There are a lot of ways to approach what can be a very daunting part of the writing process. In my opinion, you should write your fight scenes like a dancer would write their performance. Talk about it like an overall experience first, then obsess over the parts that were important to your character.

Blow for blow is a little dull and gruesome, and while people don’t necessarily understand the mechanics of a particular fight as well as sex, they understand that they are probably going to be trying to hit one another.

Again, the actual fight itself is rarely the important thing. It’s the conflict coming to a head, one person winning out over the other or escaping in the end. Maybe it’s the climactic conclusion where they both die. Overall, the important thing about most fight scenes is not the fight but the conflict that the fight represents. The styles of fighting typically describe the characters.

When you focus on the blows or attempted blows of the fight, focus on the pivotal moments of it and the parts that define the characters. Backstabbing, any hesitation moments or moments where there is no hesitation at all when there might have been, moments when they go in for the kill and where they are looking when they do so, when one person gets the upper hand over another and how, these are important moments that should get a bit of a focus because they can further illustrate the characters involved.

The rest is about everything but the fight. The feeling of the ground under their feet. The weapons in their hands. The pounding in their chests. The sun in their eyes. The blood trickling out of open wounds. The pain as they try to balance on broken limbs. Make it a visceral experience.

There are exceptions to this, of course. If you want to do this more from the perspective of a cold killer, on the other hand, describe every single blow. That makes it more cold, mechanical and removes any of the emotion from the battle. Removing the sensations can make it feel dull and monotonous, like an office job.

There are really two main parts to personality, a collection of what they are and how you know, and you use these to determine they interact with the world. They are (what) brooding and you know that (how) because they are always on their own. They are (what) bubbly and vibrant (how) because they are wearing bright colours and always smiling.

Sometimes it’s easiest to start with a trope or archetype, such as the brooding loner or that bubbly sunshine character, and adjust that character into something that will work better for your story.

There’s one main thing to remember when it comes to a character’s personality.

Show don’t tell.

I know, we’ve all heard it before, but that is imperative for personality more so than any other aspect of the character that you show the audience what they are like more than you tell the audience what they are like.

To do this, we’ll go through the first impression, how a friend perceives them, what the character thinks of themselves, and what you, as the creator of this character, know to be true. This could all be the same, but it often isn’t. This is where some of that depth and dimension comes in, from knowing that different people might interpret differently a character’s actions.

I will start off with an example of how I, an actual person, have been interpreted in the past. I went down to the States to visit friends and while at a store to pick up a couple of things. When I handed the cashier some cash and told them to keep the change.

To the cashier who had never met me before and would never see me again, I was probably stupid because it’s common knowledge that you can’t keep the change at a store like that. I was likely also apologetic and chatty because not only did I keep apologizing, but I also had a brief exchange with the person behind me in line to apologize and ask where she got her earrings.

To my friends, I was generous and respectful because I was trying to tip the cashier, as they believed I, as a Canadian, thought it was customary to tip all low-wage employees in the United States and they had been watching me apologize like it’s an accent the whole trip so far.

And to me, I was nervous because I was overly aware of the line behind me and also polite because I had inconvenienced someone.

The truth of it is that I was anxious because I talk when I’m anxious and tend to change the subject to the first thing I can think of (The earrings) to get the attention off of the thing I did.

Plus, there were pennies in the change. I can’t use those back home. It would have been easier for them to keep it.

If you’ve ever been stuck while you were writing, there’s a common practice for computer programmers that might help you out! As a person who used to make websites (And still kind of do) I can say that I have tried this method both to help me fix code and to work through writer’s block, and it works! Most of the time.

Step 1. Get a rubber duck. Or some inanimate object with a face that you can talk to.

Step 2. Put it on your desk.

Step 3. Tell the duck that you have a problem and you are going to go over it with them.

Step 4. Explain the problem that you are having and where you are stuck in as much detail as possible.

Step 5. At some point, you will figure out how to get through it. Congratulations! Your duck is happy for you and will await the next time you need help.

It’s a very simple practice that can help you get through the strangest of writer’s blocks. Often just talking through the problem can help you figure out a solution, but finding someone who is both non-judgemental and who will not interrupt can make it difficult to make it work. Therefore, get yourself a rubber duck or some other small, supportive desk pet.

Maybe not a cat.

Magic is so much fun to write, but so often the conversation about fantasy ends up in one of two places: The traditional high fantasy space of elves and dragons and drama between rival nations, or that modern day urban fantasy where there are magical beings living alongside everyone else in secret.

There are so many other types of fantasy subgenres that you can explore! Here are a few ideas to get you started if you’re looking to try something a little different.

Folklore or Fairytale Fantasy

These are stories based on traditional folktales, legends, and myths. They often include some reimagining or adaptation to bring it more to a modern audience. I tend to also think of stories that are based on non-western cultures that are brought to a western audience in this category as well.

Examples: Gods of Jade and Shadow, Hoodoo

Portal Fantasy

These are stories in which the characters travel between different worlds or dimensions. Sometimes they can go back and forth between the worlds and sometimes they can’t.

Examples: Return to Wonderland, Labyrinth Lost, Ten Thousand Doors of January

Steampunk Fantasy

These stories are set in a world that is powered by steam and clockwork technology. These don’t necessarily have a magic system, and sometimes the steampunk-inspired technology serves the purpose of magic in the story.

Examples: City of Ember, Northern Lights

Creating fantasy worlds can be hard! There’s a lot to consider in universe building and trying to make your fictional world feel fantastical, but also ensure that the world itself does not become a distraction from the story you are trying to tell.

Sometimes it’s a lot easier to make a believable fantasy world if you have some foundation in the world we know so that there’s something familiar to use as a benchmark. Doing this can help make sure that people can get pulled into the narrative rather than wonder about things that might not make sense about the worldbuilding.

Here are a few ideas that you can use to help you figure out how to create that magical world that makes just enough sense by using the real world as a basis.

Magic as a skill

This one is a pretty common strategy. In the same way as you get better at art or education or physical activity with practice, magic can be like that. Some people start out naturally more gifted, but with work it can be built on and grow into specializations. Sometimes there are ways to artificially enhance those skills with outside forces, such as a drug or better tools.

Royalty structure

You do not need to make your own complicated way that power is passed from one person to another unless that is the point of your story. There are lots of different existing hierarchical structures that already exist in history that you can draw from, from the Thai monarchy to the British parliament. If you use something that already exists to form the structure of your royal family or how the government in your universe works, it has the added benefit of already having most of the rules in place in case you want someone to abdicate the throne or marry in!

Foliage

If you want to create some unique foliage for your world that still makes sense, there are some really weird plants out there. If you look up unique plants that currently exist in climates similar to the universe that you are making, then you can use those to pepper your world with your own versions of them that make more sense for how the universe works. Or you can just use them directly and give them some mystical properties, like I am definitely going to do with the Phantom Orchid in a future story.

I am slowly working on a not so secret project. My newsletter has been aware of it for a while, but I’m ready to start showing off a little of it here! In addition to the existing workbooks, I’m starting to create some more guided ones as well. The first one will be around character development, and it will include a bunch of my process and how I tend to work with them.

And so, have a sneak peek of what’s inside!

So what exactly is a character?

The Merriam Webster definition is: One of the persons of a drama or novel

I find this definition to be limiting, given that not all characters are people and and not all stories are dramas or novels. Personally, I define a character as:

A personality in a story that can hold a perspective. This is the core of who this character is as a person or woodland creature or supernatural entity. With that as a framework, I’ve found that you can create a more robust character.

A character in a story typically though not always will also have a beginning state and and ending state, or where they are at the beginning of the story and where they end up at the end as a person. Or whatever kind of being you’ve decided to create. And that also goes for if they are dead in the end. These changes happen as a result of the events that you put them through.

This is your year to finally write that book you’ve been wanting to write! You’ve had the idea for ages, but it hasn’t made it past telling people about your idea. But now, this is your time. You are going to actually write it! So where to start?

Put together a outline

Before you start, create an outline of your plot, characters, and key events. This will give you a roadmap to follow as you write, and can help prevent writer’s block. It can also help to make sure that all of those parts of the idea you have will make it into your story.

Carve out some writing time

Set aside dedicated writing time: Consistency is key when it comes to writing a novel. Try to set aside a specific time each day or week to work on your writing. This could be first thing in the morning, during your lunch break, or late at night – whatever works best for you.

Get into the routine

In addition to setting aside dedicated writing time, it can be helpful to establish a routine that works for you. This might include finding a quiet place to write, setting a word count goal for each writing session, or you can try listening to music or putting on something that makes you feel creative that helps you get into a creative flow.

Don’t look back

It’s normal to want to make every word perfect as you write, but it’s important to remember that the first draft is just a draft. It’s okay to make mistakes and either revise as you go (Maybe set aside one day a week) or don’t revise at all until the end! The important thing is to get the words down.

Find a writing buddy

Writing a novel can be a solitary pursuit, but it can also be helpful to connect with other writers who are also working on their books to chat about the hard times or to bounce ideas off of. Consider joining a writing group or forum, or finding a writing buddy who can provide support and accountability.

You can do this!

Writing a novel is a big undertaking, and it’s normal to feel overwhelmed or stuck at times. But don’t give up! Remember why you started this journey in the first place, and keep pushing through. Every word you write brings you one step closer to completing that book at last!

And if you need a hand keeping all of those ideas in order, I have something that might help!

Write Your Story: Unlock Your Creative Potential

Are you ready to embark on a journey into the world of storytelling? Look no further! Introducing Write Your Story, a comprehensive resource designed to fuel your imagination, enhance your storytelling skills, and bring your characters to life. Whether you’re an aspiring writer, a seasoned author, or simply someone who loves crafting stories, this workbook is your ultimate companion.

This Workbook Contains:

• Story planning spreads
• Setting and location spreads
• Character spreads
• Writing session tracker