybe those bitten nails are a sign of anxiety?Personal Preferences Of The Character (e.g. Political/Tastes/ Cultural)You can have a lot of fun with this one. Start with the basics and ask why: Favourite colourFavourite foodFavourite musicFavourite restaurantReligious beliefsSpiritual beliefsPolitical affiliationsThen, get deeper still…Is there is a certain phrase your character says all the time?Do they swear and if so, what cuss words does he/she prefer? What hobbies does your character have? Why? Where would we find your character on a wet and rainy day? How would a typical weekend play out in your character\'s world?The answers to these questions will filter in like softly spun gold through the pages of your novel.HealthWhat’s your character’s health like? Smoker?Drinker?Exercise regularly?Health can be a big issue in our day to day lives, so we should be aware of it with our characters, too. You would be surprised how much of a difference it makes when creating a well-rounded character.Could bad health or hypochondria run the family? Does your character use health issues as a barrier? Do they eat well, or binge eat late at night? Why? Do they walk with a slight hunch due to consistent back pain that they have grown accustomed to living with over the years?Career And EducationEven if this isn’t mentioned explicitly in your novel, knowing how your character acted at school and what they do for a living is so important. A career can signal so much about a person and can help you develop who they are simply by looking at what they have chosen to dedicate their life to. Does the character have a job?How long have they been in chosen career?Are they happy?What job would they choose if they could retrain?Is their job important to them?What are their main priorities in life and where does career fit in?Remember that most of our adult life is spent working with, and surrounded by, others. Work life can change a personality completely. How does your character view their work colleagues? And how do they feel about your character? Does your character get involved with colleagues outside of work hours, and how does this affect their work/home life balance?What is their greatest career achievement?How did they do in school? Were they popular? Did their early school life affect their chosen career?Asking questions like these can help you figure out the motivation and underlying issues your character is dealing with. If it’s a sense of loneliness, has it been there since school? If it’s a sense of entitlement, could that have come from their upbringing? Flesh out the ‘whys’ and enhance your character development, and the plot twists (or holes) will reveal themselves.Personality TraitsThis will most likely be the most in-depth section of your character template – but again, don’t stick to the surface. Even if you have decided your character is mean, narcissistic, and aggressive, ask yourself why. What happened in the past to make them this way? Are they…Cautious or spontaneous? A daredevil or worry-wart? Why? Do they act the same way around other people or does bravado make this person take risks they wouldn’t normally?An optimist or pessimist?An introvert or extrovert?What do you think is your character’s biggest flaw? What does your character believe is their biggest flaw?What is their greatest strength?Get down to the nitty gritty, even if most of this won’t appear in your book. Start asking questions that really test you as a creative writer. Ask questions that will push you to find out the deeper motivations, such as:What is your characters biggest regret? Why?What is their darkest secret? And how would they react if someone found out?Are they the type to crumble under interrogation, or lie to conceal the truth?Family And RelationshipsThis is an important section of your character trait bible because it’s not until you begin excavating relationship dynamics, that you truly get to know who you’re writing about. Don’t be surprised if your plot changes as your main character deepens.Ask yourself these questions:Spouse/significant other?Are the character’s parents still around?Do they have any siblings?Are they the oldest/youngest in the family?Is there an extended family/family support system?Again, this is surface-level, but look what happens when you start digging a little deeper…How do they get on with each of the family members? What do those family members think of your character? Would they be honest about this to their face and if not why?What’s the character’s first/oldest memory?What member of their family/support system would your character turn to in a crisis?How would they react?Does your character trust members of the family and vice versa?If your character is married, where did they meet? Love at first sight? Were friends happy about the union? Were family members accepting?At this stage you may even find yourself creating complicated spider diagrams to see how your main character connects with the rest of the cast. Don’t be surprised if this exercise begins to alter your plot and deepen your twists.Life Stages, Milestones, And BackstoryThis section is generally filled with information that you (and only you) will ever know about your character, because no one needs to endure an ‘info dump’ about each character’s backstory. However, small nuggets of this information will always feed into your story if you are adding the required depth of character.So it’s important to know the following before you start:What stage in life is my character in at the start of the story?What stage of life will they be in at the end?What has been the character’s greatest achievement in life?What has been their top three life defining moments? If ‘X’ hadn’t happened to your character, how would life be different now?How would your character describe their life right now? List the major life events in chronological order from birth to now and highlight major events that have changed the course of their life.Look at you go! The character that you only previously knew as ‘tall, dark, and handsome’ is fast becoming a fascinating, deep, and 3D guy. Let’s go deeper.Character Perspectives, Outlook, And OpinionsYou may think your characters don’t have opinions yet, but that’s because you haven’t asked them. By this point in your character profile template, you should know so much about your character, that this section will seem instinctive. Be prepared, because many of the opinions you discover they have may not be your own. But you have built this fictional person, given them features, history, flaws, and dreams… so you shouldn’t be surprised when they suddenly have their own opinions.What do they think of the state of the world right now? What is the one thing they would change if they could?What is the one thing holding them back from true happiness right now? And do they really believe they will be happy if that one thing were to change?In this section, try to be honest and answer from your character’s point of view, not your own. If your character is lying to you (and you know it), ask yourself what they are afraid of. You must be willing to ask, listen, and analyse. And finally, ask some of your own questions. These are a few that have arisen after years or doing this exercise:Who is your character’s biggest inspiration and why?How does your character spend the week before this story begins?If your character could jump back in time to one particular point, where would it be and why?What is your character’s most prized possession?Name four things your character would change about themselves.How To Develop Your Character Profile TemplateEssentially, what you are doing with a character bio template, is sitting down with a large pot of tea and a box of tissues and asking an imaginary person as many deep and meaningful questions as you can. You are the therapist who wants to know all their secrets, worries, and desires. You are interviewing them for the story of their lives, and you are not leaving until you know each and every last detail. It’s up to you how you put your character profile template together, whether you go for handwritten notes or a fancy spreadsheet, just remember - the deeper you dig, the more gold you will find. Once you have built a detailed psychological profile of each important character, you will have all the power you need to help make them come alive on the page! And who knows? It may even inspire new plot twists and scenarios or highlight plot holes.Deep Characterisation Is Vital In Good StorytellingAs much as we love to plan and predict what we are writing, there’s nothing more exciting for a writer than when a twist comes out of the blue and you didn’t see it coming. Often that’s a matter of chance, but not now. Now you know exactly how your character will react, and why, those twists will be much easier to write.Your character bio template not only helps when creating your first draft, it also acts as the perfect reference guide and checklist during edits. For instance, if you can’t remember the name of your MC’s sister’s boyfriend, no problem, because you will have written all that information down in your ‘family and relationships’ section. Finding and dealing with continuity issues in your manuscript is so much easier if you have a reference guide to check – and it will also save you a lot of hassle when your editor and proof-readers ask for a list of names and places. It’s also invaluable when writing a series of books, as it saves you having to re-read your books to remember back story and character traits.Essentially, your character bio template can be anything you want it to be, as long as it helps you see, smell, touch, and hear your characters in your mind. No one else in the world needs to know any of the answers to these questions because it’s up to you what to reveal to your readers and what to keep hidden. But truly knowing your characters like this means you will create well-rounded, real, and vivid characters that will jump from the page and capture the heart of your readers.

What Are Mannerisms, And How Can They Help You Create Memorable Characters That Jump Off The Page?How do you create characters that feel real? The best stories are brought to life by characters that jump off the page – they are three-dimensional, rather than two-dimensional – as if they’re sat right beside you. We understand it can sometimes be challenging to do this. After all, strong characters are the heart and soul of every story.One of the most effective ways you can do this in your novel, using a classic ‘Show, Don’t Tell’ method, is through character mannerisms. These are an essential way of breathing life into your character. They can elevate your writing to the next level, helping your readers feel more invested in your characters naturally and organically, ensuring they’re still thinking about them long after they’ve finished the final chapter.But firstly, let’s ask ourselves: What exactly are character mannerisms?Mannerism Definition:Mannerisms are the things that people do repeatedly without realising. They are typically unconscious gestures, vocal tics, or expressions. They can be things that people do with their hands, faces or voices – they might do them repeatedly and not even realise they’re doing them. As mannerisms are individual quirks, they can be a great way to build a character’s personality.For example, when considering how to convey strong emotions, it can be useful to look at a list of mannerisms for specific emotional responses.Mannerism ExamplesThere’s a reason why fiction writers are always people-watching. We love to see how individuals act, and how they react. We don’t all act the same way when shocked or angry.Let’s take a look at some standard mannerisms of everyday emotions and see if you can add any of your own.Mannerisms Of A Sad CharacterWobbling lipWiping their eyesLooking upwards to bat away tearsLooking downwards at their feet to avoid eye contactFidgeting with their handsStumbling over their wordsHigh-pitched voiceCoughing to clear their throatBiting their fingernailsMannerisms Of A Happy CharacterOpen body languageThey make tactile movements, such as touching, stroking, and hugging other charactersLaughter and smilingHumming and singingDemonstrate politeness through gestures such as holding a door open for othersDaydreamingSing-song speech patternShortness of breath from speaking too fast and too excitedlyGesturing wildly with their hands while talkingSwinging arms when walking aroundSad and happy are quite general emotions, so let’s look at a list of mannerisms for something a bit more specific, like a character who is displaying narcissistic traits, or one who is shy.These types of character traits offer the opportunity to link the character’s mannerisms with their back story and development (a very important aspect of mannerisms that we will explore further in this article). For example, your character may be timid due to past trauma, a phobia, or a history of abuse – or from having a narcissistic parent.Mannerisms Of A Narcissistic CharacterFrequently looking at themselves in the mirror and constantly checking their appearanceExaggerating, bragging, or lying about their achievements or talents, and seeking out constant praise and admirationDemeaning or belittling others – they might do this by interrupting other characters and speaking over themPhysical mannerisms might include smirking and sneering and rolling their eyes when others are talkingConfident physical traits – they will likely have a strong posture, with a confident stance and walk with a swaggerLoud speaking voice and loud laughMannerisms Of A Timid CharacterJumpy and flinching at sudden noisesIsolating themselves, they’re often on their ownNervous around strangersStuttering and stammering and are quite often tongue-tiedNatural response is to freeze in high-pressure or high-stress environmentsShaking – physically with their hands or in their voiceSpeaking quietly and softly, and less frequently than other charactersShowing general social awkwardness – difficulty engaging in conversations, maintaining eye contact, joining in on jokes etcSpeech And DialogueAside from emotions, there are also mannerisms you can give your characters to elevate them from the page and bring them to life. These can be intertwined with speech and dialogue. Think about the following…Volume: Does their voice boom, or are they softly spoken?Where do they come from, and does it affect how they speak?Do they have an accent? Are there certain phrases they use frequently?Do they talk more than they listen? Do they interrupt other characters?Speed: Do they speak quickly or slowly? Are buffer words such as ‘like’ or ‘erm’ used frequently? (Only add these if they are part of the character traits, or it will be distracting for your readers).Do they make physical noises, like coughing, laughing, clearing their throat, or muttering?Physical Character TraitsThere are also physical mannerisms that can convey a sense of who they are to a reader. Perhaps a character plays with her hair, implying she’s flirting, or maybe it’s a nervous habit. If they are anxious, they may tense their jaw, grind their teeth, or rub the back of their neck or temples. These physical reactions work well in moments of high-stakes tension. Think about what a character is doing with their body, as well as what they are saying or thinking. Biting their lip or the inside of their cheek might be seen as a sign of nerves, worry or a lack of confidence. What are they doing with their eyes? Both strong eye contact or avoiding/breaking eye contact can convey emotions or depict personality types.And finally, posture - how does your character present themselves? Do they stand confidently with their shoulders back, or are they slumped over? A broad stance or a slouch can say a lot about a character and offer an immediate impression to a reader.Using External InteractionsConsidering how your characters physically interact with objects and the environment around them is another important aspect of character building. For example, if they wear glasses, are they repeatedly pushing them further up their nose? Do they take them off and rub their bloodshot eyes? Do they clean them with a handkerchief while pondering in a moment of thought?Imagine our character holding a pen. Would they tap it against the table, annoying other characters? Would they doodle absentmindedly on a blank page while in a daydream? Maybe they’d chew the end of the pen if they’re nervous? Or click it repeatedly?There are many ways you can use external objects or surroundings to add new layers to your character’s personality.Creating Tension And ConflictMannerisms can also be an excellent tool to create tension and conflict between characters. Conflict is one of the most vital aspects of every story and every character arc (check out our free character arc guide and template for your character development). Without conflict and something for your characters to overcome, there is no story.But how can mannerisms add to this?The conflict and tension concerning an individual mannerism can’t be instant, as the mannerism needs to be well-established. But once it is, then it’s the perfect opportunity to have another character pick up on the quirk or trait and interact with it. For example, they could ask that person to stop doing it (because they’re finding it irritating, and it could be the final straw that makes them snap). Or they could ask why they always do it (inviting a conversation, and maybe creating or diffusing tension, about how that specific mannerism is linked to their back story). Individual literary genres tend to approach internal and external conflict differently; our blog about conflict in genre writing breaks this concept down in further detail.Let’s go recap all we need to know about creating believable characters through their mannerisms.Character Mannerisms: What To DO‘Show, Don’t Tell’It’s the age-old writing advice, but it’s especially relevant when writing character mannerisms. Don’t have your character simply saying “I’m sad” – instead, make them wipe away a tear slowly rolling down their flushed cheek.Link Mannerisms To A Vital Part Of A Character’s Back StoryFor example, they shouldn’t be shy or awkward for absolutely no reason. Perhaps it’s linked to a childhood experience when they were humiliated at school, and now they find crowds difficult to handle. Our blog about characterisation and character development is a useful resource for creating meaningful backstories and character arcs. Try And Avoid ClichésSome mannerisms are overused and can therefore turn a reader off (our blog about avoiding clichés and writing believable characters is an excellent guide). Think outside the box if you can and consider how you or other people act subconsciously in certain situations. Sometimes it can help to observe people and actions in these settings. Character Mannerisms: What NOT To DoRepeat The Mannerism Too FrequentlyIt might distract from the character and the story, and become annoying for the reader. However, on the other hand, don’t just add the odd mannerism in as a throwaway gesture; otherwise, it won’t be memorable enough.Leave Mannerisms As An After-ThoughtThese mannerisms should act as the backbone of your character. They should be deeply connected to who they are as a person and why they act (or don’t act) the way they do.Why Your Character’s Mannerisms Are ImportantIn a nutshell, mannerisms are typically the things people repeatedly do without realising, which means they are an extremely useful tool for developing character personalities and backstories. As writers, we know that there’s a huge sense of achievement in creating memorable characters that jump off the page and stay with the reader long after they’ve put the book down. That’s exactly why it’s worth investing the time into creating mannerisms for your character – therefore revealing who they are and helping the reader to understand them on a much deeper level. Just remember not to use mannerisms for the sake of it – always ensure that they tie into your character’s personality, background, and development.

One of the most compelling storytelling structures that writers can use is The Hero’s Journey. In 1949, Joseph Campbell published The Hero with a Thousand Faces, where he discusses the central myth which he argues is at the heart of all stories.However you look at it, the Hero’s Journey has formed the basis for the narrative arc of a wide variety of literary works across time and all cultures – something we’ll look at within this article. Mostly though, this story structure offers a great way to give your narrative both a strong arc and emotional power.In this guide, you’ll learn the essential steps involved in the Hero’s Journey in order to structure your novel with style.What Is The Hero\'s Journey?The Hero’s Journey is a particular structure in which the lead – otherwise known as a hero, heroine or protagonist – is called to head off on a journey or adventure in response to facing a problem or challenge. This issue leads them to set a specific narrative goal and they go off to achieve this, finding allies and facing enemies and their own weaknesses along the way. Once this aim has been achieved, the much-changed protagonist then returns home, bringing wisdom and knowledge to share with their community and loved ones.You’ve probably already realised from just reading the above summary that most literature uses this particular storytelling structure. In fact, it has similarities to the three act structure which is also used in drama and screenplays, as well as novels and memoirs to create a powerful narrative arc.In the rest of this article, I’m going to set out the main steps of the Hero’s Journey, so you can use them to build your own compelling story.Stages Of The Hero\'s JourneyAll stories can be broken down into three stages — the beginning, middle and end — and the Hero’s Journey is no different in the way that it is comprised of three main sections: Departure, Initiation and Return.The opening Departure section is very much focused on the way the hero is called to go on a quest (often reluctantly) due to having to deal with a problem or challenge. The Initiation then takes place after they embark on their journey and begin to face obstacles, temptations and fears and develop skills and wisdom as a result which allow them to attain their narrative goal. Hence, once this has been achieved, they return home triumphant and often more enlightened than before. If you’re a Star Wars fan, you’re probably thinking of how the geeky teen, Luke Skywalker, gets pushed by tragedy into his Hero’s Journey of becoming a Jedi (he even mucks that up!), before defeating evil (cue scary Darth Vader voice!) — and you’d be right on the money, as George Lucas was profoundly influenced by Campbell’s work.Steps Of The Hero\'s JourneyIn Campbell’s original breakdown of the Hero’s Journey, the hero’s story is comprised of seventeen steps. However, in 1993, Vogler broke down this storytelling structure into just twelve steps in his book, The Writer’s Journey, making it much easier for authors to use.In this guide, we’ll utilise this twelve stage model and I’ll go through it step by step. 1. Ordinary WorldAt the start of the Hero’s Journey, we get a glimpse of the everyday life of the lead and the unique world they inhabit. This allows us to grasp the setting if it’s something unusual like we see in sci-fi or fantasy, but we are also able to start to get to know the hero and care about them, as well as noting some of their particular strengths and weaknesses which may get in their way. 2. The Call To AdventureThis is what might also be seen as the narrative’s inciting incident or trigger as it’s what really sets the story and the whole Departure section of the book going. It involves the hero having to face a problem or challenge – just as in the classical story of The Odyssey, Odysseus is called to fight the Trojans.3. Refusal Of The CallThe hero doesn’t simply trot off on their journey though – Odysseus struggles with leaving his family and similar inner conflicts beset most leads during this stage, including fear at what might befall them if they accept the call.By showing these doubts, the humanity of the hero is revealed and the high stakes of the journey ahead are brought into focus, increasing the narrative tension in a very potent way.4. Meeting With The MentorAt this point, the hero meets a mentor who offers advice and wisdom for the journey ahead and whose presence often helps them overcome their reluctance to embark on their journey. (Do we need to mention Yoda here? \"Do or do not\", my writer friends.)This step is important as we come to understand that the quest is something difficult which requires support, as well as personal bravery, and the encounter with the mentor shows that this is a spiritual and personal path, as well as a more concrete journey to get a certain goal. 5. Crossing The First ThresholdHere, the hero leaves their ordinary world and takes the decision to embark on their journey. This is incredibly important, as despite the call to adventure having started the story off in some sense, the real adventure begins now for the hero as they leave behind everything they know and walk into a realm of external dangers and personal doubts. We only have to think of the terrifying quest Frodo and Sam go on in Lord of the Rings to understand how powerful this moment can be in a story as our rather vulnerable, tiny Hobbit heroes shed safety and familiarity to pursue a noble goal.This setting off closes the Departure part of the story and we now see the hero enter the Initiation stage of their journey.6. Test, Allies And EnemiesHaving committed to their journey, the hero now has to learn the rules of the new world they’ve entered, encountering friends who will act as supportive confidant(e)s and sidekicks during their quest, as well as dastardly foes who often present terrifying obstacles. This first section of the Initiation is important in developing the story’s cast of characters, including the hero’s allies and establishing those who will oppose them, such as a vile villain, increasing the stakes by showing that the road ahead will not be easy, despite the hero having assistance. 7. Approach To The Innermost CaveThe rising action of the book will see failures and setbacks, with the hero often facing multiple obstacles or finally progressing towards their narrative goal, only to confront an even bigger challenge from enemies, or even due to their own inner fears and flaws. This rises to the point that, in the innermost cave, they’re really in deep and are feeling the pain of their journey!For example, in The Odyssey, the crew opens a bag of winds which blow them far away again when they were almost home – doh!In this second dramatic part of the Initiation, the hero thus needs to persist and be flexible in their approach in the face of these nightmares, trying new ways to reach their aims, as the stakes are rising and they know that the cost of failing to achieve their journey’s end is far too high.8. The OrdealYou think it was tough in the innermost cave? Well, now the hero faces a major obstacle — often a life or death ordeal. What’s worse, this challenge often highlights their character flaws to boot, showing they need to overcome their weaknesses or perish.Most heroes barely get out of this ordeal alive, leaving the Initiation phase of their journey in tatters and with readers on the edge of their seat wondering how the heck they’ll ever complete their journey. For example, you thought the bags of wind were bad for Odysseus? Now, he has to go to the Underworld! (You cannot be kidding me!) 9. Reward (Seizing The Sword)But, hey, it’s not all bad as, after surviving death, the hero gets a reward – maybe even achieving their journey’s goal, such as grabbing the Ring and tossing it away so it cannot darken the world any more.This is a great moment of success and celebration in the story and the hero has clearly emerged from their trials an improved person, although we may not see the full extent of this yet as they still have other preoccupations.However, now the hero has their goal, they need to Return to their ordinary world in the third section – and that’s often not as easy as it sounds.10. The Road BackAfter all the challenges of the Initiation phase, meeting new friends and facing off with foes, the hero who left their home isn’t the same person who returns. Hence reintegrating into their old reality can come as another form of challenge in this final part of the story. In fact, they may not even want to go back! The reluctance to embark on their journey which we saw at the beginning of the story may reappear to haunt the hero as they now cannot imagine returning to their ordinary world, showing just how much the struggles they’ve been through have changed their character.11. The ResurrectionIf you thought it was just a case of the hero getting home now, I’m afraid they have to face yet more trouble in terms of a test which puts at stake everything they’ve achieved.This is where the personality changes and skillsets they’ve developed from their challenging journey become obvious and they realise they’re made for the times they’re facing. Hence they emerge as a resurrected hero — reborn from the one who embarked at the beginning.This part is obviously important for adding climactic drama to keep readers engaged right ‘til the end – they think they’ve killed the alien, or other baddie, but they’re back! – and showcasing the full depth of the lead’s character development.12. Return With The ElixirThe hero returns home with knowledge or a particular ‘elixir’ or item which symbolises their achievements on their journey and this is often used to help others.This altruistic result is the real reward for their battles and represents deep personal and spiritual transformation, bringing the Return section and the story as a whole to a close in a way which hopefully leaves the reader both satisfied and enlightened.The Hero\'s Journey In LiteratureAs you can see from my examples above, the Hero’s Journey is prominent in both film and literature. From classical storytelling to more modern sci-fi and fantasy, the Hero’s Journey has given powerful narrative arcs to many great works. Indeed, if you look carefully enough, even many contemporary crime novels or TV series will feature a reluctant detective who, at first, is scared to take the case – perhaps due to retirement or trauma – who then changes their mind and solves the murder. The Hero’s Journey has thus influenced many writers across the ages and across all literary genres, but it’s still important to note that not all stories follow this paradigm – so, if it’s not inspiring for you, then don’t use it!Using The Hero\'s Journey To Tell Your StoryIf you have found the structure set out above to be thought-provoking or something which might fit your story, then the Hero’s Journey model can easily be applied to your writing project. Structure is such a key part of creating a compelling story and the Hero’s Journey offers a clear way to build a potent narrative arc.It’s important to plan ahead though, when using this paradigm, fitting your narrative to the three stages of Departure, Initiation and Return and plotting your scenes along the steps above.Consider your hero’s particular personal flaws, just as Shakespeare often did in his tragedies — making Othello too jealous, for example – in order to set out how your hero might trip themselves up, or what would absolutely freak them out (like Indiana Jones and snakes!) in order to really test them on their journey.You might also riff on the reasons they might be reluctant to embark on their quest – such as family commitments or outright fear, and who might act as a wise mentor and change their minds, or boost them up as allies along the way. It’s also important to think of a strong opposition figure who is out to stop them achieving their journey’s goal as this is great for adding conflict and tension.The Hero\'s Journey Is In So Many StoriesAs you’ve seen, the Hero’s Journey is present in so many of the stories which surround us — and for good reason as it provides a fantastic narrative structure which allows for deep character development, high drama and profound emotion.Although every story has a hero, not every story is a Hero’s Journey, yet this storytelling structure has a lot to teach all authors. Try it with your adventure or quest novel, and see how far you and your hero get.

Mastering the three act structure is one of the most important writing skills for any author. If you want to know how to structure a book, whether that’s a novel or memoir, or you want to learn how short fiction works, absorbing and using the three act story structure is one of the best ways to make your piece shine.Used widely by screenplay writers, the three act story structure outline is deceptively simple.A Story in Three ActsAct One is where we see exposition which establishes the world or everyday life of the character, before a dramatic inciting incident occurs which sets the normal life of the lead on its head, causing them to go on a journey to attain a particular narrative goal.Act One is often called the Set Up, or the Inspiration part of a plot.Act Two is the real ‘meat’ of the piece, where we see the lead go after the narrative aim they set in Act One, facing multiple obstacles and their deepest fears. Hence this part is often referred to as the Confrontation, or Craft, as it contains rising action, with the lead fighting against ever higher stakes and building their skills.This also includes the plot’s midpoint which seems to really set back the protagonist in terms of their journey to attain their narrative goal.Act Three is often called the Resolution, for obvious reasons, as this final part is where your lead reaches the end of their journey, achieving or failing to achieve their plot aims. This section includes the pre-climax and climax events which keep the reader on the edge of their seats as we think we’ve seen it all in the pre-climax and, then, boom, there’s more! This section is also sometimes referred to as Philosophy as it brings to fruition the themes and concepts which have been developed in the course of the narrative.The History of the Three Act StructureLike so many writing craft concepts, the three act story structure has ancient roots, coming from Aristotle’s Poetics. However, modern screenwriters have honed this particular story structure to a high level, creating story outlines which are also very useful for novelists and memoirists.How the Three Act Structure WorksIf you want to learn how the three act structure works, have a close look at books and films you enjoy, as you’ll likely find it there, propping up the story.You’ll likely see exposition as the lead’s everyday life and, perhaps, in the case of fantasy or sci-fi, the uniqueness of the world the protagonist inhabits is brought to life. Perhaps, in a crime novel, we’ll see the detective’s family and work life to familiarise with the protagonist.Then the lead’s world will be thrown on its head by the inciting incident – say, the detective’s spouse is murdered. They’re in turmoil, but, ultimately, of course, they want to track down who killed their spouse – and this is the narrative goal they will fight their way towards throughout the book or screenplay.The second act shows them fighting through rising action, which is comprised of various obstacles and facing their deepest fears on the way to getting their narrative aim – say, of bringing their spouse’s killer to justice. But they reach a new low at the midpoint of the book when something happens that makes the reader doubt they will ever get their goal. Perhaps they realise a close colleague may be involved in their spouse’s murder or important evidence is lost and we have to wonder whether they’ll ever solve this crime. However, somehow they drag themselves back onto their feet and go into Act Three where they face a pre-climax which looks like the resolution, but it isn’t – such as the detective thinking they’ve found the killer, but they haven’t. Then there’s the real climax which brings resolution in terms of the narrative goal which was set at the start, after the inciting incident – often the lead achieves their plot aim, but sometimes they don’t (although negative endings can be hard to pull off!).How to Use the Three Act StructureIf you’re wondering how to plan your novel using the three act structure, it’s easy to do if you learn the basic craft and are prepared to plan your plot.Start by mapping out your story and then break it down into three acts, as follows.Act One – Set UpExposition is so important, as I mentioned above, both in terms of establishing the setting, but by also familiarising us with the lead and making us care for them. As a writing teacher once told me, we need to make the reader sympathise with the characters before we show their car hitting a wall!If we know the protagonist a bit, the inciting incident which sets their life on its head will hit home even more powerfully.Also known as a trigger event, this is a key plot point which forces the lead to pursue a particular narrative aim throughout, such as finding a killer, pursuing a quest, winning the guy’s heart and so on. In a memoir, the writer may face a tragic or traumatic life event which sent their life into turmoil, with the rest of the autobiography being the journey of how they recovered.This plot point and its aftermath is so crucial to the narrative arc that I often ask my author clients to consider what their lead wants and why as a result of the inciting incident, as it is this which will fuel their journey throughout the rest of the story.Act Two – ConfrontationIf Act One sets up the story and shows the plot point which rocks the lead’s world and sets them off on a particular journey, Act Two is where the rubber hits the road.Comprising the majority of a novel, at around fifty percent of the manuscript, this is where we see the lead doggedly pursue their narrative goal, facing obstacles and their deepest fears. It’s often linked to rising action as the drama gets more intense when the lead keeps trying and failing in each scene as they try different ways to reach their aim or they finally progress … only to face an even worse problem. This is where the story’s most important characters will be introduced and the midpoint of the book arrives – the next key plot point to consider. This will be linked to the lead revisiting their central goal, often wondering if they’ll ever get resolution as the challenges of this second Confrontation act have really taken it out of them! Act Three – ResolutionIf Act Two is where you’ve put your lead up a tree and then cut it down, Act Three is the home stretch where they are heading towards the resolution of their story.However, it’s still not plain sailing as we want to keep readers turning pages right to the end – hence this part might see the lead really face off with the villain or opposition character as the baddie strives to stop your lead from getting their goal.This means the final third act can often dominate the story in terms of intensity, although it often simply makes up the final quarter of your manuscript.You also want to make sure you include a pre-climax, where we think the protagonist’s goal is in sight … and then it eludes them. This makes the story compelling for the reader, right ‘til the end, as they’ve still got to keep going to see what the real climax entails. Often, the climax takes the form of a single, stand out scene as it’s so important in terms of bringing resolution to the plot and any themes which have been present in the book.Making the Three Act Structure Work for YouIn this guide, we’ve seen how to create a three act structure and just how powerful a tool this can be for novelists, memoirists or screenwriters. In fact, it can also be effective in helping us learn how to structure a short story by following the same outline, but with more brevity. See if you can spot the three acts next time you are watching a movie or reading a book, and see how you can apply it to your own story.