Tag: writing advice

Why Your Main Character Falls Flat: Do They Think About the “Big Questions” of Life?

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Sometimes beta readers and reviewers say things like “I just didn’t resonate with the main character” or “The protagonist was nothing special,” despite the many hours and years you’ve spent paining over every one of their thoughts, choices, and words.

So what makes some characters feel forgettable, while others move the hearts of generations of readers? The fact is, characters need more than a driving goal, intricate backstory, and unique strengths and weaknesses in order to truly feel alive. A good horse has most of those things.

If you want your mc to feel deeper than an animal, they need to ponder and act upon matters of “eternal significance,” whether they fall on the side of good or evil. Let’s look at how and why:

  1. The go-to character development checklist doesn’t cut it
  2. What’s missing from “flat” characters?
  3. The few “big questions” most characters do ask
  4. Why they’re not enough
  5. Rebuttal 1: “Peasants aren’t deep.”
  6. Rebuttal 2: “Teenagers aren’t deep.”
  7. Rebuttal 3: “SFF isn’t/doesn’t need to be literature.”
  8. Rebuttal 4: “Morals can be shown through emotions.”

The go-to character development checklist doesn’t cut it

When fleshing out a character, particularly the main protagonist, authors have a list of elements they (should) develop:

  • Deepest want or need
  • Backstory
  • Strengths
  • Weaknesses
  • Likes and dislikes
  • Unique behavioral patterns or personality traits (quirks)
  • Style of speech

These are all important and go a long way in helping readers root for and emotionally connect to a character. But they are still pretty surface level. They’re the bones and muscles, but readers still need the heart and soul.

With the exception of the “deepest desire” or any hidden traumas, you probably know all of those things about your coworkers. Their career and family goals, where they grew up, whether they prefer coffee or soda, if they’re a morning person or obsessed with x sports team, and a whoooole list of weaknesses! 😉

But does this make you feel close to them? Do you really know your coworkers even if you are familiar with their irritating and endearing manners of speech and their drama with their in-laws?

Even if they are the type to gush too much information and you do learn their greatest goals and personal traumas, would you be able to say you “truly” know them?

What’s missing from “flat” characters?

You know the joke (that’s unfortunately not a joke at all): don’t discuss politics or religion at Christmas dinner.

Noticeably absent in workplace and family small talk AND the above character checklist, are topics of “eternal significance.” Do you know what your coworker thinks and feels about the big questions in life? Have you written your main character in a way that will make your reader understand what they believe about what is good, true, and beautiful in the world? Or with only enough depth that readers will know your characters as well as a coworker.

Let’s take a step back. Do your characters actually consider these things? Do they have a well developed inner moral compass, ideology, and active mental world? For some characters, ambivalence is actually part of who they are. Perhaps part of their developmental arc involves learning how to care about more than just themselves. But if you have not deliberately written your character to be shallow, then you need to deliberately develop their spiritual and intellectual world, not just their emotional and plot-relevant one.

Now, let me say straight off that there’s a difference between being shallow and being uneducated. Many fantasy main characters begin as average peasants. Medieval farmers didn’t have much opportunity to learn philosophy or art history. That doesn’t mean they can’t consider meaningful questions and cultivate a life of virtue according to their values.

  • Where do we come from? What happens when we die?
  • What truly makes life meaningful?
  • Should I seek to make the world a better place or merely live as if there’s no tomorrow?
  • Is there any point to choosing good in such a terrible world?

Real people have opinions on almost everything. There’s always a deeper ideology underneath every quirk.

Your character may find embellished clothing distasteful and dress beneath their means as a result. What’s their underlying deeper held truth? A lingering resentment for the wasteful indulgences of the wealthy? Discomfort in their own body and self-image? Subconscious prejudice against the foreign styles that have started to dominate their culture?

Do you know the answer to that question? Does your character?

A stoic, determinedly plain hero is a trope. We get a sense of who and what they are, but not why or how. As a result, they come across the same as every other purposely understated hero in fiction. This behavior does not end up setting them apart, because the details are only surface level.

For a character to truly have complex depth, they need to think and care about significant moral, social, political, and religious topics, AND act according to the conclusions they have drawn.

The few “big questions” most characters do ask

Now, a lot of main characters in sci-fi and fantasy do address “big questions,” but usually only the same handful:

  1. The right way to treat your fellow human
  2. The morality of killing
  3. How the powerful should treat those beneath them (essentially their philosophy of governance)
  4. The existence of a higher power

Fantasy heroes almost always have to decide where they fall on the lawful good to chaotic evil chart, where they draw the line in their efforts to defeat their enemies, what type of rulers they will follow or stand against, and if a greater spiritual or magical power impacts their life.

I rarely see any moral or philosophical insights beyond these 4 topics.

  1. Do I toss a coin to the street orphan or ignore them?
  2. Should I kill the villain or not? Can I torture him first or not?
  3. Am I honoring my oath more by supporting the peasant revolt or the authority of the local noble who was a family ally?
  4. When my loved ones die, will I see them again in Valhalla or not?

We also usually see the mc’s practical opinions on sex and relationships.

Why they’re not enough

The topics of life and death, power and rulership, God and the afterlife, and moral behavior may seem to give your story and character depth. But if you stop to think about it, these questions are really very basic.

A 10 year old asks them:

  1. Should I be nice or a jerk?
  2. Can I hit someone to stop them from hitting my sister?
  3. Is it ok for teachers to be mean to students?
  4. Is God real?

I rarely encounter main characters in modern fiction whose view is any more refined than that of a ten year old. Another assassin who has nightmares about those he’s killed. Another paladin who pains over whether to stand against the tyrant king he was meant to serve. Another spunky farm girl who refuses to be sold off in marriage by her callous relatives.

Adding other character details like “she obsessively loves potatoes” or “he makes really terrible puns all the time” will make a character feel a bit more unique. But it’s still like adding trimmings to white bread. There is little substance at the heart of such characters.

It’s almost jarring reading older fiction and seeing how differently characters used to be written. Characters would regularly and casually discuss matters of great significance on a wide range of topics – art and music, foreign engagement, social dynamics and etiquette, what makes a superstition legitimate or folly, etc. They clearly have a deeply developed mental (and often spiritual) world that actually affects their day to day existence.

They aren’t the type of people who, when asked a question about people, God, the world, politics, money, stories, or really anything, would shrug and say, “who cares?” or “whatever” rather than pausing to think about it and align their choices accordingly.

Rebuttal 1: “Peasants aren’t deep.”

Now, I admit that older novels were almost predominantly written by and about the middle and upper classes (Austen, Defoe, Dumas, Lewis). The 3 older books that I recently read, and which struck me in their moral and intellectual depth, are The Railway Children by Edith Nesbit, A Picture of Dorian Gray by Oscar Wilde, and The Man Who Was Thursday by G.K. Chesterton. All are about members of the British middle and upper classes.

That’s one reason why Charles Dickens, Mark Twain, Victor Hugo, and Harriet Beecher Stowe were so hugely impactful. For the first time, authors started writing from the perspective of the (very) poor, and showed them to have deeply valuable lives and richly developed character and beliefs, irrelevant of their opportunity or education.

A fantasy or sci-fi novel that follows a farmer, scrapper, or orphan can still contain complex ideas, rich moral underpinnings, and discussions that peel back layers of the human condition.

Rebuttal 2: “Teenagers aren’t deep.”

Young adult books, and YA characters specifically, have gained a reputation for being somewhat shallow, if entertaining, flashes in the pan. Fun to read, but with little staying power. The mc’s tend to be impetuous, emotional teenagers who are often designed as “reader inserts,” deliberately lacking any true distinguishing features.

So you might be thinking, “it’s not that SFF doesn’t have deep characters. It’s that YA SFF doesn’t – so go read adult fiction.”

It’s true that teenagers haven’t had as much time to develop “life wisdom” and their hormones might be driving them to think that their crush smiling at them is “the meaning of life.” We’re not getting married at 15 anymore, so we aren’t in as much of a rush to wise up. But that doesn’t mean young adults should be portrayed as predominantly insolent, impulsive, horny twerps who happen to be able to save the world.

That’s insultingly reductive. A lot of juvenile fiction from the 20th century shows children with a far more developed moral compass and uprightness of character than 21st century books about teenagers. And plenty of the characters in modern adult fiction feel like empty shells. Youth guarantees vapidity no more than age assures wisdom.

Rebuttal 3: “SFF isn’t/doesn’t need to be literature.”

You may also protest, “but fantasy is meant to be entertaining! If you want deep topics, go read serious literature.” Except I vehemently disagree that fantasy and science fiction cannot be “serious literature.” Just take a look at some of the most enduring and impactful books of all time: the Bible, Homer, Shakespeare, Brave New World, fairy tales, H.G. Wells, and so on. All contain spiritual and speculative elements.

This doesn’t need to be a case of “either/or:” depth of content does not eliminate entertainment value. Homer and Shakespeare were both the “Hollywood” of their day. The reason they have endured is because they’re epic, hilarious, fun AND meaningful.

So yes, I expect more of fantasy and sci-fi books today. I look for more in their protagonists. Because fantastical stories have the capacity to catch and hold the imagination of the world for millennia.

Rebuttal 4: “Morals can be shown through emotions.”

It’s perhaps worth noting that the way many define and develop their ideology and morality has changed significantly over the past few decades alone. With the rise of postmodernism came the belief that right and wrong is “whatever you want it to be.”

Modern individuals often choose their actions and beliefs based off how they feel, rather than through a pattern of philosophy or religion. So authors may think, “but I am showing what my characters believe – by showing how they feel and how they act on those feelings – not by lengthy discussions or periods of introspection.”

Unacceptable. Civilizations cannot stand upon a cloud of morals precipitated by fleeting feelings. Postmodernism is a fundamentally self-contradictory religion. It essentially gives people permission to be shallow – nothing but mammals. Why think about anything significant? Just go along with what you want in the moment. I’ve read stories about literal animals (Watership Down, The Tale of Despereaux, Redwall, Warriors, Mistmantle) who deal with matters of eternal significance more than many contemporary human characters.

Characters who side with the slave revolt because they feel angry about cruelty are no “deeper” than characters who don’t care but side with the slave revolt for money. Why is it wrong? “Because I don’t like it…” What if they start liking it? Does that suddenly make it right?

If your characters just let themselves be blown whichever way suits them, whether for money, survival, or the self-satisfaction of their feelings, then they are certainly no different from many humans, but since when did we start writing stories about “just any” humans?

This isn’t grade school where everyone gets a participation trophy for being average. People write memoirs about exceptional people, or about everyday people who chase after something exceptional. Memoirs about lackluster Joe Schmoe wouldn’t sell, so why do authors think fantasy books about lackluster Joen Sch’moex should?

To be called a hero, to deserve being the main subject of a tale, your characters need to pursue the values, ideas, and dynamics in life that make us more than animals.

If beta readers and reviewers keep saying things like “I just didn’t relate to this character” or “The mc wasn’t really memorable” consider taking a deep look at your mc’s mental and spiritual pillars – then build them deeper and higher!

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…

11 Problems with Multiple Point of View Characters That I See as a Book Editor

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Books with multiple (3+) points of view (POV) have become increasingly popular in the past couple decades, especially in massive fantasy epics and sci-fi. But there are multiple problems with this style that I commonly encounter as a book editor.

The technique is not wrong in and of itself. Every method of storytelling comes with its own pitfalls. The practice of writing novels with multiple points of view in third person is still relatively new, so authors have had fewer exceptional, “classic” examples upon which to base their style.

Now that editors have a larger body of work to analyze, it’s our job to guide authors to improve the way they tell their stories. So I’ll explain these top 11 problems that I see in manuscripts (and published books) with multiple points of view, and offer suggestions for how to avoid them:

  1. Difficulty hooking readers
  2. Skewed story pacing
  3. Skewed chapter pacing
  4. Ruined cliffhangers
  5. Diminished mystery
  6. Harmed character dynamics
  7. Characters as cameras
  8. Likeability wars
  9. Exhausting to read
  10. Lazy writing
  11. More is less
  12. Tips for writing multi-POVs well

I’ll be expanding each point into a full article with more detailed advice on how to avoid each pitfall in your own writing. Part 1: Harder to Hook is already complete – stay tuned for the full series!

1. Difficulty Hooking Readers

With every major point of view character, authors must check off all the same boxes: establish the status quo, show the individual’s wants and needs, give readers a reason to root for them, and spark off their story with an inciting incident.

With only one POV, authors can achieve many of these benchmarks within the first few chapters. This period of time is vital to securing reader interest. If you can’t catch them within this time, most readers will stop reading.

But with each new POV, authors wipe the reader’s emotional slate clean and start all over again. Readers may be interested at the end of the first chapter, but suddenly they’re faced with another stranger that vies for their investment all over again. Then a third. God forbid 4 or more.

It could take an hour of reading to get back to the first character, at which point all the emotional tension has faded and readers have to restart in their efforts to connect with the character.

If a reader only has the mental energy to read 3 chapters, a book with 1 POV has an advantage. 3 chapters is enough time for a reader to build a solid emotional connection to one character. On the other hand, if each of the first 3 chapters is written from a different perspective, after the same amount of reading time, that reader will only have just met each character, not had enough time to get to know them much at all.

How to avoid this problem: As an editor, I find that it’s more effective to group multiple chapters from 1 POV together rather than switching every chapter. It lets readers more deeply immerse themselves in one character before moving on.

Read more about how multiple POVs affect the opening hook of a novel in my full article.

2. Skewed Story Pacing

This is THE biggest problem I encounter in books with multiple point-of-view characters – messed up pacing at the book-wide level.

Say you have 3 POV characters – you’re basically writing 3 books at once and combining them into the same package. This means you’re asking your readers to endure a first act that’s three times as long as usual.

Often, the first act is the least interesting part of a story. In sci-fi and fantasy in particular, there’s often a lot of travel and exposition about the world, races and species, magic system, etc.

Readers are waiting for the moment when something changes. But with three characters, they have to wade through 3 times as much “intro content” before they get to the “interesting stuff.”

A first act usually takes up about the first third of a book. So reading the first act of a book with 3 POVs can feel the same as reading the length of an entire book that only contains first act content.

This is especially problematic if all of the characters have extremely similar situations. For instance, one farm boy trekking across the country to live out his destiny can be repetitive enough, let alone if all your mc’s start out as average joes who undertake a long journey.

How to avoid this problem: Choose POV characters whose arcs complement and contrast one another, rather than being too repetitive or seemingly unrelated (e.x. on opposite sides of the world and won’t meet for several books). Don’t be afraid to introduce some POVs much later in the book or series.

3. Skewed Chapter Pacing

Pacing is most obviously affected at the larger story level, but also at the chapter level. Often, writers are advised to “start late and end early,” but I find that books with many POVs both start and end their chapters too early.

Every time an author switches POV there is a “reset” of sorts. They need to reestablish where the character is, what they’ve been doing since the last time the reader followed them, and how much time has passed.

As a result, the start of each chapter can feel slow and exposition heavy. It’s difficult to use en media res if it’s been 100 pages since your reader last saw this character. It can take a while to build back up to a higher level of energy or greater level of intellectual and emotional intimacy.

But then, because the pacing of these books can feel bloated, authors try to end their chapters on a “snappy” note to avoid boring their readers. So they choose to end a scene too early, sometimes in the middle of the conflict they spent an entire chapter building towards.

This can leave readers feeling like “things were just getting good again” when the POV changed, resetting everything all over again!

How to avoid this problem: If you’re worried that readers won’t push through the next 100 pages unless you end a beat too early every time, you need to face the larger problem – whether that content should actually be trimmed. Authors have learned effective tactics to keep people binge-reading. But that won’t keep readers from noticing – after they’ve put down the book – that they didn’t actually enjoy “getting through” a lot of the in-between content, even though they felt compelled to continue in the moment.

4. Ruined cliffhangers

But multi-POVs even ruin the effectiveness of these cliffhangers!

The more POVs you have, the longer it’ll take to cycle through them all, and the more the emotion and energy will have diminished by the time you get back to your original character.

If you end a chapter on a cliffhanger, and then switch to a second POV, then a third, then a fourth, by the time you return to the original characters, days or weeks could have passed!

Consider: Character A’s companion betrays them. Enemies surround them. CUT. …3 chapters later, we return to character A, sitting in a dungeon. We didn’t get to see their decision to surrender, the gloating of their enemies, their rage and hurt while the betrayal was most fresh, or the horror of their first few days of imprisonment.

In such situations, authors break an implicit promise to readers: “the wait will be worth it.” A cliffhanger draws readers along because they can’t wait to see what happens next. But when time skips are necessary to facilitate more POVs, readers often don’t get to see the content they most anticipated.

Readers can start to feel like authors are just stringing them along with sensational chapter endings – and if you lose reader trust, you’re one step away from losing them completely.

How to avoid this problem: Use cliffhangers sparingly and make sure the interim chapters don’t conflict with the energy you’ve built. If character A is facing a threat to their life, while characters B and C are sitting in meetings, readers will be tempted to just skip ahead to get back to character A (I’ve done this).

5. Diminished Mystery

Mystery is one of the most compelling storytelling techniques an author can use. Humans are curious! But when an author shows readers the perspectives of characters from many sides of a conflict, we don’t have to wonder at their motivations or plots anymore.

If we don’t know what’s happening on the other side of the world, in the mind of a love interest, or to a missing character, every attempt the POV character makes to uncover information is packed with greater stakes. Readers turn the pages eagerly, desperate to find out more. There are false trails, relationship blunders, and a growing pressure to discover the answer to our questions.

Imagine if Dumbledore also had POV in Harry Potter – a legitimate choice. After all, in Ender’s Game, Orson Scott Card shows Ender’s superiors planning how best to manipulate him – readers see what’s happening before Ender does. But if Rowling had made this choice, her books would have lost a huge element of mystery!

Not every book needs to focus on this element. But fantasy readers love unlocking the secrets of massive worlds through the eyes of their favorite characters!

How to avoid this problem: Don’t sacrifice character realism to avoid redundancy. Is it “in character” for person A to spend a lot of time investigating x? Don’t reveal that information through person B if you will have to cut it from person A’s POV, thereby harming their plot and character arc.

6. Harmed Character Dynamics

This same problem affects character development. People talk about their experiences with each other – it’s necessary for relationships to grow. But if readers have already seen something happen to character B, the author might not bother to show character A asking about it.

This often results in a lack of important scenes that we really should see. We want to see one of our leads shocked by the other’s traumatic past, or laughing uproariously at their embarrassing mistakes. But if the reader has already seen these moments, they’re usually summarized in passing, since a joke isn’t as funny a second time around.

This can be even more problematic if a party of friends separates and then reconnects later, but never talks about their respective experiences. It’s just skipped over as though it doesn’t matter, when going over that kind of emotion is very important to relationships.

Example 1:

For instance, in the epilogue of Brandon Sanderson’s Words of Radiance [character names redacted to avoid spoilers ahead], we discover that a character we thought died in book 1 is actually alive. It’s a tantalizing reveal for only the readers – none of the main cast knows yet. In book 3, this character makes it back to their family’s base. A servant runs ahead and announces the character’s return, everyone is shocked, then the scene cuts.

There is then a time skip! The actual reunion happens off-page!

Since the author already revealed the character’s survival to the readers, everyone else’s surprise has little emotional impact on the reader. What we have been waiting to see is everyone else’s messy emotions – joy, confusion, tears, asking about what happened.

We see none of that. Chapters later, Sanderson gives an exposition dump about how people responded and what they’re still feeling.

I find more and more that books with multiple POVs skip scenes like this. Too often, group scenes are used to move the plot ahead, and the author forgets to linger on the important emotional moments that lead to character development and deeper relationships.

Example 2:

That’s exactly what happened in the first Avengers movie. I’d been imagining for months what these characters might say to each other when they finally met – how they’d joke with each other, what questions they’d ask, if any would challenge each other to a friendly spar. Unfortunately, for the sake of time, the movie skipped right over such moments and went straight to a briefing room – the plot dump. It was as if the characters already knew each other or had nothing important to say to each other.

I wanted to see Tony and Captain America talk about his father, Thor look befuddled and amused that a human accidentally turned himself into a green monster, and their sidekicks eye each other with “thank god there’s another sane person in the room” looks. I remember being devastatingly disappointed when none of this came up. As if because viewers already know about Cap’s connection to Tony’s father, and because Tony must have read Steve’s file off-screen, that there would be no point in them discussing it. On the contrary, I think that would have been a far more emotionally rewarding moment than the terse conversations we did see between them.

How to avoid this problem: Is your story so long that you have to cut “heartfelt” scenes in favor of barreling the plot along? If the number of your POVs is forcing you to sacrifice character moments for time, you probably have too many. If your characters primarily come together for the sake of plot rather than dynamics that change their lives, then you may be forgetting what truly makes a story touch hearts.

7. Characters as Cameras

Using characters as cameras is a travesty. More and more, I see cutaway chapters that use the eyes of a random character as a way to dump plot info. We never see these characters again. They don’t matter. The author merely uses them as a lens through which to view an important event.

This tactic ignores one of the core tenants of storytelling! Events are important because of who they are about and who they affect, more so than because of what happens. You need to answer “why should we care?” I’d rather see the main character’s reaction to hearing that his King was assassinated than see the event through the eyes of one of the royal guards.

The adage “show don’t tell,” has been taught incompletely, leaving authors feeling like anything that happens must be shown on the page in the form of a scene. That’s not true. Exposition is a useful tool.

It’s easy to get caught in the allure of sensationalism. Authors might think readers will find it boring to hear about the event later, rather than seeing the death “on screen.” But the opposite can be true. Action for the sake of action isn’t necessarily compelling, but the emotional reaction of a character you care about is.

How to avoid this problem: Remember that just because you have imagined a scene, doesn’t mean that readers needs to see it that way. When you know the details, the readers will feel deep layers within the story. Don’t use characters as a vehicle for plot. Use plot as a vehicle to show who your characters are.

8. Likeability Wars

Readers will always have their favorites and least favorites. It’s frustrating to switch from an emotionally compelling character to a POV that feels comparatively flat or purposeless. The comparison can make readers begin to resent other parts of the book, as though they’re getting in the way of letting them enjoy the part of the story they’re actually invested in.

Personally, I often “check out” a little during POVs I don’t care for, essentially skimming through them to get back to “the good stuff.” I read just enough to get the gist of the plot so I can keep up with “the real story.”

Now, I’d never counsel an author not to include a character because some readers won’t like them – you should write the story you love and want to tell.

But the fact remains that readers will drop a book because of how annoying it is to wait a long time to cycle back to their favorite character. I sure have.

How to avoid this problem: Readers can tell the difference between characters you love, and ones you added because you felt like the plot or story needed them. I often see this with books that have a couple male mc’s and then throw in a female POV too. If you aren’t in love with your character, how can you expect readers to be?

9. Exhausting to Read

Reading books with multiple POVs, especially ones with 6 or more, can feel like a slog! It’s a lot of information to keep track of and can feel more like reading a travelogue or worldbuilding encyclopedia than a story.

In my experience, even people who love these kinds of books (Malazan, GOT, WOT) talk as though reading them is an exercise in perseverance. More readers seem to love these books despite their multiple POVs than because of them.

I’ve never heard a person say, “wow, it was groundbreaking for George R.R. Martin to write from 7 POVs. What a great way to tell the story – it just had to be done that way. It would have been way less enjoyable otherwise!” No. Fans commiserate with each other about how tough it was to get through them.

Some of Robert Jordan’s top fans (I regularly attend JordanCon) talk about how there are 3 WHOLE BOOKS in the middle of the series that you “just have to get through and then it gets good.” Do you want your readers to talk like that one day?

How to avoid this problem: Kurt Vonnegut famously said, “pity the reader.” Reading can already feel like hard work. We open up our minds and emotions to new experiences, often after a long day at work. So please, authors, will you pity us a little? Would you want to read a book that’s written like yours?

10. Lazy Writing

Sometimes a large number of POV characters feels like lazy writing on the part of authors.

They have such large worlds with so many characters, that’s it’s easiest to just plop them all in, like throwing every kid who wants to play into a soccer game, rather than picking the ones that make the best team and benching the rest. It’s true that sidelining characters you love doesn’t feel good, and it can be hard to determine which cast will result in the best version of your story.

But it is necessary – just because an idea or character “feels right,” doesn’t mean it should make the final cut.

Writing instructors have been known to say that nothing should be included in a story unless its exclusion would make the readers lose something. Does it have to be there? Would the story and character be lesser without it?

How to avoid this problem: Test various combinations of POVs. Offer different versions to beta readers. Cut, rewrite, repeat. A skilled carpenter will test out multiple types of wood, carving methods, and finishes before settling on a style for a major piece. Are you treating your writing this seriously?

11. More is Less

In books with many POVs, sometimes characters and plot arcs lose a little something with each added main character. Like trying to spread a small amount of butter over 10 pieces of bread rather than 2, the “energy” in a story can only disperse among so many characters.

This is especially true if you have written characters with similar archetypes or plots – their stories can start to feel repetitive. For instance, She Would be King follow 3 black young adults who escape slavery or abuse, see their mother die, and then go on a journey to Liberia. By the time I got to the third mother’s death, which occurred in almost identical circumstances as the second one’s, I was emotionally worn out. Each story on its own would have been powerful, but together, they impaired each other.

Books with multiple POVs are ambitious – the more characters you use, the harder it will be for you to connect them all together in a way that makes the total greater than the sum of its parts.

How to avoid this problem: Think of writing as like knitting a sweater. It’s easier to create a classy pattern with 2-3 colors, but when you try to combine 10 different colors, things can start to look like a kid’s crayon project. Be deliberate about your “pattern” from the start. Too often it’s obvious that the author got weary of trying to balance their POVs and left the story feeling like a tangled heap of yarn.

Tips for Writing Multi-POVs Well

Often, less is more. I encourage you to ask whether you have too many main characters and whether your story would be tighter and more compelling if you trimmed some of them. That is what some stories need.

Of course, not all books with multiple POVs have these issues.

And POV is also a matter of personal preference. Many readers and publishers seek out books with multiple point of view characters. If this is your chosen style, then your next step is to make your writing as strong as possible and avoid the most common pitfalls.

Here are some ways to test whether you have too many POV characters.

Questions to ask yourself:

  • Would character A’s journey be more interesting if the readers didn’t know what was happening with character B?
  • Are all of these characters emotionally compelling to me, or am I writing from their perspective because they are the logical choice for depicting plot in a certain part of the world/story?

Questions to ask your beta readers:

This is extremely important, but many authors are too hesitant to ask tough questions of their beta readers. Understandable – our books are our babies! But it’s better to know if one of your characters is boring or insufferable to readers before you publish, than to find out in your reviews.

  • Were you invested in all the POV characters?
  • Which ones were most and least compelling to you?
  • Are there any characters you thought were unnecessary or detracted from the story?
  • At any point, did it feel like a slog to get through the book?
  • Did these stories feel vitally intertwined or like separate books crammed into one?

Some beta reader feedback will be subjective, so it’s important to ask enough beta readers that you start to see commonalities in their responses. Then you will be able to approach rewrites with more confidence that your changes will improve your story for all readers, rather than for the preferences of a few.

Happy writing and stay tuned for the expanded version of each point – I know the tips I gave above are pretty vague, but I’ll expand them in future posts!

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…

“Waiting” – A Prayer for Writers

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By CJ and Shelley Hitz

“And now, Lord, what do I wait for? My hope is in You.” – Psalm 39:7 (NKJV)

Father,

It’s so hard to wait. I confess my impatience and difficulty with waiting. We’re conditioned to have difficulty waiting seconds, let alone weeks, months, or years. But, as the old saying goes, “Good things come to those who wait.”

O Lord, You are more than worth the wait! There is no other hope found in the universe outside of You. You have indeed been my arm every morning and my salvation in the time of trouble. Help me not to miss all of the gems within the waiting. Though I would love to press the publish button today, help me see each and every lesson along this writing journey.

I long to wait patiently for what You have for me. Help me not to settle for the tempting shortcut. Give me the courage to stand strong in the face of a culture promoting instant gratification.

Finally, before I begin today’s writing session, I wait for the gift of Your Spirit to empower me and illuminate my mind. Give me the endurance I need to persevere and overcome every obstacle the enemy throws in front me. May this writing session be rewarded with the fruit of waiting.

It’s in the name of Jesus in whom we wait,

Amen.

“O LORD, be gracious to us; we wait for you. Be our arm every morning, our salvation in the time of trouble.” – Isaiah 33:2 (ESV)

“Wait patiently for the LORD. Be brave and courageous. Yes, wait patiently for the LORD.” – Psalm 27:14

“On one occasion, while he was eating with them, he gave them this command: “Do not leave Jerusalem, but wait for the gift my Father promised, which you have heard me speak about.” – Acts 1:4 (NIV)

PRAYING GOD’S WORD In your own journal or notepad, write out your own personal prayer regarding waiting. Feel free to incorporate the scriptures above or others of your choosing.

This prayer has been excerpted from 21 Prayers for Writers: Praying God’s Word Over Your Writing by CJ and Shelley Hitz.

Since 2008, CJ and Shelley Hitz have written and published over 70 books through their independent publishing company, Body and Soul Publishing. They have mentored writers since 2010 and now help Kingdom writers, like you, take the courageous step of writing, self-publishing, and marketing your books inside their online membership, Christian Book Academy. Together they create a powerful team to help you accomplish the goals God has placed on your heart and have been called “pastors for writers.” Find out more and join their community of Kingdom writers here: christianbookacademy.com. Or find resources for authors at TrainingAuthors.com.

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…

Interview with Kathy Tyers: Cover Reveal for Upcoming Novel Firebreak

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Kathy Tyers writes character-driven science fiction with a deep heart and an inquiring spirit. She is the author of the Firebird series – Firebird, Fusion Fire, Crown of Fire, Wind and Shadow, and Daystar – of the Star Wars universe novels Truce at Bakura and New Jedi Order: Balance Point, and of several stand-alones.

She returns to the Firebird universe with her upcoming release Firebreak, which takes place between Crown of Fire and Wind and Shadow. Releasing March 10, 2026 and now available for preorder, with 20% off on Enclave Publishing’s website!

Cover art by Kirk DouPonce at DogEared Designs

Lady Firebird Caldwell returns to the world of her birth, Netaia, intending to introduce her young sons to the noble Electors while her husband, Brennen, conducts a military inspection. When mysterious ships in distress suddenly approach the planet, the Electorate sends her to initiate first contact. Forced to work alongside a vengeful childhood enemy, Firebird uses everything within her power—even her passion for music—to negotiate, only to discover their alien technology threatens all the worlds she holds dear.

Facing ruthless betrayal, Firebird undertakes a deadly journey to salvage the mission. Brennen must make daring use of his telepathic powers to save human life in the galactic Whorl, including that of their young sons. But saving the worlds might force Brennen to give the order that would mean Firebird’s death. In a galaxy poised on the edge of ruin, survival may demand the ultimate sacrifice—from them both.

Caylah: I’m so excited to hear that you’re releasing a new book in the Firebird universe! The new cover looks stunning! Could you tell us more about Firebreak and how the story came to you?

One of the hardest choices an author can make is where to start and end their story – after all, the universe and characters never “end” in our own minds! It’s been quite a few years since your last book in the Firebird universe. How did you decide it was “right” to return?

Kathy: Caylah, thank you for the opportunity to talk about writing Firebird’s story again. If you don’t mind, I’d like to combine my answers to your first two questions.

In 2022, I thought I would never be able to write again. Long COVID had done bizarre things to my brain. Sometimes, I could barely wake up for two or three days, and then I’d have insomnia for most of a week. The worst of it was the sensation that something seemed to be creepy-crawling inside my skull. I barely had the energy to get through a day and cook dinner. Some people thought I was doing pretty well, but I had no energy left to write, which made me feel sad and old.

Still, every second Monday evening, I got together with some new writers from my church and helped them learn the craft. I tried to resurrect an old project of mine, Holy Ground, a rural fantasy novel. I’d written it in third person limited POV, and my writing friends encouraged me to try rewriting it in first person. Week after week, I simply had nothing to bring to the writers group. The passion just wasn’t there. I couldn’t persevere through the long, long process of writing a full first draft, even though the novel was substantially written already.

Finally, Broose–another founding member of that group, and a former Disney animator–challenged me to simply write something that brought me joy and fed my spirit. I had thoroughly enjoyed writing the Firebird series. They filled up something inside of me that had gone empty and dry during COVID. So, out of a sense of grateful nostalgia, I re-read all five of them. I found myself wondering what Firebird and Brennen were doing between Crown of Fire and Wind and Shadow. (Books 3 and 4) The next thing I knew, a new story was pouring out of me. The post-COVID lethargy was gone. Kathy Tyers was alive again.

Caylah: That is wonderful advice – returning to joy when our muse decides to hide under a rock. What did you enjoy most about this story and what are you excited for readers to experience (no spoilers of course!)? I’m personally excited to see more about Netaia’s culture and how it transforms over the years.

Kathy:  The characters! I’ve known Lady Firebird for most of my life. Over the years, she has matured into someone who feels very real to me. So does Brennen. Letting them find each other and embark on their adventures together satisfied a hunger in my soul. In our fallen world, we long for a happy ending–but doesn’t a happy ending usually lead to the next challenge?

Caylah: Indeed! Firebird came so alive to me, so I’m excited to see more of her story.

How does your relationship with God influence your writing process and story planning? e.g. perhaps you have a prayer you like to pray as you sit down to write. 

Kathy: I try to get to work immediately after my quiet time each morning. One of my favorite C.S. Lewis quotes says, in effect, that who/what you are will come out in your writing whether or not you try to put it there. So I work hard on telling a good story and, occasionally, on bringing forward the faith elements. Lightly but genuinely! The exception to “lightly” was Wind and Shadow, which was written as a Master’s degree project for Regent College, a wonderful theological school in Vancouver, BC. One of the main characters was a priest in training, you see….

Caylah: Amen! Out of the overflow of the heart, the mouth speaks. I remember you published a different edition of Firebird before your deal with Enclave. How did you choose to release a version with enhanced religious themes (is that the biggest difference)? Have you received criticism from fans of your general market (Star Wars) work?

Kathy: My editor Steve Laube had been a fan of my writing before I moved over from Bantam Books to Bethany House publishing, where he worked at the time. During our first conversation, he told me he had suspected for some time that I was a Christian because he’d found hints here and there in my writing (see C.S. Lewis quote above!). Yes, people have left reviews online warning other readers that my books from a Christian publisher have Christian themes. Surprise!

Caylah: Personally, I found the themes of shame, faith, and new life incredibly challenging and encouraging – they make the story have eternal significance. Are there any readers who’ve approached you over the years to share how the Christian message impacted them? All authors want to think that their stories have the power to transform at least one life! 

Kathy: One of the most moving experiences in my life was attending the baptism of a young woman who said she’d decided to become a Christian after reading the Firebird books.

Caylah: Wow, that’s incredible – praise God!

Read my review of Firebird book 1 here.

Caylah: I love how much you weave music into the chapter titles and into Firebird’s thought processes! In my opinion, that’s one of the elements that takes a character from “good” to “great” – their hobbies and passions actually transform how they view and interact with the world. I actually use your trilogy as an example when I offer this advance to new writers! Are there any other tips for character development that you’d share with budding writers?

Kathy: My characters usually reveal themselves to me slowly. I need to spend time with them, thinking through what they find beautiful, meaningful,or challenging. Often, it’s through the process of writing a first draft that I learn what drives them. I enjoy involving some of my characters in music or other arts because that’s been a big part of my background since childhood. I grew up in a musical family. I might ask a hopeful writer, “What do you enjoy, what do you know something about, besides your fiction? Can you layer that into your story in some way that enriches the plot?”

Now and then, though, inspiration hits in an instant. For example, I first glimpsed one of my favorite characters, Tel Tellai, when he was standing at the foot of a breakaway strip while a space-and-atmosphere fighter took off. He was just standing there in shock and protest, holding both of his arms stiffly down at his sides. “Who in the world is that?” I wondered. Calmly, he told me his name (honestly, that’s how it felt) and that he loved Phoena Angelo. I was shocked. “You love HER?? What???? How could ANYONE….” 

Caylah: Moments of “conception” like that make storytelling feel like such a superpower! Since we’re quoting C.S. Lewis, your description reminds me of how his main character in Till We Have Faces says, “I was with book, as a woman is with child.”

The interrogation scene between Brennen and Firebird is one of the most tensely compelling scenes I’ve ever read – the chemistry! I remember the first time I read it, how Brennen’s act of clicking his heels together and shifting forward to begin accessing Firebird’s mind was such a tangible moment that made me physically feel the tension in the room. Then I reread your annotated version and realized you did this deliberately (as good authors do, haha)! You articulated so clearly how physical actions can punctuate energy and emotion and create turning points within a scene without the characters using any words. Are you able to expand upon that idea, maybe going into when this tactic works and when it might not, for some writers?

Kathy: Thanks, Caylah. I love that scene too. I wrote at length about tagging dialogue with action beats in my book for the Christian Writers Institute, Writing Deep Viewpoint: Invite your Readers Into the Story. It isn’t always easy to find the right action beat. I hear my characters speak to each other long before I can see their body language or their surroundings. Every writer’s process is just a bit different.

Caylah: That sounds like a great resource – thank you! It’s encouraging to know that even elements which might not come as naturally or quickly to writers can still become a great strength.

There’s a lot of disagreement about what makes a “strong female character.” Some people have complained that Firebird too quickly gets “shunted into the role of wife and mother,” but I think you did a wonderful job of showing a variety of feminine strengths in Firebird. Being a lethal fighter pilot isn’t the only way to kick butt, which she still does throughout the rest of the trilogy! How would you describe your approach to writing female characters and do you think Christians “should” write women differently than we see in mainstream media?

Kathy: I’m especially glad you asked about this. “The role of wife and mother” is not the end of any story. In and of itself, it’s a high calling for many. For others, it’s a vital step into their unique future. When I brought Firebird and Brennen together, I knew that they both had strong reasons for wanting to create a family.

Still, they obviously weren’t the kind of people to live quietly-ever-after. How, then, would they balance parenting with the other calls on their lives? It’s been a challenge for me, just as it’s been a challenge for them. But they’re doing it! Just wait till you read how they get there in Firebreak. 

Caylah: I can’t wait to see the kind of trouble Kiel and Kinnor got into as kids!

Ok, now for my “fan girl” moment. When Brennen first feels Firebird’s mental shout he expects to find brotherhood. Though it didn’t turn out that way, I’ve been fascinated by what that dynamic would look like in their culture. I would LOVE to see a short story about a Sentinel “blood brother” pair!!! Do they have any famous “Gilgamesh-Enkidu” pairs or stories about sisterhood (which is rarer to find in fiction, sadly)?

Can individuals have more than one pair bond? For instance, would a pair bonded husband also be able to pair bond with a brother in arms? Would his bonded wife feel his brother through their connection at all? I then had fun imagining what would have happened if one of the Shuhr assassins had discovered they were connatural with one of the men in the Caldwell bloodline. What do you think would have happened – would they have stayed their hand as Brennen did with Firebird? 

Kathy: You may have given me a great subplot idea. Thank you. 

Caylah: Ooh, yes! Is there anything else you’d like to share about your story, process, or world?

Kathy: Thank you again for the chance to share a bit about Firebreak, my favorite characters, and my writing process. It was a treat to meet you at Realm Makers, and I hope to see you there again in 2026, when Firebreak is finally available!

Caylah: Thanks! It was lovely meeting you too. And congrats on the birth of your grandson!

Kathy: Thank you!

Follow Kathy Tyers on Facebook for more news and discussions, and find the first book in her Firebird trilogy here. Firebreak, releasing March 10, 2026, is now available for preorder on Amazon or through Enclave Publishing’s website (20% off there).

Amazon links are affiliate links – I may earn from qualifying purchases.

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…

23 Author Moms Share Tips For How to Write a Book While Parenting

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Being an author is a super difficult journey, and so is being a mom! So how can we do both (and well)? I’m not a mother myself (yet!), but I just spent a precious 2 weeks with my newborn nephew, and have been pondering what my future will look like.

So I reached out to over 20 writer moms to hear how they parent and write at the same time! They offered some specific wisdom, compassion, and anecdotes which I wanted to share with you too. Be sure to check out their books or social pages to support author moms!

Dedicated to my dear friend Stephy (who is an adorable mom!): I know you’ll publish your stories one day! I’m rooting for you!

  1. Be gracious to yourself
  2. Dedicate yourself fully to each season in your life
  3. Write while the kids are in bed
  4. Stick to a schedule
  5. Multitask (“drive-by writing”)
  6. Surround yourself with supportive people
  7. Try dictation
  8. Have a backup plan
  9. Include your kids
  10. Take a break from the kids
  11. Take care of yourself
  12. Your stories still matter!

Be Gracious to Yourself (God Sure is)!

“Just rethink what counts as writing, honestly. Absorbing fiction books to store away ideas for later is writing. Reading craft books is writing. Having a newborn is exhausting and time consuming, and a huge learning curve. Be kind to yourself, and remember this is only a season, it will be over way too soon. Also remember that your fellow writers understand. Nobody is expecting a new mom to publish anything right away.”

H. Halverstadt

“This is a verse that came to me back in fall 2023, while I was writing one of my novels. Rev 21:5: “He who was seated on the throne said, ‘I am making everything new!’ Then he said, ‘Write this down, for these words are trustworthy and true.'” God renews us. He makes everything new. That meant even on my weariest and most stressful of days, he could still do things with me and my writing. So that’s a verse that has given me incredible hope.”

Christina Kuhn

Dedicate Yourself Fully to Each Season in Your Life

“There is a time for everything, and a season for every activity under the heavens: a time to tear down and a time to build, a time to weep and a time to laugh, a time to search and a time to give up, a time to be silent and a time to speak.”

Ecclesiastes 3

“I wrapped my identity a little around being a writer as a young woman, but marrying a Marine, having a kid, moving around out of my “safety net” of being close to family so I often had to do things alone… I took a very long break. But when it was time to get started again, when the season was right, and I was just like, “Okay, now,” it rose to meet me. Sometimes we’re not in the season we want or we want it all at once. It’s good to embrace the pauses as well as the progress.”

H.L. Burke

“Invest in your family and marriage. Writing will always be there, but your kids will not. You don’t want to miss out on your little ones growing up, or even worse, your kids believing that writing took you away from them. Find balance. Write during naps, early mornings, or after bed. Limit your words to 500 a day so you can be present with your family. Put off publishing until they are older (I did this).

And don’t forget your spouse. If you want a thriving marriage, don’t put your spouse on the back burner. The worst thing is to achieve all you desired as a writer, only to look around and realize you’re alone. Yes, some sacrifices must be made to become a writer. Don’t let your family be one of them.”

Morgan L. Busse

“I keep telling myself this is a season, and someday I will have more time to write again. Right now, my babies need me more than I need to write, so for now, I am content with that. But I keep writing down ideas and brainstorming and daydreaming and hope that in those moments of writing, no matter how few and far between or close together, that all the mental plotting will pay off as I get words on the page.”

Julie Harbinson

“I have three kids aged 3 and under and I’m still figuring this out. It’s helped me to become okay with being in a season where I don’t write much if at all sometimes. Right now, I write for joy when I can. Lately it’s worked really well to get up early, have my coffee and read the Bible, and then write until the kids wake up.”

Rosemary Johnson

Write When the Kids are in Bed!

“For me, I usually post social media posts before my girls wake up in the morning (I usually don’t get up that much earlier, but it helps me feel productive as a writer first thing). I have a 5.5 and a 2 year old, so my oldest does go to school for half days. When she is at school and my youngest naps, I use that time to write or edit (if im lucky that’s 2 hours every afternoon). Then my girls go to bed at 7pm, so I usually try my best to write or read every evening (usually another 2ish hours).

On the weekends, my husband and I take turns being productive/watching the girls so the other can have a longer period to be productive. I usually try not to work on writing or author stuff while my girls are awake. That’s a personal decision tho haha and it changes and depends on the age of your babies. I get a ton of writing done with a newborn, but I know that’s not the same for others haha.”

Taylor Pence

Whatever your hand finds to do, do it with all your might, for in the realm of the dead, where you are going, there is neither working nor planning nor knowledge nor wisdom.

Ecc 9:10

“I’m going to come back and edit this comment once I’m done cooking dinner, lol!
EDIT: I am finally back (made/cleaned up dinner, chasing kids, getting ice cream with my bro who is in town for work, and feeding a baby…phew!).

I have two kiddos, one is 2.5, the other is almost 4 months. It’s hard to get anything done. My toddler likes to follow me everywhere, and while my baby is amazing, she is still a baby. I don’t know that I have any of this figured out yet, but right now, I typically write at night once they’re in bed, so my writing time can range from 10 min – 2 hours depending on how tired I am. It’s very slow going right now, but I’m trying to get back into typing on my phone while putting the baby to sleep.”

Julie Harbison

“Do you see someone skilled in their work? They will serve before kings; they will not serve before officials of low rank.”

Proverbs 22:29

Stick to a Schedule!

“I’m a homeschooling mom of three kids, ages 12, 8, and 3. I’ll be fully honest. It was pretty overwhelming to be pregnant or dealing with a younger baby and write at the same time, so I took a lot of breaks during those seasons. Otherwise, my older kids would buddy up to play outside, and I wrote while my youngest napped. I keep my kids on a routine/schedule so that they sleep roughly about the same time every night. This allows me to do at least 1-1.5 hours of writing/editing every morning before anyone else is up.

I used to live near my parents, who could provide childcare, and that allowed me to get even more writing done. But now that I’ve moved across the country, my writing time is pretty scarce. All the more critical that I stay on my schedule.”

Christina Kuhn

“For me, early mornings are non-negotiable if I want to get anything done. I go to bed early and get up around 4:30 or so. I struggle with brief sprints, so I really treasure having a solid 1.5 hours or so to sit and focus on writing. I can get a decent amount done, and it makes me feel so “free” throughout the rest of my crazy mom/homeschooling day.

Proverbs 31 is a great chapter to look at for moms who are also writers! We can be industrious while still taking care of our homes and families. It can be tough to balance, but I’m thankful Scripture makes it clear that it’s possible to do both well.”

Kendra Warden

“She is clothed with strength and dignity; she can laugh at the days to come.”

Proverbs 31:25

Multitask or “Drive-By Writing”

“Our dining room was in the exact center of the house. I put my laptop on the table and made a rule for myself that I had to write 1 sentence every time I passed it. That got me to my 1000 words a day goal and I never stopped to work for more than a minute or two.”

E. A. Comiskey

“I first started writing seriously again when I had a nine month old and a 4 year old. Now they’re 17 and 14 and … usually are ignoring me. I basically just wrote whenever I could. As they got a little older, were sleeping through the night, and had a said bedtime, I’d usually put them to bed at 8 and then write for an hour every night. I also wrote waiting for their gymnastics class to end, in doctor’s waiting rooms, on park benches… You just have to grab the time you’re given and go for it.”

Heidi Lyn Burke

“lol I do drive-by writing. I usually have google docs open on my phone and will work on a scene through the day. Most of my writing time is with kids on me or near me. I usually keep my goals low at around 500-1000 words a day. It all adds up.”

Cara Ruegg

“I do drive-by writing! My kids are older (8+), but my laptop and charger live on the counter. If I can squeeze in 15 minutes a few times a day while they’re awake, I call it a success. After food and conversation works best! That goes for all ages.”

Stacey Yaroszeufski

“I did a lot of world building and brainstorming while doing dishes. Especially when listening to inspiring music. 🥰 And while nursing I’d read, critique, chat with other writers, or check social media on my phone. And once the kids were in bed I’d sit with my laptop and type, next to my husband while he played video games or watched a show.”

Elle Wither

“Whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable—if anything is excellent or praiseworthy—think about such things.”

Phil 4:8

“I always keep notes on my phone whenever the muse strikes so that when I do get to my writing time, I’ve got a list of ideas ready to go. I find I get more done in short focused bursts than when I have a whole day to write. I’m more creative when I’m forced to do it quickly. Driving time is also great to think through scenes or identify plot holes.”

A.E. Dinsmoor

Surround Yourself with Supportive People

“I have a 14, 11, and 9 year old at home, and most of my writing these days is done on my weekly writing nights with RJ Conte—basically we do word sprints for an hour or two and check in with each other to share word counts and snippets of what we’ve written. At the end of the evening we call and read each other what we wrote (if we feel ready to share it). It’s the best!! Doing it once a week is very low pressure but I still get some consistent (slow) progress on projects, and sometimes it gets my momentum going so that I want to keep working on it for days afterward!

I’m by no means a full-time writer. I consider myself more of an artist-hobbyist. But I’m glad to keep creating anyway—I couldn’t create as much as I do without supportive friends! 🥰 So my advice is to pick a consistent day/time and have an accountability partner or two to team up with. It’s satisfying to at least have some progress each week even in the middle of busy parenting and work!”

Bethany A. Jennings

“My husband is very supportive of me and helps so much! Find a couple good friends to cheer you on and champion you. It makes a world of difference.”

A.E. Dinsmoor

“I rely on my husband or outside help like occasionally my mom or one of my brothers to take the kids so I can get more time. I’m lucky that my husband works from home 7-3 and gets the full government parental leave offered here in Canada. Things are a bit hectic right now with a newborn and three other little kids but I fully anticipate lots of writing time later on over the course of his leave.”

Selina de Luca

Try Dictation (Voice to Text)

“Out of desperation I tried something totally different. Voice to text has been a big help. Then I take 10 to 15 minutes at night to organize it into sections, but I’m still in the planning stage. I have the story outlined, specific dialogue for important scenes, extensive world building, and character sketches. I should be ready to start compiling and do the actual writing next week.
It’s far different than the ways I’ve written before, but I’m in a much better place than I’ve ever been. I’m feeling confident that I can actually finish a WIP for the first time. This is working for me, but you do what works for you.”

Naomi Talitha

“I know a lot of moms who use dictation and get a lot of writing done while they’re doing chores around the house! I’ve done that a little bit, I’m dictating this comment right now while pumping breast milk, haha. It will take practice for me to use it more for my actual drafting! But I know others who have had success doing that. I have definitely done it here and there though, a few times dictating for example while making supper in the kitchen or something. Multitasking!”

Selina de Luca

Have a Backup Plan

“Try to have a backup plan to help get around especially chaotic days. For example, I identify my writing time for the day, as well as two potential backup options. This way, if my plans go sideways, I know I have another opportunity waiting for me (even if that’s after they’ve gone to bed). Then I just aim to write for at least 10 minutes, which usually goes a bit longer.”

Erin P.T. Canning

Include Your Kids in the Journey

“I’m a mom of three under 7 and all have varying special/medical needs as well. It is very overwhelming, but also an enormous joy. I try to incorporate the kids in whatever I am doing, from acting out scenes, to listening to a passage, to working on artwork. They are so excited and proud to “help mommy write.” I actually just gave each of them a copy of my latest and signed a message to them thanking them for being my helpers.

They have taken that honor so seriously. And coffee. Coffee is amazing. 😅“

A.E. Dinsmoor

“I homeschool my 10 yr old son and (since he’s full of stories too) we have a section of his school day that is writing a story. I squeeze some words into a notebook then along with him. We also attend a local writer’s group together. “

Jaymi Mozeak

“Oh, that my words were written! Oh, that they were inscribed in a book! That they were engraved on a rock with an iron pen and lead, forever! For I know that my Redeemer lives, And He shall stand at last on the earth.”

Job 19:23-25

“It’s been really great writing with kids. They are my inspiration. I warned them anything snarky they say can be used in a book. My teen daughter writes too now. She’s working on her third novel.
The theme of my book is Psalm 42:11–“Why art thou cast down, O my soul? and why art thou disquieted within me? hope thou in God…” And it’s an especially important truth to remember when raising children.

There’ll be times when you’re overwhelmed and need wisdom. So even though the book is fantasy, there are elements of truths I’ve learned along the way in my own life.”

Leanna Rapier

Take a Break From the Kids

“For the first time ever, I am spending the night in a hotel room to get some writing done. I checked in at 3 PM, wrote for about three hours. Drove to band practice because it’s not far from the hotel I’m staying at, and then when I got back, I wrote for another three hours. The time went by so fast it’s already after midnight. I wrote over 6,000 words in two sittings. I have no one to worry about but myself.
I really needed this break because my kids have special needs (they have autism and genetic deletions). I think maybe I need to do this every year for NaNoWriMo. I am astonished at how much I wrote and how the lack of distractions worked on me. Now I must admit, most of the writing is painfully bad but at least I’m writing!”

Alexandra Owen

“My daughter is nearly four. What I have learnt to do is if we do something fun (like lunch out), the deal when we get back is we both get “calm time.” This means she can watch cartoons or play in her room for an hour. I’ve phrased it as part of the deal of getting a treat out.
I’ve found if I say I’m doing work, she’ll want my attention for everything. If we are both having calm time, then she seems quite happy to amuse herself.”

Rachael Marie

“I focus on teaching independence to my kids to give myself extra breaks.”

Christina Kuhn

Take Care of Yourself

“Personal nutrition is key for having the brain/energy capacity to write. I absolutely have to make sure I eat enough protein if I’m going to have the brain power to write and be creative, which surprisingly at this stage, I often do. I have to take care of my body to take care of my mind…”

Ellyn Franklin

Your Stories Still Matter (Hugely)!

“One bible verse I like to reflect on is Matthew 13:34: ‘All these things Jesus spoke in parables to the multitudes: and without parables he did not speak to them.’ Jesus was the ultimate storyteller and this verse proves the value of storytelling!”

Cara Ruegg

“My kids are 2 and almost 4 and writing makes me feel sane, and healthy, and more myself which makes me a better wife and mother and more balanced person. I love that!”

E.A. Winters

“Truly loving what I do keeps me going. It is a calling for me that I really see the Lord blessing, so writing brings me joy — even when I’m dead tired. My goal is that when someone is reading or hearing something I write, ‘many will see it and fear, and will call upon the name of the LORD.’ This is the desire and motivation that keeps me going, even through the little years of parenting. Whether I’m penning fiction, gospel encouragement, or anything else, I want it to be for His praise, and so that others see Him reflected in whatever I write.”

A.E. Dinsmoor

What are your writing/momming tips?

Comment below with your own advice to support fellow writer moms! Or message our team if you’d like your suggestions and book to be featured!

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about writing and publishing. If you liked this article, here’s some more free content…

The Problem with Multiple Point of View Characters – Part 1: Harder to Hook Readers

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By Caylah Coffeen

You have to do much more work to get a reader invested

With every major point of view character, authors must check off all the same boxes: establish the status quo, show the individual’s wants and needs, give readers a reason to root for them, and spark off their story with an inciting incident.

With only one POV character, authors can achieve many of these benchmarks within the first few chapters. This period of time is vital to securing reader interest. If you can’t catch them within this time, most readers will not continue.

But with each new POV, authors wipe all their own efforts away by resetting the reader’s emotional slate clean and starting all over again. I may be interested at the end of an opening chapter, but suddenly I’m faced with another stranger that vies for my investment.

Then a third. God forbid 4 or more. It could take an hour to get back to the first character, at which point all the emotional tension has faded and I have to restart in my efforts to connect with them.

Publishers may think multiple POVs offer more likelihood to get readers invested. After all, odds are a reader will like at least one of them. But I think of it the other way around.

Imagine talking to a talented salesperson. They really rope you in, know their stuff, and get you excited. You’re almost convinced about the purchase. But then they add on another product, again nearly persuading you. But then they start talking about a third one! And you have to make a decision on all three purchases at once? That’s overwhelming.

you have to “sell” Readers on all your characters at once

Consider also how your friends and family respond when you talk about your story. Do you know the glazed look they get in their eyes or the uncertain tone in their voice when you start packing on too much information?

You’ve probably learned to share about just one element or character at a time. But a new reader is like these friends – hesitant to try your story and only willing to invest so much time into making up their mind.

The more POV characters you employ, the higher the chance a reader will get worn out before you even reach your inciting incident. After all, you’re yanking their emotions around between many different people and locations, and it will take much longer to reach the “exciting” events which really kick off the story.

Alternatively, one character may have a riveting introduction, while another has a lackluster one. A reader may decide that it’d be too frustrating to go back and forth between one character they love, and one they find uninteresting, and put the book down. I’ve done this before.

Writing Tips for Multiple POV’s

Considering how many published books feature multiple POVs in the market these days, you may not think this will pose much of a problem. After all, clearly many readers are willing to give these books a try, and some even seek them out specifically. Preferences vary, but it is still important to keep in mind that the opening of your book is the most vital time in which to hook a reader.

Read, read, read! Have you read Brandon Sanderson, Robert Jordan, George R.R. Martin, and Ken Liu? They are some of the most popular writers who employ multiple POVs. Was it hard for you to get into these books? When did you lose interest, and what hooked you again? These are the types of elements to emulate or avoid in your own work.

Some authors choose to write multiple chapters back to back from one POV before switching to another. This gives readers more time to become attached to them. Others write shorter chapters but switch POV more often.

Also, remember to rely on your beta readers. It’s hard, but necessary to ask, “are you interested in all of these characters, or did you lose interest in my book because of the large cast?” Sometimes the right decision is to cut a point of view character or introduce them later in the story once readers are more solidly sold on your story.

How many POVs do you utilize in your book? How did you choose to introduce them?

Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.

I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!

Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…