Take a character from your manuscript, for example, any character you choose. How would they handle the early hours of Halloween Eve when the kids come knocking. Are they the type of person who couldn’t be more excited? Perhaps they went to the store and bought three different types of candy because they weren’t sure what kind the kids would like most. Perhaps they have an elaborate costume of their own and they’ve decked their house out in spider webs, gravestones, flashing lights, and fake blood. And, for the entirety of trick-or-treating hours, they are perched on their porch with a huge smile on their face asking the kids about their costumes and telling them how cool they look.

On the other hand, perhaps your character is not much of a Halloween fanatic. They care enough to go grab a bag of candy from the store to prevent their house from getting egged, but they aren’t going to be spending their Halloween interacting with a bunch of snot-nosed kids. They’re the type to set out the candy on their porch in a giant bowl with a sign that says ‘take one’ to which each of the kids will take two. They spend the early hours of their Halloween evening prepping for a party with friends later while listening to the kids laughing and screaming in the distance.

Additionally, your protagonist could be decidedly anti-Halloween, promptly shutting off all the lights in their house at 6:00 PM sharp. Or perhaps they come up with a clever plan to deter future trick-or-treaters by gaining a reputation as the house with bad candy, finding the most obscure and off-putting candy at the store and excitedly handing them out to the neighborhood children.

Creating a scene that forces your character to both interact with children and participate in a holiday can give you an excellent opportunity to get to know your character better. This type of exercise can be used to highlight how they feel about children, holidays, ceremony, merriment, family, privacy, and how they prefer to spend their time. Think about different themes within your manuscript or different aspects of your character’s personality you’re attempting to highlight. Focus on attempting to feature those things in this exercise.

Writing Prompt: Choose a character from your manuscript and write a scene where they are handing out candy to trick-or-treaters on Halloween. You can either make this scene timeless or you can set it in a significant year in your character’s life. Attempt to convey different aspects of your character’s personality through this event. How do they feel about trick-or-treaters and why? For example: if they don’t like trick-or-treaters, are they dissatisfied with their family or the lack of family in their life? How do they feel about the holiday in general and why? How would they spend their time (if they could choose) and why? And how do all of these factors affect the chain of events that evening?

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What was your character like before this event?

In order to properly execute your plot points by showing rather than telling, you need to start by examining how the event will change your character. It could be as simple as changing their mind, perhaps they had a certain plan set in their mind but this event shows them that it’s a bad idea. It could be something big that changes their perception of the world, perhaps a loved one betrays them or they find out a dark secret. Or maybe it changes their perception of themselves, maybe the event shows them that they’re braver or more capable than they previously thought. Either way, a plot point should visibly affect your protagonist in a major way.

How did this event change your character or their trajectory in the story?

There are two ways a plot point can change the trajectory of a story. The first is by fundamentally changing the protagonist themselves, thereby changing any decisions they will make after this point in the story. It could also simply change the trajectory by giving them new information or direction that affects what happens next and the decisions being made.

A plot point doesn’t involve every conversation and scene throughout your book, but rather purely those that lead the protagonist where they need to go to get to your novel’s climax. When you’re writing a scene that can be considered a plot point, make it more obvious to the reader by clearly telegraphing the drama involved. Write in-scene with short and quick sentences so the pacing feels faster. Have your protagonist react to the information or events of the scene through action, mannerisms, changes in dialogue, etc.

What choice did your character make?

Major plot points should always be accompanied by character choice. Don’t make your readers follow a protagonist who lets the world kind of happen to them. Instead, allow your readers to follow someone who is an active participant in the world and in their own story (AKA someone who makes choices). Character choice is, therefore, an excellent way to telegraph to your readers that a major plot point is unfolding in your novel.

When writing a character choice into your plot, make sure to examine it thoroughly. Why is the protagonist making this choice? Does it make sense for them to make this choice? Just because you need your plot to lead a certain direction, doesn’t mean your characters can make choices they wouldn’t make.

How is your character or the events of the story different afterward?

What has changed based on this plot point? From your perspective, likely very little has changed, but you need to put yourself into the minds of your readers. Has their perception of the world you’ve created changed based on the information they’ve learned in this scene? Or was the protagonist about to head somewhere very dangerous when they learned of a different way to accomplish their goal, therefore totally changing the protagonist’s physical trajectory in the plot? Or perhaps a major life event occurs from which the protagonist will spend a significant amount of the book recovering? Think about what has changed for the protagonist based on the scene you’ve created and make sure those changes are telegraphed in the text. Showing, rather than telling, how the story or protagonist has changed will allow readers to see that a major plot point has occurred.

The post Show Don’t Tell: Plot Points appeared first on Dorrance Publishing Company.

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.

You also know your characters’ pet peeves, the hobbies that they hate, the people that would annoy them the most, and their least favorite activities. Getting even more specific, you know how the things that they like and dislike blend together. How there are certain hobbies or people that your character thinks they dislike but, should they give them a fair chance, they may actually enjoy themselves. The opposite can be true as well, having a character who loves a certain hobby but then, due to overindulgence or other factors, it can become something they despise.

This is where our writing prompt of the day comes in: opposite day. This exercise involves putting your character in situations where they would never normally find themselves in of their own choice. So if your character hates carnivals, write a scene where they’re forced to go to a local carnival. It doesn’t even have to be something that they hate either, it can simply be something they’d never normally do. If you’ve never thought your character would ever be inclined to try pottery, for example, write a scene where they’re taking a pottery class.

Brainstorming the scene or scenes you write for the exercise will allow you to chart out the different habits and nuances of your character. In addition, writing the scene itself will allow you to not only practice showing (rather than telling) the reader about the specifics of character-building, but may also allow you to learn new things about your characters.

Putting your character in scenes they’d never normally find themselves in will allow you to gain new insights about them. As any writer will know, you can plot and outline all you want but often the characters will run away with the plot themselves. So, oftentimes, we won’t truly know how a certain character will react in a situation until they’re actually in it.

Writing Prompt: Pick a specific character from your manuscript (or a character you’re working on) and put them in a scene or scenes in which they’d never normally find themselves. This could mean a setting or circumstance that they would dislike or one that is simply very unlike them normally. How do they react to being in this situation? Why do they react this way? Is their reaction different or the same as what they’d expect of themselves? If it is different, why is that?

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Putting one of your characters through a spring cleaning writing exercise is an excellent way to practice showing rather than telling your readers character details through scene-work. For example, let’s say your character is spring cleaning and decides to get rid of an old exercise bike. Have they stopped exercising and don’t plan to begin again anytime soon? If this is the case, is your character depressed or simply not a fan of exercise. Or did they instead get a gym membership and that is preferable to them? One item and the choices they make surrounding that item can say so much about who they are and/or their current state.

Let’s say your character is cleaning out their closet. What types of clothes do they hold onto and why? Do they donate some clothes as they go through their wardrobe? What sorts of clothes do they decide to get rid of and why? Perhaps some of their clothes have holes or stains in them, where did that wear and tear come from?

Is this person’s home already fairly organized or are they finding old pieces of gum in various drawers? If it’s the latter, that could perhaps indicate that the character is going through a hard time as of late. Or maybe it can show the reader that this person is just generally messy, their home and life mimicking one another.

What does your character have that is sentimental in their home? An old note their Mom left in their lunchbox back in their Middle School days? Ticket stubs from a movie they saw with their partner years back? Half of a ‘best friends’ locket? Anything sentimental will have a story behind it and, when the character sees the object in real-time, it provides you with the opportunity to tell those stories. And, whether the character decides to hold on or let go to these items, says a lot about their level of sentimentality and/or the state of their relationship with the person about whom the memory shows.

Writing Prompt: Take a character from your manuscript or create a character for this exercise. Write about a spring cleaning day for your character. If you choose to use a character from your manuscript, choose a spring cleaning day from a significant year in your character’s life. Presume your readers know nothing about this character and give them character details solely by using the action of spring cleaning. Highlight important items and details around their home, tell the stories behind them, and use action to show how they feel about these objects.

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Tension specifically involves a character attempting to hold in their feelings and battle through them inwardly, rather than getting an emotional release. The emotional release will need to happen in order for the tension to pay off, but the more you build up the tension the better that release will feel for your readers. Writing tension should make your readers feel… well, tense. Here are some tips on how to show rather than tell your readers about different kinds of tension throughout your manuscript.

1) Anger

One form of tension that a character may experience is through anger. Perhaps their friend said something derogatory about their sibling and, though they weren’t brave enough to say anything at the time, the anger is still within them, festering. It may be tempting to simply write ‘[INSERT CHARACTER NAME HERE] is feeling tension because they’re upset.’ but that’s lazy writing. Instead, write about how their leg begins shaking once their friend walks through the door. Write about how their jaw clenches when their friend speaks. Write about how they look down or straight ahead when they address their friend, instead of looking at them directly. Write about how their responses are curt instead of talkative like normal. All of these actions show rather than tell the reader that there is tension between two characters, in the form of anger.

2) Nerves

Another form of tension that can occur for a character is through nerves. A character can react to nervousness by becoming tense and rigid. Let’s say a character who adores theater has a big musical audition coming up after school. Throughout the day, that character may sit with their posture rigid as they bite their nails. They may pick at a piece of their sweatshirt, slowly unraveling the fabric by a single thread. They could clench their fists only to quickly dart out of class, run to the bathroom, and vomit in the toilet.

3) Affection

Tension can also exist between two characters who are romantically involved with one another. This form of tension can be shown through the characters sitting close together, their hands almost touching but not quite. Or perhaps one character says something a little too personally revealing, so they blush and rub their hand behind their neck. Maybe they’re forced to work together on a project, they’re bouncing ideas off of each other excitedly when one of them drops a pen and they both bend down to reach for it, then look at each other embarrassed.

4) Long Build-up

Build-up involves a form of tension that comes from long unresolved feelings. This is something readers would notice over the course of an entire book. Perhaps there’s a character who is constantly being teased by another character (let’s call them character A and B). At first, you see that character A is able to bounce back easily from character B’s teasing. Character A is a very sweet easy-going person and they let the teasing roll right off of their shoulders, smiling along with the joke.

As the book goes on, however, you start to see their attitude change. Perhaps they snap back once after a joke, or maybe they’re frowning slightly after a particular joke. But as the story progresses, their reactions become more pronounced until suddenly they’re walking around frowning, clenching their jaw, and snapping at people all the time. This example allows readers to see how certain types of unresolved feelings can create tension if they happen over a longer period of time.

The post Show Don’t Tell: Tension appeared first on Dorrance Publishing Company.

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.

How people choose to celebrate (or protest, quite frankly) Valentine’s Day can say a lot about them as a character. Perhaps your character is in a long-term relationship, but still refuses to celebrate the holiday remembering all the years that they hated it when they were single. Then maybe their partner chooses to celebrate it anyway, despite their wishes to the contrary. How would your character react?

On the other hand, perhaps it’s a day they look forward to all year and have extremely high expectations for. Will their partner live up to their Valentine’s Day expectations? If they fall short, will it cause some tension with the couple? Is their partner being lazy or are their expectations too unreasonably high?

Then you have the people who are single on Valentine’s Day. Does the holiday make them sad or bitter, causing them to become irritable toward others for the duration of the day? Do they try to make the most of it, inviting some friends over to give themselves a little less traditional celebration? Or perhaps they even focus on self-love for the day, treating themselves to some chocolates, flowers, and maybe even a relaxing bubble bath?

The world (especially when it’s fiction) has a way of surprising people or changing their minds as well. A character could wake up bitter on a day they hate and then a chance encounter could completely change their entire attitude. For example, perhaps your character wakes up Valentine’s morning feeling bitter and annoyed at the romanticism surrounding them. They head to their local coffee shop where they have a ‘meet-cute’ with someone to whom they’re attracted. They end up getting their number and agreeing to meet up later that week for dinner. Suddenly, what started out as one of their least favorite days has turned out kind of romantic for them. Will their new positive attitude hold up for the rest of the day? Or will the romantic bombardment be too much for them to stay chipper?

Writing Prompt: Take a character from your novel or a character you’ve recently created. Choose any year of their life and write about how they chose to celebrate Valentine’s Day that year. Show the reader how they feel about the holiday and their attitude for the day using the actions and plans they choose to make, dialogue, and mannerisms.

The post Writing Prompt: Valentine’s Day appeared first on Dorrance Publishing Company.

When she gets home at first she hates it and faces some clumsy but cute setbacks like missing her bus or falling into the snow. Then she runs into her old high school boyfriend and/or high school crush who now runs a bakery or small coffee shop. They have some sarcastic banter because she only respects business and he’s a humble small-town baker so he doesn’t respect business, of course.

She starts to warm up to the town, and in turn baker boy, and starts to feel the magic of Christmas. Sometimes real magic is involved, but not always. Then, surprise, business boyfriend shows up and she’s forced to then choose between the two sides of herself. Spoiler alert: she 100% of the time stays in the small town and becomes the accountant slash helper at the baker boy’s shop.

Needless to say, Hallmark movies can be cliche and predictable. But for those who love them, they are also addictive. There’s a sort of comfort to the predictability as well as the colorful, bright, and cheery overall tone. They’re full of happy accidents, totally unrealistic turns of fate, and lots of bed and breakfast inns, local bakeries, and gazebos.

Now, picture putting your protagonist in the midst of this cliche and cheery town that we see in Hallmark movies, where there is an almost magical level of holiday spirit. Would they blend right into the plot, seamlessly fitting the role of the lead? Would they be confused, thinking they’ve stumbled into another dimension? Or would they just be downright angry and annoyed when a local inn owner told them they were the only one who could save their business (even though they’ve never met before)?

Writing Prompt: Put your protagonist or one of your characters in the midst of your favorite Hallmark Christmas movie. Because you won’t really have to think about the plot structure, focus on how your character would react differently to circumstances than a typical Hallmark movie protagonist. Don’t be afraid to have some fun with the juxtaposition and add some humor or even darker undertones, let your protagonist take the reigns!

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

Halloween night can be a fun setting to explore your characters, get to know them in new ways, and even throw them outside of their comfort zone. For example, perhaps your character is the type that likes the dark and scary side of the holiday, always ready with fake blood capsules and fangs to play pranks on friends. Imagine this person is asked to attend their nephew’s Halloween party this year. Will they be able to tone down the spookiness and give their nephew a fun party? Or will they scare a bunch of children with their costume and bloody Mary spooky stories?

How a character feels about the holiday can also show off different aspects of their personality. If they obsessively love the holiday, why is that? Are they a macabre person, fascinated by the haunted nature of the holiday? Or do they have a particularly fond memory from their childhood associated with Halloween celebrations?

It also allows you to play around with more specific aspects of character, which allows them to feel more fleshed out and real. What is your character’s favorite scary movie? Favorite Halloween tradition? Favorite Halloween candy or snack? Favorite Halloween decoration in their house? What kind of costume (if any) do they like to wear?

Writing Prompt: Write a scene or short story about how your character spends their Halloween night. Use the day and setting to reveal aspects of your character by showing how they act surrounding the holiday, how they like to spend it, and why. Let this Halloween celebration push them a bit out of their comfort zone and show the reader why that is and how your character handles it.

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