How To Get Moody In Your Story

So, I’ve been talking a lot about creating the atmosphere or mood in a story because it’s really super important. Two weeks ago, I talked a bit about creating mood or atmosphere in your story, and last week, I shared some cool ideas from other humans.

This week we’re going to summarize and expand a little bit. So, let’s get moody together.

SETTING

Talking about the world outside your character really helps people get the mood of the story.

But to do that effectively you need . . .

MOODY WORDS

Seriously. Word choice is key when creating atmosphere and mood.

I walked to the bar. I ordered a drink. I sipped it.

Pretty dull, right? Kind of reads like bad stage directions. But look what happens when we start trying to show the character’s mood and the atmosphere of the setting.

I sashayed to the bar’s disco-ball lit corner.

“One super hot and sexy turtleneck sweater with extra cuddles,” I announced to the super hot and sexy bartender. He took my credit card with five quick fingers and a wink.

Two seconds later, the warm mug was in my hand, the smell of mint and rum wafting into my nose.

Let’s try another mood.

My feet stuck to the beer-soaked, beer-dried, beer-imbued wooden floor as I pushed past the giant football players that formed a wall between me and the most disgusting, germ-filled objective in my recent future: the make-shift, plywood dorm room bar that Bill and Ted set up in the edge of their quad.

“Dude? You want some?” Bill surfer drawled when I got past the barrio of testosterone and Axe body spray. He held out the keg’s hose. Something brown crusted near the nozzle. Something brown that was definitely not beer.

Swallowing hard, I managed to stay upright as someone pushed behind me. My palm struck the plywood. A splinter tore into the flesh and stuck there.“Yeah. Yeah, I guess I do.”

The difference here is the details and the words, right? In both bits someone wants a drink and goes to the bar to get there but they are very different moods.

A walk is not a sashay is not a tiptoe is not a gallop is not a slog. Whenever you can use verbs, nouns, adjectives and details that convey how your character feels.

To become a magistrate of words, you can check out a thesaurus. It feels like cheating, but it’s super helpful.

Those little word choices are subconscious hints to the reader that tells them things. They think, “Oh, sashaying, how happy they must be, how confident.”

Dialogue

When our characters talk to other people and they are the thrilling or overbearing or confusing or just plain quirky or mean, it helps create the mood that’s happening in the story.

If your characters have to whisper that can change the mood. The same goes for yelling, screeching, singing, preaching.

Sentence Structure and White Space

Readers subconsciously pick up on a lot of things that us writers put out and one of those things is sentence structure and white space (the part of the page where no words are).

The shorter the sentences, the higher the tension and faster the pace the reader goes over that page. That can make things feel more tense, more agitated, more suspenseful.

The longer the sentence and bigger the paragraph creates a more languid feel and slower mood that the reader has.

DO NOT TELL THE READER THINGS.

In my example of the bar earlier, one of the main differences is I didn’t do a ton of telling what they were doing. But I did in that first example where there was no mood:

I walked to the bar. I ordered a drink. I sipped it. I felt happy because I was going to get a drink and was looking forward to that Shirley Temple.

The details that us writers choose are meant to show the reader things rather than constantly telling the reader things.

I pretty much sashayed over to the bar, hand up, credit card out. “Hey, girlie!” My voice skipped over to Donna of Shirley Temple mixing fame. “I am so ready for my daily fix!”

Different right? I never say that she’s happy, but we can feel that she’s happy. And that’s what atmosphere and mood is really all about. We want to make the reader feel things.


Let’s set the mood, part two: getting atmosphere in your story

WRITING TIPS ARE GOOD THINGS!

Last week, we talked a bit about creating mood or atmosphere in your story, and this week, I’m going to share some cool ideas from other humans.

What? I do not know everything? Gasp!!!!

boy wearing gray vest and pink dress shirt holding book
Photo by Ben White on Unsplash

Sadly, I do not. For instance today I wrote that Acadia National Park has a million visitors. It has four million. Did I know this? Yes. Did I write it? No.

Did someone tell me immediately?

Yep.

Thanks to that person for letting me fix my mistake.

dog biting Thank You mail paper
Photo by Howie R on Unsplash

The thing is I am really human and that means I try to juggle a lot of things and sometimes I make errors. I try to tell myself that this is okay. That in a billion years (or 100) nobody will remember me or my errors. Usually that works. But not today.

But all of this just means:

1.     I don’t trust myself today.

2.     You get to read curated advice from cooler people instead. That’s a win!

Here, this first is from MasterClass. It’s kind of beautiful and pretty concise like art that you get off Ballard Designs.

white pillar candle on white table
Photo by Stephanie Harvey on Unsplash

3 Tips for Creating Mood for Your Story via MasterClass (these three tips are all a direct quote):

  1. Use a holistic approach to mood. Since mood is made up of a combination of setting, tone, word choice, and theme, it’s important that you as a writer think about all four while you work. If you try to use only one of these tools, you’re severely limiting your ability to create a believable and pervasive mood for your story. A good rule of thumb is to shoot for at least three of these tools to establish your mood.
  2. Brainstorm mood words. If you’re drawing a blank when it comes to how to create a particular mood, it can help to brainstorm a list of mood words. For instance, if you know you want your story to have a creepy mood, then try making a list of different words that feel creepy to you, like these: gloomy, creak, tiptoe, moonlight, skittering, shadow, rattling. Once you’ve got a good list, pick a few of your favorites and include them in the scene.
  3. Subvert expectations. While it’s easy to go with the “expected” mood for your stories (for instance, that a story about a wedding will have a lighthearted, celebratory mood), remember that it’s not always the best choice. When you push yourself to subvert readers’ expectations, you can come up with creative and exciting combinations—for example, a wedding story with a foreboding mood, or a ghost story with a funny mood. Innovating with mood can help you create memorable, lasting writing.”

Let’s dive a tiny bit deeper into that first tip. Do I trust myself enough for that? Um, not really. Here goes anyway.

Setting is where the story is located or “set.” Set = setting, so clever a language English is.

Tone isn’t about the reader. Mood is. Tone is about the narrator and the attitude they are putting down about the events.

Word choice is pretty self-explanatory. It’s the words that you the author put on the page. Short words can make things staccato. Long words can make things mellifluous. Swear words can make things tense, emphatic or even humorous.

Theme. That’s what the story is about and what it’s trying to convey. A story that true love exists and that it will save the world and all the cavorting hamsters within it? That’s going to be part of the mood and atmosphere of the story.

So, when MasterClass is talking about how these elements work (in tip #1), the MasterClass staff authors of that blog post is just saying to weave it all together and make it create that atmosphere.


LINK TO LEARN MORE:

Welcome To 2023, Writers

Let’s kick some butt (in a chill, non aggressive way)

Photo by Johnny Briggs on Unsplash

Hey! Thanks so much for being kind about me not posting during the holidays. It really helped be think about what and how to be helpful. I appreciate it a lot and you can expect some new things this year from me. Fingers crossed. I’m going to try to be braver about sharing advice and information and thoughts.

So . . .

Recently, a really popular YouTube author gave out some editing advice. She’s cool. She’s pretty. She’s sarcastic and fun. She’s promoting her own book.

But she also is a little bit wrong this go around because she says the first step in a professional edit is the developmental edit.

It isn’t. Not always.

The first step is often an editorial assessment. Then you revise. Then if you have a butt-ton of money because your daddy is rich and your mother’s good looking, you can hush like a little baby, don’t cry, and get a developmental edit.

Or . . .

You can realize that the first step in a developmental edit is an editorial assessment.

What are these two shiny bits of editing bling?

What is this developmental edit? An editorial assessment?

Let’s use Reedsy’s definitions, okay? Reedsy is a massive platform that connects authors to editors and other freelance professionals and makes sure that those freelancing professionals don’t suck. Full disclosure: I was recruited for Reedsy a couple of years ago and I make money there.

Here’s what that platform (that includes 1 million authors and 2,500 freelancers like me) says about those two styles:

“Editorial Assessment. This is a popular and cost-effective first step for authors, ideal for those at an early stage of their rewrites. Editors offering an editorial assessment will usually:

  • Read and analyze your manuscript;
  • Provide an evaluation in the format of a report, covering all aspects of the story, structure, and commercial viability;
  • Offer suggestions to guide your rewrites.”

And then . . .

“Developmental Editing. A nose-to-tail structural edit of your manuscript for authors who have taken their book as far as they can by themselves. A developmental edit often includes everything in an editorial assessment, plus:

  • Detailed recommendations to improve “big picture” concerns like characterization, plot, pacing, setting, etc.;
  • Specific guidance on elements of writing craft;
  • In-line suggestions and edits in the manuscript.”

So, you could go with a YouTuber’s definition or a platform’s. Totally up to you. But that’s the thing: a lot of people get a lot of money creating edicts for those of us who don’t know better.

They say:

  • These are the best ways to write.
  • These are the worst ways to write.
  • These are the best ways to start your story.
  • These are the worst ways to start your story.

And it’s all absolutes.

Here’s the thing (and I’m going to sound absolute here):

Art and writing aren’t about absolutes. There is diversity of thought and culture and literature and perception. It shouldn’t all be ‘my way or the highway.’ Your psychographics, your family, your culture, your education, your location, your gender identity, race, religion, all create who you are and your story.

Don’t Lose Yourself

When you’re trying to get published or trying to get a ton of readers, you can sometimes lose yourself and your story in the process of listening to those edicts. Stay true, okay? Learn and grow, but don’t accept absolutely everything that an influencer says as gospel. The world and you and your story is bigger than that.

Here is a photo of my cat, Koko,judging me for losing myself in the past.

WRITING PROMPTS

Because I was just talking about Reedsy, I’m going to take one from there. Thanks, Reedsy!

Your character always makes the same promise; to change. Will they finally make it happen this time?

Write a story about someone scrambling on New Year’s Eve to fulfil their resolutions for the entire year before the clock strikes twelve.

You can submit your stories at those links as well. And enter a weekly contest.

SUBMISSION POSSIBILITY FOR THIS WEEK

SALT HILL PUBLISHES POETRY, FICTION, TRANSLATIONS, ESSAYS, INTERVIEWS, AND VISUAL ART. Oh my.

“We have two submission periods for fiction and poetry:

December through January

August through September

“We accept nonfiction and art submissions year-round.

“Salt Hill accepts only online submissions via Submittable for poetry, fiction, nonfiction and reviews. For visual art submissions, see below. Most, if not all, of our published work is selected from unsolicited submissions.

“We accept simultaneous submissions, but ask that you alert us as soon as possible if your work is placed elsewhere by either adding a note to your submission through Submittable or withdrawing the full submission.

“We ask that you submit only once per genre per reading period.

“Due to the volume of submissions, we can’t respond individually to submission status queries. We aim to respond to submissions within three to six months.

“Unfortunately, we are not in the position to offer payment to our writers.

“Curious about what we like? Grab one of our issues, or take a dip through our online archive.

POETRY:

“Please submit no more than five poems at a time, in one document.”

FICTION:

“Please do not submit works of more than 30 pages. We accept multiple flash pieces, so long as their combined length does not exceed 30 pages. Please double space, unless the nature of your work requires special formatting.”

NONFICTION:

“The nonfiction we are interested in pushes the boundaries of the genre, making use of the techniques of fiction and poetry to tell a true story. We want memories, arguments, meditations, revelations, philosophical rants. Salt Hill is a literary journal, so please don’t send us articles or reports. We will consider nonfiction for both our print journal and our website.”

There you go! Let’s go kick some butt in 2023 or make some beautiful music or just really craft our stories the best way we can: piece by piece, word by word, hope by hope.

We’ve got this.

This content and other writing tips, etc. is over here, too.

Writing

Writing Life

Writing Tips

Fiction Writing

A Quick Overview About Point of View

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A Quick Overview About Point of View
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First, we should define point of view just in case you need a refresher. Truth is, we all often need a refresher even when we don’t want to admit it.

Point of view is all about who is talking and/or telling the story.

YOUR NEXT QUESTION IS:

Is There One Narrator Or Many? And who the heck is it?

That’s really one of the first questions you want to think about. You have to decide if you’re going to have just one point of view in your story or a lot.

A lot of our stories follow one character scene after scene after scene. Things that happen to the story happen to this character. We are invested in that character pretty heavily.

But sometimes, the story is about a person one but not told by that same person. This makes us a little more  worried that Person One might not make it through the story because our subconscious brain thinks, “Um, why isn’t Person One telling the story? DO THEY DIE?!?!”

Or sometimes the events of the story happen to a ton of people. Think of that zombie story that became a movie. We have a lot of different narrators because there we want to show all their stories.

Then, you have to decide which of the main point of views you want to use. They all have good points and bad points, but let’s just set you up with the big three. Each can be determined by the personal pronouns that the narrator uses.

First-Person Point of View.

This is the land of I. It’s all about me. It’s all about my story.

Here’s an example.

I went to the hospital and brought pizza.

Second-Person Point of View.

This is all about you, you, you. Yes, you.

You went to the hospital and brought pizza.

Or to some cooler

You went to the hospital, bringing pizza with you.

Third-Person Point of View

This is all about them and her and him. It can be omniscient or limited omniscient.

Here’s third person limited

Sadie went to the hospital. “I’m bringing pizza,” she thought. I hope they like it.

Or third person omniscient where you aren’t directly in the characters’ heads with internal monologue but know everything about everyone.

Sadie went to the hospital, a pizza box carried in her steady arms, the smell of pepperoni whisking around each person she passed, the orderly, the struggling father, the mother with the heroin-track arms, the gunman. He would kill for that pizza, but how could she know that? To be fair, right now he’d kill for anything and nothing.

There you go! There is also a Fourth Person Point of View, but that one would require its own podcast. So we’ll try to get there next week.


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

A Couple Tips On How to Write More Engagingly

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A Couple Tips On How to Write More Engagingly
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.


Here are some fast and dirty writing tips today that’s going to make your writing more intense. Ready?


Think about your tenses

What’s that mean? It means don’t be writing like things are happening now and then shift over to writing like things were happening in the past. If you want the most immediate writing experience, write in the present tense. If you want a little padding? Write it in the past tense.

Here’s a quick example:

I lost feeling on my entire left side of my body during our long run on Friday. I thought I might have been having a stroke.

That’s in the past tense, right? We read this, notice it’s in the first person and figure that the narrator has survived because she’s telling us about this after-the-fact.

Try it out in the present tense:

I lose feeling on my entire left side of my body during our long run. I think I might be having a stroke.

It’s more intense, right?

Let’s make that phrase even more intense.

Take out the distancing words.

In first person especially, it’s really hard to get away from a lot of looking and knowing and words that pull us out of the moment and the immediacy of the character’s experience.

Distancing language tends to be the words like ‘seem,’ and ‘look,’ and ‘heard,’ and ‘know.’ When I revise, I think of these words as placeholders for where I can go back and dig in more deeply in certain places.

So, let’s take that sentence again in the present tense again and make it more immediate.

The original

I lose feeling on my entire left side of my body during our long run. I think I might be having a stroke.

Change that up and it looks like:

My entire left side of my body starts going numb during our long run. My left foot numbs first. Then my left hand and arm. When the left side of my mouth starts going numb, I gasp. I might be having a stroke.

You’re in there a bit more with that character now right. Is she having a stroke? What the heck is she running for? SHE IS BROKEN!

Try not to use the same word too many times too closely together.

In the example above I deliberately use the word ‘numb’ and ‘my left’ over and over again. I’m cool with the repetition of ‘my left,’ but not so much with the numb. There are better, sexier words to mix in there and grab the reader’s attention. Let’s try.

My entire left side of my body starts going numb during our long run. My left foot disappears first. Then my left hand and arm. When the left side of my mouth starts to tingle, I gasp. I might be having a stroke.

Switch up your sentence structures.

This just means don’t have all your sentences always be the same lengths. If you are woman who uses a lot of clauses, try to add a few shorter sentences in there. And vice versa. Simple sentences and compound/complex sentences can be your friends. The same goes for paragraphs. Uniformity makes a lot of readers bored and they start to skim.

Let’s take that example again and mix it up more.

My entire left side of my body starts going numb during our long run. My left foot disappears first. My left hand and arm go next. When the left side of my mouth starts to tingle, I gasp. A stroke. I’m having a stroke.

Pretty cool, right? Five minutes or less of work can really change how immediate, how engaging, and how dynamic your sentences are.


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

The Big Scary Fear Monster Is Really the Rock Star of Your Novel

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Write Better Now
The Big Scary Fear Monster Is Really the Rock Star of Your Novel
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.


One of my favorite writing exercises is super simple. I take a bunch of novelists and ask them:

What is your protagonists more afraid of happening than anything else in the whole freaking universe?

We authors talk a lot about what our characters wants are, their yearnings, their goals, but we often forget about the dark side. Cue scary ominous music.

The fears are linked to a couple of really important things:

  1. Obstacles
  2. Motivations

Obstacles are easy. As the novel’s hero goes out in search of his goal to get his love, there are things that obstruct him. A terrorist. A snake. His sexy best friend who likes the same person. The obstacles GIVE him fear that he won’t get what he wants—the goal of the story, his perfect result, the yearning. The fear MOTIVATES him to keep trying.

But fear motivates in another way as well. When you make your character imagine the worst thing in the world—the fear can also hold him back from getting what he wants.

When you think about your character’s biggest fear, the deepest fear, the conceptual fear, the root fear, the FEAR OF ALL FEARS, you realize that it’s this fear that MOTIVATES the character. He isn’t just running to something. He’s running away from something.

Is it death? Isolation? Humiliation? Loss of wealth? Actual success? Failure? Humiliation? Aging? The big unknown?

Whatever it is, that root fear pushes your adorable character into the arms of the story, searching and working toward things that take him away from that big scary fear monster.


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

Don’t Be Chunky – Put Your Dialogue in Paragraphs

Write Better Now
Write Better Now
Don't Be Chunky - Put Your Dialogue in Paragraphs
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.


It’s a super quick writing tip again today. Ready?

When you’re writing dialogue, make every new speaker a new paragraph. If you’re writing kids books? You might as well just keep each dialogue a paragraph of their own?

Why? Our brains are wired to read each paragraph as a new speaker. If we jumble a bunch of different speakers into one paragraph, it slows down the reader’s pace of reading and also can get their brain all hitched up as they try to figure out who is talking and when.

Why else? It makes more white space on the page. The more white space on the page, the less intimidating the text is for the reader—especially the reluctant reader.

So don’t write a paragraph like this:

Carrie said, “Please support our channel.” Shaun nodded and said, “We are insecure.” “That’s true.” They laughed. Shaun added, “Wow. This is boring dialogue to prove a point.”

Instead write the paragraphs like this:

Carrie said, “Please support our channel.”

Shaun nodded and said, “We are insecure.”

“That’s true.”

They laughed.

Shaun added, “Wow. This is boring dialogue to prove a point.”

Pretty easy, right? Now we know who said “that’s true” even though there wasn’t a dialogue tag there. No readers’ brains hitched during the reading of that dialogue and all is good with the world.

For other posts about writing dialogue, check out below:


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

Grammar Break Some Day vs Someday

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Grammar Break Some Day vs Someday
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.


No lofty talk about exposition or your story’s theme this week. Instead, we’re going back to basics with an easy grammar tip.

Some day (two words) vs. someday (one word). It’s a debate that happens on the page over and over.

Here’s how it works.

Someday (one word) is basically “at an indefinite time in the future.”

Some day (two words) is all about a specific day that we won’t know in the future. It’s unknown. It’s unspecified.

Still confused?

We’ve got you.

Someday (one word) is an adverb. It’s talking about something that might happen in the future.

Here’s an example:

Someday Shaun may not make a sexual innuendo, but I’m not holding my breath.

Some day (two words) is an adjective and a noun hanging out together. The adjective (some) is saying at some unspecified or unknown day.

Here’s an example:

I am so psyched to have free time some day next month.

Here’s another:

I’m going on a date some day in July, but I totally can’t get excited about it because it’s so far away.


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

Let’s Get Fighting BECAUSE Conflict in Stories Is Good

Hey, everyone! We’re having a wee bit of drama in our lives, so we’re taking this week off in the podcasts. Gasp! I know! We never do that.

But it means that we’re going to bring back one of our podcasts for a lovely redo.

It’s great! Here you go! And we hope you’re all doing well!

In our random thoughts, we talk about:

  1. Killer trees in Maine
  2. FBI agents looking for gold
  3. Chainsaws being a hot stolen item.

One of the big things that pretty much every traditional story in Western culture needs is conflict.

CHARACTER + WANT + OBSTACLE = CONFLICT

In your story or your life, you have wants? Sometimes there are obstacles in the way. They keep you from getting your want. Therein lies the conflict. The story becomes interesting because of how you or your character deals with that obstacle.

A lot of writers wait a long time to get that conflict into their stories.

Don’t do this. It is usually boring when you do this.

Nobody wants to be boring. There are two overall types of conflict – internal (inside the character) and external (outside the character), but they can be broken down even more.

AND THERE ARE TONS OF DIFFERENT TYPES OF CONFLICTS. CHOOSE ONE. MAKE THAT LITTLE JERK YOUR FRIEND.

First off, there are all sorts of lists about the types of conflict in novels. Sometimes you’ll see four. Sometimes you’ll see three. Whatever. Nothing is ever set in stone.

Character vs. character -Podcaster Carrie is trying desperately to not get an explicit rating, but her co-podcaster, Shaun, likes being explicit. How will Carrie make $5 a year off her podcast if it is banned?

Character vs. society – Podcaster Shaun must fight against an overly oppressive society that doesn’t like his explicit nature. How can Shaun survive in a society that crushes his inherent Shaunie-ness?

Character vs. nature – Nature or an aspect of it is about to kick your ass. Think Jaws. Think tidal waves. Think the moon messing up the Earth’s axis. How will there be a podcast if you are fighting off a Sharknado?

Character vs. technology – Your submarine breaks and you have only hours to fix the tech and live. Your mechanical love doll decides to kill you. Your downloads keep buffering. HOW WILL YOU PODCAST?

Character vs. supernatural – The ghosts have invaded the podcast studio and keep whispering, “WHO YOU GONNA CALL” over the audio. HOW WILL YOU PODCAST?

Character vs. self – The Reedsy blog states

Internal strife will stem from a debate that occurs within a character. It might originate from any combination of the character’s expectations, desire, duties, and fears.

Reedsy

Carrie has massive social anxiety, but also a hammy tendency. Every time she has to do a podcast, she panics and paces the house. Will she get it together enough to podcast? Can she get over her reluctance to speak aloud because her s’s are sloshy in order to finally have a voice?

Character vs. fate – Think Greek tragedy or boy wizards and prophecies. You are fated to die at the hands of a monster, in battle, via evil male wizards. You are stuck throwing an evil ring into a volcano. You are stuck becoming a podcaster in a prescribed fate sent from God. How do you deal with this once you know? How do you fight your fate?

WRITING TIP OF THE POD

Put lots of conflict in your story. Put it in early. You can use more than one kind.

DOG TIP FOR LIFE

Don’t create drama in your life when you’re bored or for attention. We all know people who try to create grievance and controversy out of random events. We all know people who go trolling on Facebook or Twitter or try to create drama and get that negative attention in their own post or life.

Spoiler: Negative attention isn’t the best kind of attention. Go for the positive.

RESOURCES

Articles mentioned in random thoughts are all linked here. And here.

SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. 

Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

AND we are transitioning to a new writer podcast called WRITE BETTER NOW! You’ll be able to check it out here starting in 2022!

We have a podcast, LOVING THE STRANGE, which we stream live on Carrie’s Facebook and Twitter and LinkedIn on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook.

Carrie is reading one of her poems every week on CARRIE DOES POEMS. And there you go! Whew! That’s a lot!

Here’s the link.

Other Quick Ways To Develop Your Theme in Your Novel

Write Better Now
Write Better Now
Other Quick Ways To Develop Your Theme in Your Novel
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.


So, over here on WRITE BETTER NOW, we’ve had a three-post series about how to develop your theme and what the hell even in a theme and blah, blah, blah.

This last post is really just focusing quickly on how to develop your theme.

Step One:

Think what the hell kind of insight you want your readers to get. Can you show them a new way to think or see or feel about life?

Step Two:

Write that as a statement with a noun and verb. I WANT PEOPLE TO KNOW THAT MIGHT DOES NOT MAKE RIGHT.

Step Three:

Make sure that you aren’t shoving that concept down your reader’s throat like a bad over-moralizing superhero movie, right?

Step Four:

Wonder how to do that. Realize that it’s about being subtle, not being a cringy cliché. But it’s also about your character actually struggling and not believing that concept.

Step Five:

Think about those subplots to help show what that character needs to figure out.

Practical Creative Writing says it well:

A story without a theme is little more than a list of events.”

Wow, right? They even call the theme the pulse of your story.

MasterClass suggests:

First look for something universal that will resonate for people outside our own psychographics.

Then try to think of something that will keep your reader thinking.

All of that is very esoteric and abstract.

I think you should think about your plot and what your character needs to learn. Your story is about a firefighter with a dead eccentric dad who was raised by an uncle who believed magic and weirdness should be avoided at all costs. She’s up for a promotion at a fire department and doesn’t stand out. Something magical happens on a run and things spiral out of control. What is the theme here from just the bits I wrote out.

Theme has to be part of plot and character. It has to make sense.

But MasterClasses’s next suggestion we heartily agree with you want to make sure your theme is throughout the whole story, not just slammed in at the end.

They write:

“As you fill in the details of each act, make sure your main character encounters situations that highlight the theme. If you’re balancing multiple story lines, see if you can make your theme manifest in each of those narrative threads—ideally in a different way in each story line.”


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

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