We are excited for the release of 10 Steps to Save Your Editors Sanity by Dr. Jenifer Paquette!
Dreading the moment when your manuscript comes back from the editor dripping in red lines?
You can save both of you time and energy with a few basic steps. Sending your work to an editor can be a nerve-wracking experience, but it is possible to make the moment worth celebrating if you have confidence in your writing quality and edit for the most common issues that plague manuscripts. Follow these 10 steps before hitting send and your editor will thank you!
Part One: Start with the Big Picture
Step One: Consider Point of View
Step Two: Fix Pesky Dialogue Formatting Stuff
Part Two: Zoom in to Examine the Nitty Gritty
Step Three: Up Your Verb Game
Step Four: Use Punctuation as Intended
Step Five: Track Your Bad Habits
Part Three: Come Over to the Deep End—you’ll be fine!
Step Six: Tweak Your Sentence Structure
Step Seven: Add Sentence Variety
Part Four: Before You Click “Send”…
Step Eight: Know What You Want
Step Nine: Create a Style Sheet
Step Ten: Just Breathe
You can order this book in all formats directly from our 4HP Website and receive 10% OFF using coupon code 4HP10!
Any author knows that an important part of crafting a solid story involves a decent amount of research. Facts, figures, locations, language, environment, time… the devil is in the details. And having all your proverbial ducks in a row can give your audience a truly immersive experience whether you’re writing something realistic or in your own fantastical world. Well-researched content adds depth to a story and in a way, gives more credibility to the author as an expert on a certain topic (yes, even in works of fiction!) What’s the saying? Writers write about what they know? So, if you haven’t done your homework on a specific subject, why would you attempt to write about it? Even in the realms of fantasy, readers tend to feel more comfortable and connected when they are grounded in some tangible form of reality, so it’s important to have your world have logic and rules and consistency. A little bit of research can definitely go a long way.
My Dawn of the Blood Witch saga is purposefully crafted around events in history. I take my characters all over the map, and through many different eras of time, using real stories as the backdrops for my plots. The research can get intense because I don’t want to have any inconsistencies or have anything misrepresented (witches are very serious business, ya know). I include infamous serial killers, ancient Christian practices, the Salem Witch Trials, widely known kidnappings, cults and exorcists (to name a few things) throughout these books and the amount of hardcore research I’ve done to get things to fit ever-so-perfectly has been a daunting task. I often find myself going down rabbit hole after rabbit hole chasing ghosts and legends so that it not only makes sense for the reader, but also in my in my head, and within the context of the overarching story. There are a lot of moving parts in this series, so it’s important for me to be precise.
While it’s another form of work—of the entire process—researching your topic can actually be fun. Yes, I said fun! All the little tidbits and additions to each book help to tie everything together. I love dropping Easter eggs and when readers reach out to me and say things like, “Oh my God! You said that in book 2, and then it like happened in book 4, but book 4 takes place before book 2!” Mind-blown moments like that make the tedious research so rewarding. Or when someone tells me they have a kinda-obsession-kinda-crush on Ricky Kasso, too… makes me feel like I’m not the only weirdo in the world.
The bottom line is this: know your stuff. Know what you’re talking about. Present the information in your world in a well-prepared and logical way. Readers will pick up on it and have a stronger attachment to your characters and story. As the author, proper research can empower you to produce work that is meaningful, respectful to your readers and subject matter, and will make your audience want to dive into your entire catalog!
Thinking about the way different people behave is an integral part of worldbuilding. Often it impacts your story, but sometimes, it’s just background that gives readers the feeling that there is a lot more below the water’s surface–that the iceberg is indeed quite deep. One way to do that is to flesh out small details as well as the big picture ideas.
When it’s time to build the cultural practices of the people in your world, consider the following questions:
What are the cultural practices of the people in your world? How are the cultural guidelines unique? Are they specific to different groups? In what way? (Do they brush their teeth with their toes? Do they leave their babies with strangers? Do they shave their heads before childbirth? Do they use distilled human remains to lengthen their lives like in Jupiter Ascending?)
How do different groups of people view one another and why? What is the power dynamic between different groups (gender, race, country, etc.)? Are men in charge of women or vice versa or are they equal? Are certain races or nationalities seen in specific ways? (Women are subservient, Vikings are wild men, orcs are evil, Native Americans are noble savages, etc.).
What religions exist in your world? How do they function and who follows them? How important is religion in this world—enough to fight wars over?
Does slavery exist in your world? How does it work? Which group enslaves what other group? How do people become slaves and how can they be freed? How do other cultures view those who practice slavery?
What is considered a family unit in this world? How does the average person define “family”? What determines who runs a family unit? Is it the breadwinner, the oldest, the one born under a good sign?
Are small or big families common in your world? At what point has one reached a “big” family? Is this a social status thing—do lower classes have fewer children while higher classes have many?
What is the general attitude toward birth control in your world? Is it available? Is it encouraged or frowned upon? Does abortion exist as a medical procedure or a concoction of plants? How do people view single parents?
At what age is an inhabitant considered an adult? What is the average life expectancy for your people? How does social status affect that projection? Do wealthier people live longer?
How is adulthood different from childhood? Is “childhood” a thing in your world or are children expected to behave like little adults from the time they can walk and communicate?
What are common child rearing practices among inhabitants? How are children treated in your world? How do parents discipline their children? Are children expected to work right away or can they wait until they are older?
What kind of stories are told to the children of your world? Is there a boogeyman? What are children taught to fear? To respect? Why?
What kind of games do children play? Where do those games come from?
What are some of the sports in your world? How are they played?
What is considered art in your world? Is it the traditional Humanities (painting, sculpture, music, literature, etc.) or is there more to it? Do people argue about what is “art”? Is art valued in this world or seen as a waste of time and energy? Is reading stories or listening to music a treasured moment or a lazy indulgence?
Can the average person in this world read? Are fiction/non-fiction books a thing, or are they oral stories, or both? How many books does the typical person in the world have at home? What kind of books would a person read—fiction, history, science?
How do people relax in your world? What are some common hobbies? What activities would the average person do at home after the “major” work of the day is over—needlecraft, painting, sculpting, cooking, watching television?
Is the schedule of the average person set by sunlight and everyone goes to sleep at sunset, or do people stay up after dark to do things? Is non-natural light available? How is the average day divided into work and play?
Are there major holidays in your world? What are they? Where did they come from? How do inhabitants celebrate important days throughout the year? Do people celebrate equinoxes/solstices? Are certain days more important than others?
How do inhabitants keep track of birthdays? Are they celebrated? Do birthdays involve cake and presents or something else? (Hobbits give away presents on their birthday.)
What are common hygiene practices for the people? Do they bathe every day, wear perfume, wash their clothes often? Is there an industry of products around hygiene (hair, body wash, soap, make-up, etc.)?
How much food does the average person have in their home? Is it common for people to make dinner at home, or do they grab food elsewhere? Is food delivery a thing in this world (Doordash, Uber eats, etc.)?
What are some popular foods that are unique to your world? What is considered a lavish meal, an afternoon snack, a poor-man’s-breakfast?
Is food preserved in some way, or is it all fresh? Do people store food for the winter because they must supply it themselves, or is it always available?
What do the inhabitants of your world celebrate (birth, graduation, new cars)?
What do they grieve (war, famine, death of a loved one)? What do they fear (spiders, zombies, pandemic)?
What do they love (other people, satisfying pens, great advice)?
Do people have pets? What is considered a normal pet in your world? Where is the line between a pet and a food source?
What do people value? What is considered beautiful or handsome? What facial/body features are prized right now?
Are certain traditions prized more than others? What practices are looked down on by most people?
How much does the average person know about the cultural practices of other people?
Considering the answers to some of these questions when you aren’t writing will allow you to continue writing when you reach the moment when you need to insert a detail about one of these beliefs or behaviors or practices. Like thinking this way? Check out The General Worldbuilding Guide for more questions and fun activities!
I am both an author and an editor, and it’s important to know the difference when the time comes to switch roles. I can write my own work. I can edit other people’s work. I can kinda sorta maybe start to edit my own work. But ultimately, I’m never going to see all of my mistakes, so I need another pair of eyes on it if I want it to head into typeset error-free (or as error-free as any other book can possibly be!). That said, there are definitely things I can do to my own work to help the editorial process along.
Take a break.
Yes, I said it. Walk away from the manuscript. Yes, I wrote it. Yes, I love it. Yes, I wrote it because it’s exactly the kind of book I like to read, but if I want an objective view as I tangle with my sentence structure and word use, I need to have some space (preferably in time, but also in distance, I suppose) between me and when I wrote the book. I’m not saying you need to hide it in a drawer for years, but give yourself a few days to let it settle before approaching it with your prepping-for-editor eyes. If you go directly from composing something to reading it, your eyes will see what you wanted to say, not necessarily what is on the page. Anyone who has written what they considered a semi-passable paper at 4am, printed it out, and then sat in that 8am class staring at a first line that is missing half the words knows what I am talking about. Give your brain a break to see what is actually there.
Prepare to re-read your book at LEAST twice.
The first time you re-read your book, settle in somewhere comfortable, preferably soft, with a beverage of choice nearby. Your goal during this read-through is to read the book as a reader would. Immerse yourself in the world you created. Meet the characters anew. Make sure that the story goes where you wanted it to go (and tweak all those little annoying story details that no longer make sense now that the story is finished). Don’t stress out about grammar during this read-through. Focus on the story and the details. Gauge the plot, the pacing, the character development, and the dialogue. Appreciate your work as a whole.
The second time you re-read your book, sit somewhere serious that you associate with work, like a desk or kitchen table. It’s time to read for grammar. That means doublechecking spelling and capitalization. Look for incomplete sentences or phrases that don’t make sense. Check your punctuation, especially around dialogue. Have your reference guides handy during this process (or use google if in doubt). Please do not rely on Word’s editor and even Grammarly. They try heard and mean well, but they are programs that do not know what you are trying to say. They may fix it correctly, but they may make it much worse. Trust your own voice first. And if you aren’t sure, like I said, google it. I guarantee you there is a blog or video about the exact thing you are wondering. If you have an editor friend, ask them (but don’t bombard them unless you plan to pay them for their time–wordsmithing is their job, and unless they spend all weekend asking you questions about your day job, don’t assume their knowledge is free unless they offer it).
Send it to an editor (or a very helpful beta reader).
I know I already said it, but this is the time to send your book to the editor. You’ve fixed as much as you possibly can, and the rest is for another pair of eyes. That’s fair. Beta readers and proofreaders are your friends at this point if you can’t use an editor. If it’s all on you this time, consult some references. I always recommend Woe is I by Patricia T. O’Conner for grammar questions and Eats, Shoots & Leaves by Lynne Truss for punctuation issues. I can now also recommend 10 Steps to Save Your Editor’s Sanity (available for pre-order from Accomplsihing Innovation Press).
Read it one more time.
Oh, come on. You’re not sick of it. You love it. Enjoy it one more time and see if anything awkward or weird jumps out at you. Take a moment to appreciate this moment. You created a new story and are ready to release it into the world. You rock.
I agree 100% with Jamie that this is a complicated question. However, having looked at what so many are saying I have a way I look at this topic.
One of my first realizations of how this can be important to readers was my discovery of websites such as https://www.doesthedogdie.com/ where it lists any books, tv or movies where a dog is injured or dies. Some people may laugh at this notion, however, for so many this is an issue to the point where a website like this needs to be created and maintained.
In the article by Jamie it was brought up that TV and Movies are including these warnings now as a standard. Some might wonder why these were introduced? Or even the warning system of G, PG, R, etc for movies?
The truth is that there is an audience for any type of TV, Movie or Book. Most would not want a four-year-old to watch a graphic horror movie, so yes, letting a parent know that “Red Riding Hood” (a 2003 horror movie) has an R rating is potentially important.
But with books, should you let the audience know what they are potentially in for? This is where this debate comes in. If giving these warnings are you doing spoilers or potentially alienating an audience? The answer is Yes and No.
Using the example above, yes, you might alienate part of your audience if you indicate that a dog dies in your book. With that said, the truth is that for some people this is a topic that they simply cannot handle and can cause them to have serious issues if they are suddenly presented with a dog dying in a book they are reading. When someone is “triggered” by something they read or watch, they are the ONLY ones who can determine how that will or did affect them. This is a topic of the individual’s mental health.
Now, if we are talking about the fact that the dog dying is the end of the book, like in Where the Red Fern Grows, one of my childhood favorite stories. Then yes, I could also see how you might be having a spoiler. However, as with any book or movie, a person is going to decide to read or watch regardless of letting them know a topic may be featured in the story. You are not saying a dog dies at the end of this book. They have no idea where this features in the story or what effect it has on the plotline.
I think letting people know that the book contains potentially triggering scenes does not actually spoil the book. When people read it, they are doing so to get engrossed in the story. You have a book that has potentially one-hundred-thousand words, how does one to five words letting people know something might trigger them derail your story?
Would you rather have a reader walk away from one of your books having been triggered and dealing with that? They are not going to recommend your book to others. They are also not going to leave you a good review. They will also not follow your or buy other books you have written. So what did the sale cost you versus the royalties from that one book? Heck, they may even post poor reviews announcing critical plot points because they are so upset by being triggered.
Every person needs the option of caring for their own mental health. How they do this is up to them and if a trigger warning makes them choose not to read your book. This is not a lost reader. This is someone who was not one of your audience to begin with. If a reader sees a trigger and thinks it gives away the story, they are also not your audience.
A person once told me you could walk into a room of 100 people and all of them could love your book, some could love your book or none could love your book. It does not make your book any less amazing, it just means they are not your audience. There are millions of people out there who will be. Find them!
Ultimately this is a personal decision for the author in the way that many of how you present your books to the world should be. But when looking at the choices such as your genre (BISAC codes), key words and other metadata, remember the reason behind the triggers and if you feel you want to communicate these to your potential readers.
If you do, I recommend putting them under the blurb or in the forward of your book. You can also put them on your website for reference and let readers know where to find them. This way it is making it their choice.
Yes, this is a hard topic and I might now have the “right” answer, but I hope this helps you look at this from another perspective.
An often overlooked element in worldbuilding, the weather is more than just background noise. Tiny details here and there–along with a reliable and consistent system–can bridge the gap between a fun read in an interesting world and a fascinating read in a richly developed world that lingers long after the last page is completed.
Here are some questions to consider when planning the weather for your world (and story):
What is the typical weather in your world? Are there seasonal changes? Describe these shifts.
Is your world big enough to have different seasons at the same time (winter in North and summer in South)?
What are some typical weather patterns in your world? Is it the stuff we know: snowstorms, rain, humidity, sunshine, and clouds?
Do you have weather phenomena unique to your world? Does it occasionally rain shells in the mountains, or does sand show up over the ocean?
How do people respond to the weather in your world? Can they affect it at all (weather machines, magic, or just wear a warmer coat)?
What kind of natural disasters are a result of the weather in your world? Do people freeze to death in blizzards, drown in tsunamis, suffocate in mudslides?
Do people study the weather in this world? Is there an understanding of weather patterns, or is it just angry gods playing in the sky? Is meteorology a thing in this world or do people guess (“My hip aches—snow’s coming”)? How trusted are meteorologists?
Is the weather changing, or has it always been this way? Are the inhabitants of the world affecting the weather patterns (climate change)?
Do people have special names for different seasons in your world? What are they?
How much does the average person know about the weather in your world?
Bonus questions to ponder:
What weather events from our world will you incorporate in your world? Why those and not others?
Describing the weather in our world is easy enough based on the location of the situation: it’s colder in the North and warmer in the South. Does your world have such distinctions?
In our world, science explains natural phenomena (thunderstorms, hurricanes, blizzards, etc.). How do the inhabitants of your world explain why natural events happen?
In our world, we are often at the mercy of the weather. How much agency do the inhabitants of your world have when it comes to the weather? Can they make it rain?
How much personal experience do you have with certain weather phenomena and what will you have to research?
When worldbuilding, a good habit is to create a weather tracker for your world (or at least one location in your world—pick the dominant one in your story). You should know the answers to the following questions without interrupting the writing process: What are the seasons of the year? What is the weather like during those seasons? How will the weather impact your story? For more Worldbuilding Questions, check out The General Worldbuilding Guide!
It’s strange to think about the fact that book formatting and layout still shows signs of those early printing press books in the 1400-1500s. Over the centuries, academia has evolved that format to create standards that began to take hold as public consumption increased in the 1800s. Regardless, your book’s format has to fall in line in a lot of ways for several reasons which include guiding and navigation of content, pacing of a story, placement on bookshelves, limit print issues, and reader immersion. If you haven’t discovered Writer’s Bane: Formatting 101, you’ve been missing out on a lot of answers to questions and even a stronger understanding of how impactful formatting is on a book. This includes what goes inside your book, how to prepare a manuscript for a typeset, and how to design the interior of your book.
Guiding and Navigation of Content
Imagine a world where books didn’t have an expected chronological order to the content presented. I mean, no chapter numbers, no headers, and no page numbers. PURE CHAOS! A book’s format has an expected order and rhyme and reason. If they didn’t, it would be impossible to grasp where the information can be found. Even in “Choose Your Own Path” novels they have clearly written instructions and rely on guiding a reader via the page numbers. Let’s also be mindful that, for example, page numbers should land in the same spot throughout a book, but if this was inconsistent, you would be lost especially in a textbook.
Keeping these navigational devices in your book in place and consistent means a lot. There have been a few books where page numbers were non-existent, and with so much automation in even word processors, WHY? How am I supposed to know where I am and what page my bookmark fell out? CHAOS. And worse, this example had a Table of Contents with numbers. PURE CHAOS. Be mindful of using all the navigational tools not for you, but your readers.
Pacing of a Story
This starts at the manuscript level and can skew how a typesetter or book designer “translates” the final book format, but be sure to use double returns and marking line breaks (***, #, or some other consistent searchable indication) in the right way.
For example, double returns often come into play when a flashback starts or ends, a change in point of view or head hop happens in the moment or scene with no jump in time, or in non-fiction change in thought or moving on to the next thought within the same subject matter for that section/chapter.
As for the line break, this is often where an ornamental icon will be added into a book. These often signal a change or passing of time in fiction work, change in location or jumping to a character not in the current scene, or the start of a new subject matter in a more significant manner in non-fiction.
Placing these consistently and using them for the age-old expected reasons can help how a reader and story paces visually and limit any confusion. Imagine if neither of these existed in the novel you’ve been reading? MAYHEM!
Placement on Bookshelves
If you fail to fall in line with CMS or similar styling (Chicago Manual Style, APA, MLA, ect.), there’s a good chance that your book will not be chosen for bookshelves in commercial stores, libraries, and schools. It’s not uncommon for schools to require books to be in APA for medical books and degrees while other textbooks on certain matters for researched content may want MLA. Overall, commercial or public consumption often falls under the CMS standards though they aren’t as strict as academic and textbooks can be. These tend to be far more artful and allow more creative means. That doesn’t mean go hog wild and go above-and-beyond to break the formatting until it’s no longer recognizable. We’ve spent centuries to develop these styles and for good reason.
Limit Print Issues
Margins and layout are also defined under these styles. Not only does it help identify the anatomy of what’s on the page, but these often aid in keeping the content from printing off the page or deeping into the spine of the book. Headers and footers play dangerously close to the edge, but the core content never should come close to this. The information is far more vital if the page prints crooked, right? Often book designers will have to adjust the margins dependent on the printer and press they are sending the file too. For example, for a perfect binding or glue binding Print-on-Demand book we typically set the inner margin with no bleed. Meanwhile, for Smythe Sewn or sew-bound hardcovers we would have to add bleed/trim/margin for stitching and binding to take place. A lot of math gets involved in those final moments of a book’s design that can impact the final look, so be mindful that anything that is pushed to the edge or super close has a high potential of “being lost” or cut off completely.
Reader Immersion
Lastly, the biggest factor in all of this is the impact your consistency in formatting has on the reader. If the styling and broken style rules are too many, the reader will be confused and most likely will stop reading or even abandon the book. Again, for CENTURIES, books have an order and cadence that readers for GENERATIONS have been taught to read. Breaking the normal expectation in certain umbrellas can have detrimental effects to how readers feel and perceive your book and its content. Bad reviews, low sales, and social media thrashing will be just a few of the impacts here. The way a book is formatted is designed to optimize COMMUNICATION and to alter that has dire consequences and breaks the connection with the readers. Immersion can be granted, but the moment the font changes without warning, or the content isn’t labeled as expected, the reader gets distracted or frustrated. Remember, you’re not formatting for you, but for the audience. Don’t cause chaos!
Discover More
Like the advice and information you see here? Check out the Formatting 101 textbook here at: https://4horsemenpublications.com/product/writers-bane-formatting-101/ . This book holds a variety of answers for those seeking to become typesetters, looking to self-publish their book, or simply want to learn how to communicate and prepare their manuscripts to get the most out of their designers. The Writer’s Bane is a curse and passion, both a want and need to tell a story. In this volume, you will learn the importance of preparing a book for layout as well as laying it out in a way that appeals to your readers of any genre including picture books, chapter books, fiction, memoirs, textbooks, workbooks, and everything in-between.
Looking for a new composition book for your class? The faculty at Hillsborough Community College decided that none of the publishers had what our students needed, so we wrote our own book that meets the needs of today’s students.
Composition & Grammar is an easy to use, ADA-compliant textbook that includes useful overviews, practice exercises, and student samples.
Take a look at the Table of Contents to see what is included in the textbook:
Part 1: Reading
Ch 1 Active Reading Techniques
Ch 2 Reading Comprehension Strategies
Part 2: Writing Process
Ch 3 Writing Situation
Ch 4 Writing as Exploration
Ch 5 Planning/ Prewriting
Ch 6 Outlines
Ch 7 Thesis Statements
Ch 8 Introductions
Ch 9 Conclusions
Ch 10 Organization
Ch 11 Drafting, Revising, & Editing
Part 3: Modes and Types of Writing
Ch 12 Writing Modes
Ch 12.1 Narration
Ch 12.2 Description
Ch 12.3 Exemplification
Ch 12.4 Definition
Ch 12.5 Classification/Division
Ch 12.6 Process
Ch 12.8 Cause & Effect
Ch 12.9 Argumentation
Ch 13 Types of Writing
Part 4: Grammar
Ch 14 Parts of Speech
Ch 14.1 Nouns
Ch 14.2 Verbs
Ch 14.3 Adjectives
Ch 14.4 Adverbs
Ch 14.5 Prepositions
Ch 14.6 Pronouns
Ch 14.7 Conjunctions
Ch 14.8 Interjections
Ch 15 Sentence Structure
Ch 15.1 Parts of a Sentence
Ch 15.2 Types, Patterns, & Structure
Ch 15.3 Coordination & Subordination
Ch 15.4 Modifiers
Ch 15.5 Parallelism
Ch 16 Punctuation
Ch 16.1 End Punctuation
Ch 16.2 Commas
Ch 16.3 Semicolons
Ch 16.4 Colons
Ch 16.5 Apostrophes
Ch 16.6 Hyphens
Ch 16.7 Dashes & Parentheses
Ch 16.8 Ellipses & Brackets
Ch 16.9 Quotation Marks & Italics
Ch 17 Common Errors
Ch 17.1 Verb Errors
Ch 17.2 Pronoun Problems
Ch 17.3 Run-on/Fused Sentences
Ch 17.4 Comma Splices
Ch 17.5 Sentence Fragments s
Ch 17.6 Mixed Sentences
Ch 17.7 Commonly Confused Words
Ch 18 Style
Ch 18.1 Person
Ch 18.2 Voice
Ch 18.3 Diction
Ch 18.4 Clarity & Conciseness
Ch 18.5 Tone
Ch 19 Reference Overview
Ch 19.1 Numbers
Ch 19.2 Abbreviations
Ch 19.3 Capitalization
Part 5: Research
Ch 20 Plagiarism
Ch 21 The Research Process
Ch 22 Finding Sources
Ch 23 Integrating Sources
Ch 24 MLA Format
Ch 25 APA Format
We live in a world of words.
The way we interact with our fellow humans is very often based on the language that always surrounds us, whether it be the messages we send, the news we read, or the assignments we complete in classes that give us the education intended to lead us to success.
What might be the best way to navigate the complexity of language, especially in a first-year composition course? This book addresses these issues by presenting lessons, examples, and student samples through an approach that is friendly, conversational, and realistic.
Created by actual instructors of composition at HCC, this book includes many resources to guide composition students of different skill levels:
In-depth overviews of reading, writing, and revising
Engaging exercises that anticipate and address the most common errors of writers
Actual student samples that provide the basis of class discussions and analysis
With guidance that includes both theory and practice, Composition and Grammar for HCC by HCC provides students with the skills they need for their educational goals, their careers, and their lives.
An important aspect to consider any time you are creating your world is how the inhabitants there interact with one another. You don’t need to be writing a romance to have relationships between characters, and those parameters should be clear to your readers.
Here are some questions to consider when building the relationships in your world:
What does the average relationship look like in your world? Describe the typical romantic relationship.
What does an atypical romantic relationship in your world look like? Describe a relationship that exists but would surprise others.
Is gender the deciding factor for one’s role in the relationship? How does gender present in your world? How are genders defined in your world (if gender is the social expectations associated with one’s assumed sex while sex is the biological determination using physical attributes)?
How many sexes exist in your world? Are there same-sex relationships? How does society view same-sex couples? In Prince’s Priest by VC Willis, the scandal is that the relationship is between a vampire prince and a human priest. The fact that they are both men is an expected option in that world.
How do people feel about relationships between classes? What about relationships between races? How does the average person feel about people from different places being in a relationship?
How does a typical relationship progress? Describe the usual steps of a courtship (meeting, wooing, dating, flowers, sex, meeting families, moving in together, proposal, marriage, family, children, etc.).
Do people choose their partners, or are relationships arranged by family members? Are arranged marriages the norm? Are they outdated or outlawed? If they are a thing, how do families determine a fitting suitor?
How do couples introduce prospective partners to their families? Is this an important step in the courtship process or just a casual affair?
Do couples live together (before/after marriage)? How does society feel about those who break this expectation one way or another?
Do couples get married, or does cohabitation mean they are an official relationship? Which relationships are recognized as official by the government? Does marriage matter, or is it just a minor bit of paperwork?
What does a typical wedding ceremony look like? Who attends? Who speaks and what do they say? Does someone need to vouch for the couple or forever hold their peace?
Do couples need permission to marry? From whom? Is there a waiting period, or can people get married right away?
Do people elope to Vegas or run away to be together? How does society feel about this behavior? Is it cute or romantic, juvenile or crazy?
Do people change their name when they get married? Is the new member fully embraced by the partner’s family? (You’re a Jones now!)
Is there a physical sign that shows a person is married (ring, hairstyle, article of clothing, etc.)? Can someone tell at a glance if a person is in a committed relationship or not?
Do couples marry for love? Convenience? A combination of both? Why do most couples pair up?
Can anyone marry anyone, or are there rules? Who establishes these rules? What happens to those who break the rules? Are they ostracized like Anna Karenina or forgiven like Count Vronsky?
What are the rules regarding marriage? Who established them? Why?
Is marriage about procreation and children and continuing the family name? How does society feel about childless couples? What is the general view on couples having children?
In terms of children, do couples value one sex over another (boys over girls)? How about twins or triplets, etc.? Are such children a blessing by the gods or a curse?
Consider the maternal mortality rate during childbirth in your world. Is childbirth a dangerous proposition for women in your world? (If only women can give birth.)
Are relationships limited to two people, or do people support multiple partners in relationships? How does society view thruples/poly-groups? In Signs of Affection by Lynn Chantale, the main character courts a love interest who practices polyamory.
How does the average person define love in your world?
Is love something that happens to a person (over which there is no control)? Do people fall in love like they fall off a cliff? Is love a conscious decision made by a person? Can a person choose to fall in love?
Is love an expectation in relationships? Or is being part of a relationship more commonly a matter of convenience and love is found elsewhere?
How do people view adultery? How do people view emotional affairs? Physical affairs? Where is the line when a relationship has become adulterous (a glance, a stolen kiss, a long hug, sex)?
Are there established punishments for breaking a vow to a partner? How are they enforced? Are they different depending on who has committed the offense (women are killed while men are chastised)?
Is love predetermined by an outside force? By what/whom? Are certain lovers fated to be together in your world?
Is there a deity of love? Who is it? What powers do they have? How do people view this deity? How much control does a love deity have over the inhabitants?
Are there love potions/love spells in your world? How do such things work? How long does a love potion/spell last? What are the long-term effects of a love potion? (Are the children of such unions born unable to love like Voldemort?)
Do people believe in love at first sight? How do people feel about such relationships?
Is love an acceptable excuse for irrational behavior? Do people excuse “crazy” behavior on account of love?
Does love have physical symptoms? Can others see that a person is in love?
Are the majority of the inhabitants romantics or cynics when it comes to love? What do your characters think about this?
What does the average person think about relationships in your world?
Bonus Questions:
What kinds of familiar relationships are you featuring in your story? Why did you choose those and not others?
What new types of relationships appear in your story? How are they different from traditional real-world connections?
How much of the relationships depicted in your story are a reflection of your own experiences? What elements did you add to the relationships and why?
How important are relationships in your story? Do they reflect real-world behavior, or are they exaggerated in some way? If so, how and why?
If your story were turned into a film, what category would Netflix put it under: romance, romantic comedy, drama, horror, etc.? How much of the distinction is based on the types of relationships you include in your story?
Thinking more broadly about how relationships work beyond the scope of the story you’re telling allows you to write a story in a well-developed world, something readers will appreciate as they get to know your characters and the world they inhabit. For more Worldbuilding Questions, check out The General Worldbuilding Guide!
In the realm of creative writing, heroes are more than just characters who drive the plot forward; they are the heart and soul of your story. Understanding and tapping into your hero’s emotions is crucial for creating compelling narratives that resonate deeply with readers.
Emotions not only humanize your hero but also provide the reader with a window into their inner world, making the journey more immersive and impactful. Here’s a detailed guide on how to effectively harness your hero’s emotions in your writing.
The Importance of Emotional Depth
Emotional depth in a hero is what transforms a flat character into a dynamic one. Emotions provide motivation, shape decisions, and drive actions. They also make your hero relatable, allowing readers to connect with them on a personal level. This connection is essential for maintaining reader interest and investment in the story.
Relatability: A hero with authentic emotions mirrors the human experience, making them more relatable. Readers are more likely to empathize with a character who feels joy, sorrow, fear, and love in realistic ways.
Motivation: Emotions are often the driving force behind a hero’s actions. Understanding what your hero feels helps to explain why they make certain choices, adding layers to their character and making their journey more believable.
Conflict and Growth: Emotional struggles and triumphs create compelling conflict and drive character development. Witnessing a hero navigate their emotional landscape allows readers to experience growth and transformation alongside them.
Techniques for Exploring Your Hero’s Emotions
To effectively tap into your hero’s emotions, you need to employ a variety of techniques that reveal their inner world to the reader. Here are some strategies to consider:
Show, Don’t Tell: Instead of directly stating how your hero feels, show their emotions through actions, dialogue, and internal monologue. For instance, instead of writing “John was angry,” describe how he clenched his fists, his face turned red, and he spoke through gritted teeth.
Internal Monologue: Use your hero’s thoughts to delve deeper into their emotions. Internal monologue allows readers to hear the character’s inner voice, providing insight into their fears, hopes, and desires. This technique is particularly effective for conveying complex or conflicting emotions.
Dialogue: Emotions can be powerfully conveyed through dialogue. The way your hero speaks—tone, word choice, pacing—can reveal their emotional state. Pay attention to subtext as well; what is not said can be as revealing as what is said.
Body Language and Facial Expressions: Nonverbal cues are a vital part of emotional expression. Describe your hero’s body language and facial expressions to convey their feelings. Slumped shoulders can indicate defeat, while a bright smile can suggest joy or relief.
Sensory Details: Emotions often heighten the senses. Use sensory details to immerse readers in your hero’s emotional experience. Describe how the world feels, smells, sounds, and looks from their perspective when they are happy, scared, or grieving.
Building Emotional Arcs
An emotional arc is the journey your hero undergoes in terms of their emotional state from the beginning to the end of the story. Crafting a strong emotional arc is essential for character development and overall narrative impact.
Starting Point: Establish your hero’s emotional baseline at the start of the story. This provides a reference point for measuring their growth and changes.
Challenges and Triggers: Introduce events and situations that challenge your hero’s emotional state. These triggers should be significant enough to cause an emotional response and propel character growth.
Climax: The emotional climax is often tied to the story’s overall climax. This is the point where your hero faces their greatest challenge and their emotions reach a peak. It’s a moment of intense vulnerability and revelation.
Resolution: Conclude the emotional arc by showing how your hero has changed emotionally. This can be a return to a new normal, a moment of acceptance, or a newfound strength.
Playing on Your Hero’s Trauma Using CBT Principles
Cognitive Behavioral Therapy (CBT) offers valuable insights into how trauma shapes a person’s emotions and behaviors. By applying CBT principles to your hero’s emotional journey, you can create a more authentic and nuanced portrayal of their trauma and growth.
Identifying Core Beliefs: Trauma often leads to the formation of negative core beliefs. These beliefs shape how your hero sees themselves and the world. For instance, a hero who survived a traumatic event might believe they are powerless or that the world is inherently dangerous. Understanding these beliefs helps to explain their actions and reactions throughout the story.
Triggering Emotional Responses: Use specific events or interactions to trigger your hero’s trauma-related emotional responses. These triggers can be people, places, or situations that remind them of their trauma, leading to intense emotional reactions. This technique adds depth to their emotional arc and provides opportunities for growth.
Cognitive Distortions: Highlight your hero’s cognitive distortions, such as black-and-white thinking, catastrophizing, or overgeneralization. These distorted thoughts can create internal conflict and drive the plot. For example, a hero who catastrophizes might interpret a minor setback as a complete failure, leading to a crisis of confidence.
Emotional Regulation: Show your hero learning to manage their emotions through healthy coping mechanisms. This can include self-reflection, mindfulness, or seeking support from other characters. Their journey towards emotional regulation can be a significant part of their character development.
Reframing and Growth: As your hero confronts their trauma, use CBT techniques like reframing to show their growth. Reframing involves changing negative thought patterns into more positive or realistic ones. For instance, a hero who initially believes they are powerless might, through their experiences, come to see themselves as resilient and capable.
Tapping into your hero’s emotions is essential for creating rich, engaging narratives. By understanding their emotional depth, employing techniques to reveal their inner world, and crafting a compelling emotional arc, you can create heroes that resonate deeply with readers. Incorporating CBT principles into your hero’s emotional journey adds authenticity and depth, making their experiences and growth more believable.
If you’re eager to explore more tapping into your Hero’s emotions and using psychological principles to do it, I highly recommend checking out my book, The Psychology of Character Building for Authors. This comprehensive guide delves into the psychological underpinnings of character development, providing invaluable insights and practical techniques to help you create multifaceted characters that resonate with readers.
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