Writers in the Storm

By Kris Maze

Let’s get one thing straight—love does not conquer all.

I know, I know. The poets lied. The movies exaggerated. But as much as we all want to believe love is the answer, it alone does not sell books. Readers don’t come back just because two characters gaze at each other across a dimly lit room. They come back for emotional movement…the ups, the downs, the twists that keep them turning pages instead of scrolling TikTok.

And yet, too many stories get stuck in one emotional gear. Love, pain, fear, hope. These feelings are powerful, but without change, they become background noise. If your characters are embedded in the same emotion for too long, your readers are going to put your book down and mentally check out.

So how do you keep your readers engaged? One certain way is when you make sure every scene delivers an emotional shift.

How I Learned (the Hard Way) That Emotions Matter

Confession time: I don’t write romance. And you’re welcome. That mushy, doe-eyed, slow-burn tension isn’t my thing. (Neither are s’mores, if we’re being honest. Sticky, crumbly chaos. Why?)

But one fabulous day, I entered a NYC Midnight short story contest and got assigned—you guessed it—romance. My required elements? A hearing-challenged person and a roommate conflict.

“No problem,” I told myself. “I watch rom-coms. I’ve read Pride and Prejudice. I got this.”

Spoiler alert: I did not got this.

What I wrote was a small-town drama that landed somewhere between deadpan comedy and daytime soap opera. It had zero handholding, zero emotional spark—just two people bickering over rent and noise levels. One judge, with brutal clarity, wrote, “Not romantic.”

Yikes.

But to be honest? They were right about one thing. My story lacked emotional shifts, which made it flat. And that’s when I realized the importance of having a character show change on every page of my novel or in that case, short fiction. If you want readers to invest in your story, you need to take them on an emotional journey—one that changes in interesting ways, scene by scene.

The Key to Creating Emotional Shifts

Readers don’t just want to witness emotions. They want to feel them. They want the belly-drop of a disappointing heartbreak, the rush of a well-deserved victory, the simmering tension of a will-they-won’t-they moment. And one of the best ways to do that is to mix up their emotional state in every scene.

Here are three steps to track your character’s emotions your manuscript. See how your characters evolve and consider places where to strengthen your story. 

Step 1: Map Out the Emotional Journey

Look at your novel scene by scene. For each one, identify the main character’s emotional state at the beginning and the end. If they stay in the same place emotionally, that’s a red flag. Even subtle shifts make a difference.

For example:

• Scene 1: (Start) Anxious → (End) Hopeful
• Scene 2: (Start) Excited → (End) Devastated
• Scene 3: (Start) Angry → (End) Vulnerable

It doesn’t always have to be a drastic change (not every scene should end in screaming or sobbing), but even a slightshift makes a scene feel dynamic rather than stagnant.

Want to try this method? Make a copy of my free emotional scene tracker template (make a copy).

Want more help getting emotional depth in your writing? Try using this questionnaire (make a copy) to help you fix tricky scenes.

Step 2: Track Emotional Patterns

Once you’ve mapped your emotional shifts, step back and look at the overall pattern. If your book stays in the same emotional range for too long, you risk losing your readers.

Here’s a few patterns to avoid:

• Too much negativity → Readers get overwhelmed. This isn’t a silent film starring Sarah Bernhardt—we’re not here for nonstop melodrama.
• Too much positivity → Readers get bored. If everything’s fine for too long, why keep reading? Conflict is what keeps people engaged.
• No emotional contrast → Readers disengage. If every scene feels the same, there’s no momentum.

A mix of positive and negative emotions creates tension, and tension keeps readers glued to the page.

Step 3: Make Emotional Transitions Feel Natural

Readers don’t just want a character who says they’re scared or sad. They want to see it. How to write emotions into our stories is a complex process and many writers struggle in this area. Try some of these suggestions to improve your work.

• Pairing emotions together – Love and fear often go hand in hand. Hope and doubt can exist in the same breath. Use contrast to keep readers wondering which emotion will win.
• Using visceral reactions – Show the tightness in a character’s chest, the shaky exhale, the way their hands ball into fists before they speak. Describing the body’s involuntary reactions is a great way to convey what a character is really thinking and feeling. 
• Writing authentic dialogue – Read it aloud. If it sounds stiff or unnatural, tweak it. People don’t always say what they mean, especially when emotions are high.

There are many resources for writers looking to improve how they craft emotional scenes. One WITS post by Jenny Hansen provides a wonderful place to start, and it gives insights and examples for writing emotions in scenes.

Emotional Ions: Keep the Energy Moving

Think of emotions like an electric motor. The electric motor runs off diametrically opposed magnetic fields that alternate. If your character stays in one emotional state for too long, the ‘motor’ stalls. But when emotions shift, even slightly, energy builds. That’s what makes your story compelling.

Love doesn’t conquer all, but it can evolve, shift, and deepen as characters learn about themselves and each other. And that’s what readers really want. Give them an emotional journey that feels real, messy, and earned.

So go ahead. Serve up that sweet-and-spicy emotional rollercoaster. Your readers will thank you for the ride.

What about you? How do you make your scenes more moving and emotional? Tell us your tricks for ensuring your story have the right amount of emotional shifts in it.

About Kris

Kris Maze is an author, writing coach, and teacher. She has worked in education for many years and writes for various publications, including Practical Advice for Teachers of Heritage Learners of Spanish and the award-winning blog Writers in the Storm where she is also a host. You can find her horror stories and young adult writing on her website. Keep up with future projects and events by subscribing to her newsletter.

Find her newest collection of speculative stories HERE .

A recovering grammarian and hopeless wanderer, Kris enjoys reading, hiking, and spending time outdoors. And sometimes she teaches Spanish dancing.

Feeling Overwhelmed? You’re Not Alone.

I don’t know about you, but last year was a wild ride for me, and, I think, for a lot of writers. Between the tech shifts, ever-changing marketing demands, and the constant pressure to do more faster, it’s no wonder so many of us are feeling drained.

We’re constantly told we need to write faster, market harder, master new tools, and somehow still enjoy the process. It’s exhausting. And honestly? It’s not sustainable.

So, let’s try something different this year.

Instead of chasing the next big thing, let’s focus on writing more with less stress. No burnout. No guilt. Let’s build a simple, low-pressure plan to help get words on the page while keeping our sanity intact.

Step 1: Define Your “Enough”

One of the biggest causes of overwhelm is the feeling that we’re never doing enough.

We see other writers publishing five books a year, running TikTok empires, and launching massive newsletters. Meanwhile, we’re just trying to get a few words down between life’s demands.

Here’s the truth: You don’t have to do everything.

Even those people we’re looking up to and watching don’t do everything!

Remember: we only see snapshots of other people’s lives. Likewise, they only see snapshots of ours. That TikTok influencer may struggle with cooking healthy meals or getting enough sleep, but we rarely see that part.

I’ve worked with authors who put out rapid-release books with great reviews, but who secretly longed to write something different, something closer to their heart. From the outside, they look successful, but inside, they’re not doing what they really want to.

I’ve coached authors who look great on social media, but who are so burned out and depressed, they’re struggling to write. They’ve drained their creativity tank on things that look good but that don’t meet their personal goals.

Before you even think about setting your goals, take a step back and ask:

What is “enough” for me this year?

For some, it might be finishing one book. For others, it could be writing three times a week or sending a newsletter once a month.

Your version of success doesn’t have to look like anyone else’s. The moment we stop measuring ourselves against what other authors are doing, the weight of “not enough” starts to lift.

I have lofty goals for this year. I run multiple businesses, and I have goals for each one. Write more. Build the school. Publish more client books. The list could be endless.

But what is “enough” for me?

I want to find time to write and enjoy writing the stories I love, whether that means finishing them or not.

In my other businesses, I want to maintain the pace I have now. If I can grow them, great. But if they just continue as they are, that is “enough.”

Step 2: One Small Change at a Time

If you’ve ever tried to overhaul your entire writing routine in one go, you know how that usually ends—burnout and frustration.

Instead of aiming for a total reset, focus on one small shift at a time.

• Want to write more? Instead of setting a massive word count goal, start with 10 minutes a day. Or if a daily goal is too much, schedule a special time once a week to let your writer self come out to play.
• Feeling stuck on social media? Choose one platform you actually enjoy and let the rest go. When I talk to writers struggling with social media, I often find they’re trying to be some place they don’t want to be. You don’t HAVE to be anywhere. People are attracted to those who are having fun. If you aren’t having fun, you won’t succeed there anyway. So give yourself permission to be somewhere else.
• Struggling with marketing? Set aside one day a month to batch your content instead of trying to keep up daily. I have found this one particularly helpful.

Small changes lead to lasting habits. And lasting habits lead to progress that sticks.

Step 3: Set a Low-Stress Writing Rhythm

Somewhere along the way, we picked up the idea that “real” writers write every day and churn out books at lightning speed. That might work for some, but for many of us, it just leads to guilt. And—shock—guilt does not lead to productivity! Instead, it drains away our energy, which leaves us tired… and feeds the guilt monster.

Here’s the reality:

• Not every season is a high-output season. And that’s okay.
• Writing more doesn’t mean writing faster. Slow, steady progress still gets you to the finish line.
• Your best writing rhythm is the one that fits your life.

Maybe you write best in morning sprints. Maybe weekends are your time. Or maybe you need to embrace short bursts rather than marathon sessions.

Whatever it is, own it—without guilt.

I’ve coached writers dealing with huge life crises. The guilt they pile on themselves for things completely outside their control is stunning. They’d never criticize another writer for not writing during a disaster, but they DO criticize themselves.

Give yourself even more grace than you’d give your best writing friend.

If you’re going through something—and aren’t we all?—reward yourself with some writing play time. And then look at those words with joy.

Step 4: Build a “Stress-Free Writing Toolkit”

We often think of writing as just putting words on the page, but the environment we create around our writing matters just as much.

A stress-free writing toolkit can help you stay grounded and keep creativity flowing. Some ideas:

• A writing playlist that signals “it’s time to focus.” I have a few of them for different stories and moods.
• A designated writing space—even if it’s just a favorite chair. Or maybe a change of place. Going to a coffee shop, a beach, or a park can give you a sense of freedom and adventure.
• A list of “easy” writing tasks (brainstorming, outlining) for days when drafting or editing feels impossible.
• A low-pressure accountability group (or just a good bestie) where the goal is progress, not perfection.

Writing doesn’t have to feel like a constant uphill battle. Set yourself up for success by making it easier to start.

Let’s Make This Year About Sustainable Success

This year, let’s trade stress for sustainability. Burnout isn’t a badge of honor, and writing more doesn’t mean sacrificing everything else.

Here’s to more words, less stress, and a successful writing year.

What’s one small, low-stress change you’re making this year? Drop it in the comments—I’d love to hear your plan.

About Lisa

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of No Stress Writing Academy. She also runs Heart Ally Books, LLC, an indie publishing firm.

Interested in learning more from Lisa? Sign up for her newsletter or check out her school, No Stress Writing Academy, where she teaches social media, organization, technical skills, and marketing for authors!

Top image from depositphotos.

by James R. Preston

Across the electronic gulf in the early years of the twenty-first century the Writers in the Storm web page was likely being watched keenly and closely by intelligences searching for ways to improve their art and craft of writing.

With thanks and apologies to H. G. Wells, welcome to The Shadow Before, some thoughts on foreshadowing, and Mars. 

Heads

The beginning and ending link your story together. They help to make it a whole, instead of simply a series of incidents. And one of the strongest techniques for the first part is foreshadowing.

Let’s take a look at what foreshadowing is, what it can do for you, and why it’s so useful. 

An overview

• Foreshadowing is a narrative device where the storyteller gives advance hints and clues about what is to come later in the story.
• Foreshadowing most often appears early in a story. It helps develop the audience's expectations about upcoming events.
• Foreshadowing can show detail or it can explain the whole story.

When it doesn’t work, it’s often either too obscure or too heavy-handed.

Torso

Ready? Off to Mars, as envisioned by Robert A. Heinlein in 1949. 

From Red Planet

“The thin air of Mars was chill but not really cold. It was not yet winter in southern latitudes and the daytime temperature was usually above freezing. The queer creature standing outside the door of a dome-shaped building was generally manlike in appearance, but no human being ever had a head like that. A thing like a coxcomb jutted out above the skull, the eye lenses were wide and staring, and the front of the face stuck out in a snout. The unearthly appearance was increased by a pattern of black and yellow tiger stripes covering the entire head. The creature was armed with a pistol-type hand weapon slung at its belt and was carrying, crooked in its right arm, a ball, larger than a basketball, smaller than a medicine ball.”

A Caveat

Now before you start writing me to complain, I know this is not the real Mars. This is the Mars of Perceval Lowell and canals, where a dying race created enormous irrigation projects to move water from the poles to their cities. In real life it ain’t like that, but Red Planet was written over seventy years ago and as a story it works as well today as it did when Truman was President.

A brief digression will shed some light on this. 

In 1888 Italian astronomer Giovanni Schiaparelli announced that he had observed what he called canali on Mars, and drew a sketch. To Schiaparelli, these were purely natural features of the landscape. “Canali“ is Italian for channels. Translated into English, the word became “canals,” Lowell believed it, and the rest is history. 

Some analysis

Let’s take Heinlein’s opening apart and see how in a few sentences the Grand Master sets up the whole book. 

• It’s cold, but not winter so it’s going to get colder.
• The helmet has tiger stripes, so residents decorate their headgear.
• There is air, just not much. You can go outside with a respirator.
• There are Martian natives.
• And the hero is carrying a weapon.

Those are basically the important  story elements of Red Planet.

In this case foreshadowing works well; it sets the reader’s expectations. When changes turn up, like being trapped outside at night to freeze to death, they don’t come out of the blue to break the narrative flow, nor does the writer have to stop to explain what’s happening. 

Foreshadowing across multiple books

Working on this essay, I realized that foreshadowing can stretch across a whole series. In One For the Money Janet Evanovich opens with “There are some men who enter a woman’s life and screw it up forever. Joseph Morelli did this to me—not forever, but periodically.” And that’s it, the heart of one of the most famous series of thrillers ever. 

Prologue

Ok, here’s another famous one, from The Bard himself. 

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

That’s right, Shakespeare’s Romeo and Juliet opens with direct foreshadowing of the entire tragedy. 

Shapes of the Shadow

Just as shadows are longer in the afternoon, foreshadowing comes in different degrees, and the examples in this post illustrate that.

• Heinlein sets up the elements of the story — climate, aliens, weapons.
• Shakespeare encapsulates the whole story.
• Evanovich lays the foundation for over twenty novels.

When you think about your “Heads,” think about how much you want to reveal, and should it be background or plot? Here’s some free advice: most of us should avoid telling the whole story up front. That requires enormous skill. 

Too Much is — Too Much.

A personal rant. Note that I have filed off the serial numbers to make this next example unrecognizable. I have a policy of not criticizing work by name. In reviews of course I do, but this is different and I don’t want to distract from the message. Ok. Here’s the opening of the story.

Our young, talented Hero who is going steady with a really nice young woman, meets the slinky Bad Girl, ditches his girlfriend, and destroys his talent while he’s having a good time. Yikes. I got that far and bailed.

You see the rest of the story, too, don’t you?

At the last minute he comes to his senses and . . . Ok, l could be wrong, but I was not motivated to invest the time to find out. If foreshadowing is too heavy-handedly applied, your reader will think she knows the story and quit reading. 

. .  . And Tails

Or tales. Sorry, I just couldn’t resist.

Kids who are bullied learn to watch for shadows coming up behind them on the playground because it may be the neighborhood bully looking for lunch money. Many readers have learned to keep an eye out for early clues, and writers have learned to provide that shadow.

Ignoring famous pitcher Satchel Paige, who said, “Don’t look back; something might be gaining on you,” we have come from the sands of a Mars that never was (but should have been IMHO) through Trenton to ancient Verona, looking at shadows. Teenagers with alien friends, star-crossed lovers, all their stories benefitted by the shadow before. 

The best way to learn this part of the writing craft is by studying examples, and that's where you come in. Do you have a "favorite shadow?" Have you created one? Now’s your chance to tell us about it in the comments!

About James

James R. Preston is the author of the multiple-award-winning Surf City Mysteries. He is currently at work on the sixth, called Remains To Be Seen. His most recent works are Crashpad and Buzzkill, two historical novellas set in the 1960’s at Cal State Long Beach. Kirkus Reviews called Buzzkill “A historical thriller enriched by characters who sparkle and refuse to be forgotten.” His books are collected as part of the California Detective Fiction collection at the University of California Berkeley. 

Find out more about James at his website.

Top photo purchased from Depositphotos.