The importance of matching suspense to the fluctuations of plotTension is a critical element of all stories and needs to be maintained in order to keep readers turning the pages, but how does this correspond to the fluctuations of plot? There can’t be life-threatening situations in every chapter, nor are all stories about mortal danger. So, let’s explore how you can match the fluctuations in a story’s plot to the level of tension. First we need to be on the same page in understanding what tension and plot fluctuations are, and then we’ll explore how to synchronise the two for jaw-clenching read. What is tension?“Tension is the emotional strain we feel in the face of uncertainty.” 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. What are plot fluctuations?The events that comprise the plot of a story DO NOT happen along a straight line. Over a whole story there is a pattern of rising tension that culminates in a crisis, and then falling tension as the characters consider their next move and gather resources. This pattern is repeated over and over again. You may have heard these fluctuations called many things, like scene and sequel, action and reaction, or conflict and reflection. Even within chapters there may be places where tension is high or low, but it will still be there. If there is no tension at all, the story has either concluded or the reader has dozed off.” 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? Degrees of tensionTension can be intensified and relaxed but never totally released. We want readers to keep turning pages, not be totally out of breath as though they’ve run a marathon, and the way to do that is by increasing and decreasing tension levels. Just as the action and conflict in a story plot rises and falls, so too are their corresponding rises and falls in tension. It gradually builds as the story reaches a climactic moment, i.e. where major revelations/battles/events occur, and then relaxes during moments of reflection or preparation for the next situation.
Blatant tensionIncrease 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:
Subtle tensionDecrease tension when your characters need time to reflect on what just happened, solve a conundrum or gather themselves for the next onslaught. These moments allow the reader to breathe a little and fall in love with your characters. They happen in between crises and are particularly important in romance stories because readers expect to spend time exploring the character’s emotions and inner turmoil. Even in thriller stories there will be times when characters need to gather intel, collect resources or move to a different location. But even when you decrease the level of tension, the uncertainty about the outcome of the whole situation doesn’t completely ease. To achieve subtle tension we use techniques like raising questions, planting hooks, changing expectations, hint at a character’s fears or secrets and foreshadowing the turmoil to come. Subtext is an excellent way to cast uncertainty on what a character is actually saying or doing. Examples of subtle tension:
 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. Don't miss out on future blogs and writing resources from Sandy Vaile. Click here to stay in touch.
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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:
Which Backstory is Important? The most important point when deciding which backstory to include at any point in a story, is whether or not it’s relevant to what’s going on in the main story. Does it explain why a character is behaving a certain way or what is driving them to persist in the face of adversity? Does it give credibility to their decisions and choices? If not, then it probably isn’t needed. The more you leave out, the more you highlight what you leave in.” Henry Green 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 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)  What is author burn-out? When we experience prolonged or high levels of stress, it can cause mental and emotional exhaustion, which stops us from functioning effectively. The longer the symptoms are ignored, the more pronounced the effects, which may include the inability to make decisions, poor sleep quality and reduced productivity. It’s more than not being able to figure out a solution to a plot problem or staring at a blank page unable to decide what to write next. Author burn-out means being too fatigued to come up with ideas at all or lacking the enthusiasm to write anything. 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:
Causes of burn-out Burn-out may be caused by being over committed, isolated, having unrealistic expectations or unexpected situations arise. Everything in our lives either depletes or restores our emotional balance. " 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. It’s a continual, conscious process working to reduce activities that deplete us and pursue those that restore us. The good news is that even short periods of restorative activities can quickly re-energise you."        Continual maintenance 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:
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
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.  What exactly is resilience? Resilience is having the capacity to recover quickly from difficult situations. It’s being passionate about what you do, persevering through thick and thin, and being flexible when life throws you a curve ball. Why is this important for writers? Now, I’m not saying all of this to depress you, but to convey how vital resilience for authors. 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.
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:
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. In the long run, being able to take control of our reactions is what will enable us to persist with writing.” Sandy Vaile 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:
Don't miss out on future blogs and writing resources, subscribe here. By Sandy Vaile Hi everyone, I’m here to demystify the old “show don’t tell” adage. We’ve all heard it, but it’s often confusing and therefore difficult to apply to our own work. Telling has long been associated with bad writing, and showing with good writing. In my opinion, all of the techniques in your writing craft toolbox are dependent on one another, and it’s not possible to just learn them all and instantly be a good writer. Most of us learn one new skill at a time, and once mastered, it comes naturally to us. Showing and telling are just extra skills for your toolbox, and when broken down into bite-sized pieces, will become integral to your writing style. Both showing and telling are valuable, and there are degrees of each. It’s not an all-in or all-out kind of thing. One creates drama and movement, and the other conveys information succinctly and poetically. I’ve given this a lot of thought over the years, and believe the focus is usually on showing, because telling comes naturally (we are story-tellers after all), but showing is layered with components, and so takes time to master. So, if you agree that you are telling a story, then all you have to do is learn how to spot opportunities to tell better, tell with more emotion, or show the action. That doesn’t sound too scary, right? Personally, I think it’s time to update the old adage to something like: Show and Tell Effectively. What’s the point? The purpose of showing and telling effectively, is to totally emerge the reader in the story. It’s about creating the ideal pace, diffusion of information, and making the most of dramatization, in order to let the reader feel the emotional ups and downs of the character. The differences The appeal of SHOWING is that it lets the reader draw their own conclusions from the story, and connect more deeply with the characters. The reader gets to experience events through the characters’ actions, emotions, senses, thoughts and words. Showing can add layers to characters and scenes, adding a vibrancy that makes the reader feel like they’re actually there. It has a particularly powerful effect when there is an emotional upheaval for your point of view character. The drawbacks It can be exhausting to be shown the minutiae of life for three-hundred pages, and it takes more words to get the same point across. In some cases, telling is more efficient. Being told information is never as exciting as discovering it for yourself. Telling has a tendency to distance the reader, rather than making them feel a part of the story, because there’s a tendency to see the world through the narrator’s eyes rather than the character’s. Instead, let them experience the characters’ struggles and success, and discover information in an organic way. Telling is a valuable tool to get necessary information across, to move quickly through time, or to move your characters from one location to another without showing the whole journey. The reader has no interest in seeing everything your character does, from brushing her teeth to eating every spoonful of breakfast. Use telling to move the story forwards in a succinct way and inform the reader of information they need to know.  When to show and tell Remember, you don’t have to choose between showing or telling; they exist in harmony. Make the most of showing:
Effective showing and telling techniques One of the easiest ways to make sure you are writing actively, is to just show what’s happening. Pre-empting the action is a clue that you aren’t doing this, e.g. she started to ... Labelling emotions can be a sign that you’re missing an opportunity to engage the reader with how the character is feeling, e.g. instead of saying “she was mad”, show her punching the wall or glaring at the offender. Avoid information dumps, which occur when the story material is poorly integrated with the action. It’s one of the main reasons telling gets a bad rap, because it slows the forward movement of the story. Instead, make sure the information is necessary, and not just to the story as a whole, but right at that moment. Then integrate it in small amounts, at appropriate times. Description isn’t about simply listing adjectives, but about adding meaningful and specific details that layer your scene/character development. Also, make sure you use words that support the tone of the story. Employ all of the senses to create atmosphere in a scene—not necessarily all at once though. Create fresh metaphors and similes to compare what’s going on in the story with concepts readers are familiar with. This is a great way to build on the tone of a scene. Dialogue is an active way for your characters to interact with one another, and keeps things interesting. The best part about it, is that it reveals so much more about the characters than what they are saying, e.g. their attitudes and beliefs, upbringing, culture and personality. Once you master the art of showing and telling effectively, you’ll be amazed at how it lifts your storytelling, and becomes part of your writing style. You’ll see opportunities to infuse it everywhere! I hope you feel more relaxed about showing and telling now. Learn how to realise a balance between description and brevity that will captivate readers and won’t let them go in my Show Don’t Tell Is Like A Layer Cake course.  The ultimate course to help you master emotive storytelling! By Sandy Vaile I may write romantic-suspense, but firmly believe that 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. 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:
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. Remember, it’s not the outcome that creates suspense, but the uncertainty of the journey. 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 adding suspense to your story, then grab a place in my next The Pressure Cooker of Suspense course.  The ultimate course to help you create delicious tension! By Sandy Vaile I used to think Deep Third-person Point of View (DPOV) was one of those tricky sixth-sense kind of concepts that only the Dalai Lama understood. Have you ever had feedback that says ‘author intrusion’ or ‘lacks emotional punch’? Have you heard DPOV mentioned in literary circles, but figured it was only for writers of erotic stories? Did you see DPOV fly past at a workshop, but weren’t able to catch hold of it? Then breathe easy, because I’m here to reassure you that DPOV is something already lurking on your pages, you just have to learn to identify and make the most of it. Deep POV is a relatively recent concept (the last couple of decades), but it is all the rage, particularly in romance literature. Clearing up any confusion First up I want to promise that you don’t have to learn a new POV. Unfortunately, I don’t have the space to discuss the pros and cons of the different POVs, so I’m going to assume you understand how to write in third person POV, as most romance stories are told. When you’re writing in the third-person subjective (showing the story through one character at a time), DPOV is simply a way of bringing the reader even closer to your character, which will result in a strong emotional response. And that’s a good thing! So what is it? Rather than telling the reader the story, DPOV is a way of moving them closer to the POV character, and using her senses so the reader can experience it through her. Pretend for a moment that you’re watching your POV character ¾ let’s call her Alice ¾ through the lens of a movie camera. Alice is strolling through a lush, tropical garden, reaching out to touch a bright orange Bird of Paradise flower. Now zoom the camera in so that you are sitting on Alice’s shoulder, where you can better see the textures of the plants and the vivid blue centre of the flower. But you still haven’t reached DPOV. It’s time to put the camera down and use your magic powers ¾ otherwise known as an imagination ¾ to transport yourself into Alice’s mind. Now you can feel the prickle of the grass under her bare feet, see the waxy texture of the stiff, orange flower, hear the musical lilt of the nearby creek flowing through the gorge, smell the damp moss on the stones, and when she licks her lips, taste the remnants of the chocolate she has been sucking. Do you see what DPOV has achieved? Rather than watching Alice’s life unfold, you are experiencing it as she does. Why bother? Ideally you don’t want readers to notice how cleverly you’ve used the language, because you want them to be so engaged with your character, that they are completely immersed in her thoughts and sensations. The danger of not fully engaging the reader, is that they won’t feel emotionally invested in the story, and are more likely to walk away from it.  Getting into your character’s head It’s important to know your character intimately, so you will know how she thinks, feels and acts. You can do this by understanding what she thinks and feels, and why, where she came from and where she’s going, and events and persons who have influenced her. The deeper your character development, the more likely you are to be able to experience the world the way your character would. If each of us entered the same lounge room, we would experience it differently because of the influences of our life experiences, hopes and fears. A seamstress might notice the crooked seam on the curtains, a horse-rider might notice the jodhpurs hung over a chair, a gardener would marvel at the delicate blooms on the window sill, etc. Remember that your characters are likely to have their own speech patterns, phobias, ideas about social etiquette, etc. All of these things will add layers to your character, but their flaws especially will help readers relate to and sympathise with them. When to use DPOV It can feel a bit scary when you first start to explore DPOV, because it almost feels like you’re slipping into first person, but you’re not. You’re still using ‘he’ and ‘she’, but you’re getting rid of the narrator as much as possible, and just leaving the fabulous story and charming characters. It’s not appropriate to use DPOV all the time, just as you can’t always show instead of tell. There are times when you just need to drive the story forwards, like explaining the relationship between characters, or showing a big-picture scene. But only take that route if you can’t deliver the information another way, like through dialogue or interactions. Once you get used to using DPOV, you’ll be surprised at how it will affect everything you write. One of the huge benefits is making your writing more direct, because you will get rid of superfluous filter words. As you can imagine, it would be exhausting to feel every emotion your character feels about everything from a cup of tea to the neighbour’s new car, but you can still use DPOV by incorporating your character’s senses. Let your reader see, hear, smell, touch and taste the environment as your character interacts with it. Let’s talk tactics DPOV makes your words work harder. Not only are they telling a story, but everyone is chosen carefully to layer in character development, emotions, tone, themes and attitude. For example, instead of: Bob decided that this dawn signalled a new start for him. Dig deeper: Bob threw open the door and sucked in a lungful of crisp mountain air. It was the best air he’d ever breathed. No city fumes or skyscrapers blocking the sun, and best of all, no Jenny strangling him with impossible rules and requirements. So, do you have to use italics when you’re in a character’s head? If the character wants to break from third-person POV and think ‘I did this’, then yes, but the beauty of DPOV is that this is hardly ever necessary, and that helps the story to flow. Don’t pre-empt actions and feelings, just show them happening. Instead of: Sally’s skin began to prickle, and she wondered when the snarling dog would attack. Try: Sally’s skin prickled. The snarling dog stalked closer, muscles bunch, haunches lowered, ready to launch at her. Steer clear of passive voice, which is telling the reader that something is being done to someone, rather than by your character. Instead of: Her face was stroked. Try: He stroked her face. Drawing on your own experiences and emotions can be helpful to really immerse yourself in the world of your character. The situation your character is in may be different, but you’ll be able to draw on the details you remember of a time, place or event, and the emotions they evoked for you. [Top Secret: I find “The Emotional Thesaurus: A Writer’s Guide to Character Expression” by Angela Ackerman and Becca Puglisi, a very helpful tool when I run out of different ways to show similar emotional responses.] Many romance writers alternate between the hero and heroine’s POVs. If you do this, keep in mind that you want to experiencing the story through the character who has the most to lose, or will be most affected at that time. While you are in a character’s head, remember that you can only view the world as he/she genuinely would. Using a lot of dialogue tags is another reminder that the reader is being told a story. Sure, they are necessary sometimes, but don’t overdo them. Quite often you can use language and movements that the reader associates with that character. One of the most helpful things I learnt was to banish any distancing words, because they immediately let the reader know they are being told a story, rather than just letting them experience it. They also make your writing less direct, which provides yet another opportunity for your reader to wonder if there is still a piece of cake in the fridge, and put your book down. Here are some examples of distancing words: saw, watched, thought, wondered, felt, seemed, looked, almost, noticed, realised, decided, heard. Instead of: Alice felt sad at leaving her sister, Liz, behind. Try experiencing it through her: Alice blinked furiously to stymie her tears, and waved as Liz raced along the train platform. It was only for a year, and Liz was old enough to fend for herself now. She hoped. The second example uses DPOV to let the reader experience what Alice’s emotions feel like, with the added bonus of providing more insight into her hopes and fears. Instead of: Alice heard footsteps behind her and turned to survey the dark alley. Try: There it was again; a muffled footstep. Alice whirled around and glared into the dark mouth of the alley, heart thumping a staccato beat. DPOV is all about weaving a character’s senses and emotions through the narrative. By inviting your reader right into the minds and hearts of your characters, you will allow them to experience the characters’ hopes and fears, exhilarating first kisses and heart-wrenching losses. For a little while the reader will be completely immersed in the story, and remember it long after he/she puts the book down. I hope I have demystified DPOV and made you feel comfortable using it.  I’m Sandy Vaile, and today I’m going to explain why I believe backstory is like a pungent spice, and you should too. What is backstory? You’ll read many different definitions on the internet, but for my purposes I like to define it as: Anything that happened to the character before this story started, which provides context to the story. The important aspect is context. It’s not enough to throw a heap of character history in as filling, no matter how fascinating it may be. It must be relevant to the story. It’s also the base line from which you can show the all important change in your character by the end of the story. Backstory is a robust yet understated tool. It’s vital to help show what makes a character tick, and yet can totally distract the reader if not finessed into the front story. Backstory is the foundation of realistic reactions to events, and adds layers to make characters three-dimensional, by revealing where personality, morals, hopes and fears originated. Why a pungent spice? To me, backstory is like a flavour you 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. It’s a vital ingredient that you need to infuse through all the layers of your story, without sacrificing other flavours (like pace or suspense). I firmly believe that in 90% of situations, it should be added in a quantity befitting a jalapeno chilli that can set your mouth on fire. You don’t need to be able to see chunks of chillies to appreciate the heat. What you need is subtlety of flavour. Delivery tactics The way backstory is delivered can mean the difference between the reader discovering information for herself ¾ like selecting a favourite chocolate from the box menu ¾ or being force-fed it like a boiled Brussels sprout. (Apologies to Brussels sprout lovers.) Backstory is a part of character development, and should be uncovered in a quantity that relates to the amount of page time a character has. For example, a main character needs much more backstory development and disclosure than a minor character. I’m sure we all have a friend who loves to talk about themselves, and it takes superhuman willpower not to tune out after a while. Why? Because being told stories isn’t nearly as interesting as experiencing the action first hand. Hence why you need to thoroughly infuse backstory into your character’s daily life, thoughts and actions. This way, the reader feels as thought they are learning about the character as they take the journey with her, rather than being force fed. By allowing the reader to discover how past events have affected the character, and feel her inner turmoil as she faces her worst fears, they can better appreciate the changes to her core beliefs. This sort of rapport is priceless. Now that’s a powerful spice!  Delivery devices For some reason, writers tend to forget the ‘show, don’t tell’ mantra when they need to squeeze backstory into their front stories. Here are a few ways that you can work that important historical information in.
Instead try something like, Bob picked up a photo from the cupboard. “Don’t tell me; you are the entertainment for kid’s parties.” Emily laughed. “Close. I was a rodeo clown until dad got sick last year.”
in her chest, the gut-wrenching pain of losing the most important person in her life. It was no wonder Jack had been unable to love the people who were still in his life. Self-preservation was a powerful thing.
Volkswagen Kombi as it rattled past. It reminded her of a happier time, when she was part of a real family. On the day of her fourth birthday party, Mya sat on the lounge room floor in a circle with five kindergarten friends, playing pass-the-parcel. Jack tousled her hair and knelt beside her. “Happy birthday, Mya. I got you a little something.” The game was momentarily forgotten at the sight of a square box wrapped in iridescent-blue paper. She picked at the sticky tape, carefully peeling and folding it. It was going into her collection of precious things. She lifted a toy yellow VW Beetle from the box. The cutest car she’d ever seen, just like the one she’d fallen in love with on their beach holiday. He’d remembered. I hope you’ve picked up some helpful tips to help you infuse backstory. If you’d like to learn more about how to use different delivery devices, when to reveal information, and the osmosis method, then jump to the information page for the Treat Backstory Like a Pungent Spice course.  The ultimate course to help you master backstory revelation! |
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