Hello, friends! I have big news to share. My second how-to book for writers, No Hero Wants to Save the World: How to Raise the Stakes in Your Fiction will be here next week.
Last year, I published The Big-Picture Revision Checklist, which included a chapter on story stakes for those who were revising their novels. However, No Hero Wants to Save the World goes deeper, for a comprehensive look at story stakes on every level. This book will help you when planning, outlining, writing, and revising your novel, to make sure your stakes are as high as they can be, and that readers won’t be able to put your novel down!
Story stakes come in three kinds: inner stakes, outer stakes, and personal stakes. The key to raising the stakes is first knowing the difference between the three kinds, and then knowing when to apply each one. And most important of all, knowing that heroes and heroines don’t want the stakes raised. They are resisting danger at every turn, and unless there is something personal in the story pushing them to act, they will not cooperate with the excellent plot you’ve laid out for them.
No Hero Wants to Save the World is the guide you need to raise the stakes in an effective way. You’ll find what’s most important to your characters, how to get them personally involved, and how to crank up the tension on every page. You’ll discover the ideal time to reveal the true stakes of your story and how to add in plot twists that work.
No Hero Wants to Save the World will be published on January 22nd. Pre-orders are available at all retailers for both ebooks and paperbacks, so you can reserve your copy right away.
My English teacher keeps telling us to “write what you know,” but this seems very unfair. I doubt that most mystery writers have discovered a dead body, and nobody has lived in a world of magic and dragons. But we have stories about these things and someone wrote them. If I had to stick to writing what I know, I’d only write about swim team practice and visits to my grandparent’s house. Why can’t I write what I imagine?
I’m going to give your English teacher the benefit of the doubt. Your teacher isn’t trying to restrict you, but rather empower you. Everyone is unique, your experiences are valuable and interesting, and you know more than you think you do. Most of us have never been on a swim team. What does the water feel like? What does the coach sound like? What does the locker room smell like? And I bet you could tell amazing stories about your grandparents.
You can also write about dragons if you want to. Or dead bodies. Or dead dragon bodies. The trick is not to write what you know, but rather what you’re passionate about. What do you really, really care about? More importantly, what emotions do you want to feel—and what emotions do you want to make your readers feel?
Those two things, passion and emotion, will carry you far. If you’re interested in something, whether it’s mythical creatures, forensic medicine, or the best way to make pasta Alfredo, you’re going to want to learn about it. Most writers have spent many happy hours researching things for their books. And then, suddenly, those writers are writing what they know.
But even more important than the facts, writers have to bring authentic emotion to the page. Readers are reading to have an emotional experience. Readers pick up a romance to feel the flush of first love. Readers pick up thrillers to feel a rush of danger. Readers pick up science fiction to feel the excitement of exploring far-off worlds.
You don’t have to write what you know so much as you have to write what you feel. I’m guessing you’ve never discovered a dead body, but you’ve had something unexpectedly horrible happen to you, whether that’s a bicycle wreck or getting kicked out of your friend group. How did you feel in that moment? Can you recreate those emotions on the page in this fictional situation? You’ve never ridden the back of a flying dragon, but you’ve probably ridden a roller coaster. That same exhilaration and terror should be on the page in your dragon story. Don’t just tell us what your heroine feels, show us her body sensations—her pounding heart and dry mouth, the way she has to close her eyes against the wind and can barely catch her breath before the dragon swoops upward again.
Small touches of what you know will seep into your writing, whether you’re aware of them or not. If your heroine falls off a boat, you’ll know what it feels like for her to swim to shore, and how much her shoulders and legs ache when she gets there. If your heroine has a big family, you’ll know how to write about grandparents—the beautiful accent that Grandpa brought from the old country or the cringeworthy jokes that Grandma tells. Don’t be afraid of putting too much of yourself into your stories. That’s what readers want. They want to know what you know, what you care about, and what you feel.
Keep writing. You’re doing great.
Alex Kourvo is a freelance editor with over a decade of experience helping writers. She is the author of The Big-Picture Revision Checklist, which is out now.