How to Craft Catchy Dialogue

Writing dialogue is an effective way to show the reader what’s happening in your story. But get it wrong and you risk loosing the readers interest. In a previous post I showed the Do’s and Don’t of writing dialogue – check it out if you haven’t already. Today I thought it would be helpful to go over some fundamental pointers in how to get your characters to show the world you’ve created through dialogue.

Tip 1 – Write as often as you can, read vicariously and listen intently. People listening is the best way to grasp dialogue. Take note when watching you favorite TV show, and see how each character is portrayed through the words they speak. People/ characters talk differently, so listen in and take pointers. Some are blunt and stoic, some blunder and waffle, while others wend beautiful, lyrical tales. Remember: be aware of whats being said, and equally what’s not being said.

Tip 2 – Don’t forget to add body language. Not only will this bring your character and the scene to life, but subtle body movements add depth to what’s being said. An easy smile changes a casual, ‘hello and welcome’ into a warm and generous greeting. Whereas, a pinched brow and clipped tone add a different meaning. Perhaps this character feels obligated to welcome someone, or maybe they’re in a bad mood.

Tip 3 – People often don’t say what they’re thinking or feeling, so layer up the context with internal dialogue. It’s a great way to show conflict and build tension. Mary pasted on a fake smile, and opened the door. “Hello and welcome.” God, she despised this woman. And yet her role as manager forced her to be polite, when what she really wanted was to slam the door in her face.

Tip 4 – Use contractions. Don’t be afraid to shorten or combine words, to help the character sound as natural as possible. While a professor may use precise wording, a student will often use contractions. For example: Let’s, I’m, who’s and they’re.

Tip 5 – Cut unnecessary words. In real life we tend to stutter, flounder, and add filler noises like umm, well, basically, so, hey, hi, good day and how are you? Such words when used in dialogue slow the pace and become boring. Readers don’t need constant polite introductions or goodbyes, they want dialogue that keeps the momentum of the story going. Remember – that’s not to say never use such words, just be conscious not to fill your dialogue with them.

Tip 6 – Dialogue must serve a purpose to advance the story. The whole point of writing dialogue is to show the reader things that progress the plot, build characters, show backstory and/ or entertain. It doesn’t drone on just for the sake of having characters converse. Keep everything succinct to the story and integral to the characters.

Tip 7 – Read your dialogue out loud. Make sure it sounds realistic, and then make sure it sounds like your character. Each character will have their own distinct voice. Your character may have an individual turn of phrase, or often call people buddy. These things can really help to differentiate them within your story.

Do you have any tips on how to write great dialogue? Or perhaps you have a great line that you’d like to share from your current WIP. If so, please share it, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

3 Fun Exercises to Help You Create Irresistible Characters

I would like to introduce you to Desiree Villena. A writer with Reedsy, a marketplace that connects authors with the world’s best publishing resources and professionals. In her spare time, Desiree enjoys reading contemporary fiction, writing short stories, and giving (mostly) solicited advice to her fellow writers. You can check out Reedsy at Twitter / Instagram.

There are two crucial pillars that hold up a good novel: first, there must be a compelling plot, and second, there must be nuanced characters who undergo this journey. Plot goes hand-in-hand with the central conflict and its resolution, so these elements are often intertwined!

Of course, not every story requires an examination of the deepest crevices of a character’s soul — but the complex layers of a protagonist often still bubble to the surface, even when they’re not explicitly explored. Just as a charismatic and thoughtful person charms others, well-developed characters are irresistible to readers, literary agents, and publishers alike.

So how can you craft characters who will feel believable, evoke sympathy, and rope your readers in? There’s no one single way to achieve this, but the three exercises I’ll be sharing with you below can get you thinking about the many facets of a round character.

1. Let your protagonist win the lottery

This is a common thought experiment when thinking about the question: “What do you want to do with your life?” Before we get distracted by questioning our own raison d’être, let’s consider  how this exercise works.

Assume the prize for hitting the jackpot is hefty — so big that physiological security is no longer a remote  concern for your character. Without having to worry about survival, what would your character do with their money and, more importantly, their time?

What they choose to do has profound implications for their personality, their aspirations, and their skills. If your character decides to use that money to open a pottery shop, they must be somewhat entrepreneurial and industrious. They might be passionate about pottery, or they’re perhaps less aware of social issies than wider society, considering the fact that they didn’t choose to funnel their resources to a charitable cause. This exercise might also flag up certain areas of specialty you have to research, if you want it included in the story.

The decision of how to use this prize also opens up options regarding their interests and background, e.g. whether they’ve studied this art before, or if it was part of their family history or business. In any case, it’s fun to imagine this kind of scenario, since there are so many possibilities available.

You can frame this writing exercise as an interview of the character by a news outlet, or a conversation the character has with a close friend, outlining their plan. And of course, not every story setting has a lottery, so you can tweak the prompt to suit your needs (maybe your character unknowingly dug up a pot of gold) — just to make it feel more realistic, even if you don’t end up including their “lottery plan” in your actual story.

2. Trap them somewhere alone

In a modern setting, your protagonist might get trapped in a broken elevator — or, if you really want to push your character to the limit, perhaps a crashing plane. In a sci-fi setting, the place could be a lonely and malfunctioning spacecraft (think The Martian). In a medieval setting, it could be a random sinkhole in the middle of an empty forest.

What you want to do in this scenario is the reverse of exercise #1: you want to remove practically all possibilities from your character and see how they react. Are they angry, or are they anxious? Is your character debilitated by the seriousness of the circumstances, or is their brain whirring, trying to find a solution? If they’re working on a course of action, what skills do they have to come up with and realize this plan?

Even if they’re not being uncannily resourceful and clear-headed, you can delve into what’s going on in your protagonist’s mind. Who and what are they thinking of, now that they’re coming dangerously close to death? Are there any regrets? Do they have certain memories that make this situation especially traumatic, or escape more difficult?

If you’re up for a challenge, try weaving in the emotional or psychological entrapments your character feels into your story. Let the physical space be a metaphor for the obstacles your character faces in life. This way you can explore both the mannerisms and inner thoughts of your protagonist, and the internal struggle that builds onto the central conflict of your story.

3. Create a social media account for your character

Now I know this doesn’t make logical sense in every scenario — 15th-century knights don’t usually stop on their way to battle to post a quick Instagram story — but it’s an entertaining exercise to develop the social life and behaviors of your protagonist. And of course, you don’t have to actually create an account on Facebook or Twitter; just describing it will suffice.

What can you include in this description? Well, anything, really. Is this account used to keep in touch with close friends, or is it for a practical purpose like book marketing? (Meta!) How many friends or followers do they have? Does your character interact a lot, and what kind of content do they share?

Indeed, just by picking a social media platform, you’ve already determined some things about the character. If it’s Facebook, your protagonist might be the eloquent and argumentative type — as opposed to Twitter, where the character limit means Tweets are more concise and oftentimes quippier.

Feel free to experiment with the tone as well. Though this prompt probably gets you thinking about a contemporary setting, if your character’s from another era, you can definitely use the appropriate vocabulary and language style. (You might know of fanfiction social media accounts where the fans roleplay as book characters on Twitter — this is somewhat similar to that.) Here’s your chance to work on the voice of your character.

And that’s the nice thing about exercises like these: they don’t just make you ponder all the details you’d normally include in a character profile, they also let you experiment with your portrayal of your characters in a fun and creative way. Hopefully these exercises give you some inspiration for writing characters who are hard to forget!

I want to say a massive thank you to Desiree. I’m sure you’ll agree she writes excellent post and that Reedsy is a valuable writing resource. I know I’ll be checking out their posts. Once again, You can follow Reedsy at Twitter / Instagram.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

Novel Crafting – 12 Character Archetypes

Hello my fellow creators, and welcome to this weeks post. Have you ever wondered what archetype your character falls under? Or perhaps you’re outlining a new project and brainstorming who to include in your story. Hopefully, you’re wondering what character archetype would most benefit your story. Well, I’m here to help with a fun Inforgraph outlining the main 12 Character Archetypes. So lets delve a little deeper…

Those who yearn for utopia

Characters who fall under this category all ultimately desire the same thing, but their background, strengths and weakness all create a character with different needs and/or goals. The Innocent / Child – yearns for safety and happiness. They’re imaginative, open-minded and trusting. However: They have a low position of power, fear punishment and tend to be naive and easily taken advantage of. Whereas, The Explorer – craves freedom, and a fulfilling life, with the ability to embrace autonomy. Yet: They tend to wander, fearing entrapment. The Sage/ Mentor _{(not included in the Info-graph)} – wants a better understanding of the world. They intelligent, a great listener, have a calming presence, craving wisdom and knowledge. Though: They fear deception. Their biggest flaw is a lack of action, an inability to learn from their mistakes, and solve their own problems.

Those who wish to leave a mark

These archetypes vary on the scale of good to bad intentions. Here we have three very different archetypes, with almost polar opposite characters.The Magician/ Wizard – wants power to alter reality. They have great knowledge, understanding and strategy. However: Hubris is their greatest weakness. They may resort to anger when facing consequences. The Hero / The Warrior craves mastery of their destiny. They’re confident, ready for action, and have great physical and/or mental capabilities. However: Overconfidence may be their downfall, by underestimating their opponent. Thus having to face their own weakness, which is their biggest fear. The Outlaw / Rebel – desires liberation and revolution. They inspire, never quit and know how to get the most out of everything. But: They’re constantly trying to outrun their fear of having little power in the world, and tend to earn things the hard way.

Those who crave connection with others

This group of archetypes loves to be in the company of others, they thrive on it. Yet they seek their needs out in very different ways. The Lover – needs intimacy: They’re loyal, devoted and openly communicate. However: they may loose themselves in their devotion to please the other person, whilst fearing isolation. The Jester/ Joker – derive pure enjoyment from their interactions. They’re fun, loved by all and appear to be emotionally deep. However: They tend to be unreliable, selfish and in need of constant distraction. The seducer – also craves intimacy. They’re charismatic and charming. However: Their weaknesses may jeopardize long lasting relationships: They have no morals, no loyalty and can be controlling, ultimately having a fear of rejection. The Orphan/ Everyday person – They want to belong. Often well respected, empathetic, realistic and open. However: They lack confidence, cynical, are eager to please and care too much about what others think of them. They fear exclusion.

Those who provider structure

All three archetypes want to build a better world, but with utterly unique points of view. Lets explore. The Creator (I’m sure we identify with this one) – Is an innovator. Imagination is their best skill, they can realize a vision and implement it. However: They fear mediocrity. Perfectionism is their downfall. The Ruler – needs control. They desire prosperity and obtain it through leadership. However: They fear being overthrown. Authoritarian is their flaw. The Caregiver – wants to be of service. They’re selfless, compassionate and always help others. Yet: Their fear of selfishness can lead them to martyrdom.

Personally, I embody elements of the caregiver, creator, lover and sage. But remember, there is no one-size-fits-all, we’re unique, complex and fluid in our ability to change. You’re characters will be too. What archetypes do you tend to favour in your novels, and did you identify with any of the archetypes yourself? Please share your thoughts with me, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

How to Write A Fantastic First Chapter

The first chapter of a story has a lot to deliver. On top of setting up your main character, and their world, it also has to hook the reader. Get it wrong, and you’ve lost the reader–that’s game over! So to help you get it right, here’s some tips on what you should or shouldn’t do in that all important first chapter.

Setting up your first chapter.

Do – introduce your Main Character. The reader needs a sprinkling of basic details to build a picture of the character. Show them in their ordinary surroundings, living with a flaw (or emotional wound) that impacts their lives in a negative way, ready to take them on their arc.

Do – hint at the theme. It might only be a sentence, but it will help set the tone of the story, giving the reader a taste of what’s to come.

Don’t – start with lengthy exposition, world building, flashbacks or dreams. This also includes lengthy internal monologue, while your character stares out the window. It’s super boring. Instead, orient the reader in your MC’s world right from the start.

Photo by Matheus Bertelli from Pexels

Do – keep the scene active. Have your character interact with the world around her. We want to see her/ him running for the bus because they’re late again. Out hunting for food to feed their starving family. Or leaving their own birthday party, because the cute guy hasn’t noticed her, only to bump into him in the courtyard (that’s a scene from one of my novels). Set the pace, set the tone and get the reader inside the character.

Do – Include your characters goals. You’ll want to hint at, or include, the conflict that will prevent your MC from reaching their goal, thus injecting stakes. If you’re following The Three Act Story Structure, then the inciting incident may not appear in the first chapter. But delivering the set up, that will propel your MC to take action and begin their journey, is a skill worth building.

Don’t – bog down your first chapter with side characters. Keep it central to the protagonist. That doesn’t mean you can’t include other characters, that’s not realistic or practical, but limit them so that the reader connects to your MC first. If your story is a romance novel; include the love interest. If it’s a murder mystery; have them stumble across a dead boy. And it’s always fun to hint at or include the antagonist too.

Do – open the scene with an intriguing, catchy first sentence. This is a skill all writers would love to possess. Read the first page of lots of books, get a feel for what works and what doesn’t… and practice, practise, practice.

Remember, just because were told not to do something, doesn’t mean we have to listen. If you want to open your scene with a flashback, or multiple charters, then go for it. Read lots and write lots, that is the real advice, and the best way to learn your craft.

I’m sure there are many more do’s and don’ts. Do you have any? Tell me friends, what piece of advice would you give for writing a first chapter. You know I love hearing from you, so please leave a comment.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

Defining Your Writing Voice

We all hear it, time and time again, from agents and editors and publishers… we want VOICE! But what exactly does that mean? And how can we start to define our own Voice in our writing.

Over the last year I’ve started receiving some great feedback from Editors and Agents, great Voice, wonderful writing style. And yet, I’ve had no full manuscript requests. So I wanted to dig deeper into what wasn’t working in my manuscripts. It turns out, I’d developed the wrong kind of Voice.

Don’t get me wrong, the industry wants a writers voice and their style to come through, but what they also want, also NEED… is our characters Voice. Both the POV of the character (their voice), and the writers (Our own voice), need to blend together to create a wonderful voice that draws the reader in.

If your struggling with the concept, or want to improve your own writing, I strongly recommend reading – Voice. The secret power of writing by James Scott Bell. In his bite sized book, he sets writing exercises that help hone and develop Voice. He gives examples of Voice in literature to help the reader understand the many different aspects of voice and how we can cultivate a different style of voice for different genres.

Perhaps it’s easier to develop a characters voice in first person POV, over second person POV, because the writer is filtering everything through the characters perspective. And to make matters more confusing, some novels are written in an omniscient narrator style, where the writers voice carries the story.

The main points that I’ve learnt is when describing a setting, do it through the characters eyes, taking into account their mood, their background, their current goals and their character wounds. I’d been describing them through my POV. What I wanted to convey was a stunning visual world full of hidden emotion. Some characters don’t care what the sunset looks like, or what dress so-and-so is wearing. Oops!

I’ve tried to write my second novel Mischief and Mayhem in deep third person POV, unfortunately, to much of my own voice carries the story. So it’s time for a complete rewrite. I’m on the lookout for new critique partners who understand Close narrator – Third Person POV, and loves fantasy-romance. If you’d like to work with me, please comment below.

Do you have any tips on how to develop your character voice? If so, I’d love to hear all about it. Don’t be shy, we’re all here to learn and develop our craft.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

How to Revise your Manuscript Using a Reverse Outline – Review of Jeni Chappelle’s webinar.

Hello my fellow writers and welcome! This week I’ve completed my fourth manuscript; a speculative fiction called Entangled of around 90’000 words. Finishing the first draft is a fantastic moment, but it’s also only the beginning of a novels journey to completion. I’m currently in an odd position where I have three novels all at different phases of the revision process. I must admit the task of tackling a first revision is still as daunting as it was the first time. I recently attended a webinar by editor Jeni Chappelle who has a wealth of experience, so I thought I’d share it with you.

The first part of editing may seem counter-intuitive, but it’s vital: Put the MS down and forget about it. Leave it on the hard-drive or locked in a draw and focus on something else. When the time comes, you’ll want to be as objective as possible. You’ll want to forget about the subplots and character arcs. You’ll need to switch your brain from being a creative writer, to an analytical observer. Time and distance from your WIP will help.

Jeni talk us through the three phases of revision, the first one is to look at the structural elements of your story. The plot and character arcs are the foundations of your novel. It’s fundamental to do this type of revision first; the set up if you like, to see if the novel works.

While I’ve always started my process by reading through the whole manuscript, making notes on the things I want to change or clarify – Jeni opens up a whole list of vital question to ask during this process. Jeni gets us thinking about the internal goals and conflicts of the characters. The webinar gives the key to unlocking all of the hidden workings behind a successful story.

I found Jeni’s friendly approach not only welcoming but also easy to understand, despite the in-depth scope of the lesson. During the half an hour webinar, Jeni helps distinguish the importance of identifying the plot and pacing, and much, much more.

Jeni teaches writers how to Create a reverse outline. If you’re having heart palpitations at the thought of this, trust me, you’re not alone. A reverse outline is an overview of your novel, enabling the writer to structure their novel. Stories should follow a novel structure, their are many to choose from, but I prefer to model my stories on the three act structure.

Once we’ve identified the gaps in our manuscript its time to start editing. Perhaps your MC needs clearer defined goals, or the pacing is too slow to start. Maybe some of the scenes need to be switched around to enable the story structure to flow.

The process will be different for everyone, the important part is trying. That’s where you’ll learn and grow as a writer. Once you’ve finished the first round of revision, you may choose to ask a critique partner to help out. They will be able to point out any areas you may have overlooked.

Send your work out to beta readers and return the favour by critiquing their work. This is the stage I’m at with my third MS Crown of Lies. It’s a valuable chance to put into practice the knowledge you’ve gleaned from revising your own work. While it can be daunting, it is undoubtedly the most valuable skill you’ll learn as a writer.

If you’re stuck and you’re searching for professional feedback, you may want to work with a developmental editor, or simply get feedback of your submission package. (This is the stage I’m at with my second novel, before I query again.) Today’s post has been influenced by one of Jeni Chappelle webinars. She is a co-founder of #RevPit over at Twitter. Check her out – subscribe to her newsletter. Not only does she have great content and she’s also a fantastic editor too.

What resources do you use when editing? Do you like to use the reverse outline method, or do you tackle the issue in a different way. I’d love to hear all about your process, please share your experiences with me.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

Why Writers Need Validation to Grow

We all crave validation. We all desire acknowledgement and acceptance. It is one of our fundamental needs as a human. Despite this yearning, I’ve battled with this concept. In a modern society, we’re led to believe that we’re failing unless we push aside these impulses and set to the hard work of getting to know ourselves, of loving ourselves and not needing validation from outside sources.

I’m crying ‘bullshit’ to the notion, we don’t need validation. Yes we do! We’re hard wired for it, in fact, it’s how we learn and grow. But sometimes we get caught up in our reasons for needing it.

In this post, I’ll be explaining the subtle difference between: Excepting who you are; putting yourself out there, battling rejection and criticism to obtain validation of something you’ve worked hard for. Over: Not appreciating your own worth; grappling for validation to prove you exist.

I want to point out that neither of these ways are wrong; if anything, it strengthens my argument that validation is vital to us. Because we, as conscious beings, will often go to great lengths to achieve those fundamental needs.

Photo by Matheus Bertelli from Pexels

Lets talk about this subject as if we were exploring our story’s themes: Forgiveness, Revenge, Love, Fear, Redemption, Survival or Acceptance. There are many more, but in my second novel, Tali a nymph flees home and bargains her freedom, all in the bid to gain validation from an external source. She wants acceptance.

Taking the theme of Acceptance, I then developed my character, Tali, by asking questions. Why would she sell her soul to gain validation? Why can’t she love herself and follow her own path? How will she discover her own path? And who will validate her experiences to help guide her on her way?

Did you notice a change in those questions? The last two help get a growth mindset. Tali starts the story by giving all of her power away. She’s pleasing other people to satisfy their needs, gleaning what little attention she can get. Tali’s character arc takes her on a journey: She begins to understand her own self worth. She conquers her demons, regains her freedom and starts living her life to the fullest. Yet she still craves that validation, now she gets it from her friends.

I’ve parodied that example to us as writers: We work tirelessly, often alone, hanging onto the hope that we may one day get a glimmer of attention from an agent, a publisher, or a reader. This can sometimes feel overwhelming, where we feel desperate to sell our soul, I mean our book, to anyone that shows it any attention. Stop. Take a deep breath.

We need to know our own self worth; not every agent or publisher is right for us. Don’t forget we’re still on our journey. Take the time to improve, learn, grow and try again. Get validation from beta readers, critique partners, or a writing group. And fear not, I’m sure there is still plenty of validation to come.

How do you get validation as a writer? Do you think it’s important? Share your comments, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

Novel Writing – The Three Act Story Structure

A quick reference Infographic for all writers, whether you’re a plotter or planster, to help guide you through your hero’s journey. Take a look at the Three Act Structure and see if it suits your story.

There are other methods, which I’ve covered them in another post: Four Ways To Structure A Novel. If you want to know more, check it out.

I hope you enjoyed this fun glance at structuring novels. The options are endless, let your imagination run free and don’t give your hero an easy time. 😉

If you’re interested in further ideas, check out: Six Ways To End Your Story. 

Happy Writing.

Do you use the Three Act Structure? Or do you have prefer another method? Please share your writing style, know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

Top Three Tips On Mastering Character Traits

As writers we are actively encouraged to portray a variety of characters, with varying shades of positive and negative traits. The characters may have different skills from us, they may have more or less qualifications, and they will have undoubtedly gone through experiences that we as the writer have not. If every character only echoed our own lives, mimicking the qualities we have, the story would fall flat.

One of my readers recently asked me a great question: Lorraine, do you think it’s OK for a writer to  attempt to portray a character with qualities the writer doesn’t have? For instance, I am not funny at all, but I would love a secondary character to have a sense of humor, which means there is a risk the character will sound lame rather than really funny. I have read a short story where the character was supposed to be wise, but the writer was not particularly wise, so the wisdom was on the ‘weak side’. Do you think it is better to stay away from qualities you do not possess or to try anyway?

As writers we need to portray meek, strong willed, sarcastic, funny, intelligent or even obsessive characters. It is inevitable that we will write a character we are not familiar with, and so, here are my;

Top three tips for mastering character traits.

Watch and listen to other people.

It’s not only what people say, but how they say it. Their tone and volume of voice add to the weight of the words spoken. Possibly more important will be what their body language says. It’s true, writers see the world through different eyes, because these subtle things need to be taken into account. We can make a character more funny by his antics and the response of his supporting characters.

Research the subject matter

There will come a point when we need to know more about a specialized subject matter, so that we accurately portray our character to our readers. Whether its about science, motor sports, mental health, how to fly an airplane, or simply how long it takes for a broken bone to heal. If you don’t do your research, there will be glaring holes in your story that your readers will pick up on.

Thankfully we have search engines at our fingertips, with a few clicks and the correct tag words we can pull up vast amounts of knowledge. So take the time to research, don’t just guess.

Alternatively, speak to people who know first hand what it’s like to be homeless, or to be a policewoman. Tell them you’re a writer doing research, and that you wish to portray your character with accuracy. They might be willing to help you.

Hone your craft.

Read books and ‘how to’ blog posts, listen to podcasts, or take creative writing classes. No matter how many novels you write, you are always going to learn something new. Write more, read more, and be brave enough to seek feedback.

How do you make sure you portray characters correctly? Have you avoided a certain trait because you weren’t sure how to write them? Share your experiences with me, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2019.

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Writing The Perfect Opening Chapter… and what not to do

The first chapter of your novel is important; its where you’ll hook your reader, introduce your protagonist, hint at the antagonist, reveal their goal and introduce the stakes. And that’s not all, writing the first chapter will set up the rest of your novel, linking all of the plot points together.

Are you overwhelmed yet? I know I am. I thought I knew how to write a great first scene. Turns out, I was wrong and in today’s post I’ll tell you why.

We’re constantly told not to open with a clique start: No starting in the middle of a battle scene, waking up from a dream, or with lots of internal monologue while your character does something mundane like washing the dishes.

But we’re also told to show the character in his ordinary life, just before a pivotal point which will start the story and raise the stakes. BUT make sure it’s not the inciting incident, because that comes a little later. What?

The first chapter should focus on your main character, don’t clutter the scene with secondary characters, unless they play an important role. Eeh?

Make sure you give the reader all the details; age, weather, time of year, appearance, their fears, a goal and, of course introduce the stakes. BUT don’t bog down the scene with exposition. Right?

World build: Know the rules of your magic system and adhere to them. BUT don’t throw too much at the reader and confuse them.

Start with an action scene to hook the reader, something to show the character actively engaging with the world around him, be careful not to write a passive character that gets led alone. BUT remember the reader doesn’t know the character yet, so why should they care if they get killed in battle.

Please, no prologues. Unless it adds to the story, them yes give the reader a prologue.  Ahh, screams at the conflicting advice and throws a fluffy pillow across the room.

Whilst wending my way through the S**t storm of conflicting information, I wrote a great chapter, but I also got it seriously wrong. I did not ask, Why should the reader care about my Main Characters?

You see, I’d used the checklist of Do’s and Don’ts, but completely forgot the power of empathy. We need our readers to become invested in our characters, right from the start.

And there we have it writer friends, there is no one-stop-post to fix your first chapter. It takes persistence, a continuation of building upon your craft, getting honest feedback, and practice, practice, practice.

Never give up, my writer friends. I believe in you.

Please share your experiences of writing that all important first chapter, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2019.

As an Amazon Associate I earn from qualifying purchases.