Angela Ackerman's Blog: Writers Helping Writers

Hidden Ways Procrastination Affects Productive Writers

I��m a productive writer. I get things done. I��ve published ten books, built an author platform, grown a subscriber list, and I regularly speak at writers�� conferences and events.

But while researching my latest book, Escape the Writer��s Web, I stumbled across something uncomfortable. Despite all the ways I consistently show up, I��m still procrastinating.

Not in the ways we usually think. I��m not skipping writing sessions or ghosting my newsletter. I get the words written. I send the emails. I consistently design graphics to share on social media, put out a weekly YouTube video, and connect with readers at local events.

But even with all that effort, I��ve often felt like I haven��t quite reached the level of success I wanted. For years, I chalked that up to external things��timing, trends, discoverability, etc. But as I dug into the research for this book, something else started to surface.

Something that I think affects a lot of writers like me��the ones who get the work done, but still feel stuck at a certain plateau.

Here��s the bad news: Most of us? Yep, we��re still procrastinating, but it��s a quieter, more sophisticated kind of delay that we would never recognize as procrastination at all.

When Playing Small Is the Real Delay

One of the most uncomfortable truths I��ve had to admit in the past year is this: I��ve been procrastinating on going to the next level in my writing business.

I��m not scrolling endlessly, avoiding the work, or slacking off. But I am doing just enough to stay in exactly the same place. And as I started trying to build a deeper, more intentional part of my business, I came face-to-face with a deeper resistance.

What if I can��t do it? What if it doesn��t work? What if I fail?

Suddenly, everything I��ve learned about procrastination clicked into place. The key finding is this: Procrastination isn��t just a time management or a discipline problem��it��s an emotional coping technique, a way of avoiding something that��s uncomfortable or that feels dangerous or risky.

When I applied that to myself, I could see how I was using ��staying busy�� and ��doing what I��ve always done�� as protection against feeling those fears that were buried deep in my mind.

This kind of procrastination doesn��t look like taking it easy. It often looks like responsibility, consistency, and productivity. So, how do you know if it may be at work in your writing life?

How to Spot Productive Procrastination in Your Own Work

It starts with asking: Where do I feel the most friction? You’re looking for those areas in your business where you feel you haven’t “made it” yet��where you haven’t reached the level of success you wanted to. Usually, we feel frustrated about that, but we may also feel powerless to change it.

Here are some examples of when what I call ��productive procrastination�� may show up:

Doing what’s familiar instead of what��s needed to push yourself to the next level.Tinkering endlessly with the same type of content that is not getting you results, rather than experimenting with something new.Spending hours on admin work when you know the real task is visibility or growth.Focusing on visibility tactics that feel ��safe�� (like social posts or passive SEO) instead of direct outreach, collaboration, or higher-stakes opportunities.

The goal isn��t to judge ourselves, but to simply notice. When we see it clearly, we can start making different choices.

Why Productive Writers Still Struggle to Move Forward

You��d think that once you��ve proven you can write a book, meet deadlines, and build an audience, you��d be immune to procrastination. But here��s what I��ve found: the more you grow, the more personal it gets.

When you’re just starting out, there’s a kind of freedom in being unknown. You can experiment, fail quietly, and if you want, change direction without much fanfare. But as your work becomes more visible, the stakes feel higher. You’ve built something substantial, and now there’s more to lose.

The more experienced you are, the more nuanced procrastination becomes. You may see it as focusing on what��s working, staying consistent, and protecting your energy, when really, it��s keeping you spinning in the same circles.

Moving to the next level��whatever that looks like for you��always involves risk. It means being seen in a new way and, even more importantly, stepping into a new identity that feels unfamiliar. That stirs up the same fears that stopped us in the beginning: What if this doesn��t work? What if I��m not as good as I thought? What if I can��t do this right?

This kind of emotional friction is easy to miss, especially when you��re still being productive. But it��s precisely because you are productive that you need to be more discerning.

What to Do When You Spot the Procrastination Pattern

Once I recognized that I might be stuck in a pattern of high-effort, low-impact procrastination, the next step was to get honest.

So I asked myself: What am I avoiding by staying here?

This wasn��t an easy question to answer. For me, it took some time to see it. I also had to be purposeful about it and pull my head out of my long to-do list. Journaling helped. (Hint: It��s usually about fear.)

Once you figure it out, it can be hard to face the truth. Could I really be sabotaging my own progress? Actually, it��s really common! There��s a lot to scare us in that next step. You might be protecting yourself from overwhelm (as you know you��ll have to do more or be more), from the vulnerability of claiming a bigger goal, or even from the grief that comes when the thing you built no longer fits who you are.

Once I realized I was staying safe by ��doing what I always do,�� I had to shift the question. Instead of ��What do I need to do this week?�� I started asking, ��What would next-level me prioritize?��

That simple change has started to crack things open. And it��s leading to a stronger realization that��s exciting but scary at the same time: I��m no longer happy with where I am. It feels safer. But it��s no longer enough for me. And I suspect that clear awareness will help me go where I want to go next��eventually. If I keep asking myself that question every day! (��What would next-level me prioritize?��)

Once you spot the emotional reflex behind your current habits, you too can start building a writing and business rhythm that reflects where you��re going, not just where you��ve been. Name the emotion behind your delays, and you gain back some of your freedom.

Final Thoughts

If you��re a productive writer who��s still not where you want to be, you might have fallen victim to the quiet kind of procrastination that hides behind productive habits.

Once you understand what you��re protecting yourself from, you can make different choices. It��s also likely that you, like me, will suddenly become aware of just how much you��ve outgrown your current situation, and how much your creative self needs you to brave the next step.

After that, the only question is: do you have the courage to do it?

If you��re ready to name the pattern and shift it for good, Escape the Writer��s Web will help you identify your procrastination type and show you how to move forward in a way that fits your real creative life.

If you want hands-on guidance, join me for a live, virtual three-hour intensive workshop on September 20th.

We��ll cut through the emotional resistance, map your personal triggers, and build a system you can actually stick with. Discounted price available through September 8th!

Not sure where to start? Take this quick quiz to find out which procrastination type fits you best and where to go from there.

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Published on September 04, 2025 00:00

Make Yourself the Most Useful Writer in Your Critique Group

Critical response process turns you into the critique partner every writer wants: someone who offers actionable observations instead of opinionated fixes. Developed by choreographer Liz Lerman for dance and theater critique, critical response process teaches you to describe what’s happening on the page and why��skills that help fellow writers identify issues while sharpening your own revision abilities.

We��ve all been in critique groups where members jump straight into suggestions based on personal taste rather than sniffing out the underlying issue. CRP flips this by focusing feedback on observation and analysis. It��s a supportive approach that lets writers choose which suggestions to explore, creating an environment free from criticism or railroading.

The method is refreshingly simple: Describe what you observe, celebrate what’s working, and ask neutral questions that guide writers to their own discoveries about any elements that could use further development. This approach keeps authors in the creative driver��s seat while building analytical skills you can apply to your own writing.

The Asset Inventory

An often-overlooked but crucial element of effective critique is identifying what��s working well. This isn��t about the sandwich method (hiding criticism between soft, fluffy compliments) or saying something just to be nice or make someone feel good. Pointing out successes affirms the strategies the writer has chosen (some of which might have been instinctual), encourages productive directions, and prevents writers from needlessly revising writing that works.

It��s common as a new critique partner to get hung up on mechanical errors and particulars that are easily polished at a later stage. Instead, develop your eye for the craft. Can you spot the storytelling choices and details that are effectively supporting and moving the story? Can you articulate why they��re on target��beyond ��I liked it��?

Describing what and why builds your own skill at identifying writing that works and how��the foundational techniques for revising your own work. The more detail you can give about what you observe, the more actionable data you provide and the better you get at seeing how writing choices shape the reading experience.

Ask yourself what you noticed as you read. What stood out? What in this excerpt was notable?

Describe those observations using words like:

energizingevocativeprovocativemeaningfulsignificantexcitingmemorablesatisfyinginterestingeffective

Now pull it together into observations that show what��s creating an effective, vivid reading experience:

“That bakery scene on page 12 came alive for me.”“You wove the weather details seamlessly into the action. I felt the heat without any info-dumping.”“I burst out laughing when …”“Your sentence variety really caught my attention. The rhythm on page 7 pulled me right along…”“I’m completely hooked on whether Maya will make it to the audition.”��I enjoyed the image of the caf�� tables like scattered coins.”“I loved watching the dancers slowly sync up with each other.”“All that reflection about her childhood got me thinking about what Lee-Lee might do with these memories later.”“That running gag about the broken elevator had me grinning.”“The writing pace was perfect��everything tightened up as we approached the confrontation.”“This internal monologue really let me experience Tom’s confusion firsthand.”“So many moving parts here: the argument, what Graham��s remembering, his worry about Damien��s reaction, plus what the narrator’s highlighting. I loved the layered storytelling.”“The grief feels raw and authentic.”“That final image wrapped up the scene beautifully and left me desperate to see what happens next.”Describe and Analyze

Writing issues usually have multiple causes and potential fixes, so resist the urge to offer the first solution that comes to mind��that’s probably what works for your own writing, not someone else��s. You’re working in their story now, so expand your perspective.

For instance, a character you see as a stiff cardboard token might be articulated in technicolor detail elsewhere in the manuscript; they only feel flat because those characteristics aren��t coming through in the workshopped excerpt. That says more about the scene content and tension than it does characterization, so don��t rush into an incorrect diagnosis.

Stick to description. When you catch yourself thinking, “This character doesn��t seem to be emotionally invested here,” pinpoint exactly where that reaction kicked in. What did you notice that triggered that response?

The skills you build by doing this sharpens your analytical skills and helps you understand how writing choices create reader experiences��and it will transform your ability to revise your own work.

The Art of the Neutral Question

Once you��ve identified and articulated an issue, it��s up to the author to decide how to address it. Unless someone has specifically requested your ideas, advice on what to do next is often best left to experienced editors and coaches. There��s nothing more painful to a writer than having to listen to off-the-cuff ��solutions�� that don��t fit their vision for the story or characters.

Instead, offer observations as neutrally framed questions. The trick is to avoid embedding judgments or solutions in the question itself.

Don’t ask: Why do the characters shout all the time?
Do ask: What guided your decisions about dialogue tags and exclamation points in this passage?

Don’t ask: What do you think readers will say about killing off Marcus so early?
Do ask: Walk us through your decision about Marcus’s story arc.

Don’t say: I didn��t buy that she’s a trained spy.
Do ask: What’s the competency level you want readers to see in this character?

Don’t ask: Why did you write everything in present tense?
Do ask: How did you approach your tense choice for this story?

Don’t ask: Why does he hate his family so much?
Do ask: Can you describe the family dynamics you’re building for this character?

Don’t ask: Shouldn’t this flashback come later?
Do ask: How did you decide to place the backstory at this point in the narrative?

Once you��ve drawn attention to an area with a neutrally presented question, you can step back and let the creator decide whether to implement any changes and how.

Writing 101: How to Fix an Infodump

The latest post in our Writing 101 series is all about the dreaded infodump��when the author drops a landslide of information on the reader and the pace (and reader interest) grinds to a halt.

These big blocks of text often show up in early chapters when a writer wants to be sure they��ve explained everything clearly. They might cover a piece of the character��s backstory, an explanation of the world��s political history, or a user-manual description of how the magic system works.

How Infodumps Hurt Reader Engagement

At first blush, it seems like infodumps aren��t such a big deal. I mean, sharing information so readers know what��s happening in the story is a good thing, right? The problem is, as authors, we always think readers need more details than they actually do.

One of the issues with an infodump is that it never comes at a good time. If you start with it, you��re sharing information before the reader��s gotten a chance to know the character or get into the world. They recognize that the real story hasn��t started yet, and they start wondering when you��re going to get to the good stuff. Without knowing it, you��ve started a timer marking the reader��s dwindling patience and counting down to them giving up.

So maybe you don��t start with the infodump. Maybe you work hard in those first pages to introduce the protagonist, build reader engagement, create intrigue��all the things a strong opening needs. Then comes a story element you feel needs a little more explanation. So you drop the infodump there. And it kills that momentum. Readers recognize that the character��s story has been interrupted so certain information could be relayed, and they don��t appreciate it.

Timing aside, a more fundamental problem with infodumps lies in their makeup. Because they��re expository in nature, they lack conflict, tension, and interest. They��re simply a summary of something important we want the reader to know. The poor reader, who was happily engaged and immersed in the character��s story, has been kicked out of it and is now being talked at.

Regardless of when an infodump occurs, the result is the same: a slowed pace and decreased reader engagement. This isn��t the experience we want to give readers, so it��s best to avoid infodumps if at all possible.

Identifying the Dreaded Infodump

The first step is learning to identify infodumps in your writing so you can do something about them. They often show up in the first draft, which is fine, because drafting is all about getting the words on the page. Revision is when we examine those words to see how they can be refined and improved, so when you get to that stage, look for the following:

Big blocks of exposition. Often, these paragraphs contain little dialogue, movement, or action and can be identified by their lack of white space.Lengthy passages of a character��s thoughts. Whether they��re remembering a backstory event or ruminating about the setting, remember that thoughts are passive. Nothing is happening in real story time, and too much of that will seriously mess with the pace.Paragraphs that read like encyclopedia entries or news articles. They may explain history, systems, or relationships, but if they��re not connected directly to what��s happening in the character��s current story, they��ll read as dry.Information that��s not relevant. Ask yourself: Is it crucial that the reader know this right now? If it��s not tied to what the character is doing, feeling, or choosing in the scene, it��s probably not necessary at this point in the story.Places where you��re tempted to skim. If you��re skipping or hurrying past passages, readers will be doing it, too.Fixing an InfodumpKill Your Darlings

Many times, the information you��re desperate to include isn��t needed after all. In these cases, for the good of your story, they need to be cut. Try removing these bits and see if the story still works. If you have a hard time deleting those passages, keep the cut material in a separate file. Then you��ll have it in case you want to revise it and use it later in the story or even in another manuscript.

But what happens if your infodump really is necessary for clarity? You��ll want to reconfigure it so it��s delivered in a satisfactory way that doesn��t slow the pace.

Trim It Down

You��ve heard the old adage about how to eat an elephant? (One bite at a time.) The same principle applies to infodumps. Rather than explain everything at once, split the passage into manageable pieces. Leave the bare minimum that readers need to know right now, and save the rest to be doled out in bits and pieces later.

Deliver It Naturally

One of the reasons infodumps don��t work is because they��re boring. As authors, we tend to go on about the bits of worldbuilding or backstory we came up with and are super jazzed about. But it turns out readers aren��t as excited about the ancient feud that created a class inequity or the prevailing religious order��s creation myth. So if that information has to be shared, we��ve got to do it quickly and make it interesting. For instance, what if the character (instead of the author) provides a trimmed-down version of the info? If they do it themselves, in their own voice��using their word choices, comparisons, and worldview��it becomes part of the story instead of a disruption to it.

Don��t do this: The realm had been at war for centuries due to an age-old betrayal.

Do this: They say the war started over a broken treaty. But no one knows who did the breaking��only that we��ve been fighting ever since.

Connect It to Character Emotion or Motivation

If a detail matters to the character, it will matter to the reader. So make sure the details in your infodump matter in important ways. Use them to build tension, characterize, show the character��s fears or desires, or reveal why they��re struggling.

Don��t do this: Mira grew up in a strict household and a family with a long line of military fathers.

Do this: As the front door creaked open, Mira snapped upright, spine straight. It was pure muscle memory now, thanks to years living under the Colonel��s roof, where forgetting her father��s protocol meant rebukes, punishments, and an eidetic record of every wrongdoing.

Rewrite Passive Passages as Active Ones

Rewrite passive passages to include dialogue and action beats. This gives them a more active feel that keeps the pace snappy. It also seamlessly weaves information into what’s happening so the reader’s attention stays on the story, not on the infodump.

Don��t do this: The engine was powered by a plasma core that needed to be recharged every six hours.

Do this:

��How long until the next plasma core recharge?�� Sarah asked, scanning the readouts.
Jin sighed. ��It��s only been two hours. I��ll handle it before the six-hour mark.��
��Good. If this thing dies, we��ll be floating home.��
Jin didn��t bother saying he��d never let that happen. Two years in tight quarters with the universe��s biggest micromanager was long enough.

The truth is that while infodumps come from a good place (a desire for clarity), they also come with a lot of baggage (dragging the pace and pulling the reader out of the story). Instead of focusing on comprehension, aim for building curiosity, which only happens if you don��t explain everything. Layer in those important details as needed, as part of the story, and you��ll share what��s necessary without sacrificing reader engagement.

Other Posts in This Series

Dialogue Mechanics
Effective Dialogue Techniques
Semi-Colons and Other Tricky Punctuation Marks
Show-Don��t-Tell, Part 1
Show-Don��t-Tell, Part 2
Point of View Basics
Choosing the Right Details
Avoiding Purple Prose
Character Arc in a Nutshell

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Published on August 28, 2025 00:18

Is Your Amazon Book Page Doing Its Job?

Penny Sansevieri shares amazing tips and tricks for your Amazon book page to reach more readers.

You��ve published your book. Maybe even run a few Amazon ads, shared on social media, or gotten some solid reviews. But sales? They��re sluggish. You’re getting some traffic to your Amazon page��but not enough buyers.

Sadly this is pretty common and yes, there are a lot of reasons why this could happen. One thing that I find pretty consistently is that it comes down to your Amazon retail page: it isn��t converting shoppers into buyers.

The good news? Most of the time, this is a fixable issue. With a few strategic adjustments, your page can start turning visitors into buyers far more effectively.

Let��s explore the four key areas that influence how well your Amazon book page converts �� and how you can improve each one.

A Book Description That Sells (Not Just Summarizes)

Your book description is prime real estate. It��s the pitch that turns curiosity into a purchase.

Too often, authors treat this section like a back-cover synopsis. But what it really needs to be is a mini sales letter.

That doesn��t mean gimmicky or over-the-top. It means structured, emotional, and clear. It also means knowing what matters to your reader.

Here are some tips for your book description:

Lead with a standout editorial or reader review. Leading with either is a great way to draw new readers in because people like what other people like. Even if the buyer doesn��t know the reviewer personally, reviews still have great appeal �� especially when you lead off with one.Use white space and keep paragraphs short. For nonfiction, use bullet points and bold headers where appropriate.Your first 2-3 sentences (what comes after your standout review) make up your hook or elevator pitch. Here��s an example:

Instead of:
“Jane inherits her uncle��s vineyard and faces unexpected challenges.”

Try framing the story or content around a problem or promise:
A broken vineyard. A buried family secret. A second chance at everything she thought she lost.

Your book description should end with a compelling reason to buy.

Keywords That Bring the��Right��Readers

Keywords are often viewed as a visibility tool �� and yes, they��re essential for getting found in Amazon��s search engine. But they also influence conversion.

Why? Because not all traffic is created equal. The goal isn��t just more eyes �� it��s the��right��eyes.

If your keywords are too broad, irrelevant to your actual content, or targeting readers outside your ideal audience, your page will attract visitors who click�� then bounce.

A lot of times when I teach classes on keywords and the Amazon algorithm, authors are surprised to find out that they should use keywords on their retail page as well as the back end of Amazon. Why? Because Amazon ��spiders�� or ��crawls�� your retail page for ranking.

The right keywords also speak to your reader. Smart keywords act like a filter: they invite the exact readers who are most likely to hit ��Buy Now.��

Pricing That Matches Expectations

Your pricing says a lot �� not just about cost, but��value. Readers are savvy. They know what books in your category typically cost, and they make quick mental calculations about whether your price feels ��right.��

Things to consider:

Compare pricing with similar books in your genre �� both ebooks and print.If you��re launching a new book, consider using temporary price promotions to build momentum.Don��t underprice to the point that it devalues your work �� but don��t price so high that it pushes away readers who don��t know you yet.The .99 or freebie books have become much less appealing. There��s nothing wrong with a bargain, but bargain-hunting shoppers don��t always turn into fans. More often they just want a deal!Make sure your ebook and paperback are proportionally aligned. A $4.99 ebook paired with a $19.99 paperback may work. A $9.99 ebook with the same print price? Not so much.Amazon��s A+ Content

If you��ve ever seen a retail page with imagery that expand on the book��s topic, that��s Amazon��s A+ Content, and it��s free to anyone who has an Amazon retail page.

I love this content not just for its visual nature, but it helps keep readers on your retail page longer. It helps expand a nonfiction book��s topic, and fiction authors often use it to introduce characters, using images of what the characters look like.

Here are some ways you can use Amazon��s A+ Content

Reviews: you can include editorial reviews and awards but be prepared to show proof. This means that Amazon will email you, wanting to see award certificates or a link to the actual review.Ideas from the book: expanding on the benefits of your book, what it teaches the reader, etc.Character images for fiction books: some authors even use character quotes from the book.Series: use this space to showcase the entire series so new readers know there��s more to buy!

If you have published direct to Amazon using their KDP portal, there��s a place under the ��marketing�� tab where you can get started with this. If you have a publisher, ask them to do it for you. You��ll be glad you did!

Final Thoughts

Your Amazon page is the final step in the reader��s decision-making journey. It��s where interest turns into action. And, if you don��t sell direct or send readers to other platforms, it’s the only place your marketing efforts will lead to. That��s why it��s worth investing time in optimizing it. Not with guesswork or gimmicks �� but with clear, strategic improvements that help readers understand what your book offers and why it��s worth their time and money.

If you��re not sure where to start, there are tools and workbooks out there (yes, including mine!) that walk you through this process step by step. But even without one, a focused review of your keywords, description, price, and A+ Content can dramatically improve your page performance.

Penny Sansevieri is a book marketing powerhouse, a strategy-savvy copy queen, and the behind-the-scenes engine driving indie author success. With 23+ books under her belt and 24 years in the publishing game, she blends deep industry wisdom with a no-fluff, all-results approach. She’s the CEO of a dynamic all-women team, the host of a sharp and insightful book marketing podcast, and a relentless advocate for authors who want their books seen and sold.

From Amazon algorithm mastery to crafting binge-worthy pitches, Penny doesn’t just follow trends��she sets them. Learn more about Penny and her book marketing services here. Penny��s latest book: The Amazon Author Formula Workbook is a companion book to The Amazon Author Formula.��

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Published on August 26, 2025 00:00

Win Feedback on Your First 10 Pages

Good news, wonderful
writerly��people��it��s time for our monthly��Phenomenal First Pages��contest, where we help transform your story��s
opening from good to great!

If you need a bit of help with your opening, today’s the day to enter for a chance to win professional feedback! (We’ve had past winners tell us they’ve found their dream editors through this contest, and even ended up with offers of representation!)

Two winners will receive feedback on their first 10 pages!

Entering is easy. All you need to do is leave your contact information on this entry form (or click the graphic below). If you are a winner, we’ll notify you and explain how to send us your first page.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Two winners will be drawn. We will email you if you win and let you know how to submit your first 10 pages.Please have your pages ready in case your name is selected. Format with 1-inch margins, double-spaced, and 12pt Times New Roman font. You��ll need to supply a synopsis (a rough one is fine) so Stuart has context for his feedback.The editor you’ll be working with:Stuart Wakefield

With 26 years of experience in theatre, broadcast media, and coaching, I��ve developed a deep love of character and what drives them. My coaching style is warm, thoughtful, and practical��I believe writing a book can be hard sometimes, but more often than not, it should be fun.

As an Author Accelerator Certified Book Coach, I specialize in story development, with a particular focus on character backstory and emotional depth. I��ve helped writers develop powerful, satisfying stories that hold up to editorial scrutiny��and two of my clients have books coming out this year.

I hold an MA in Professional Writing, and my most recent novel, Behind the Seams, reached the semifinals of the BookLife Fiction Prize Contest, scoring 10/10 in every category. I��ve also been commissioned to write a play, and my first TV show��based around celebrity characters��is available to stream online.

Grab my free ebook on emotional resilience for writers and learn more about my services at: https://www.thebookcoach.co/

I��m also the host of the podcast Master Fiction Writing, where I explore the craft of storytelling with writers, editors, and creatives from all walks of life.

Sign Up for Notifications!

If you��d like to be notified about our monthly Phenomenal First Pages contest, subscribe to blog notifications in this sidebar.

Good luck, everyone. We can’t wait to see who wins!

PS: To amp up your first page, grab our First Pages checklist from One Stop for Writers. For more help with story opening elements, visit this Mother Lode of First Page Resources.

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Published on August 20, 2025 22:00

Colonel Mustard in the Ballroom: How Setting Shapes Mystery

Setting is a story element that must do double duty in any genre: it��s your backdrop, so it shouldn��t take over and become the story, but it should be chosen deliberately and used to both enrich and amplify your scenes. It should blend in and be influential.��

But this is especially true in mystery novels where the setting can limit suspects, suggest motives, provide clues, and shape the crime. So, let��s look at some different options for setting in mysteries.

The Locked Room

Using a locked room as a crime scene creates a seemingly unsolvable mystery that will flummox everyone (including most readers) and allow your detective to emerge as the brilliant sleuth who sees what others do not. Edgar Allan Poe was the first to use this type of setting in Murders in the Rue Morge, where two murders are committed in a room locked from the inside with no apparent way for the murderer to escape. Arthur Conan Doyle also used it in The Speckled Band.

As the author, you��re expected to give readers enough clues that they can play detective alongside the protagonist and solve the mystery themselves. That��s the draw of these stories. Readers want to try their hand at finding the solution, but they also want to see the detective best everyone.

However, most novels and stories that are referred to as locked room mysteries are in fact closed circles.

The Closed Circle

Think Soldier Island, in Agatha Christie��s And Then There Were None or the stalled train in Murder on the Orient Express. These are closed-circle mysteries in which the crimes occur among a limited, isolated group of people, with no one else coming or going��one of whom must be the murderer. The limited setting creates great psychological pressure because everyone becomes a suspect, and the group is trapped together in one form or another�� with the murderer. This means they all become paranoid, fearful and nervous, emotions authors can use to amplify an already stressful situation.

For this to work, however, the circle really must be closed. The setting must be truly isolated so that no one new can enter. A number of the characters should also have plausible motives for being the murderer, as well as some opportunity to commit the crime, so that the detective (and the reader) can��t easily cross anyone off their list of suspects.

And there��s that delicate balance to achieve between making it seem unsolvable but also giving readers the chance to figure it out. If they have no chance, they��ll feel cheated. If it��s too easy, they won��t read on.

A closed system means there��s only a limited number of possibilities. Someone in the isolated location is the murderer. But it��s not the only way to go in mysteries.

Needle in a Haystack

In Patricia Cornwell��s Postmortem, Kay Scarpetta and Pete Marino are looking for a serial killer in Richmond, Virginia. The killer might not even live there. They might have taken off. Throwing the doors open like this on your setting creates a different kind of stress on the reader. The killer is at large. They could be the person you ride the bus with every morning. They could be a coworker. And when they could be anywhere, the possibility of tracking them down feels monumental. The setting itself creates that panicky feeling these types of novels depend on for suspense.

Open systems create a greater possibility for both complexity and corruption. A lot can go wrong when you��re chasing someone in a city. There��s traffic. A person you��re following can give you the slip. There��s rivalry within departments and systems that can prevent a case from being solved.

But even in an open system, you still have choices.

Noir versus Cozy

Comparing noir and cozy mysteries is a great way to see how impactful setting can be in a novel. The noir subgenre features a gritty urban setting where corruption is rife, and no one can be trusted. You want weather? Think rain. Fog. Darkness. Rooms? Think smoky bars, shadowy back alleys. You can��t trust anyone to do the right thing, so cynicism and disillusionment are the order of the day. The streets are violent, and the violence is often graphically portrayed.

A cozy mystery is more likely to take place in a village or small town known for its quirky charm where everyone knows each other and there��s probably a bookshop with a cat in it. The tone is gentle, and the violence takes place offstage. The murder represents a disruption to the status quo rather than just another Tuesday in Baltimore. Cozy mysteries usually feature an amateur sleuth, as opposed to the hard-boiled PI who doesn��t get along with anyone.

Setting Amplifiers

Many aspects of setting can amplify a situation and heighten tension. Weather is one of them. In Postmortem, Patricia Cornwell made the summer particularly hot while the serial killer was on the loose. Why? Because hot summer evenings mean people are more inclined to leave their windows open.

Agatha Christie uses the weather in And Then There Were None to isolate Soldier Island: a storm means no one can get there to offer help��and no one can leave. A snowbank stops the Orient Express in its tracks. Snow also means someone will leave tracks behind, making it harder for a murderer to escape without leaving clues.

What��s key here is that your choices matter. If you set your novel on a cruise ship, boat-related plot points must play into the story��otherwise, why set it there? Ditto if you set it in a different historical era��like in by Umberto Eco. If the history doesn��t impact the mystery, then you��re not using your setting to its full potential��and your choice will be confusing. Readers assume every decision an author makes is intentional��especially in a mystery where every small detail might be a clue.

The Place Shapes the Crime

This is another consideration for the choices you make about setting. A small-town murder won��t feel the same as a political assassination. The crimes themselves should be impacted by where they take place. There��s a lot of wiggle room here because incongruity can work in your favor��as long as you recognize it and use it.

Location, Location, Location

Setting is ��only�� the backdrop, but in a mystery it��s also the crime scene which makes it a key element of your story. Choose your setting wisely, and once you��ve chosen it, use it to its full potential. Make the setting work in your favor so that it amplifies the tension of your scenes and creates obstacles for your characters.

Quick Recap:��Setting is important in any genre but doubly so in mysteries where it can limit suspects, suggest motives, provide clues, and shape the crime. This post shows the different types of settings in mysteries and how they can amplify tension.

Harness the power of the setting with The Rural Setting Thesaurus and The Urban Setting Thesaurus.

Part how-to, part brainstorming tool, they��re like a masterclass in maximizing your setting. Access sights, sounds, smells, tastes, and textures of 100+ natural and personal locations or over 120 modern locations.

These books will help you:

Immerse Readers in the StoryAdd Depth and MoodGenerate Realistic Conflict in the Perfect LocationsUse Setting to Shape Plot��Utilize Figurative Language for Powerful, Layered Descriptions. Repurpose descriptive details as metaphors that add layers of meaning and stir the reader��s emotions.

The post Colonel Mustard in the Ballroom: How Setting Shapes Mystery appeared first on WRITERS HELPING WRITERS��.

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Published on August 18, 2025 23:00

How to Use the Four Levels of Conflict to Strengthen Your Story

A cardinal sin of storytelling is to skimp on conflict, and no wonder. Those problems, challenges, obstacles, and inner struggles help keep readers engaged, casting doubt on the character��s ability to achieve their goal.

Because readers are focused on what��s happening from one scene to the next, it can appear that conflict is only occurring moment to moment. It��s actually present at different levels in the story, not just at the scene level. Understanding the levels of conflict and how various challenges will interact is key to building a rich, powerful story, so let��s dive in.

Level 1: Central Conflict

Every story will have an overarching conflict that should be resolved by the end of the book. Whether your protagonist is trying to prevent evil creatures from entering their world (Stranger Things), stop the terrorists who have taken over Nakatomi Tower (Die Hard), or find the groom and get him to his wedding on time (The Hangover), they must address that problem. The central conflict for any story will take one of six forms:��

Character vs. Character: The protagonist goes up against another character in a battle of wits, will, and strength.Character vs. Society: The protagonist takes on society or an agency within it to bring about necessary change.Character vs. Nature: The protagonist battles a form of nature, such as the weather, a challenging landscape, or its animal inhabitants.Character vs. Technology: The protagonist faces a manufactured foe, such as a computer or machine.Character vs. Supernatural: The protagonist confronts a force that exists outside their full understanding. This may involve an encounter with fate, a god, or some other magical or spiritual foe.Character vs. Self: The protagonist experiences a large-scale internal battle of clashing beliefs, hopes, needs, or fears.

The central conflict locks the wheels of your story��s roller coaster onto a specific track so the macro and micro challenges you add will support plot and character development.��

Level 2: Story-Level (Macro) Conflict��

Some conflicts present bigger problems that your character doesn��t have the means or ability to solve. These threats loom over much of the story, and the protagonist will have to work through them while handling other immediate, scene-level dangers and challenges.��

For example, in Die Hard, John McClane is one man against an organized, armed group who have taken over Nakatomi Tower. His central conflict (character vs. character) is to stop the terrorists and save everyone in the building, especially his wife. That on its own seems impossible, but it��s complicated by a few other problems he also must deal with: keeping Holly��s identity as his wife a secret so the terrorists can��t use her as leverage, figuring out Hans Gruber��s real motive for taking over the tower, and doing it all despite the bungling interference of a grossly inept FBI.

And in the back of his mind is the most challenging problem of all, the one that brought him to California in the first place: how to fix his crumbling marriage and reconcile with Holly before it��s too late.

Large-scale conflicts like these will need to be addressed by your protagonist, but they won��t be ironed out immediately. Very often, the character will have to work on these issues in stages as they dodge danger and achieve smaller goals from scene to scene.��

Level 3: Scene-Level (Micro) Conflict

Conflict at the scene level comes in the form of as-it-happens clashes, threats, obstacles, and challenges that get between your character and their goal. The character is trying to handle what��s right in front of them, deal with inner struggles, and above all else, prevent disaster.

Sometimes they succeed and sometimes they fail��and failure is part of the process, by the way. Setbacks are necessary to increase the pressure, introduce complications, raise the stakes, and force your character to examine why things went wrong. This last one is especially important for characters on a change arc since internal growth is crucial for them to successfully achieve their story goal.

In Die Hard, John McClane pulls the fire alarm so first responders will arrive and discover what��s going on in the tower. This fails when the terrorists convince the fire department it was a false alarm. Worse, it places a target on John��s back because now Hans Gruber and his mercenaries know that someone in the building is working against them. A manhunt results with John, unarmed and barefoot, fighting to stay a step ahead in each scene by outwitting, overpowering, and killing those sent to eliminate him.

Level 4: Internal Conflict��

Another form of conflict takes place within the character. At the macro level, it��s the main internal struggle the protagonist must address to achieve their story goal.��

John McClane��s marriage is a breath away from breaking because he��s self-absorbed and unaccommodating, believing his needs and career should come first. Holly, rather than become a minimized puzzle piece in John��s world, moves herself and their children across the country to follow her own professional dream. John visits her with the goal of reconciling, but he��s really hoping that her choices have shown her she��s better off in New York with him. Instead, he finds her happy, thriving in her career, and independent��so independent, she��s using her maiden name.

This ego hit makes John realize that getting her back won��t be easy, and if he wants to make it work, he might have to make some sacrifices. This sets the stage for his inner conflict��putting himself or others first. With Holly in mortal danger, he realizes how selfish and unsupportive he��s been and wants the chance to tell her so. This awakening is John��s first step toward resolving his inner conflict, which he achieves when he does everything within his power to stop Hans and protect Holly, no matter what the personal cost.

Internal conflict also happens at the micro level with conflicts arising in individual scenes. Faced with the crushing force of painful circumstances, pressure, and opposition, characters often struggle with what to do, knowing right from wrong, and even what they should feel. Conflicting emotions and competing desires, needs, and fears can paralyze a character, cloud their judgment, and make decisions and choices that much harder.

Conflict Powers Our Story

External or internal, macro or micro, conflict powers your story.

It pushes and pressures the character, stands in the way of his greatest desire, and strains him to his limits, making him want to quit. Then he��ll have to show his strength and prove his worthiness by fighting, making sacrifices, and being willing to change to achieve his goal.

Encourage Uneven Matchups

As you��re strategizing ways to use the four levels of conflict in your story, look for opportunities to highlight inequities. When we engineer story elements to be unbalanced, it generates immediate friction by putting the protagonist at a disadvantage. Let��s return to Die Hard and look at some of the disparities.��

At first glance, John��s experience as a seasoned New York police officer seems like he has the skills to deal with a threat like Hans Gruber. Only��Hans isn��t alone, and John is unarmed and in an unfamiliar place. Worse, when the building is taken over, he��s trapped with no leverage or resources��not even a pair of shoes. Hans, on the other hand, has a team of skilled and well-armed mercenaries with full building access and plenty of hostages, including John��s wife.

This imbalance makes stopping Hans and protecting Holly seem futile, and for much of the movie, John��s goal is out of reach. But his inventiveness at handling conflict at the scene level��taking out his enemies one by one, dropping a dead body on a car to draw a policeman��s attention, getting his hands on a weapon, and stealing Hans�� detonators��allows him to balance the scales.

Winning becomes possible. His actions when dealing with conflict also give readers a chance to see who he really is!

Want your conflict to go further?

The Conflict Thesaurus: A Writer��s Guide to Obstacles, Adversaries, and Inner Struggles (Volume 1 & Volume 2) explores a whopping 225 conflict scenarios that force your character to navigate power struggles, lost advantages, dangers, threats, moral dilemmas, ticking clocks, failures & mistakes, and much more!

Brainstorm the perfect story problem or challenge for your characters, pushing them to adapt and bring their A-game if they are to achieve their goal.

The post How to Use the Four Levels of Conflict to Strengthen Your Story appeared first on WRITERS HELPING WRITERS��.

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Published on August 14, 2025 00:05

How to Pair Your Book��s Beginning and Ending to Satisfy Readers

Okay, fair warning��what you��re about to learn in this article might spoil movies, TV shows, and books for you forever. BUT��as a writer, you have to peel back the mechanics of story to understand how to make your book awesome, so even if you hate spoilers you��re going to love having the inside track on this one.

The secret you may or may not have ever noticed is that many times, the beginning and ending of stories are paired or mirrored in some way. The untrained audience or reader doesn��t notice that the story is complete. That it��s come full circle. They just know they like it. The good news is, applying this technique to your novel isn��t that difficult, and can mean the difference between a reader finishing your last sentence with a solid ��meh��, or experiencing a profound emotional payoff, leaving them thinking about your book for days and weeks after, whether the ending was happy or sad.

Let��s look at how beginnings and endings work, why pairing them is so effective, and the steps you can take to craft your own.

What Makes a Good Beginning or Ending?

The beginning of your story is more than just the opening scene��it��s a contract with your reader. In those opening pages, you establish:

Your character��s current world and worldviewWhat they want most and what��s at stake if they don��t get itThe tone, style, and genre of the bookKey themes that will be explored

In genre fiction, your opening scene needs to pull the reader into a specific moment that demonstrates the above with your amazing showing details. This is why backstory gets a thumbs down from readers; it doesn��t show us what will be in your story, only what came before. Long descriptions, or action that��s disconnected from the above points won��t draw readers in, either.

Instead, pick a scene that shows us what ride we��re about to get on. You may have to revisit your opening scene many times as you write your book��that��s normal. But not to worry, it��s because the opening is so important that you have to get it right. Not every scene in your book has to do this heavy lifting, and won��t require the same amount of effort.

When readers meet your main character in a scene that shows them something important about them, such as their misbelief about the world, or their ��wound��, and hints at how your story will challenge them, it��s a great place to start.

Your book��s ending is the resolution of that contract. It:

Shows your character in their new, changed state (or possibly locked in their inability to change)Resolves conflicts and questions raised throughout your book

A great ending also ��feels inevitable, yet surprising�� a phrase often attributed to Aristotle that leaves many writers shaking their heads. Yes, it��s a tall order to both leave readers wowed by your dazzling ending they didn��t see coming, yet also with the feeling that there was no other possible way that your story could have ended.

Mirroring your beginning and ending in some way can create this sense of inevitability that readers crave, while still leaving room for your creative twists and turns. Human brains are wired to look for patterns and closure. When they recognize an echo from the opening in the ending, it gives them the satisfaction of a closed loop.

How This Works in Movies, TV, and Children��s Books

My kids groan when we watch TV or movies together, because I can often predict from the opening scene what will happen in the end. I can��t usually guess the whole resolution, but I��ll notice a quirky detail in the opening scene that feels deliberate, and will make a great mirror in the end. Most times, as predicted, that detail is echoed somehow in the closing scene, eliciting even more groans from my family, and maybe the occasional pillow thrown at my head.

The average watcher doesn��t notice, but skilled screenwriters insert these details all the time. For example, if the show opens in a hospital, I predict that the closing scene will end up there as well. If a show starts with a woman feeding her cat, I might guess that the cat isn��t going to make it to the end of the show for some reason, and the same woman would be shown missing her cat at the end (I��m sure you can see why I��m wildly unpopular at movie night in my house).

Now, not everything about the beginning and ending of your book can be the same, of course. That would be too obvious, not to mention superbly unoriginal. But choosing a setting, an activity, or an interaction with a particular character to mirror allows the writer to show how much has changed in the world and about the character since the story started, using lots of juicy showing details such as dialogue, actions, reactions, inner thoughts, and setting (want to learn more about how these elements work together? Get more info HERE)

The beginning and ending of children��s books almost always work this way, too. These picture books are compact, so the pairing is easy to see. Here are a few examples:

Dr. Seuss��s Oh, the Places You��ll Go!

Beginning: ��Congratulations! Today is your day. You��re off to Great Places! You��re off and away!��

Ending: ��Today is your day! Your mountain is waiting. So��get on your way!��

The phrasing isn��t identical, but the end echoes the opening sentiment that the reader is destined to go places.

Chris Van Allsburg��s The Polar Express

Beginning: A young boy listens for Santa��s sleigh bells

Ending: The boy has grown older, but he can still hear Santa��s sleigh bells, when others can��t��cementing the theme of belief.

Choosing Your Beginning and Ending

Using this technique when you��re planning can give you bookends for your book��s outline. But if you missed the opportunity and you��ve already started writing your book, you can tweak your beginning and ending during the revision process instead. Comparing your beginning and ending scenes can also help you see where you��ve done a great job of mapping your character or worldbuilding arcs, or where you might need to focus some attention.

When choosing how to mirror your beginning and ending, get creative, looking for ways to repeat or invert elements. Explore using:

A similar settingA repeated object or symbol that means something different to readers by the end of the book than it did at the beginningA change in a character��s role in a similar situationA repeated line of dialogue that was used in the beginning that now has new significance

You also want to make sure that your satisfying ending wraps up any threads or questions you��ve opened along the way. So, before you end your story, go back through your scenes and look for threads you may have dropped (forgotten to wrap up!) along the way, and address them.

Any conflict, tension, or mysteryAny characters introduced but then forgottenAny relationships that were growing or changingAny wants that your character had. Did they find success, failure, or something in between?

Addressing these open threads doesn��t mean you have to tie everything up neatly with a bow. It also doesn��t mean that you have to give away material you plan to introduce in future books in the same series. But it does mean you should give readers an answer for now, even if it turns out there��s more to the story in future books, so that they leave this book feeling complete.

You can��t ever be sure that every reader is going to love your book, but pairing your beginning and ending is a powerful (and invisible) technique you can use to make sure you��ve delivered a satisfying story. When your opening and closing pages work together, you create a sense of closure that will resonate long after your reader closes your book.

And now, every time you open a book or watch a movie or your favorite episode of Grey��s, you may curse me for pointing this out to you, but you��ll suddenly understand why a great ending feels so good, and your loss of innocence will be worth it. You��re welcome.

Want to work with me to make sure your book will satisfy readers? Take a look at my Editing and Book Coaching services HERE��. Ready to get started? Fill out my intake form and we��ll see if we��re a match!

The post How to Pair Your Book��s Beginning and Ending to Satisfy Readers appeared first on WRITERS HELPING WRITERS��.

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Published on August 11, 2025 22:26

How to Show Your Character Is Healing from an Emotional Wound

When it comes to writing a story where a character is going to work through a difficult past wound, there are two behavioral states to convey: one showing their brokenness and dysfunction, and one displaying hard-won insight, self-acceptance, and increased self-worth, all important aspects of growth.

Ironically, writers tend to struggle more with how to show a character��s healthy behavior than they do the downward spiral. (Maybe after all the lessons on tension and conflict, we��ve gotten very good at throwing rocks? Or we��re just all a bit more sadistic that we��re likely to admit!) Either way, that shove down the hill is less stressful to write than the painful crawl back up it.

Here��s what I know: change is painful, both in the fictional world and the real one. Transformation doesn��t happen overnight. So when it comes to showing our character��s path to healing in the aftermath of a destructive wound, we need to take it slow. Trusting others, especially after one��s been hurt, is hard. And believing again in hope, that a better tomorrow is possible? This is often the most difficult thing of all.

How Does Change Happen? HINT: Self-Awareness

Yearning for something better forces an awakening of sorts. Usually a character is stuck in denial or is simply avoiding her problems, but when a meaningful goal draws her attention, she must look within to examine how she can better help this reality happen. Often this moment is a bit of an epiphany about how her own dysfunctional behavior has caused trouble in her life.

This self-awareness, paired with a deep desire for something currently out of reach, can trigger the first shuffle closer to change. Let��s break down the important stepping stones that will help you map your character��s path forward to a better reality.

Step 1: Taking Ownership and Envisioning a New Reality

A critical first step toward positive change involves a willingness to acknowledge the way she copes with problems, especially those that trigger the fears tied to her past wounds, are harmful or dysfunctional. Seeing this, and taking ownership, marks an important shift in mind-set. Finding the courage to look within and identify one��s own unhealthy attitudes and behaviors so one can change them is a big deal. As she does this, she visualizes how her life can be better, and it helps her chart a course toward the goal that will fill her longing within.

Step 2: Creating Small, Achievable Goals

Her newfound awareness and shifted outlook allow her to resist the lure of fear and, instead, feel hope. But the ground of this new perspective is shaky. To avoid a relapse when disappointment or failure hits, the character should set smaller, achievable goals that lead her toward a larger one. Each victory will increase her self-esteem, empowering her, and even if she encounters minor setbacks, she should be able to power through them.

Step 3: Adopting Good Habits

A big part of committing to a new course of action is recognizing these problem areas and making an active choice to replace bad habits with good ones. Showing your character taking better care of her health (by eating properly, getting more sleep, improving her hygiene, and exercising) will let readers know she��s actively trying to improve. A character can also move away from toxic friends and influences to make room for loved ones. Seeking education and other forms of self-improvement are also good signs that a shift is taking place in the character��s mind.

Step 4: Packing an Emotional Parachute

Despite your character��s newfound attitude and determination to achieve better results, setbacks may happen. If she isn��t ready for these, it could be easy for her to fall back into the emotional traps of denial or avoidance. Unless you��re intending to show only a temporary improvement, you don��t want her to revert to past negative coping strategies, such as drinking too much, playing the blame game, or becoming emotionally reactive. She can incorporate these setback survival techniques instead:

Identify the Downward Spiral. Patterns are hard to break, so when disappointment comes, your character��s self-esteem and self-worth are likely to be impacted. This can quickly turn into a hopeless whirlpool that will drag her emotions into a dark place. If your character recognizes what��s happening, she can make an active decision to take back control.

Focus on the Positive. Instead of only dwelling on what went wrong in a situation, show your character also looking for what went right. Small successes can be embraced and celebrated, offering perspective.

Take a Time-Out. The character can go for a walk, spend time with a friend, listen to music, meditate, or participate in a hobby that helps her de-stress and change her outlook. (If you choose this strategy, just make sure it doesn��t interfere with the story��s forward momentum.)

Give Back. If your character is pessimistic and there��s a risk of her spiraling into old habits, give her an opportunity to do something nice for someone else. Assisting others or doing a good turn can provide the mental boost that��s needed to get the character back into a positive frame of mind.

Confide. Sometimes your character just needs a listening ear or a supportive shoulder. Having her reach out instead of shutting down is another way to show she��s dealing disappointment or failure in a healthy way.

Adopt Humor. Another method of coping with adversity and struggle is to keep a sense of humor. Joking about a situation or making light of one��s role in it may diffuse some of the character��s frustration and can promote camaraderie with other members of the story��s cast.

Step 5. Make a Plan of Action (And Stick to It)

Finally, the character will need to hit checkpoints to achieve the overall goal. Have her identify what needs to be done, anticipate potential problems, and then follow through with her plan, even when it gets tough. This commitment will show that she has the goal solidly in her sights. It will also provide her with the ability to make any sacrifices that are necessary to reach her goal.

What sort of things does your character do to cope with the long road ahead, especially setbacks? Let me know in the comments!

Emotional wounds are incredibly formative, changing how a character views the world, causing trust issues, damaging their self-worth, dictating how they will interact with other people, and making it harder for them to achieve their goals.

In addition to 120+ entries, The Emotional Wound Thesaurus: A Writer��s Guide to Psychological Trauma contains instructional front matter to help you understand wounds and how they��ll affect your character and story. With chapters about the wound��s aftereffects and how the event ties in to the character arc, along with ideas on brainstorming your character��s wound and how to best reveal the trauma to readers, this book will be your go-to resource for connecting the backstory dots and coming up with characters who are well-rounded and realistic.

The post How to Show Your Character Is Healing from an Emotional Wound appeared first on WRITERS HELPING WRITERS��.

View more on Angela Ackerman's website »

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Published on August 07, 2025 00:58

How to Show Your Character Healing from an Emotional Wound

When it comes to writing a story where a character is going to work through a difficult past wound, there are two behavioral states to convey: one showing their brokenness and dysfunction, and one displaying hard-won insight, self-acceptance, and increased self-worth, all important aspects of growth.

Ironically, writers tend to struggle more with how to show a character��s healthy behavior than they do the downward spiral. (Maybe after all the lessons on tension and conflict, we��ve gotten very good at throwing rocks? Or we��re just all a bit more sadistic that we��re likely to admit!) Either way, that shove down the hill is less stressful to write than the painful crawl back up it.

Here��s what I know: change is painful, both in the fictional world and the real one. Transformation doesn��t happen overnight. So when it comes to showing our character��s path to healing in the aftermath of a destructive wound, we need to take it slow. Trusting others, especially after one��s been hurt, is hard. And believing again in hope, that a better tomorrow is possible? This is often the most difficult thing of all.

How Does Change Happen? HINT: Self-Awareness

Yearning for something better forces an awakening of sorts. Usually a character is stuck in denial or is simply avoiding her problems, but when a meaningful goal draws her attention, she must look within to examine how she can better help this reality happen. Often this moment is a bit of an epiphany about how her own dysfunctional behavior has caused trouble in her life.

This self-awareness, paired with a deep desire for something currently out of reach, can trigger the first shuffle closer to change. Let��s break down the important stepping stones that will help you map your character��s path forward to a better reality.

Step 1: Taking Ownership and Envisioning a New Reality

A critical first step toward positive change involves a willingness to acknowledge the way she copes with problems, especially those that trigger the fears tied to her past wounds, are harmful or dysfunctional. Seeing this, and taking ownership, marks an important shift in mind-set. Finding the courage to look within and identify one��s own unhealthy attitudes and behaviors so one can change them is a big deal. As she does this, she visualizes how her life can be better, and it helps her chart a course toward the goal that will fill her longing within.

Step 2: Creating Small, Achievable Goals

Her newfound awareness and shifted outlook allow her to resist the lure of fear and, instead, feel hope. But the ground of this new perspective is shaky. To avoid a relapse when disappointment or failure hits, the character should set smaller, achievable goals that lead her toward a larger one. Each victory will increase her self-esteem, empowering her, and even if she encounters minor setbacks, she should be able to power through them.

Step 3: Adopting Good Habits

A big part of committing to a new course of action is recognizing these problem areas and making an active choice to replace bad habits with good ones. Showing your character taking better care of her health (by eating properly, getting more sleep, improving her hygiene, and exercising) will let readers know she��s actively trying to improve. A character can also move away from toxic friends and influences to make room for loved ones. Seeking education and other forms of self-improvement are also good signs that a shift is taking place in the character��s mind.

Step 4: Packing an Emotional Parachute

Despite your character��s newfound attitude and determination to achieve better results, setbacks may happen. If she isn��t ready for these, it could be easy for her to fall back into the emotional traps of denial or avoidance. Unless you��re intending to show only a temporary improvement, you don��t want her to revert to past negative coping strategies, such as drinking too much, playing the blame game, or becoming emotionally reactive. She can incorporate these setback survival techniques instead:

Identify the Downward Spiral. Patterns are hard to break, so when disappointment comes, your character��s self-esteem and self-worth are likely to be impacted. This can quickly turn into a hopeless whirlpool that will drag her emotions into a dark place. If your character recognizes what��s happening, she can make an active decision to take back control.

Focus on the Positive. Instead of only dwelling on what went wrong in a situation, show your character also looking for what went right. Small successes can be embraced and celebrated, offering perspective.

Take a Time-Out. The character can go for a walk, spend time with a friend, listen to music, meditate, or participate in a hobby that helps her de-stress and change her outlook. (If you choose this strategy, just make sure it doesn��t interfere with the story��s forward momentum.)

Give Back. If your character is pessimistic and there��s a risk of her spiraling into old habits, give her an opportunity to do something nice for someone else. Assisting others or doing a good turn can provide the mental boost that��s needed to get the character back into a positive frame of mind.

Confide. Sometimes your character just needs a listening ear or a supportive shoulder. Having her reach out instead of shutting down is another way to show she��s dealing disappointment or failure in a healthy way.

Adopt Humor. Another method of coping with adversity and struggle is to keep a sense of humor. Joking about a situation or making light of one��s role in it may diffuse some of the character��s frustration and can promote camaraderie with other members of the story��s cast.

Step 5. Make a Plan of Action (And Stick to It)

Finally, the character will need to hit checkpoints to achieve the overall goal. Have her identify what needs to be done, anticipate potential problems, and then follow through with her plan, even when it gets tough. This commitment will show that she has the goal solidly in her sights. It will also provide her with the ability to make any sacrifices that are necessary to reach her goal.

What sort of things does your character do to cope with the long road ahead, especially setbacks? Let me know in the comments!

Emotional wounds are incredibly formative, changing how a character views the world, causing trust issues, damaging their self-worth, dictating how they will interact with other people, and making it harder for them to achieve their goals.

In addition to 120+ entries, The Emotional Wound Thesaurus: A Writer��s Guide to Psychological Trauma contains instructional front matter to help you understand wounds and how they��ll affect your character and story. With chapters about the wound��s aftereffects and how the event ties in to the character arc, along with ideas on brainstorming your character��s wound and how to best reveal the trauma to readers, this book will be your go-to resource for connecting the backstory dots and coming up with characters who are well-rounded and realistic.

The post How to Show Your Character Healing from an Emotional Wound appeared first on WRITERS HELPING WRITERS��.

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Published on August 07, 2025 00:58