Writers in the Storm

by Ellen Buikema

Here I sit, in front of my laptop. The cursor blinks merrily at the top left of the page, maddeningly free of words. The muse isn’t talking. Maybe there is no muse. Maybe I am a fraud. Has this ever happened to you?

Many writers, even professionals, suffer from writing anxiety.

Whether you see this as resistance or low sense of self, writing anxiety can prevent you from finishing that wonderful story that only you can tell best. Or for that matter, from even starting the story.

I don’t know how to start. 

The suggestion, “Just start writing” can be helpful. This way you can get something down to punch up later.

Have a care with surfing the net, falling down rabbit holes while researching, and making online purchases.

Try developing a routine.

• make your favorite brew
• disconnect from the internet, unless you are researching
• set a timer

Having a routine can help set the mood to relax and write. It’s a good idea to move away from your work periodically and stretch. Your skeletal structure will thank you.

Make your writing time brief, to start, and lengthen the time when you are ready. I like to write in “chunks” of time, never more than two hours at a time. But that’s me. Some people can write for much longer stretches of time. There is no wrong here. Don’t pressure yourself.

Start small.

Think of an idea for a story and write it in under a thousand words.

Way back when I was teaching, I had my Language Arts students write stories using the three-paragraph method, beginning, middle, and end, with two or three sentences in each paragraph.

Give this method a try. Don’t worry about grammar or spelling initially. The goal is to tell a story, start to finish, within a set word limit.

This story starter can be expanded and developed into a longer tale, with corrected grammar and spelling in later drafts. The three-paragraph method was a great confidence builder for my students.

I’m obsessing over details.

There’s a lot that goes into developing a story and writing a book. Pondering all that information can send writers over the edge, diving into the anxiety pool. You might come to a sharp stop. Stuck. Obsessing over details that don't matter early on in the process may tempt you to give up.

Advice to keep going may be tiresome, but you can't edit an empty page.

Practice story structure.

• Exposition. Introduces a protagonist's life, world, and wants, and has an inciting incident—the problem.
• Rising action. The protagonist is tested along the way as the problem worsens.
• Climax. The hero makes their choice and the climax is the action that follows that decision.
• Falling action. The hero must deal with the consequences of achieving their goal.
• Resolution. Plot, character arcs, and themes weave a conclusion.

Try plotting out these five moments, focusing on the problem.

Here’s a great story structure worksheet to help with the story structure process.

My writing is terrible.

The first draft, by definition, is terrible—for most writers. When you look around at all the books in a bookstore or library, know that none of them read as they do now in the first draft.

Great writers write well because they practice their craft. How do you get to Carnegie Hall? Practice, practice, practice. It’s the same for all artforms and careers.

Find a writer’s critique group or support group.

I am a fan of critique groups and writer support groups and belong to both. Critique groups can be found though Meetup.com, within social media, and in your local community. Writer support groups can be composed of writers you know locally, or folks you met at a conference. The support group may function in part as critique as well as moral support for writing and day-to-day living. Great friendships may develop in both types of writer groups.

I can’t figure out how to end the story.

Some people believe that the ending of a story is the most important part. Goof up the ending, and your reader will feel cheated. The ending must be satisfying.

Look ahead.

Consider beginning the writing process with a good feel for the ending. As you write your story, the ending will evolve, but you’ll have a clear goal to reach those final scenes. Even if you write by the seat of your pants, it can’t hurt to know the start and end points of your story.

Return to the story’s start.

Use an element early in the story and return to it in the end. That element may be a family heirloom, or a special stone, something unique. Consider the screenplay, Citizen Kane. The film begins with the whisper of a dying man, “Rosebud.” We don’t know who or what Rosebud is until the movie’s end—very emotional. Tying your story’s ending to its beginning is one way to give your reader a satisfying ending.

Final Thoughts

A lot of writing anxiety stems from perfectionism—we truly want to create a perfect book.

There is no magic in perfection. Magic lives in your creative mind, and flows best when you least expect it.

Have you ever experienced writing anxiety? What did you do to overcome it?

* * * * * *

About Ellen

Author, speaker, and former teacher, Ellen L. Buikema has written 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 Vilius Kukanauskas from Pixabay

By Janice Hardy

You can have conflict without tension, and tension without conflict. But you probably don’t want to.

I made pretty much all the writing mistakes when I first started writing, and one of them was mixing up conflict and tension. I foolishly thought they were one and the same, because everyone talked about them that way.

• “You need conflict and tension.” 
• “Make sure your scenes have conflict and tension.” 
• “There’s not enough conflict and tension in this story.”

It was rarely just conflict, or just tension. 

Close But Not the Same

Confusing conflict with tension has caused a lot of frustration, because they’re so closely linked, they seem like the same thing—except they aren’t. 

Wanting to go to prom and struggling over which invitation to accept is a conflict, since a choice has to be made, and there’s something in the way of “going to prom.” Someone will likely get hurt, or mad, and getting the goal requires resolving a problem (even if that problem is minor in the grand scheme of things). 

But if there’s no sense of anticipation about that choice, then there’s no tension. If readers don’t care about the choice, or the choice is obvious, or it doesn’t actually make any difference in who’s picked, the conflict is just something that has to be done, not a situation that engages readers in the story.

Conflict is all about choices and the fear of making the wrong one.

Tension is all about the reader’s need to know what happens next.

A conflict can pique your interest, but the tension keeps you reading. The combination gives a wonderful sense that there’s more going on than meets the eye, and creates the anticipation of something about to happen, good and bad. 

“There’s a problem and I have no idea what the protagonist is going to do about it, but I need to find out.” 

For example:

• A fantasy protagonist sneaks through the dark, scary graveyard and jumps at every sound, sure she’s being followed. (There’s tension as readers wonder and worry about what’s following her, but “being nervous” isn’t a conflict since there’s nothing opposing the protagonist or her goal.)
• A romance protagonist banters with the love interest, but never acts on her attraction and leaves without doing anything. (Readers eagerly read on to see where that banter might go, creating tension, but playful bantering isn’t preventing these two from achieving their goal. In fact, it’s helping them achieve it.)
• A mystery protagonist eavesdrops on a suspect. (The fear she might be discovered can create tension, and there’s anticipation over what she might learn, but there’s no conflict in this action.)

While these examples can create tension and draw readers into the story, there’s no opposition to any goal, no struggle to overcome a challenge, and no choice to be made to resolve any problem. Simply put, there’s no conflict in these scenes, even if there is tension, so they may or may not work.

Let’s look a little closer.

Say a girl is eagerly waiting for the next summer blockbuster to come out. That situation might have tension, but no conflict since nothing is keeping her from seeing that movie by the release date. 

However…

What if she wins tickets to the opening night show, but her best friend can’t go and she promised to see it with her? That’s conflict, because it forces the protagonist to make a choice about her goal—does she see the movie opening night and hurt her friend, or wait until her friend is free like she promised?

This situation has it all now—tension (What will she choose? What will happen?), conflict (Should she go or not?), and stakes (If she goes, will that hurt her friend or even ruin their friendship?). That hardworking trio is working as intended to hook readers and make them care what happens and what this girl decides to do.

If you’re unsure if you’re confusing conflict and tension, look at your scene and ask:

Is there opposition to your protagonist’s goal? 

Conflict exists when something or someone is preventing the protagonist from getting what they want. If there’s no opposition, there’s no conflict. If the whole point of the scene is to overcome or achieve something, that opposition is critical to keeping readers engaged.

Tension is when the reader worries the protagonist will fail. If there’s no change of failure, there’s nothing to worry about, and hence, no tension. 

Is this opposition creating a challenge to overcome, or just an obstacle to get past? 

It’s not uncommon to see an obstacle in the way of the protagonist’s goal and think the scene does indeed have conflict. But “obstacles in the way” aren’t usually good conflicts. If the result of the scene is the same even if the protagonist hadn’t encountered the obstacle, it’s not actually a conflict—it’s just a delay. This is one of the more common conflict issues, especially in plot-heavy novels. Getting past the obstacle doesn’t mean anything or change the outcome of the scene.

You can have a tense delay, especially in a heavy, emotional scene, but what the reader is worried about or anticipation, probably has little to do with the delay itself. There’s more going on that’s creating that fear, worry, or need to know.  

What’s driving the reader’s need to turn the page? 

A good conflict/tension mix pairs the anticipation of what’s to come with the uncertainty of how it will turn out. The conflict creates uncertainty (typically making the protagonist struggle with a choice on what to do), and the tension creates the need to see how it all turns out. 

It’s not easy to be objective about our writing, but take a step back and consider why a reader would want to turn that page. What would make them want to keep reading? If they skipped the scene, would it really matter? If the answer is no, odds are the scene needs more conflict.

Is the outcome obvious? 

If there’s anticipation but no problem to overcome, the outcome of the scene will likely be obvious. There won’t be a choice to make, or a challenge to face, because there’s no conflict preventing the protagonist from acting. 

The critical element here is how interested the reader is in how the protagonist gets to that obvious outcome.

For example, knowing the kiss is coming is obvious, but the fun is in watching the courtship dance to get there. Tension without a lot of conflict can work just fine in this situation. But watching the protagonist struggle to disarm a ticking time bomb readers know from the start they’ll be able to disarm lacks tension and conflict and just makes readers wait unnecessarily.

Scene Not Working?

Remember, conflict works with tension (as well as stakes, and a slew of other things) to put characters into situations that make readers want to know and worry about what happens next.

If a scene isn’t working, look at conflict and tension as separate items and determine if either one needs tweaking. Maybe you have plenty of tension, but the conflict is lacking. You might have a great conflict that requires the protagonist to really struggle to resolve or overcome it, but readers just don’t care because there’s no tension. Perhaps you have too little of both and that’s bringing the entire scene down. 

Quite often, it doesn’t take much to fix a scene and turn it from bland to gripping. Sometimes, all it takes is a solid understanding of how conflict and tension work to make readers desperate to see what happens next.

Will readers anticipate how your scenes turn out? Why or why not?

About Janice

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy. When she's not writing fiction, she runs the popular writing site Fiction University, and has written multiple books on writing, including Understanding Show, Don't Tell (And Really Getting It), Plotting Your Novel: Ideas and Structure, and the Revising Your Novel: First Draft to Finished Draft series. Sign up for her newsletter and receive 25 ways to Strengthen Your Writing Right Now free.

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The Author's Ultimate Guide to Book Festival Success

By J. Alexander Greenwood

Let’s be real: standing behind a table trying to convince strangers to buy your book can feel as awkward as giving a speech in your underwear. I get it—I’ve done dozens of these and just did it again last month. 

But here's the thing: seasoned authors know that book festivals aren't just about moving inventory—they’re about making genuine connections that turn curious passersby into loyal readers. Please note you won’t always sell a lot. Last year at a book festival I sold out every book—nearly 100—along with a sale of my series to a library system.

But get this: I only sold 7 books at a small festival the other day—bummer. However, I interacted with several folks and snagged some future podcast guests and got to hang around with writers. But let’s get to some tips to help you make the most of your book festival appearance!

Before You Pack Those Books: Strategic Planning

Define Your Festival Persona  

Are you the approachable mystery writer who helps readers uncover their next favorite whodunit? Or maybe the passionate historian bringing the past to life? Whatever your style, your festival persona should reflect who you are while showcasing what makes your books stand out. Not going to lie, once you settle on a persona, sometimes it’s hard to muster, but do try.

Design a Booth That Tells Your Story  

Ditch the flat table with books scattered around. Instead, create an experience:

• For Romance Authors: Set up a cozy reading nook with fairy lights and vintage love letters.
• For Fantasy Writers: Display a map of your fictional world and sprinkle in some "magical artifacts."
• For Mystery Authors: Stage a mini crime scene with caution tape and clues from your books.

Pro Tip: Height is your friend. Use a mini bookshelf or props to give your display some dimension and visibility.

The Money and Numbers Game  

• Bring 50% more books than you think you'll need.
• Proven price points from 50+ festivals: $15–$20 for paperbacks; $25–$30 for hardcovers
• Special festival deal: 2 books for $30
• Accept all forms of payment—cash, card, and digital.
• Make sure your mailing list and social media are letting folks know where and when you will be. Ask them to share I with their networks.

During the Festival: Creating Magic

The 5-Second Hook  

You’re not just selling a book—you’re offering an experience. Try these conversation starters:

• “Do you love [insert bestselling author]? I’ve got something you’ll enjoy...”
• “What was the last book that kept you up all night?”
• “Want to see something that will change how you think about [your book’s theme]?”

Whatever you do, don’t lead with: “Would you like to buy my book?” That’s like proposing on the first date.

The Introvert’s Guide to Selling  

Not a fan of small talk? No problem. Try these:

• Set up an interactive element at your table (a quiz, game, or "guess the murderer" contest).
• Use conversation cards to guide discussions.
• Take “social battery” breaks every couple of hours.

Turning Browsers into Buyers  

Here’s the trick: escalate the engagement.

• Make eye contact and smile—basic human connection.
• Offer something free (bookmark, candy, mini quiz).
• Ask a fun, engaging question about their reading preferences.
• Share your book's "origin story"—people love a peek behind the curtain.
• Seal the deal with your special festival offer.

The Hidden Opportunities Most Authors Miss

The Author Gold Mine  

Sometimes, the best connections aren’t readers—they’re fellow authors. Networking with other writers can lead to collaborations, co-promotion, and even breakthroughs. I got an invitation for a paid speaking gig at a literacy program!

Build Your Reader Army  

• Create an exclusive reader magnet just for the festival (bonus chapter, prequel story).
• Use a QR code for easy mailing list sign-ups.
• Offer a “VIP Reader” card with perks like discounts or early access to new releases.

Content Creation Heaven  

• Go live on social media during slow moments.
• Snap photos with readers (with their permission).
• Record short videos sharing your festival experience or behind-the-scenes moments.

Emergency Situations: Quick Fixes

• Card reader dies? Have backup options like PayPal, Venmo, or another payment app. I always take checks. Book readers have never stiffed me.
• Out of books? Offer pre-orders with a festival discount.
• Slow traffic? Use downtime for social media content creation.
• Losing your voice? Keep throat lozenges and water nearby.
• Bad weather? If you're outdoors, have clear plastic sheets handy to cover your table.

After the Festival: Maximize Your Success

24-Hour Follow-Up Plan  

• Email new subscribers their bonus content.
• Post highlights from the festival on social media.
• Send thank-you messages to key connections.
• Update your inventory and sales records.
• Take note of what worked—and what didn’t—for next time.

One Week Later  

• Share festival stories and photos in your newsletter.
• Reach out to authors for potential collaborations.
• Start planning improvements for the next festival.

The Festival Success Checklist

Must-Have Items:

• Books (more than you think you'll need)
• Square reader + backup
• Banner with your name/brand
• Business cards
• Mailing list sign-up (tablet or paper)
• Pens
• Camp chair
• Table
• Comfy shoes
• Phone charger
• Promo materials
• Emergency kit (pain relievers, throat lozenges, band-aids)
• Snacks and water
• Phone charger
• Cash box with change

Remember: everyone who stops at your table isn’t just a potential sale—they’re a potential champion for your work. Book festivals aren’t about the number of books you sell today; they’re about the readers you’ll keep for a lifetime. Stay authentic, stay prepared, and most importantly, stay excited about sharing your stories.

Your Next Step:  

Before your next festival, pick one area of this guide to master—whether it’s crafting the perfect pitch or creating a killer display. Excellence in just one area can take your festival experience from good to unforgettable.

If you've done book festivals, what worked for you?

Does this post help you see yourself participating in a book festival? Which of these area do you want to master?

About J. Alexander Greenwood

J. Alexander Greenwood is an award-winning writer, public relations consultant, podcaster, speaker, and former journalist and broadcasting executive. He is best known as the author of the John Pilate Mysteries and host/producer of the Mysterious Goings On podcast and the PR After Hours podcast. Alex is also the author of the Amazon Top-Selling eBook/audiobook, The Podcast Option. You can read his blog at JAlexanderGreenwood.com.

Top image by J. Alexander Greenwood via Dall-E