Do the Work Beforehand

In order to write an engaging action sequence that keeps readers hooked, the work begins prior to the scene actually taking place. One of the main things that separates a good battle sequence from one that readers will skim through is one that your readers truly care about. And in order to make the readers care, they’ll need to care about your characters and story. That involves putting a lot of leg work into fleshing out the characters and plot, making them creative and engaging, and then by the time readers arrive at the action sequence, you’ve got them right where you want them.

Focus on Emotion

Unlike action in film or television, the action itself isn’t what is going to keep your readers engaged. Unfortunately, action on the page just doesn’t translate the same way as it does on screen. In a film, you can begin with an action sequence that lasts ten minutes before you even meet any of the characters, and not a soul will complain. In a book, however, it can be boring to read an entire chapter of just mindless punching and kicking. Instead of the action itself, the scene should focus on the emotion behind the action. Is a character fighting their former best friend? Are they trying to save someone they care about? Are they trying to obtain an object of great emotional significance to them? Focus on what is emotionally at stake for the character and the action itself should be happening around that.

Pay-off

Additionally, you want an action sequence to feel like a pay-off for the reader. As stated previously, action in books can’t be the same mindless fun as it is in film. Instead, when deciding what action scenes are necessary in your manuscript, focus on including ones with the most pay-off. For example, if your protagonist has some snide interactions with a character throughout the book, all of a sudden finding themselves faced with fighting them. Or the final showdown with the villain of your series or maybe a fight with a character who had a hand at killing your protagonist’s parents.

Having your protagonist spend ten minutes fighting one random guard is just going to result in your readers skipping around. If, however, their fight has the potential for a pay-off for them or for their character arc, the readers will remain engaged.

Stakes

Similar to the pay-off, high stakes are another way to keep your readers engaged during an action sequence. Perhaps your protagonist has to scale the side of a building to break in. Or maybe they get into a bar fight with a group of their friends, glass bottles being broken and stepped on all over the place. Perhaps they run into a very deadly and unearthly creature that they once believed was a myth. And their conflict results in the breaking of a priceless artifact. Having something at stake within the fight, something that both the characters and readers care about, will allow readers to remain enthralled.

Language

In addition to all of the story components that add to an action sequence, your writing style and the language you use must adapt as well. When writing other scenes, the language can be flowery with lots of adverbs and time spent on minute details. In action sequences, the opposite should occur. Your sentences should be choppy and short as it creates more of a sense of urgency for the reader. You should also limit your use of adverbs and try to keep minute descriptions to a minimum unless they relate to the action of the scene.

The post How to Write Action Scenes appeared first on Dorrance Publishing Company.

On the other hand, sometimes stories come from a place much closer to home. Each of us has our own stories throughout our lives, moments that have shaped us into the person that we are today. Although not every author is interested in writing a memoir or autobiography, examining the important moments in our own lives and the ways that they’ve formed us is a great way to help create that connection between events and character in your own novel.

For example, take a particularly embarrassing moment that you had in middle school where you spilled milk all over the front of your pants in the middle of the cafeteria. How did that moment, and the feelings that it elicited, change your behavior, how you acted, and your perception of yourself and the world as a whole?

There are also the good important moments, like when you got your first job out of school or met your partner or when you and a family member had a really heartfelt moment together. How did those moments change or shape your life? How did your perspective or character change based on that moment?

Writing Prompt: Make a list of the most important character-shaping moments throughout your own life and why those instances changed you. Choose one and write a scene from that moment. As you’re writing the scene, make sure both you and your readers can see the connection between the event and character development.

Make sure that your readers can see a difference in the character (you) before and after this important event or moment. And, if you want to keep it more anonymous, feel free to change up the character names or even embellish the event if there are portions you can’t completely remember. Being good at embellishing is another important writing skill, right?

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Setting a scene amidst the pouring rain can create an extra layer of drama. Your protagonist is cold and soaked and uncomfortable, but they’re still out there because what is happening in the scene is so important that they don’t care. Because of both this character motivation layer combined with an audience’s previous experience with these scenes, setting a scene in the rain can give it some extra drama combined with a truly stunning visual for your readers.

What would the protagonist of your novel be doing out in the rain? Did they undergo an insurmountable loss, run out into the rain, kneel down, and let out an earth-shattering scream? Did they get caught in the rain on their way home from a party, walking home in the darkened wet streets, the sound of rain pounding loud against their ears, and they have the eerie feeling that they’re being watched… being followed… are they?

A ‘getting caught in the rain’ scene can be molded to fit any genre and to match virtually any character or situation.

Writing Prompt: Either make up a new character or choose a character from your manuscript. Write a scene where the character gets caught in the rain. What important event happens to them while they’re caught in the rain? Make sure the event matches both the genre and character about whom you’re writing. Finally, how does the character change or grow based on what happens in this scene?

The post Writing Prompt: Caught in the Rain appeared first on Dorrance Publishing Company.

Adding a new responsibility to the lives of your characters can show your readers how they’d handle specific situations. It can also help readers understand your character motivations better and allow you to practice a small character arc.

1) What kind of responsibility?

Start by thinking of what type of responsibility you want to inflict upon your character. Think about who they are and what would most force them out of their comfort zone or force them to grow. For example, let’s say you have a character who hates reading. Having this character find out that their grandmother left them her little indie book shop will force the character completely out of their comfort zone. They’ll be pushed into a world filled with people they have nothing in common with whose hobby they view as rubbish. This can create very interesting confrontations and character development.

2) How do they feel about it?

How does your character feel about the responsibility that has been thrust upon them? For example, let’s take the babysitting boss’s kids example. In this instance, your character could feel overly confident about their ability to handle their new babysitting duties. This will wind up leaving them surprised when the kids are much more difficult to handle than they’d originally anticipated. On the other hand, your character could have very little faith in their ability to care for children over several days. This could leave them nervous and anxious leading up to the event.

3) What are the stakes?

In order for the event to have weight, it must have something at stake. So, for example, if your character inherits the book shop- they’re also in charge of caring for their grandmother’s legacy. In the babysitting example, the character obviously wants to remain or gain good standing with their boss. If your character finds a stray bird on the brink of death, the stakes are obviously life or death for the animal in question. They could be given a new job or even a long-lost child, in each case the character must have something to gain and lose from the outcome of the new responsibility.

4) How do they handle it & why?

How does your character handle the situation? Do they rise to the occasion or fall short? Do they handle it with patience or anger/resentment? Do they find some joy in a situation they thought was bleak initially? Or do they end up hating a responsibility they were excited about in the beginning? Think about how someone with their personality would handle the situation you’ve created and why.

5) What do they learn from it?

How does your character grow or change from the added responsibility? Do they, eventually, learn to appreciate what they’ve been given? Do they become more responsible and decide to make some big life changes? Or does it drive them further away from something they were already averse to?

Writing Prompt:

Take a character from your book and choose a period in their life when they were given an unexpected responsibility. What are the stakes involved? How do they handle the new responsibility? How do they grow and change from this instance? Make sure you answer all of the questions in the scenes you write and understand how this occurrence was important to their personal growth.

The post Writing Prompt: Responsibility appeared first on Dorrance Publishing Company.

Character Arc

Even though you’re working with a fraction of the page length and word count that novelists work with, short story readers want to see some character arc- at least from your protagonist. If you’re including, let’s say, a group of friends in your short story, your audience won’t be expecting character arc from every single member of the group. That would be a ridiculous expectation for a 30-page story. Simply hone in on your protagonist’s story and brainstorm ways to make sure they’ve changed by the end of the story. Remember, your short story should be selected to take place during a time of character growth for your protagonist. Focus on how the events of the story will change your protagonist as a person- for better or worse.

As few characters as possible

Because your page length is very limited and there’s a lot that needs to happen, you’ll only be shooting yourself in the foot by trying to include dozens of characters. You won’t be able to fully realize your protagonist’s development and the plot of the story if you’re focusing on establishing all of these different characters and their unique traits. Not only that, but your readers will be frustrated. Even in a novel, it’s difficult to have several characters introduced at once- let alone in a story less than 1/4 the size.

Emotional Impact

It may not happen often, but have you ever watched a commercial or music video and found yourself bursting into tears? Even though you’ve been viewing this tiny story or advertisement for a mere few minutes, what you watched was so simple and touching with its own little story. You leave surprised something so short could impact you so much emotionally. That’s exactly how your short story should feel. All of the best short stories, similarly to these mediums, hone in on the emotional core of an experience and, because they’re short and can get right to the point, have a way of being extremely touching. Stories like Why the Sky Turns Red When the Sun Goes Down and Delicate Edible Birds are just a few of hundreds of stories to use as examples of how to do this well.

Clear theme

Whereas novel writers can touch on several themes or topics throughout their stories, short story writers are encouraged to hone in on one and focus on dissecting it. And it can’t be a general idea like simply love/relationships, politics, or war- hone in on a specific aspect of these big ideas. For example, Jhumpa Lahiri’s A Temporary Matter focuses on the relationship between a couple who suffered a miscarriage and how it affects their relationship.

Less exposition, more action/imagery

Though novel writing will inevitably involve some exposition, in a short story you should include as little as possible. Focus on showing the details of your character’s internal state and their feelings through setting, observations that the character makes, objects they see, people they interact with, and body language. For example, let’s say your protagonist’s dilemma is trying to decide whether they want to have kids. Maybe throughout the story, as they maneuver through life, they observe different kid/parent interactions- some sweet, some sad, some annoying. This way we aren’t being told how the protagonist feels, we get to see them noticing things and their body language or reactions can tell us how they’re feeling about what they’re observing.

The post Writing For Your Audience: Short Stories appeared first on Dorrance Publishing Company.

Whose story is it?

A short story is all about creating a satisfying and believable character arc within a finite number of pages. So the last thing you want to do is go back and forth between two POV’s or try to give two characters an arc (trust us, it’s hard enough to do one). Even if you want two characters to be within the central action of the story–even if you want the events of the story to change multiple people in some way–the story should only belong to one character. And that should be the character who is going to be most drastically affected by the events that unfold. Ultimately, if a reader reads your story and can’t answer the question, “Whose story is this?” by the end, you’re doing something wrong.

Why now? Why today?

As we said before, the biggest challenge of a short story is that you basically have to do what a book does in terms of character arc within a short number of pages. Because of this, it’s crucial that you ask yourself- why is this story happening today? When attempting to write a short story, a lot of writers make the mistake of focusing solely on forming an interesting and engaging character and failing to focus on why this day specifically is important to the character’s life as a whole. Character drives plot so of course, it’s important to have an engaging character to carry the story, but the story needs to be happening on an extremely important day in their life.

When reading about this, a lot of writers then make the mistake of thinking that means that a huge event needs to happen in this character’s life. They’ll assume their parents have to get divorced or they need to be involved in a school shooting for the story to be purposeful enough. However, it doesn’t have to be a huge monumental event on the grand scale of things, it simply needs to be a huge monumental event to this specific character.

For example, perhaps the story starts with a character in his fifties and his wife tells him the doctor called to set up a checkup. A reader may assume its something dire, but perhaps this man just has refused to go to the doctor’s for the last thirty years, insisting that they’re wackjobs while secretly just being afraid of finding out something is wrong. Perhaps this is a fight he and his wife have been having annually all of this time. And, by the end of the story, he decides to finally go. To most people an annual check-up with a doctor isn’t life or death- but if it is to the character, then you have a good story.

What does the protagonist want? What is keeping him/her from getting it?

Another core aspect of a short story is character desire. While in a book-length manuscript we say that character drives the plot, in a short story it’s more specifically character desire that drives it. It needs to be made clear right from the beginning what the protagonist of the story wants and they need to want it badly. It’s not engaging to write a wishy-washy character that sort of wants something or might want it, because then the story has nothing at stake. The character has nothing to gain or lose over the course of the events that take place. And to be clear, they can have a negative desire as well. For example, in the above scenario, our main character desperately wants to avoid the doctor–that’s his core desire that drives the plot. In addition, the conflict comes in through whatever forces are keeping the protagonist from getting what they want. For example, in the above scenario, the conflicting force is obvious–the conflict is his wife insisting he go to the doctors.

Choice

Ultimately, the climax of a short story should always be a choice that the protagonist faces. In books, a climax can be a long battle scene or something with a lot of action, but in a short story when the conflict comes to a boiling point it must lead to the character making a choice. And the events of the story up until that point should make it clear what the cost of the choice will be.

The choice can’t be black and white, right or wrong kind of choice, either. It should present two options or paths to the protagonist and we should see that they will gain and lose something no matter what they choose. So let’s take our previous example for instance. Let’s say the story leads to the couple fighting and the wife making it clear that their marriage hangs on the balance of whether he goes to the doctor. In this choice, our protagonist either loses his wife or loses his sense of safety. And he either gains another year of peaceful denial or he gains a wife who feels happy in her marriage.

The post Genre Spotlight: Short Story appeared first on Dorrance Publishing Company.

1) When handling character development through a scene, there is always what’s on the surface and then what’s beneath the surface. Write a scene about a couple fighting while playing a board game. They’re fighting about the game itself, but what are they really upset about? Use the game itself as a tool to show what’s really upsetting them (ex. They’re upset about money, have them play Monopoly or if they are upset about politics, have them play chess).

2) Another important aspect of character development is being able to show character through action alone. Describe a character walking across an expanse field or lot and describe how they walk and their mannerisms. The reader should perfectly understand your character’s personality simply by the way you describe the walk and actions between one side of the lot and the other.

3) Your characters must go through highs and lows over the course of your book- especially when it comes to what they want most in the story. As an exercise in writing this, describe an hour in the life of a character who has recently lost their ability to do what they love most (a pianist who has severe arthritis; a runner who became a quadriplegic).

4) Your characters will have different reactions to different people throughout your story. This will be based on varying factors such as their personalities and familiarity with a particular character. Write a scene where a stranger stops your main character, saying they know them, and insisting your main character is someone they are not. Describe exactly how this case of mistaken identity makes your character feel. Does this upset your character? Does this make your character insecure or paranoid? Does meeting someone new make them happy?

5) Each character in a story must have their own distinct personality. This means each one will handle situations differently- from a crisis to a mild problem. To practice differentiating between character reactions, write a scene where a risk-averse character is stuck in a hostage situation with a risk-happy character.

6) Showing character through action can get fairly repetitive for most writers. How many different ways can someone shrug or sigh? For the next week, watch strangers carefully and take notes in your phone about any peculiar gestures or body language. Combine the three most interesting ones to describe a character as he/she goes grocery shopping. And keep the rest for later use, you never know when you’ll need them!

7) One of the most important parts of character writing is choice. Your characters must be faced with choices throughout your book so your reader can learn about who they are through their decisions. Write about a character faced with a critical decision. This character, then, witnesses a big event (it could be awe-inspiring or disheartening). Describe and show how witnessing the event helps the character make their decision.

The post 7 Tips to Master Character Development appeared first on Dorrance Publishing Company.

Standalone

A standalone novel requires a lot of preciseness. It is a self-contained story so, for readers, it will feel clean and complete within itself. However, because the story will be contained within the confines of a single book–rather than several–not a single moment can be wasted. Every scene has to be important and purposeful, you don’t have the liberty of being able to write cute or heartfelt scenes that don’t advance the plot or develop your characters…it’s crunch time. When writing a standalone novel, every scene needs to answer the questions: How does this further the character arc? How does this further the plot?

This also means preciseness in terms of charting out the plot strands as a whole. A standalone novel must have a main thread that is being followed clearly, so don’t make the plot too complicated. There can be side plot points as well, but there has to be a clear narrative structure. If things get too complicated, you most likely won’t be able to come to a satisfying resolution by the end. Speaking of which, with a standalone novel you absolutely need a satisfying ending. That doesn’t mean a happily ever after per say, but because there won’t be another book you can’t end on a horrible cliffhanger. You have to give the readers–and the characters–the ending that they deserve.

Series

A series is a completely different beast. Think of it in terms of the cinema: a standalone novel is like a movie whereas a series is like a TV show. Because you have multiple books to fill, you’re given a lot more freedom in certain ways. You can have super complicated and intricate plots with overarching themes that will be revealed by the end of the series. Readers will also be able to spend more time with your characters and thereby grow to love and care for them more. However, because you have more time, readers have higher expectations. They want plot points that relate back to the first book of the series: they want continuity and consistency and surprises. You’ll need to do a lot more work charting out your series as a whole, rather than just letting it happen as it goes along and seeing where you end up.

Because a series is longer, you have the freedom to write those little funny or sentimental scenes that may have got the ax in a standalone novel. However, be warned: your pacing must remain consistent. How many times have you heard the phrase, “The second one wasn’t as good as the first one…”? We’re guessing quite a lot. Authors tend to exhaust their ideas in their first book to win over readers and then the pacing of the second book ends up way slower because they’re using filler info. Make sure each book in your series is comparable in terms of pacing, plot/character developments, and payoffs.

What’s right for you?

When deciding whether your idea should be a series or a standalone novel, focus on how complex or simple your book idea is. For example, fantasy and sci-fi books typically work best as a series because those ideas are really complicated and take longer than the length of a single book to tell the full story. On the other hand, contemporary novels typically work best as a standalone. This is obviously not true in every case, so make sure you think through your idea and how long you’ll need to tell the full story. If you feel like it’d be hard to condense the idea into one book, go with a series. And if you feel like it’d be hard to figure out how to expand your idea into multiple books, a standalone is probably your best move. Don’t force your idea to be something it’s not.

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The post Standalone or Series? appeared first on Dorrance Publishing Company.