Writers in the Storm

by Lisa Hall-Wilson

I see talented writers sabotage powerful stories during revisions all the time. Not because they lack skill, but because they revise at the sentence level while the emotional engine of the scene sits there cold and dead on the page.

Emotional tension on the page comes from competing desires, fears, expectations, and vulnerabilities colliding in real time.

A student recently told me:

“…I’m looking at every sentence and trying to improve it when I need to be focusing on specific moments.”

*mittened fist-bump*

Trying to improve every sentence instead of strengthening the emotional movement of a scene is exhausting. A scene succeeds or fails based on emotional movement.

Revision Traps to Avoid

Here are five revision traps I see repeatedly in deep POV manuscripts and how to fix them.

1. Summary vs Immersion

One of the biggest revision speedbumps comes from polishing summary instead of deciding whether summary belongs there at all.

We rush inside only to be forced to find a place along the wall because the ballroom is so full. The music and posh revelry compete for acoustical dominance.

This is summary. No competing emotional pressures are visible in the scene yet.

Instead, get curious.

Here are some questions I might add in the margins off the top of my head:

• How does the character feel about being late?
• Is the noise comforting, overwhelming, irritating?
• Do they feel invisible or exposed?
• What expectation just got shattered?

Summary tells readers what happened.

Deep POV lets readers experience the emotional consequences in real time.

Thane quickened his pace. My heels clicked faster across the marble floor as I wrestled my gown hem with one hand. A feminine voice drifted into the hallway from the stage. The show had already started.

“Great. We’re late.”

We stepped into the ballroom. Heat, perfume, and orchestral music crashed over me. Every table looked full. Every head already turned toward the stage. I tugged Thane against the wall like we were in time-out.

Now the reader is inside the experience instead of hearing about it afterward. Not every scene deserves expansion. But if the emotional beats are missing, readers disengage.

2. Narration After the Fact vs In-the-Moment Experience

You can spend three hours polishing a paragraph and still avoid the emotional truth of the scene. This is one of the sneakiest forms of narrative distance in deep POV. Writers delay the emotional reaction until the moment has already passed. Deep POV thrives on immediacy. Readers want to experience the emotional shift as it happens.

Brewer stood across the ballroom near the bar. Staring at me. I folded my arms over my stomach and leaned deeper into Thane’s shadow.

Thane followed my stare and reached for my hand. “Ignore him.” He pressed a kiss to my temple. “We’re going to have fun tonight.”

My spine straightened and I looked up at him. He met my gaze without hesitation, a slow smile spreading across his face.

The emotional realization happens inside the interaction, not paragraphs later.

When revising deep POV, move the emotional consequence closer to the trigger. When would this character actually feel this? That’s where the reaction belongs.

3. Generalized Emotion vs Specific Emotional Experience

One of the fastest ways to weaken deep POV is relying on emotional labels (nervous, anxious, happy, afraid…). These labels are efficient, but they aren’t immersive. Readers connect when they recognize the human experience behind the emotion.

Real emotion causes us to react. Emotions serve us by informing and protecting us. So…

• Fear can look like avoidance.
• Anxiety can look like overexplaining.
• Perfectionism can look like fixation.
• Survival can look like emotional numbness.
• Anger can look like cracking jokes,
• and shame can show up as irrational anger.

This is where deep POV lives.

Instead of labelling an emotion (summary or explaining), instead ask:

• What are they trying not to feel?
• What fear just got activated?
• What are they trying to hide?
• What coping mechanism appears automatically?

I was nervous.

Versus:

I checked my phone again even though the screen was still black. “He’s probably just running late.”

Or:

She was embarrassed.

Versus:

She took a sip of water to hide the heat spreading across her cheeks.

Specificity creates intimacy because readers recognize themselves inside those reactions. And we often downplay the emotions in our work because we’re afraid of melodrama.

But intensity isn’t melodrama. Unearned intensity is.

Writers often call something “melodramatic” when what they really mean is emotionally uncomfortable (for the writer).

Emotional reactions become believable when they’re grounded in the body, context, and character psychology. What are you risking? If you don’t have a vulnerability hangover writing key emotional scenes, maybe you’re still protecting the character—or yourself.

4. Explanation vs Dramatization

Writers often explain emotions because they don’t trust readers to infer meaning. But dramatization lets readers interpret meaning.

How is the character interpreting this moment? Not in a self-analytical, pyramid-style objective news piece, but in a lived-in-real-time human way?

He can’t be in love with me. I poked at the stubborn roll of fat on my belly. Not yet at least.

Or:

I bit the inside of my cheek to keep my words down. I waited for the smile. For him to say he didn’t mean it like that. That I was being too sensitive.

Give your readers the opportunity to participate emotionally.

5. Talking About Emotion Instead of Embodying Emotion

This is probably the biggest deep POV problem I see. Characters talk about emotions instead of living them on the page.

I have read pages of cerebral navel gazing, and I’m sure some people are able to be that analytical in the moment. But generally, I don’t think to myself about how sad I am. Woe is me. Rather, I grab a pint of ice cream and watch archaeology on YouTube.

I’m grateful for the swoon and shiver I get from his confident touch…

Versus:

His hand settled against my back. Warm. Steady.

Deep POV is sensory before it’s analytical. The body reacts first. Interpretation comes second. That order matters.

Deep POV Revisions Go Faster When You Stop Revising Every Sentence

Deep POV rarely works with a single emotion. Humans experience layered emotions constantly.

• Relief mixed with shame.
• Attraction tangled with resentment.
• Fear competing with hope.

Those contradictions create authenticity.

When revising for deep POV, ask:

• Where does the emotional shift happen?
• What triggers it?
• Is the reaction immediate and proportional (why or why not)?
• How is the emotion felt physically?
• What conflicting emotions are present?
• What is the character risking emotionally in this scene?

Deep POV isn’t about adding more words, more description, more emotion. Deep POV is the discipline of refusing emotional shortcuts.

It requires writers to stop explaining emotion, stop polishing around emotion, and finally put the raw emotional experience on the page where readers can feel it too. That’s why deep POV revisions feel exhausting at first.

You’re no longer fixing sentences, you’re telling the truth.

Where do you struggle during revisions? Is it with Deep POV or getting the immediacy of emotion on the page? What other Deep Point of View questions do you have for Lisa? Please share them down in the comments!

About Lisa

Lisa Hall-Wilson is an award-winning writer and author. She’s the author of Method Acting For Writers: Learn Deep Point Of View Using Emotional Layers. Her blog, (Https://lisahallwilson.com)  explores all facets of the popular writing style deep point of view and offers practical tips for beginning thru advanced fiction writers. 

Featured image purchased from Depositphotos.

by Rebecca Forster

Forty years ago I published my first book. I also found myself creatively tongue-tied when the publisher asked me for a back-of-the-cover biography. I had lived a full life at that point, so why was it so daunting to write about myself?

The answer is that I, like you, am a fiction writer.

The Character and the Author are not the Same Challenge

When we write our books, we reach outward, imagining our way into a fictional consciousness. The characters act at our bidding, the world in which they exist is one of our choosing. If we’re dissatisfied with any aspect of that universe, we change it.

The professional bio is restrictive, asking us to work with our history. Turning our creativity inward is awkward at best, but the reader wants to be introduced to a confident and marketable entity while we want them just to read our books.

So, we must bite the bullet and pen an intriguing introduction to ourselves. Modesty does not belong in a bio any more than hubris, and that is a fine line to walk. So what are we to do?

Turning to an Expert

After my tenth book, I knew I needed a more polished face to the public, so I turned to Robin Blakely, CEO of Creative Center of America, a branding coach who specializes in working with creatives.

One of the first things she did was revamp my bio. The next step was to help me embrace the vibrant author it portrayed. I asked her to breakdown the critical thinking behind that biography.

Tips, Tricks and a Robin Makeover

1. Hook them immediately.

Example: “Rebecca started writing novels on a crazy dare.”

Note: I have seen hundreds of bios that begin with some version of “my childhood love of writing was discovered by my English teacher.”

Spoiler alert: We were all in English class—and yes, good teachers matter—but that’s not what makes you memorable. There’s a more interesting, more unusual way to share your origin story. Find it.

2. Tell a story, not a résumé.

Example: “After earning her MBA, Rebecca spent more than a dozen years as a marketing executive before taking the leap into a full-time creative career.”

Note: That’s the setup for the author story promised in the hook.A list of accomplishments is impressive, but what matters is the arc of the character called you.

Spoiler alert: Rebecca was a successful ad exec who was dared to write a book because a client’s wife had done it. That “wife”? Danielle Steel.

3. Let credibility support the story—not replace it.

Example: “Now she is a USA Today and Amazon bestselling author of more than 40 books—work that the CBS Legal Correspondent calls ‘perfect…impossible to put down.’”

Note: Define who you are now in a repeatable way. Credentials should back up your story, not be the whole story.

4. Be specific enough to be believable.

Example: “Her Witness Series has remained on bestseller lists for over five years in both the U.S. and U.K.”

Note: “Success” is vague and subjective. “Five years on bestseller lists in two countries” is clear and credible. If you aren’t at that level of success yet this rule doesn’t change, but don’t inflate or generalize.

Small and specific beats big and vague every time. Maybe your debut novel reached the top 100 in its category on Amazon or maybe you have launched a series of events that start at the local Barnes and Noble. Each rung on the ladder is real success.

5. Leave us with something we’ll remember.

Example: “Rebecca lives in Southern California with her husband, a Los Angeles Superior Court judge. When she’s not writing, she’s traveling, teaching, or collecting the kind of details that eventually find their way into a courtroom scene.”

Note: This is the part where many bios fizzle out or get chaotic. Don’t empty your junk drawer of facts here. Help us understand that you know what you’re writing about.When you do, it makes us more curious to know you (and to read your work).

The Final Permission

As writers, we are often unsure of our work until it is validated through reviews or editorial approval. Even then, we second guess ourselves.

Let’s stop doing that.

Let’s shine not only through our work but through our branding because we’ve earned the right.

Consider this your permission to look inward and share your real-life, wonderful, accomplished self with humor, honesty, and above all confidence.

Rebecca Forster started writing on a crazy dare and found her passion. Now a USA Today and Amazon best selling author, Forster is known for her legal thrillers and police procedurals. Over three million readers have enjoyed her Josie Bates thrillers in the Witness Series alone. With over 40 books to her name, Rebecca had a long career in traditional publishing before becoming an indie author. Her fast-paced tales of law and justice are known for deep characterization and never-see-it-coming endings.

In an effort to make her work as realistic as possible, Rebecca has graduated from the DEA and ATF Citizens academies, landed by tail hook and spent two days on the nuclear submarine U.S.S Nimitz, engaged in police ride-alongs, and continues to court watch whenever possible.

Rebecca has taught at the acclaimed UCLA Writers Program and various colleges and universities. She is a sought-after speaker at bar and judges' associations as well as philanthropic groups and writing conferences. Rebecca is also a repeat speaker at the LA Times Festival of Books.

Rebecca has just released The 9th Witness, the final book in her acclaimed Witness Series, Josie Bates Thrillers. Find all her books at any online bookstore or here: https://www.rebeccaforster.com/.

Facebook • Twitter • Instagram • Amazon Author Page • Bookbub Author Page

Featured photo purchased at Depositphotos.

by Ellen Buikema

Whichever genre of fiction you are writing: fantasy, historical, horror, literary, mystery, romance, science fiction, or thriller, getting the facts straight can make a difference between satisfied and disappointed readers.

A fictional story doesn’t need real-life investigation, right? But it does! Research for fiction gives writers the knowledge-base to create a story that resonates with readers and may assist the writer’s creative process—gifting them with more ideas.

Research:

Adds authenticity to storytelling

Research helps writers develop believable characters and worlds. While learning the details, you can weave facts into your narrative adding accuracy to the tale. Whether it’s the realistic depiction of a historical battle or the subtlety of a character’s job, research adds realism readers enjoy.  

Enriches the narrative’s detail and depth

Research infuses life into a story. It adds depth and feeling to your writing. It helps with sensory descriptions—the sights, smells, and sounds of a setting. This allows readers to feel a part of the story, making it more memorable.

Shines a light on inaccuracies and keeps the readers engaged

Use research to avoid errors that pull the reads out of the story. Most fictional stories require at least some willing suspension of belief. However, if you weave in some true concepts, customs, or events that really happened, your story will be more believable. That will make your readers happy.

4 Types of Useful Research for Fiction Writers

How you conduct your research is totally up to you. There is no one best method. Your exploratory work depends upon your needs. Here are some suggestions.

Character Research

Do a deep dive with this type of research. For example, you may explore a character’s cultural practices, hobbies, or profession. Understanding these details can help accurately portray character details that will make your narrative blossom. It’s a great way to create multi-dimensional characters who are believable.

If the characters are fictional be sure they feel real. For real people, their personal facts must be accurate.

Historical Research

Performing historical research helps a great deal with the culture of the time. You can find interesting events that may be woven into your story. Your characters might cross paths with a historical figure in the middle of a rebellion. Anything can happen.

This type of research can benefit all genres, not only historical fiction. Have a care though. It is easy to find oneself falling down rabbit holes, chasing topics.

Location Research

Look at the architectural and physical landscapes of the setting you’ve chosen for your story. The details of a location’s sights, sounds, and vibes carry your readers there. The setting can shape the mood of the story, much like a character does.

Technical Research

Getting the facts right is essential when your story involves legal matters, science, or technology—no matter the era. Researching helps you create a world that feels real. Learning the technical side helps you understand the basics behind these subjects.

How to Conduct Research for a Fiction Book

Define Your Goals

As a first step, decide what elements of your story need to be explored.

• Of what are you unsure?
• Do you need historical context for the story’s era?
• What about the character’s background?

Whatever you need to know, determining your goals early on will help keep you focused.

View Pertinent Materials

One of the best means of research for fiction writers involves reading. Browse the Internet for useful books, articles, and other online resources related to your needs.

Consider exploring documentaries, movies, and podcasts, for more perspectives on the subject matter. Reach out to subject matter experts, not just in an academic sense!

Contact people who may be able to give you information local to your search. For instance, I needed information about a bar in Wausau, Wisconsin for a historical fiction story. The bar, now named The Glass Hat was originally the Langsdorf Boarding House and Saloon.

I contacted the owner, and we had a lovely hour-long chat about the bar’s history. She sent me photos of ornate, copper ceiling tiles that once graced the saloon, along with several other photos. Knowing what the saloon looked like for the era of my story helped me write a better setting.

Fact-Check

Verify the accuracy of the information you’ve put together to avoid inaccuracies that undermine the credibility of your work.

This is an important step. No one wants to have legal problems. Confirm the accuracy of your research, particularly for real people.

List Questions That Come Up

While researching, make a list of questions that come to your mind. It might be about a person’s background, a particular location, technology, or machinery. This will ensure that you cover as much as possible and have a thorough investigation into all aspects of your story.

Ask the Librarians

If you are stuck, the library is a great place to go. Librarians can be wonderfully helpful for accessing information. You may come away with a plethora of information for your book. 

Obtain Firsthand Experience

If it’s possible and legal, visit locations and engage in activities similar to your story. This will help with sensory details for better descriptions. Going to great lengths for authenticity’s sake can results in a better book.

Organize Your Information

Research Log

A research log can help you track your process, preventing duplication of effort and keeps your research organized. Keep your list of search keywords and links here.

Folders and Labels

Organize your articles into folders by projects. Use labels, putting articles in categories to find them easily.

Notes

Write short summaries of each source. This helps when writing your bibliography, if needed, as well as your acknowledgements.

Depending on what works best for you, consider:

• Digital tools. Some of these are free and have additional storage for a monthly fee.
• Physical notebooks.
• Color-coded sticky notes to be used on any surface.

Whatever way you decide is best, the goal is easy access and reference as you weave researched information into your narrative.

Tips for Applying Research to Writing

Blend in findings bit by bit

Instead of info-dumping all your research into the story at once, include it gradually so it feels natural to the reader. Sprinkle details. Torrential detailing is not as effective.

Find a balance

After many, many hours researching it is tempting to include a lot of details. My editor said, “You are showing off your research. No one wants all that detail.” She was right. Use enough information to make a vivid world and relatable characters. Your readers need the space to imagine.

Be flexible

Think of your book as if it were a house. Research is your foundation, ceiling, and walls. Your creativity and imagination provide the interior and exterior details; colors, textures, sounds, scents. Use creative liberties as needed. You can enrich the feeling of a scene for readers and still be true to your research.  

Final Thoughts

Research is vital to the writing process. Even though the manuscript is your own creation, there are probably aspects of reality lurking about. A visit to your local library for research can send you further along the storytelling path and may help you find more of your writing community.

Do you use research in your books? Have you read stories that had too much detail? If so, did you have a difficult time getting through to the end of the story?

* * * * * *

About Ellen

Author, speaker, and former teacher, Ellen L. Buikema has written Parenting ... A Work in Progress, non-fiction for parents, and The Adventures of Charlie Chameleon chapter book series with stories encouraging the development of empathy—sprinkling humor wherever possible. Her Works in Progress are The Hobo Code, YA historical fiction and The Crystal Key, MG Magical Realism/ Sci-Fi, a glaze of time travel.

Find her at https://ellenbuikema.com or on Amazon.

Top Image by Dorothe Wouters from Pixabay