Are you sometimes bamboozled by all of the choices and subtleties of story Point of View (POV)?

You’re not alone. POV is one of the most common errors in fiction manuscripts and even after reading explanations, authors are often still unclear. Should they choose first person, second person, limited third person or omniscient? Which one is right for their story? The mind boggles.

Today we’re going to explore the difference between Point of View and Perspective and the whole reason behind applying them to fiction. I’m not going to go into the different types of POV or how to use them, but will:

• Make a case for why it’s important to get them right; and
• How they can affect your story. 

In the early 19th century the omniscient POV was common place and was used by many of the great literary masters, i.e. Charles Dickens and Leo Tolstoy, but by the end of the same century it had become frowned upon and called intrusive. By the early 20th century novelists were even swapping between multiple POV in the same book. In the 22st century Deep POV has become increasingly popular, particularly in the romance-based genres.

My point is that the popularity of different POV changes over time, is different in each genre and is often more a judgement call than rule. So do yourself a favour and relax in relation to choosing what’s right for your story.

Some of the rubbish I’ve heard:

• “You should never use the omniscient POV.” Well, J.K. Rowling is doing it well and making a killing from it.
• “Don’t mix different types of POV in the same novel.” Nobody told Jodi Piccoult this when she alternated between first and third person in “Plain Truth”.
• “First person POV is only for Young Adult or Romance stories.” Apparently Conan Doyle didn’t know this when he published the Sherlock Holmes mysteries. 

POV is the vantage point of the narrator
​(who is telling the story).

It might be a single character, multiple characters, someone who isn’t even in the story or an all-seeing narrator. The type of POV you choose will determine how much the narrator can see/know and how close to the action they get.

For example:

• In the first person POV an individual character tells the story, but can only see, hear, feel, touch, taste and know what that characters does. The reader is brought right into the mind of this character and experiences the world as they do.
• In the third person limited POV a narrator is telling the story looking at an individual character. Again, the reader can only experience the world through that character.
• In the third person omniscient POV, the narrator is a God-like being who sees, hears and knows everything about every character in the story. This adds a certain distance from the action because the narrator is sitting above the story looking at everything at once, rather than going deep inside one character.   

When a writer breaks POV (starts letting the reader see/know things the narrator couldn’t possibly see/know) it distracts the reader from what’s important in the story and tends to prevent them from having a close association with the narrator.

Perspective is how the narrator and characters view and experiences the story world.

The character’s perspective will determine how they view their surroundings, react to situations, process information and make choices about actions to take. Everything that makes up a person, e.g. their past experiences, upbringing and influences, will all affect how the POV narrator experiences and reacts within the story.

For example:

• Even though the reader will only experience the story through the POV narrator, all of the characters will have their own perspective of what is going on in the story world, which is affected by their own past experiences and beliefs.
• A character’s attitude towards others will be influenced by past interactions with them, things they’ve heard about them and stereotypical beliefs.
• The things they notice in their environment will depend on their interests and knowledge, e.g. a plumber might notice a leaking tap, a detective might notice blood on a kitchen knife, a house-proud person might be annoyed by the tilting picture on the wall.
• The way a character reacts to a situation will depend on their temperament, past experiences and beliefs. A straight-laced Sunday School teacher isn’t going to react to an abusive drunk in the street, the same way as a teenager who is beaten by his drunk father on a daily basis.  

​When a writer doesn’t delve deep enough into their character profiles, it can cause them to feel two dimensional to the reader. The result is characters who lack motivation to drive their actions, which makes the story fall flat. 

So, every time a character moves through you story world, put yourself in their shoes and consider their perspective. As you plan a scene, think about what they would see and know, why they would behave a certain way and what is causing them to make choices and take actions. Each one will have a a different perspective.

Then, when you come to write the scene, think about who the POV narrator is and what they can realistically see, hear, feel, taste and know. Stay within these boundaries as you write, which means that some characters will only ever been seen from an external view and others the reader might get to experience up close and personal.
 
Although Point of View and perspective and interrelated, they are different aspects that work together to keep the reader’s attention focused on the important parts of the story and strengthen their understanding of the characters in play. It’s important to write within the boundaries of your chosen POV, to keep readers focused on the right information, and within each character's perspective, to keep readers engaged. 

The most important rule to remember with POV is, be consistent.  

This article was originally published in the Hearts Talk magazine, September 2021 edition. 

​I believe suspense is for every story, no matter the genre. It’s the ideal tool to compel readers to keep turning pages all the way to the end, by creating real emotional tension.

What is suspense?

Remember back to a book you just couldn’t put down. More than likely, the author made you worry about the character, and be apprehensive about the outcome of conflicts. You might have had clammy palms, a racing heart, fidgeted, or literally sat at on the edge of your seat, desperate to know what happened next. All of things are signs that the author applied suspense techniques, not just to engage you, but to throw you in the pot and seal the lid so you can feel every last ounce of emotional turmoil.

The real trick is to maintain a level of uncertainty throughout the story, so the reader worries about the outcome and is left pleasantly spent by the end. That's why I refer to it as a pressure cooker, because you put the characters under pressure and then keep them there until the very end. 

How does it apply to all genres?

​The level of suspense you find in different genres does vary, as does the way information is revealed, but the suspense techniques still apply.

For example, in a Cosy Mystery the suspense will be more temperate than in a thriller. You are likely to use the relationship angst to create uncertainty, instead of the threat of imminent harm from a crazed predator or solving an enigma rather than expecting something scary to jump out of the nearest shadow. A Young Adult story may be less graphic than an adult Paranormal, both in the way intimacy and violence is portrayed, but suspense will help to make both impossible to put down.

​The scenarios at the heart of each story, the locations and types of characters that populate them, will depend on the norms of each genre. 

How much do I need?

It’s important to ensure you identify opportunities to increase suspense, and fully explore them, to make the most of existing tension, and squeeze every bit of emotional value from your characters. Signs that you may need to increase the suspense in your story, are if you get feedback saying your story lacked a hook, is slow in places, or just didn’t grab/engage the reader.

Angela Ackerman and Becca Puglisi say: If a critique partner voices confusion over the emotional reaction of one of your characters, check to make sure the stimulus trigger is prominent.

In other words, make sure the character is behaving in a believable way, with realistic motivations.

How can you create suspense?

Authors use a range of techniques to create uncertainty for their characters, and apprehension for their readers, but it’s important to remember that creating suspense isn’t necessarily about putting your characters in physical danger. It’s about engaging the reader, making them care about your character’s journey, and then giving them good reason why their goals might not be fulfilled. Leave them wanting more, right up until the Happily Ever After.

Create an engaging character
You can do this by giving your character something they care deeply about, and then threatening to take it away, but in a romantic story none of that will matter if the reader isn’t fully engaged with the character first. You need to create a character the reader cares about. I’m not going to focus too much on emotional engagement here, but it involves creating a character the reader can identify/sympathise with, that has believable motivations, and actively pursues their goals.

Raise the stakes
The character’s goal must be important enough to have dire consequences, e.g. they don’t just want a lot of money to buy a shiny new car, but they need it to pay for their dying sister’s medical treatment.

Make it clear early on what the consequences of failure are for your character (or at least what they believe them to be at the beginning of the story). Then throw increasingly difficult situations at them, which in turn diminishes the likelihood of them succeeding. Leave your character no other option than to face her greatest emotional fear by the climax.

Giving your character a deadline to get something done is also a great way to heighten anxiety levels. You want to put them under enough pressure to expose what they’re really made of.

Raise questions
Hook the reader in by raising questions that make them curious, about what’s going to happen next, what might have happened in the past, and what course of action the protagonist or antagonist will take next.
One way to do this, is to show the reader things that the characters don’t know. Another is to leave them hanging mid action or mid decision at the end of a chapter.

Raise doubts
By raising doubts about how the character is going to get out of this sticky situation, or win the love of her life, you make the reader apprehensive. Do this over and over throughout the course of the story, and they’ll reach nail-biting anxiety. That’s what suspense is all about!

Use techniques like putting the character:

• In immediate physical danger;
• Up close to a personal fear;
• In the midst of an emotional upheaval or moral dilemma.

Alexandra Sokoloff is brilliant at having her protagonist and antagonist come so close to crossing paths as the detective follows the serial-killer’s trail of destruction, that the reader is in a constant state of panic, because disaster seems imminent over and over again.

Leave a trail of breadcrumbs
Clues aren’t just for crime stories. There are all sorts of clues and hints you can scatter along the way to build the reader’s expectations. They might be obvious, or subtle, in which case the reader realises their significance once the climax is reached.

I liken clues to a trail of breadcrumbs, because they are sprinkled in here and there in small pieces. Some of those breadcrumbs might foreshadow what’s going to happen, and others might selectively withhold information. Done properly, the reader will have just enough foresight to build their expectations of trouble/failure/ danger.

Language choice
Be aware of your word choices when building suspense. Choose a word that supports the tone of the scene, and stick to straightforward words in the midst of action. Sentence length is a great way to show urgency, but even though you may use more short sentences during action scenes and longer ones during retrospection, still vary them enough to avoid monotony.

Prolong the outcome
As Nicholas Sparks said: Nothing that’s worthwhile is ever easy.

If your character figured out the best course of action and achieved their goal easily, it would be a short and hassle-free story, and totally kill any tension. In order to build the suspense, you should hint at what could go wrong and draw-out the angst for as long as reasonably possible. The suspense lies in between promising something awful and it actually happening, so make the most of it.

A romantic example of this, is creating sexual tension. Reading about a couple tearing one another’s clothes off and getting hot and steamy might be a lot of fun, but it’s the way the author draws out those longing looks and tantalizing touches that lead up to the sex, which creates eager anticipation.

You can still build lulls of retrospection and small wins into the story. This provides the reader a chance to catch her breath, and is a great opportunity to anchor them in your character’s motivations and expectations, ready for the next onslaught of drama.

Written by Sandy Vaile (First published in Hearts Talk magazine for Romance Writers of Australia)

I hope I have inspired you to tease out every last morsel of suspense in your story. If you’d like to chat in-depth about this topic or get some personalised feedback about how to add suspense to your story, then jump on a Storytelling Clarity session with me. ​

We know “show don’t tell” is a vital concept because it is constantly drilled into writers, but the truth is, the application is subtle, and therefore often difficult. How the heck do you decide which technique is most appropriate in each instance?
​
Well, I’m going to provide you with a simple process to help you choose the best way to go, so you can be confident that you are using showing and telling in a way that is going to best suit your story and engage readers at the right time. This is the key to achieving that special blend of storytelling and emotive demonstration that enables us to convey our landscapes, characters and plots in an engaging way.

In order to integrate showing and telling satisfactorily you need to make conscious decisions about relevance, quantity and the delivery method you’re going to use, but when it comes to actually writing the words, the biggest choice is whether it’s more appropriate to use showing or telling.

Let’s look at how to make that decision and then translate it into emotionally compelling prose that grips readers.
​
But first, there is one concept that is critical to understanding the whole concept of showing and telling.

I believe the reason so many writers struggle with showing and telling is because the two devices aren’t incompatible and don’t exist independently. They rely on one another to move the story forwards at the right pace and to draw readers in.

• Showing creates drama and movement, enabling readers to feel, touch, smell, hear and see the events as they unfold, so they feel like they are participating in the story.
• Telling conveys information succinctly and poetically, so the author can get essential information across quickly.

​If you accept that both showing and telling are intertwined throughout a story and you will use them simultaneously, then all you have to do is to figure out which one to accentuate at any given moment. That’s much easier, right?

To decide if dramatising a situation using showing or sticking to straightforward storytelling is the best option, you need to scrutinise the emotional value of the information or event.

I’ve developed a simple flowchart to help you decide which way to go when you’re not sure. 

​Here are some more tips on how to know if the information or event you are writing is going to create strong emotion/drama.

When looking for signs that information or an event is critical and would benefit from more showing, look for change. Ask yourself if the main character will discover, react to or make a decision about something that is going to affect their story journey or their current goal.

Here are some key moments to look for:

• A discovery – Something is revealed that will affect your main character’s choices or attitude, like:
  • Important information.
  • Fundamental beliefs are challenged.
  • Action is taken.
• A reaction - The consequences of an event:
  • The aftermath is dire, e.g. life threatening or relationship ruining.
  • It forces a change to the character’s goal or plans.
  • The character has a powerful emotional reaction, like being elated, upset or angry.
• A decision – The main character decides what course of action to take next, like:
  • A commitment is made to continue pursuing the goal.
  • A thought process or conversation shows how the decision is reached.
  • The character realises that she’s been aiming for the wrong goal.
• Planning - The main characters formulate a plan to reach the goal.
  • This is how they are going to achieve their goal, like gather resources, seek information, accept help.
  • A thought process or conversation to show what the plan is.

Once you’ve decided if you’re going to use more showing or more telling (remember it’s not one or the other because they are both happening in any scene), then there are a variety of devices to make the delivery fresh and emotive. (See below for details of Sandy’s workshop, which will go into each technique in depth.)

Example
Let’s take a look at a single event and how to apply this decision process.

SCENARIO - A woman spends two hours making sure she looks her best for a job interview, because she needs the job to make the next rental payment.

QUESTION 1 – Is this event vital to drive the story forwards?
We know that the job interview is important to this woman, but do we need to see her preparing for it? It depends if the reader already understands the importance of the interview, in which case you can probably just get her to the interview as quickly as possible, because that's where all the drama is likely to occur. A bridging sentence is a good way to do this, e.g.: After two hours agonising over which suit and accessories to wear, Dianne sat in the waiting room, taking deep breaths to keep her centred.

DECISION 1 - For the purposes of this example, let’s say the reader as no idea what’s on the line if Dianne doesn’t get hired for this job, in which case we should keep the scene.

QUESTION 2 – Does the event create strong emotional drama?
Considering how much Dianne has to lose at this point in the story (her home) and how nervous she would be preparing for the interview, it will definitely cause a strong emotional reaction.

DECISION 2 – The reader needs to know how important the interview is to Dianne and why, so this is a chance to use more showing.
​
Maybe not all two hours of it because this scene isn’t as important as the next, but certainly to help the reader feel the anxiety and understand the reasons behind it, like not being able to make her next rental payment and being tossed out on the street.

As you can see, both showing and telling are valuable techniques that exist in harmony, and now you have an easy-to-use strategy to help you decide which to lean on more in each instance. Getting this right throughout your story can be the difference between readers sticking with it until the end and abandoning it at the first sign of an information dump.

If you’d like to delve more deeply into how to combine showing action with effective telling, so you can avoid information dumps, maximise sensory details and write stories that readers can’t put down, then grab a place in Sandy’s wildly popular Master Emotive Storytelling and Showing workshop. ​

First chapters are POWERFUL. They can stop a shopper from casually flicking through the pages to see how the story ends and a publisher from tossing it in the slush pile bin. Readers are searching for a story beginning that grabs their attention, surprises them and makes them curious to the point of desperation to know what will happen next.
​
But how can you possibly do this in such a short space? In short, provide entertainment! And if you’ve maintained their interest to the end of the first chapter, then hopefully they’ll decide if it’s is worth investing their time and money to continue.

Every chapter has basic storytelling requirements to fulfil, like an opening and closing hook, character development, having a goal and conflict. The same goes for first chapters but they also carry the weight of additional responsibilities.
​
They have to:

• Provide the foundation for the story by introducing the underlying premise and context.
• Set the tone, perspective and time period.
• Pique the reader’s curiosity so they want to know more about the characters and their situation.
• Meet genre expectations.

​No story starts at the beginning of a character’s life and tells every single thing that happens until they die; there just isn’t space. You are telling one part of someone’s life, which is specific to a particular goal they are trying to achieve. (Or one era of a civilisation, which is important to its survival or identity.)

Therefore, you need to provide the reader with the context of the story early on, so they understand what’s going on, e.g.:

• Setting the scene to let them know what era and location the story resides in, which might be a planet, region, country or town.
• Introducing the premise, i.e. the point of telling this particular story using these particular characters. It’s the basic idea that underlies everything that happens in the story. What is the reason for your main character making this journey? It might be anything from: trying to find their way home after being swept into a tornado and into a magical land (The Wizard of Oz); to surviving a fight to the death so they can get home to their family (The Hunger Games).
• Establishing any key facts they need to know in order to understand the story, e.g. critical world building, assumptions or conflict sources. Key facts are those which the reader absolutely must know to prevent them getting confused or heading down the wrong thought path.
• Letting them feel the tone of the story by creating an atmosphere that suits the genre and style. For example, you might start with a night scene or storm if the tone of the whole story is dark, or sunshine and cupcakes if the tone is light and fun.
• Allowing your storytelling voice to shine, through your word, character and plot choices. The arrangement of all of these choices is your personal style.
• Showing the perspective of the key character in the scene. Their attitude is an important tool to let readers experience their personality and world views, as are relevant to the plot.

The ability to convince readers to stick around for the length of an entire novel relies on being able to engage them during the first chapter. To do this you need to make them care about (or at least be interested in) the characters and their immediate situation. You do this by piquing their curiosity.

One part of this is to raise questions the reader wants answered and this means dropping hints that things are not right in the world of your characters. There is nothing readers love more than puzzling out what drives characters. In truth, it’s a way of making sense of the world around us and the people who inhabit it. So, hint at what is missing from your character’s life, what struggles they are facing initially or what they are dreading in the future.

Here are some examples from the very first page of my book Inheriting Fear.

• Learning how to kick-box had given her courage. No longer a victim, but in control. Instantly, the reader wants to know how this woman suffered as a victim and how she has taken control of her life now.
• Fear was just an emotion and she could overcome those with steely resolve. This insight into the character’s personality is meant to intrigue the reader. What kind of woman would need to develop a steely resolve against  her fears?
• Mya turned around slowly. The hood guy had turned around too, and his left hand held a beer stubby, but not at the base like he was about to take a swig. His long fingers were wrapped around the neck of the bottle, making it look more like a weapon. Now, the reader is worried about the safety of this woman and the outcome of her immediate situation.

All of these are hints of information that intrigue the reader and raise questions that will keep them reading. This leads us to the second part of piquing a reader’s curiosity, which is evoking an emotional reaction from them.
​
You can accomplish this by creating a vivid, textured world they feel a part of, making them care, sympathise or at least be interested in the character, and giving that character something significant to lose. The anticipation of curiosity and the anxiety of uncertainty is a powerful potion to hook readers in so they can’t put the story down.

Readers have certain expectations of their favourite genres and you ignore them at your own peril. For example:

• In a romance story they expect the hero and heroine to meet in the first chapter (or two at the most), and have some idea of the inner turmoil that is keeping them apart.
• In crime they expect a dead body right away.
• In a mystery they expect to discover something intriguing enough to want to puzzle it out.
• In sci-fi and fantasy they expect world-building that ties into the plot and sets logical rules for aspects that are different to Earth.
• In chick lit they expect a light-hearted look at issue modern women face.

One of the worst mistakes authors make in first chapters is to dump information in a passive way. Keep in mind that you don’t have to spell everything out right away — in fact it’s usually better if you only hint at many elements early on and then gradually build on the information throughout the story. Plus, keeping characters in action and with other characters provides plenty of opportunities for interesting showing of information.

What Next?

We’ve explored what a first chapter needs to achieve in order to grab a reader’s attention, and looked at how to do that by laying a solid foundation of critical information, evoking emotions and raising the reader’s curiosity.

If you’d like to delve deeper into your first chapter to make sure it will reel readers and publishers in and survive scrutiny, then join Sandy Vaile for the next Fantastic First Pages workshop.

[Originally published on the Romance Writers of Australia blog 08/06/20.]
​By Sandy Vaile

In fiction we focus on the emotional strain caused by unpleasant things that might happen to characters, especially to the protagonist (hero/heroine). To create tension we develop characters our readers care about (or are at least interested in), give them something important to lose and then put all sorts of obstacles in their way to make the outcome of their journey uncertain.

All of this makes the reader worry.

Think of tension as the thread that connects all of your plot parts together. It is stiched through the internal and external conflicts, key plot points, character transformation, uncertainty of each situation and the unresolved questions you’ve raised, holding everything together and coaxing the reader along for the ride.

So, how can you recognise and then treat the different degrees of tension?

Increase tension during times of turmoil, like mortal danger, a life upheaval or imminent threat to something the character cares about. When you reach key moments (plot points) in your story, tension should be high, with the reader desperate to know what happens next and truly worried for the stability/happiness/safety of the protagonist. 

In order to do this, we can use techniques like dropping shocking revelations, increasing what’s at stake for the characters, creating a sense of urgency for an outcome like giving them a deadline or forcing the protagonist to face something she dreads.

Examples of blatant tension:

• A woman is in remote countryside alone when her horse bucks her off and her leg breaks.
• A policeman enters a dark warehouse that an armed robber just ran into.
• A howling cyclone bears down on a woman and her child as they huddle behind the only solid structure for miles, a metal power box.
• A couple enjoying an ice-cream by the beach when a woman marches up to them and screams that she’s his wife.

​Think of the pace of tension like the surge and retreat of waves at the beach.

It builds to a crest, crashes dramatically and then quietly fades back to the ocean, over and over again. Match each wave with key moments in your story plot so you can control the increase and decrease of anxiety your reader experiences, but never let it completely disappear.

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By Sandy Vaile

​Most of us know what backstory is and that our stories need it, are aware of the various delivery methods and even spend countless hours developing intricate histories for beloved characters, but knowing these things isn’t the same as successfully revealing the appropriate information at the right time.

This article will help you determine the best place to insert backstory by:

How Much in One Place?You may have heard my saying that backstory is like a potent spice: it’s like a flavour your can’t quite pick lurking in the layers of a curry. You know it’s there and it enhances the flavour, but it’s intangible and fleeting. Use it sparingly!

My preference is almost always to reveal backstory in small amounts. By doing this, you will reduce the likelihood of telling that distances readers, pulling them out of the main story and unnecessarily slowing the pace.

Of course, there are exceptions to every guideline and flashbacks are one instance where you can get away with a longer passage of backstory because you’re not just telling about the past, you’re transporting readers back to that time and place so they can feel, see, taste and hear it for themselves.

Reveal backstory without interrupting the flow of the main story by determining what information is important at that particular moment in the story and releasing snippets instead of large amounts.

For further guidance about developing backstory, the various delivery methods and how to use them for best effect, put your name on the waiting list for Sandy Vaile's most popular course, Write Backstory With Confidence: How to weave the past in without information dump telling.

By Sandy Vaile

There’s a time and place for creative-comparison and I’m going to show you how to recognise when to stop comparing and when to start taking action. After all, who wants to waste precious time and energy focusing on what we don’t have and can’t do, when we could get busy working on the things we really care about?

It’s human nature to compare ourselves to others, but when those comparisons go from positive motivation that enables self-improvement, to self-disapproval that prevents us from reaching our goals, it is not serving our emotional health.

This article will explain why we compare ourselves to others, highlight when it becomes toxic, and explore how to harness only the useful elements in a constructive way.

Why We Compare

​Humans have an innate desire to evaluate themselves as a way of determining their place in the world. We do this by comparing our level of success to people we know or aspire to. We do it from the moment we’re self-aware, so we can learn how to flourish in the community we live in.

We’ve all done it.

• Maybe you scroll through Facebook and feel disappointed that everyone else could afford holidays and new cars when you can’t.
• Maybe you went to a literary conference and wondered how other authors managed to produce a book every two months when you struggle for two years.
• Or wonder how they did the same marketing course as you, but they seem to be making money and you’re spinning your wheels.
• Or why you keep getting feedback saying you tell too much in your stories, when you see it all the time in published books.

The Benefits of Creative-Comparison

​Comparing ourselves, our business or our creative works to other people’s can be a useful tool to motivate us. By analysing what someone else is doing to achieve what we want, we can better understand the skills we need to develop or actions we need to take in order to achieve it ourselves.

Successful people often share the struggles they faced along their journey to elicit sympathy. It gives us hope that, despite set-backs, we can persist and reach our goals too.

When we take practical steps to improve our skills, work towards goals or better our lives, we are using those comparisons constructively.

You Are Unique

​It’s your own unique past and hopes for the future that make you special and therefore incomparable. No-one else has lived your past, they haven’t had the same experiences or made the same choices, they aren’t living your current life, and they don’t have the same hopes for their future. It’s not fair to demean the journey you’ve taken in life or which for a different past.

There is no-one quite like you.

It doesn’t matter if you write 10,000 words a day or one, if you’re a plotter or a pantser, if writing as a hobby makes you happy or you crave a career. There is never just one way to do something, only the right way for you.

Evolve Using Constructive Comparison

The most valuable creative-comparison is of where we were a year ago, where we are now and where we want to be next year. That way, you can appreciate how far you’ve come and make a feasible plan to reach the next stage.

In order to know where you’re going, you need to figure out three things.

1.     What You Want

Imagine what writing success looks like to you: the end result.

There is no right or wrong answer, only what’s right for you. Is it producing a book every quarter and being on a best-sellers list, or doing whatever it takes to turn fiction writing into a business, or producing one book a year and loving the process?

Considering the sacrifices and education it will take to get what someone else has, do you still want it?

2. Why You Want It

​Now, be brutally honest with yourself here. What is driving you deep down inside to achieve this difficult goal? If you don’t want it bad enough, maybe because you think you should want it, then you’re just going to give up when the going gets tough.

All of these things will determine what you’re prepared to do to get what you want, and therefore the journey that best suits you.

3.     How You Will Get It

Plan for success.

Now, you probably want to mull this over for a while, so take your time. What skills will you need to achieve your goal? Which of those do you already have and which will you need to learn? What personal strengths can you draw on to help you achieve your goal?

Positive goal setting is a blog for another time, but you do need to break your goal into as many small pieces as you can and tackle one at a time. That way it won’t seem so distant or unattainable. Baby steps!  

Be Kind To Yourself

Finally, remember there will always be circumstances outside of your control. Unexpected events and nasty surprises that are lurking in the shadows, waiting to derail you. Focus on the things you can control, like your reactions, actions and behaviour. I find that connecting with like-minded people, e.g. in online communities or face-to-face groups, is a great way to stay motivated and weather those unexpected storms, but make sure you don’t fall into the trap of negative comparisons.

Conclusion

I hope this article has reminded you to actively avoid toxic comparisons and given you constructive tips to harness creative comparison and reach for your dreams. Constructive creative comparisons should always lead to self-evaluation and action plans that empower us to move towards our goals. You are your own creative genius, so keep going!

What's Next? 

​The publishing industry can be tough and changeable and writing a book is more than just a personal challenge, it’s a journey of self-discovery. Believe me, I understand the challenges you’re facing, because I’ve faced them too. I’d like to share what I’ve learnt so you can stop feeling overwhelmed and enjoy the creative process.

Don't miss out on future blogs and writing resources ... 

Other blogs in the Survive the Publishing Industry series:

1. Practise Resilience (first published at WriterWriter on 04/02/19)
2. Avoid Author Burn-out
3. [This blog] Reject Creative Comparison
4. [Coming soon] Boost Your Assertiveness
5. [Coming soon] Face Fear Head-on

About Sandy Vaile

Sandy Vaile is a motorbike-riding daredevil with a dream to empower fiction writers across the globe to  enjoy producing commercial-quality fiction and achieve creative fulfilment.

By Sandy Vaile

You want to be a published author, right?
​
Well, beware what you wish for because many career authors suffer burn-out at some stage. To enable longevity, authors need to find a healthy work/life balance. Here’s how you can avoid author burn-out and enjoy a long and fruitful career.

There is nothing like the little flip of anticipation in the pit of my stomach as I sit down to write or the thrill when I see plot points come together. Creative writing is a challenging and rewarding task but, like anything worthwhile, there comes a time when it becomes a chore. Being able to push through these difficult times is part of having a resilience mindset (see Part 1 in this blog series, called Practice Resilience and Surviving the Publishing Industry)

Signs that you are heading for burn-out

It’s better to take action early to prevent stress spiralling out of control. Look out for these signs:

• New ideas stop flowing.
• Being unable to make decisions because there are too many choices.
• Feeling like you have more to do than you can ever achieve.
• Inability to prioritise tasks or see a clear direction.
• Wanting to hide in a quiet place where no-one can find you.
• Feeling weary of all your responsibilities.
• Hyperventilating at the thought of everything you have to get done.

Causes of burn-out

Burn-out may be caused by being over committed, isolated, having unrealistic expectations or unexpected situations arise.

A useful exercise is to list which activities and thoughts restore or deplete you. I personally find that it’s the activities I have to do (work, clean the house, visit an unpleasant relative) that deplete my equilibrium, and the things I want to do (writing, dining out with friends, spending quality time with my family) restore my equilibrium.
Of course, we can’t stop doing the thing we have to, but we can manage them so our life doesn’t feel like one long to do list. ​

Continual maintenance
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All the best intentions and planning in the world can’t prevent unexpected situations, but if you continually monitor your stress levels and take actions to prevent burn-out, then when overwhelm takes you by surprise you’ll be robust enough to work through it.

The degree of action you take should be in direct correlation with how overwhelmed you feel. There are various ways to balance depleting and restorative activities, like:

1. Finding the root cause of the stress whether it’s unrealistic expectations, an external force or undermining your own confidence with negative self-talk.
2. Understanding the consequences of not dealing with the issue. When you actually sit down and look at it, the situation might not be as bad as you think.
3. Finding a possible solution. This might mean changing the way you do something, stopping a low value activity, breaking down your expectations into more manageable pieces, taking a finite break from writing, or controlling the expectations of others.
4. Making a plan of action, and actually do it.
5. Appreciating the small wins.
6. Being kind to yourself, because you aren’t a super hero and you can’t do everything alone. Sometimes you will need to take a break readjust your plans or ask for help.
7. Remembering to look after your physical health, because it sustains your emotional health. Be aware things like getting enough sleep, being physically active and eating healthily.
8. Spending time doing things you enjoy with people who inspire you. 

We are the sum of all the parts of our lives and finding a balance between what we need and what we want to get done, will help prevent author burn-out. Nurture your creativity like the precious gift it is, and it will produce wealth for countless years.

You are your own creative genius, so keep going!

About Sandy Vaile
​
​Sandy Vaile is a motorbike-riding daredevil with a dream to empower fiction writers across the globe to reach their full potential, by providing the tools and communities to produce commercial quality fiction.

More information about resilience

The publishing industry can be tough and changeable, and writing a book is more than just a personal challenge, it’s a journey of self-discovery. Believe me, I understand the challenges you’re facing, because I’ve faced them too. I’d like to share what I’ve learnt so you can stop feeling overwhelmed and map the most efficient route to your publication dreams.

‘A Shortcut To Your Author Career’ online workshop.

Other blogs in the Survive the Publishing Industry series

1. Practise Resilience (first published at WriterWriter on 04/02/19)
2. [This blog] Avoid Author Burn-out
3. [Coming soon] Reject Creative Comparison
4. [Coming soon] Boost Your Assertiveness
5. [Coming soon] Face Fear Head-on

 
Don't miss out on future blogs and writing resources, subscribe here.

Connect with Sandy Vaile on social media.

By Sandy Vaile

​We naturally shy away from anything that will hurt us (emotionally and physically). It’s a part of self-preservation that kicks in automatically when we feel threatened, afraid or stressed. But the truth is, challenging situations happen to all of us all the time and are often outside of our control and resilience will help us endure them.

Resilience is a valuable skill to practise in all parts of life, but it occurred to me recently that we often bandy the term about without actually understanding why it’s so important, especially to authors. You see, resilience isn’t only valuable during times of stress, it’s something that will benefit us on a daily basis.

Why authors need resilience
Authors have to deal with situations outside of their control from the moment they start dreaming of publishing a story. It starts with trying to tame the plethora of ideas and characters in your head and translate them into an entertaining tale. As you talk to other writers and investigate what makes a story enjoyable, you find an overwhelming amount of information telling you what you should and shouldn’t do. Then you get mixed feedback from critique partners, friends or competitions and start to doubt your ability to succeed.

When you finally submit your work to agents or publishers the rejections start rolling in. Even achieving your dream of publication isn’t the end of situations outside of your control. Being a part of the publishing industry is a continual cycle of determination, rejection, disappointment, celebration and self-doubt.

With it, you can manage situations outside of your control to minimise their lasting impact, and cultivate a positive outlook that will enable your long-term success.

So much is outside of your control in the publishing industry, and the parameters are constantly changing, so you need to be able to adapt.

Applying the principles of resilience to life’s little challenges, builds our emotional elasticity and ability to cope with intense situations. It can take practise to get to a point where you automatically apply resilience to all situations, but the benefits are worth it, because they’re far reaching.

• Imagine if you received conflicting feedback and were able to make a plan to figure out the best course of action to move forwards.
• Imagine if you received a rejection from a publisher and had faith that you were one step closer to your dream.
• Imagine if a horrible book review didn’t totally derail your career.

Wow, this resilience stuff doesn’t sound half bad.

How can it help authors deal with writing set-backs?
No matter how much we love writing, it can be challenging for so many reasons, like:

• It’s a long game, not a get rich quick scheme.
• It can be isolating.
• The technical and business aspects can be confusing.
• What works for one person doesn’t suit another and so much is outside of our control.
• The appreciation of art is subjective.
• Feedback can hurt our fragile egos.
• There is always someone doing it better, faster, more successfully.

Without resilience, feelings of anger, depression, guilt, fear, anxiety or embarrassment can seem insurmountable, but if we continually practise it then, even though we can’t avoid these emotions, we can reduce their severity and our perception of the situation.

There are plenty of opportunities to practise resilience with our writing, because we are faced with decisions and challenges frequently.

How to practise resilience
Here are some examples of how to practise resilience as part of your writing life, by taking action and maintaining a positive outlook.

1.  ​You have a brilliant story idea and amazing characters, but no idea how to turn them into a book other people will want to read.

Remember that writing is a learned skill and you have the most important part, the desire to do it. So, all you have to do is brainstorm ways to acquire the knowledge you need. You could do a plotting course, read blogs and articles about it or join a writing group.

2.  You have a brilliant story idea, amazing characters and have written 40,000 words, but are stuck with where the plot should go next.

Be proud, because 40,000 words is a huge effort and proves that you can get words down. All you need now is to figure out how to keep going to the end.

Think critically about what is causing the problem. Do you need help with generating ideas, developing the plot or figuring out realistic actions for your characters? Search for an appropriate course so you can study this topic more closely and receive personalised support, or a book about the subject.

3.  You boldly joined a writing group and shared a chapter of your story, but three people liked the main character and three didn’t.

Don’t take it personally that not everyone likes your character, because it is their personal opinion and not a slight against you. Remember that feedback is limited by each person’s own writing skills, life experiences and personal tastes.

Analyse the comments to determine what each person liked or disliked, then try to dig down to the root cause of why that is the case. Perhaps you chose the wrong descriptive words or didn’t provide enough insight into the motivation for the character’s actions.

Now figure out what the real issue is and find a way to overcome it, e.g. gain knowledge and rewrite, and then see if it worked, e.g. test the rewrite on the people who disliked the character or a new group.

4.  You have managed to write and self-publish a book, but you can’t manage to produce a book every three months and keep up with social media like everyone says you’re supposed to, because you have a full-time job and children too.

Remind yourself that you are not those other people. Your circumstances and desires are different, so there’s no way you’ll get the same outcome. They might not work full-time, or have children, or a partner, or a sick mother, or do volunteer work, or write slowly, or still be figuring out their process, or be a new writer.

Assess what it is you want to achieve and what you can realistically do while maintaining your lifestyle. Then make a plan to do those things: one step at a time. Moving forwards is the key.

5.  Someone posts a negative book review that will affect your overall Amazon rating and hurts your feelings. Allow yourself a moment to feel disappointed, even angry, but remember that this is only one person’s opinion, which you have no control over.

Make a mental list of why this person wrote the review, e.g. they were having a bad day, they aren’t familiar with the genre, they enjoy eliciting a reaction, the subject matter triggered a personal pain for them, or the writing style just didn’t suit them. None of these are because they don’t like you personally, and you are the only one being hurt by worrying about something you can’t control.

So, what can you do? Do not respond to the review in any way. If there isn’t any valuable learning to be gained from the content of the review, then never read it again. Read other positive reviews/feedback about this story. Talk to other writers who have experienced a bad review (without identifying the reviewer).

6.  A rejection email comes from the publisher you desperately wanted to get a contract with. Celebrate, because you would never have received a rejection if you hadn’t been brave enough to send a submission. You’re one step closer to being published.

If the publisher provided feedback, then assess it to see if you can improve your next submission or if it was due to circumstances outside of your control. Make a plan to move forwards, e.g. continue submitting.

These examples illustrate how important it is for authors to practise resilience in order to manage set-backs and move forwards, even when it might be scary to do so. We can’t control many parts of our author careers, so we need to focus on the things we can to recover from challenges and keep a positive outlook.
​
You are your own creative genius, so keep going!

More information about resilience
The publishing industry can be tough and changeable, and writing a book is more than just a personal challenge, it’s a journey of self-discovery. Believe me, I understand the challenges you’re facing, because I’ve faced them too. I’d like to share what I’ve learnt so you can stop feeling overwhelmed and map the most efficient route to your publication dreams.

‘A Shortcut To Your Author Career’ online workshop.

Other blogs in the Survive the Publishing Industry series:

1. [This blog] Practise Resilience (first published at WriterWriter on 04/02/19)
2. Avoid Author Burn-out
3. [Coming soon] Reject Creative Comparison
4. [Coming soon] Boost Your Assertiveness
5. [Coming soon] Face Fear Head-on

Don't miss out on future blogs and writing resources, subscribe here.