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Lisa Hall-Wilson

Beyond Basics For Writers

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How To Discover Your Author Voice And Why You Probably Already Know It

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One of the things many writers get hung up on (and I did too) was finding their writer or author voice. It feels like this elusive, ethereal thing that you chase and have about as much chance of catching as netting the wind. You never feel like you’ve “found” it and some writers spend years beating their heads against a wall trying to sort it all out.

Have a seat – here’s some ice – let’s look at this with a bit of objectivity.

What Is Your Writer’s Voice?

Many people confuse marketing and branding with voice. These are not the same thing and once I figured out the differences between them this all got a lot easier. Give yourself a bit of a break here if you feel like you just can’t figure this out. If you’ve got these mixed up, it’ll be like trying to fit a moose inside an Amazon box. It just don’t fit.

Your writer or author voice is very simple. The stories you choose to tell and how you choose to tell them is your author voice. This is what distinguishes Stephen King from Margaret Atwood from Stephanie Meyer from Nicholas Sparks. Each of these writers has a unique-to-them approach and style in their storytelling. Their author voice is the same from book to book and the story details they choose to emphasize or skim over is part of voice. (This is not to be confused with character voice which should be different between characters in each stories and between characters in books.)

An author’s voice may change over the years if a writer’s been at it a while, but that’s because an author’s voice is simply an extension — a collection if you will — of what’s imortant to them, what they value, what they shake their fist at, what they can’t ignore, etc. Voice is personal and intimate and I think that’s why one of the most common questions writers are asked is – is X-character like you? Our characters are often seen as an extension of ourselves.

I have found that my voice is better suited to certain genres. For instance, I often include a romantic subplot in my stories, but I don’t write romance. Why? Marketing and Branding.

What Is Author Branding?

Author branding (or marketing – I try not to use that word around writers, we get twitchy) is the promise you make to readers. When you pick up a Stephen King novel (with a few notable exceptions) what are you expecting to read? A fast-paced, disturbing, horror novel – right? That “promise” is partly genre, but it’s partly author voice too. When you pick up a Nora Roberts novel, you expect strong female characters–it’s part of her brand and her voice. If she put out a pirate romance or tentacle porn, readers would be upset. Some readers will follow you from one genre to another becaues they love your voice, some follow you because they love your voice in that genre.

Disappointed readers don’t buy more of your books.

Where The Confusion Happens

I spent a few years helping writers with social media. I still do to a small extent, but I’m not teaching on it anymore. So, what many of my students struggled with was this crossover between voice and branding online. On Facebook (or any social channel really), you need to decide what persona you’re going to put forth. This persona should absolutely be real and authentic, but you’re allowed to withhold aspects of yourself, your life, your passions, your pasttimes, from those viewing your content online. What and how much you put forth is branding. How you craft posts, the tone, the emotion you add to that content – is author voice.

Does this make sense?

Stop Making Author Voice So Hard

All of the books you’ve read, the people you’ve met, the issues and topics you’re passionate about, your education and upbringing — all of that makes up your author voice. There are some authors who won’t write graphic violence or sex, others want to include all the dirty details of the intimate lives of their characters. Some will only write books with happy endings, or happily ever after endings. Others insist on keeping their fiction as real as possible and are OK with an ending that may not satisfy every reader. Those are author voice choices and there’s no right or wrong–there’s only a right and wrong FOR YOU!

Now, it’s important that you know your author voice well. What kinds of stories do you find yourself telling over and over again? What kinds of characters constantly find their way into your books? Rebels? Good girls? What kinds of challenges do you find yourself throwing at your characters? Are you more focused on your characters reaching a defined goal (solving the crime, getting the girl) or in growing and changing emotionally? Maybe there’s a blending of those things.

Once you know what kinds of stories you’re most drawn to telling, then look to the branding. Genre is a marketing box. It helps readers know what to expect. So, earlier I said that even though I almost compulsively have romantic subplots in my books I don’t write romance. Romance novels (and their various subgenres) promise certain things to readers that I don’t deliver. I’m not very good at Happily Ever After. Sometimes I am, but it makes me twitch to think every story has to be tied up in a neat and happy red bow. (For others, they’re not interested in telling a story that ends any other way.) I don’t market my books as romance because I don’t/can’t make the promises to readers they expect when they pick up a romance novel.

If you love reading historicals, the details and authenticity of places, times, dress, and people is important. If you get those details wrong, readers are upset. If you love authentically true historical stories AND romantic plots with a happy ending, then historical romance might be a good fit for you. Many historical fans read to learn about the history so you have to get that right. If those details aren’t super important to you as a writer but you like the mystery or exoticism of the past (this is part of voice) then perhaps you’re better to write historical fantasy where the details of the past can be fudged a little, skewed here and there to suit the story, and readers are OK with that.

Trying to write to genre when that genre doesn’t match your author voice is going to feel constraining. You might feel like you’re selling out all the time and then writing’s no fun. Writer, know thyself first and then create the brand and marketing around your unique-to-you voice not the other way around. And yes, this takes time and it means you have to write a lot to figure it all out. There may be some stories you set aside for now for the sake of building a brand.

A Real Life Example

Stephen King successfully published many horror novels like Carrie, The Shining, Salem’s Lot, The Stand all before he began exploring other genres. He tried to publish under a pseudonym and this is how wiki reports that was discovered:

“In the late 1970s and early 1980s, King published a handful of short novels–Rage (1977), The Long Walk (1977), Roadwork (1981), The Running Man (1979), and Thinner (1984)–under the pseudonym Richard Bachman…Richard Bachman was exposed as King’s pseudonym by a persistent Washington, D.C. bookstore clerk, Steve Brown, who noticed similarities between the works and later located the publisher’s records at the Library of Congress that named King as the author of one of Bachman’s novels.”

That’s author voice!

How long did it take you to discover your author voice? What’s distinctive about YOUR author voice?

**Make sure to pick up Method Acting For Writers: Learn Deep Point Of View Using Emotional Layers on Amazon in print or ebook.**

4 Point of View Breaks That Sneak In Even When You Know Better

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Point of view errors break the fictive dream for readers. This is a problem in general, but in deep point of view where the aim is to create an immersive experience for a reader – this is equivalent of ripping off the virtual reality goggles without warning. A little jarring at best, enough to make you walk away from the story at worst.

What’s A POV Break?

You must remain in one character’s head at any given time unless you’re writing in omniscient pov. I don’t know of anyone writing in omniscient pov anymore, but you’ll commonly find it in the classic novels written 50+ years ago.

“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.” JRR Tolkien, The Hobbit 

In deep point of view, the reader is wearing the virtual reality goggles and they become your main character. They know everything your character knows, but only what your character knows. This limited point of view writing style means there’s lots of little places where we can cheat and sneak in information that our character has no way of knowing. When we do this, we break the fictive dream for readers.

POV Character Labeling Their Own Emotions

Naming or labeling an emotion is a POV break. Avoid telling the reader how your character feels. How often do you pause and think to yourself – I’m sad. I’m angry. Probably not often, right. In deep point of view, the characters emotions are FELT rather than labeled usually. Now, your main character can identify an emotion in another character but this is a bit of a tight rope.

Shane walked with his hands in his pockets and kicked a can down the street. Depressed, he didn’t want to go home. “Nobody would miss me anyway.”

This is an example of a writer who knows to show not tell but doesn’t trust the reader to figure it out.

Depressed, Shane walked home. “Nobody’s going to miss me anyway.”

This is just telling. There’s no showing here at all.

Shane walked with his hands in his pockets and kicked a can down the street. “Nobody would miss me anyway.”

POV Character Knowing Other’s Emotions

Sometimes the pov break with emotions comes in through other characters. While we might remember that labeling the emotion of our point of view character is wrong, the emotions of other characters tend to slip in.

Jared looked at me and his grief was etched into the creases on his face.

How does my character KNOW the reason for that expression is grief? One way around it is to qualify it for readers.

Jared looked at me and it seemed like his grief was etched into the creases on his face. 

As if, seems to, looked like… these types of phrases qualify to the reader that your character is making a guess. They are looking at externals and making an educated guess about how someone feels.

The other way to handle this is avoid naming the emotion and simply present observable details and let the reader decide what the other character is feeling – filtered through what your point of view character knows of the person or situation.

Jared stared at me, his eyes filling up with tears. Half a laugh seemed to erupt from him and he swiped at his eyes. “Look at me. You’d think my mother died not my dog.”

POV Characters Seeing Themselves

First, when your point of view character is describing themselves, can we do away with cataloging features common to every human – like two eyes, a nose, a mouth and so on? Just listing physical features tells the reader very little about your character. Second, most of the time, your point of view character can’t see themselves. They can’t see their faces turn red. They can’t see the smirk on their lips. They can’t see the glow of the fire on their face.

They can FEEL things. They can feel their face heat up from a blush. Instead of “a smirk crossed his lips” instead write “he smirked” or “his mouth pulled to one side” because he can feel those things. Your character might know they have blue eyes, but make sure there’s an organic reason for them to think about this. I can’t remember the last time I sat and thought about the color of my eyes, for instance. Although if you’re writing a self-conscious or beauty-preoccupied teen this might work.

POV Characters Knowing The Thoughts/Motivations Of Others

This one can sneak in if you’re not on the watch for it. In deep point of view, remember that the reader knows everything the main character does – but only what the main character knows.

Steve didn’t even pause to think about my request.

How does the point of view character know this? They can’t know what Steve is thinking. Instead, you could use a qualifying phrase – seems like, looks like, etc. Or you could let your main character observe Steve’s body language.

Steve grabbed my hand and shook on the deal before I could meet his handshake half way.

POV Characters Knowing Things They Can’t See

This happens when we (the writer) step in to make sure the reader knows about something going on that the point of view character doesn’t know. If our point of view character doesn’t know, the reader can’t know either in deep point of view.

Sarah turned to greet the latest guests and didn’t notice Martha slip a fork in her pocket.

If Sarah didn’t see it, wasn’t told about, she can’t share it with the reader. Sarah could turn back around and notice the fork missing and observe an odd expression on Martha’s face, or notice Martha suddenly leave.

My personal favorite are the buzzards circling above the house and the main character is still in bed with the bedroom curtains still closed.

Hope this was helpful. Where do POV breaks sneak into your work?

Want to learn more about deep point of view? Heard about it and don’t know what it’s really about? Been told readers struggle to connect with your characters emotionally? Know about deep point of view, but stumped trying to find intermediate-level resources? Registration is now open for Method Acting For Writers: Learn To Write In Deep Point Of View. Class begins May 7 and the cost is $165CDN (approx $130USD).

5 Quick Hacks To Gear Up Your Setting and Description Into Deep Point Of View

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One aspect of writing in Deep Point Of View (POV) that’s often overlooked or downplayed is the importance of filtering setting and description through your point of view character (POVC). Remember, in Deep POV you want to avoid drawing conclusions for readers. Don’t tell readers what to think, give them your POVCs raw data and let readers come to their own verdict about how the POVC feels, what they’re observing, and the world they live in. This puts the reader IN the story and keeps them out of the theater seats.

To that end, filtering the story setting and description through your POVC is critical. Here are five tips to writing setting and description in Deep POV that will take your writing to the next level:

Observe Don’t Report

When you imagine your setting, avoid the temptation to have your POVC label what they see. It’s a rectangular room with a bay window and upscale furniture in artful arrangement. A Persian rug I’m afraid to walk on covers the floor. Sure, there’s no POV violation here, but the reader’s learned little about the setting or the POVCs feelings about it.

Instead, let your POVC share their impression of the room in a way that reveals character. I stepped where Caroline stepped and gathered close all the loose bits and flaps of my clothing. If ‘you break it you bought it’ applies here, I’ll be broke before we get to the dining room.

This is an excerpt of a guest post. Read the whole post here.

5 Pro Tips You Need To Write Deep Point of View Effectively

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Deep Point of View (POV) is like giving your reader a virtual reality headset. That’s how immersive, intense, and personal readers want to be with your story and point of view characters.

The problem with learning deep point of view is getting beyond the basics. Many blogs will tell you to eliminate distance, write with immediacy, ditch speech tags, and write tight. These basics will get you started, but it’s really hard finding help on the more advanced techniques and strategies required to really make deep point of view work for you and your story.

So let’s go Beyond Basics. Here are some Pro Tips you need to master to write Deep point of view well.

Subtext

Subtext is a topic I’ve written about here and here  and here. So what is it? K.M. Weiland calls learning subtext the “black belt” of writing fiction: “Subtext is about what isn’t said.”

Ever had a conversation where what you’re saying doesn’t match what’s being spoken about? Hubs didn’t call to tell you he would be late and miss dinner. He arrives home bearing a bouquet of flowers. What do you do? If all is forgiven, you might take a moment to smell his offering and lean in for a kiss. If you’re still mad but will get over it, you might accept the flowers but make sure your fingers don’t touch his in the gift exchange. If you’re still mad you might just talk over the television and tell him there’s a vase in the cupboard.

Subtext is gestures, glances, and body language and how that’s interpreted. It’s veiled conversations, innuendos, and shared experiences. This is a HUGE component of real life communication you need to incorporate into your fiction. But there’s art to it. The reader has to know what’s really being communicated.

Author Intrusion

Deep point of view is about eliminating distance between the reader and the point of view character (POVC) and the beginner guides will tell you to look for words like watched, thought, heard, felt, etc. Remove the dialogue tags and use beats instead. Write with immediacy instead of recalling the action. These are all great starting places and are necessary, but there are so many ways you (as the writer) insert yourself into the story and break the fictive dream for readers. Learning to recognize these and eliminate them takes practice and objectivity.

Here’s one my editor called me on.

“Can’t sleep.” Aralyn yawned. “I don’t like this place.”

The Black Forest was known for its gnarled trees, bogs, and unpredictable pits. “It’s not a nice place.” Edric couldn’t suppress the body shiver that rattled his spine.

“I can feel eyes on me. Like I’m being watched.”

“You are being watched.” Edric widened his eyes and leaned in closer.

The bit in italics is just flat out author intrusion. The POVC wouldn’t think this – who talks to themselves like that? I am inserting myself into the narrative to give the reader information which needs to be avoided in deep point of view. Here’s how I fixed it.

“Can’t sleep.” Aralyn yawned. “I don’t like this place.”

“What, you don’t like gnarled trees, stinking bogs, and unpredictable pits? What’s wrong with you?” Edric couldn’t suppress the body shiver that rattled his spine.

“I can feel eyes on me. Like I’m being watched.”

“You are being watched.” Edric widened his eyes and leaned in closer.

Character Voice

This is one of those subtle bits of art that writers do that make characters come alive. This is more than dialect, accents, or slang – though those are part of it. Everything the character knows, sees, thinks and feels is filtered and interpreted through their personal history, biases, social and economic status, etc. Telling or drawing conclusions for the reader about how a character is feeling, their morals, or hang ups shut down the virtual reality goggles and put the reader back on the sofa observing the story. Instead, you have to become the character and tell the story the way they would. The way actors get into character almost.

What a character notices (what they find ordinary, routine or out of place) gives the reader a lot of information. A city kid and a country kid walk down to the pond in the back field. The city kid is going to notice things the country kid who’s taken that walk a thousand times will take for granted. The country kid’s desires might come through in what he’s tired of looking at, scoffing at the city kid’s wonder.

Here’s a boring story:

Matt sits alone in a bar with a beer. He notices a girl he doesn’t recognize walk in and decides to ask her out.

This is not a very interesting story is it? There are distance words in there (notices, recognize, decides) which force the reader into the armchair to watch the story instead of putting them IN the story. There’s no tension is there? Despite this bit being in present tense, there’s no immediacy. We don’t know how Matt feels about the woman, what his impression is, this narrative simply reports what’s happening. That’s not deep point of view. Instead, let’s add some character voice here.

The jukebox went silent for a moment and a pair of feminine heels clacked on the linoleum behind him. The bar stool squeaked a protest at his swivel. She wore long dark hair braided over one shoulder and snug jeans hugged her hips. He let her see his gaze wander lower. With that buckle and those boots, she must be in town for the rodeo. And she walked in alone … He reached back for his beer and grabbed air. Heat flushed his cheeks.

The side of her mouth pulled to the side. She seemed to size him up, her gaze lingered on his face and then wandered down to his chest. She took the stool next to him and looked his way. He tipped his hat.

This is not a great example, but there’s lots of information to be gleaned from this about Matt. However, I haven’t TOLD you anything. I haven’t drawn any conclusions for readers. I haven’t inserted myself into the story at all.

Internal Dialogue

Mastering internal dialogue is KEY to writing deep point of view well. Incorporating physical obstacles and barriers for your POVC is vital for your story to work, but sometimes the biggest obstacles are internal and this is where deep point of view shines. A character at war with themselves, their values, their upbringing can be very compelling and that all comes through internal dialogue. Let your POVC act one way and think another. Let their thoughts betray their real motivations and fears to the reader. Subtext and character voice incorporated into internal dialogue will ratchet up the tension.

 

Strategy

There are many times where breaking the basic rules of deep point of view enhance the story, like telling, but you must be strategic and intentional about it. Telling used strategically can convey extreme tension or upheaval. Summarizing can prevent boring lulls or writing on the nose that slows or bogs down a good story.

 

Interested in going deeper with deep point of view? Consider my 4 week online intensive called Method Acting For Writers: Learning To Write In Deep Point of View. This class begins May 7, 2018. Registration opens in April. Get on the waiting list to be the first to hear about early bird discounts.

A BIG component of writing well in deep point of view is being able to layer emotions. Check out my FREE  5-day e-course on writing emotions in layers.

Want to learn more about deep point of view? Heard about it and don’t know what it’s really about? Been told readers struggle to connect with your characters emotionally? Know about deep point of view, but stumped trying to find intermediate-level resources? Registration is now open for Method Acting For Writers: Learn To Write In Deep Point Of View. Class begins May 7 and the cost is $165CDN (approx $130USD).

3 Reasons Writing in Deep Point of View Should Not Bloat Your Word Count

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Deep Point of View (POV) is a writing technique, a style choice, that’s become very popular among writers over the last five or ten years. The goal of Deep POV is to create an immersive experience for the reader where they’re experiencing the story along with the POV character(s). It’s like strapping a GoPro to your character or giving your reader a virtual reality headset while they’re reading. Deep POV is often THAT immersive.

Deep POV is a stylistic choice and it doesn’t suit every story. However, I have heard some scoff at this technique or point a stiff literary finger saying they won’t write in Deep POV because they don’t need to get all emotional for readers to connect with their characters or express fears that their word count will bloat.

I’ve written about why I love Deep POV here and here and here. I think it’s time to address some of these misunderstandings.

There Is No Telling In Deep POV – False!

Of all the point of views you can choose, Deep POV either in first person or third person, most heavily relies on showing and not telling. The power of Deep POV is in removing as much distance between the reader and the POV character as possible.

However, it’s unrealistic to think you can or should eradicate telling. Sometimes you need to summarize. A character simply walks to the door, drives to work, or flies across the world. Strictly speaking this does violate Deep POV, but I don’t know any author who writes in Deep POV who doesn’t use telling from time to time simply to move the story ahead where it could get bogged down with unnecessary description. Over describing the action or dwelling on internal dialogue for too long is just lazy writing.

Further, telling or using a more distant POV strategically for effect is a great tool. Pulling back into a more distant POV can create a feeling of time flying past, emotional or mental disconnect from what’s going on, an out of body emotional trauma, etc. Where writers using a distant POV will switch to a limited or close POV to pull a reader in emotionally, pulling back when the norm is a very limited POV can have a reader leaning in as well.

Deep POV Is Just A Bunch Of Navel Gazing – False!

Navel gazing is when a character spends so much time on lengthy or unimportant self-reflection and internal dialogue that the pace is slowed to a snail’s crawl. Whether you’re writing in Deep POV or not, navel gazing will have readers reaching for a book mark. Deep POV often does rely heavily on internal dialogue, but navel gazing is just lazy. It’s the workaround for doing the hard work of actually providing the evidence or proof to the reader of how a character feels. Often, the navel gazing is the workaround to avoid author intrusion but the effect is the same.

Deep POV Will Bloat The Word Count – False! 

Deep POV can increase your word count, but not learning to write tight is a much bigger problem. Just like any other POV, you need to be economical with your words. Every word needs to move the story forward, you have to be THAT ruthless about your word choices. If a word can pull double duty, go ahead and do that. This is where connotation comes into play, as well as various literary devices such as pathetic fallacy, personification, onomatopoeia, metaphors, similes, alliteration, sibilance, and others.

There are a number of stylistic choices when writing in Deep POV that remove words  such as speech tags, distance words, naming emotions, etc.

Distant POV: Jason watched the woman walk into the bar, her heels clicking on the hard linoleum. The lanky blond-from-a-box strode across the room towards the bar. Little early in the day for that much cleavage, he thought. He tipped his beer to his lips. But who was he to judge. (49 words)

Deep POV: Feminine heels clicked on the hard linoleum behind him. Jason swiveled in his seat. The lanky blond-from-a-box strode across the room towards the bar. Little early in the day for that much cleavage. He tipped his beer to his lips. But who was he to judge. (46 words)

I removed the word “watched” which adds distance for readers. I removed the words “he thought” because in Deep POV the internal dialogue is woven seamlessly into the narrative. I did reword the first two sentences, but used the same number of words to put into Deep POV rather than a more distant third POV. The differences between Deep POV and a more distant POV can be subtle, but the second example puts the reader in the story with the character rather than placed in the role of observer.

Do you have a question about Deep POV? Do you have a favorite novel written in Deep POV – what was it?

DON’T FORGET!!! I have a class coming up!

Want to learn more about deep point of view? Heard about it and don’t know what it’s really about? Been told readers struggle to connect with your characters emotionally? Know about deep point of view, but stumped trying to find intermediate-level resources? Registration is now open for Method Acting For Writers: Learn To Write In Deep Point Of View. Class begins May 7 and the cost is $165CDN (approx $130USD).

Editing In Layers Part 6: Consistency

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This is the final step in the 5-pass read through editing plan. If you haven’t read the previous posts in this series I encourage you to do that. This is about the final read through. You’ve fixed all the issues (hopefully) and this is the last pass.

Let’s recap:

You can’t skip ahead. There may be early layers that you work through in the planning stage, but confirming the structure underpinning these beginning layers is crucial. If those first layers aren’t solid, the rest is a house of cards. If you don’t have a first draft or are struggling to complete one, this post on fast drafting might help.

Prep Work: Goals
Layer 1: Plot 
Layer 2: Scenes and Sequels (Pacing)
Layer 3: (Weakness) Plus Characterization 
Layer 4: Emotions
Layer 5: Consistency (you are here)

This is where you read through the entire manuscript in as close to one sitting as possible. I like to print it out for this stage, but you don’t have to. I do because seeing it on paper somehow helps me see things I’ve missed repeatedly on a screen.

I also read it out loud as much as possible. Hearing the story engages a different part of my brain and I can often catch things I’ve missed before. So the point of this layer is to simply make sure there aren’t any consistency errors.

In the previous layers there would have been changes. You’ve maybe moved a scene so you can’t refer to what happened there until later than before. Maybe you removed a character from the story so you need to make sure there’s no mention of them. This is where you catch those little errors that have slipped through.

As I’m reading I do a light proofread. I’m not doing an intense copy edit. I don’t bother doing word by word copy edits for spelling and punctuation until I’m about to hit publish. I just don’t see the point. When you’re constantly editing, getting bogged down by commas and misplaced modifiers is just a waste of time. I’ll watch for spelling, verb tense, pronouns — things that will stand out to me as I’m reading but I don’t sweat about it. If an error slips through to my beta readers they’re almost happy to point it out.

Understanding Structure

This editing process is for an intermediate level writer. If you are just beginning and maybe you’ve finished the first draft on your very first novel, be aware that I’ve made some assumptions in writing these posts. Mostly, I’ve assumed you understand story structure.

If you’re not familiar with the three act structure, this editing process might not be as helpful as it could be. If you don’t know how to recognize a character being proactive or reactive, this is pretty important. I assume you understand plot and how to create a compelling story arc. Creating characters with compelling story problems is essential.

I don’t get into the how-to’s on any of that but these are absolutely essential building blocks. What this editing process does is construct the interior frame and put up drywall on your story house. If you don’t have a good foundation and sound structure the whole thing will collapse no matter how pretty it is on the inside.

I’ve searched the interwebs for some posts on these basic structural needs. Buy a book or two. Take a class or two and make sure these concepts are really solid in your mind. I see so many writers trying to move from basic to intermediate without understanding these things. They learn to put really pretty lipstick on a pig, not realizing they’re just dressing up a pig.

How To Write Character Arc – Helping Writers Become Authors

Character Arc In A Nutshell – Writers Helping Writers

Creating Likeable Characters 

The Character Arc – DIY MFA

How To Write A Story Without A Plot (And Why You Shouldn’t) – Helping Writers Become Authors

Story Arc Beat Sheets (Planning/Plotting Helps) – Jami Gold

Reactive and Proactive Characters: Bella vs Buffy

3 Act Structure and the Magical Middle Moment – James Scott Bell

Now – dive deep my scrivener friends! And hey – did you find this series helpful? Did you have questions? I’ve had questions come in from readers as I’ve been doing this series so I’ll be answering those in upcoming blog posts. Have a question, post it below or send me an email! I love mail!

DON’T FORGET!!! i have a class coming up!

Method Acting For Writers: Learn To Write In Deep POV

This interactive 3 week intensive is an intermediate level course designed to take your writing to next level fast! Want your writing to have an emotional punch? Want readers to connect with your characters in deeper ways? Learn to write in Deep POV. Class begins January 22, 2018.

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