Effectiveness of Chapter Headings Vs No Chapter Headings by Julieann Wallace #ChaBooCha

Effectiveness of Chapter Headings Vs No Chapter Headings

Thoughts  by Julieann Wallace

 - teacher, author, illustrator, chocolate monster,

CEO at Lilly Pilly Press ( lillypillypress@outlook.com  www.facebook.com/LillyPillyPress )

Round One

Middle School Readers (9-12 year olds)

In the red corner, we have Book One.  A well written adventure story for Middle School readers  that will have you rolling on the floor in fits of laughter.  Book One is 35, 000 words in length.  It is a chapter book as one would expect, but has no Chapter Headings. (applause)

In the blue corner, we have Book Two. A well written adventure story for Middle School readers  that will have you rolling on the floor in fits of laughter.  Book Two is 35, 000 words in length.  It is a chapter book as one would expect, and contains Chapter Headings. (applause)

Let the game begin!

Book One

Book Two

ü  Chapters

ü  Chapters   ü  High interest attention grabbing Chapter Headings/Images luring the reader to keep reading to see what happens next.   ü  Reader can use prediction as to what may occur in the chapter.   ü  Chapter Heading will prepare reader for the type of words they will come across in the chapter.   ü  As a teaching tool, Chapter Headings will create discussion, think and share, prediction, reasoning, possible, impossible conversations.   ü  Stepping stone from Picture Books to Chapter Books.

Some Middle School Brains without chapter headings as they read a novel	Middle School Brains with chapter headings as they read a novel
The reader is lost.  They don't know where they are going with any of the information they are reading, or when it will end. Often, this reader will not persevere with reading, are often discouraged, and give up.	They have perspective. They know that this chapter contains all the information needed for a particular point to be made, or for a scene to occur, and then next chapter is the next development in the story. The reader is encouraged to continue reading as bit by bit the story unfolds in a meaningful way.

N.B.  The above information is generally speaking about children in the Middle School Reader age range.  Whilst this is a broad generalisation, children do have different reading abilities, and some may excel, or some may require more support with their reading journey.

Book One knocked out!  Book Two - WINNER!   (applause)

Round Two

YA Readers (12-17 year olds)

In the red corner, we have Book One.  A well written teenage drama story for YA readers, that will have you page turning and gasping for air.  Book One is 55, 000 words in length.  It is a chapter book as one would expect, but has no Chapter Headings. (applause)

In the blue corner, we have Book Two. A well written teenage drama for YA readers, that will have you page turning and gasping for air.  Book Two is 55, 000 words in length.  It is a chapter book as one would expect, and contains Chapter Headings. (applause)

Let the game begin!

Book One	Book Two
ü  Chapters   ü  Font of Chapter Number is unusual or quirky,  appealing to the YA age group and their status that they are not children anymore, but individuals wanting to make a statement.   ü  Stepping stone from Middle School Reader to YA to New Adult to Adult	ü  Chapters   ü  Chapter Headings to invite the reader to keep reading to see what happens next.   ü  Reader can use prediction as to what may occur in the chapter.   ü  Stepping stone from Middle School Reader to YA to New Adult to Adult.

The YA Brain without chapter headings as they read a novel	The YA Brain with chapter headings as they read a novel
http://printontheperiphery.wordpress.com/category/book-history/  *	http://printontheperiphery.wordpress.com/category/book-history/  *
As an effective independent reader, the YA brain is very adept at prediction, reflection, questioning and linking of information.  The YA reader does not require Chapter Headings, and is motivated by the plot and character development, and emotional attachment to the characters.	As an effective independent reader, the YA brain is very adept at prediction, reflection, questioning and linking of information. The YA reader does not require Chapter Headings, but can be persuaded to continue reading because of a Chapter Heading.  They are motivated by the plot and character development, and emotional attachment to the characters.

The spectators wait with bated breath as they await the judges' decision…….

Book One and Book Two stand aside the referee shuffling from foot to foot in nervous anticipation……

The result is in - DRAW!  ( rapturous applause) 

Chapter Headings - The Choice is Yours

After researching the topic of Chapter Headings, I discovered that Chapter Headings, and whether you incorporate them into your writing or not, is a very personal choice. However, your choice must be based on the needs of your targeted audience.

As children journey through the years, there is a natural progression that they globally partake in, to become independent, effective readers.

·         Babies - junior school children - Picture Books, and some chapter books - supported by abundant verbal interaction about words and pictures as their reading  and vocabulary develops - enriched by reading.

·         Middle-School Children - Chapter Books, some incorporation  of illustrations  here and there, to no illustrations.

·         YA - Chapter Books.  Illustrations far and few between, if any at all (generally speaking). 

As a writer, one of your goals is to want your reader to love reading, to feel  successful at reading, and keep them returning to reading. So, in order to do this, you need to know your targeted audience well as you decide on whether to use Chapter Headings or not. 

Chapter Heading Vs No Chapter Heading

A Scenario

…The End. You have finally finished your manuscript. You will either be doing the dance of joy, because your story is complete, or lost, like I always am because I am saying goodbye to the characters in my story that I have created, and come to love. 

You glance over your ms, and wonder: Do I need Chapter Headings?

Frantically, you race to a book store and hit the new release and best seller shelves and proceed to investigate every book on the shelf delving into the world of Chapter Headings, to see what other writers do, and what the "in thing" is with the publishing houses, and return home confused as there is no clear pattern happening for Chapter Headings.

You return to your manuscript and ponder what to do. 

What should you do regarding Chapter Headings? 

So, what is a chapter heading?

Let's look at some definitions to set a clear focus on the topic.

chap· ter n. One of the main divisions of a relatively lengthy piece of writing, such as a book, that is usually numbered or titled.

head·ing n 1.something that serves as a head, top, or front.

                     2. a title or caption of a page, chapter, etc.

 ti·tle  n  1.the distinguishing name of a book, poem, picture, piece of music, or the like.

                2. a descriptive heading or caption, as of a chapter, section, or other part of a book.

Books, Chapters, Chapter Headings for Middle Grade and YA Readers

It is a certainty that writers give much thought as to whether to add chapter headings or not.  Some writers revel in chapter headings, others question whether they are necessary, or even struggle over the use of a heading, and even what words to use in the Chapter Heading.

Some have their Chapter Headings before they write their book, others create the Chapter Headings after they complete the Chapter.  There is no right or wrong way when embarking on words for Chapter Headings, as we all work in different ways.

The Role and Effect of Chapter Headings

For the Writer:

·         Chapter Headings can be like the story plot and can help to keep the writer focussed on the story/message/idea.

·         Chapters Headings can give the writer a point of reference to occurrences in the storyline. Have you ever gone back to a chapter to read the details again.  For example, in a mystery, if the clues are planted throughout the book, and you missed something really obvious that gives a hint about who did it? Or, do you need to plant a clue in an earlier chapter?

·         A single word in the Chapter Heading can smash writer's block, filling you with enthusiasm, encouraging words to flow easily.

For the Reader:

·         Chapters can be seen like steps to solve a problem in the story (story map).

·         Chapters Headings guide the reader with the story plot.

·         Chapters can keep the reader focussed on the story/message/idea

·         Chapters give the reader a point in the story to stop and think about what has happened, and leads them to start thinking about what is going to happen next?  Prediction and Reflection.

·         Chapters give the reader a point of reference to occurrences in the storyline.

When are chapter headings ineffective?

·         When they are irrelevant to the content.

·         When they are misleading.

·         When they give the story away!  Do not allow the heading to give too much information about what is going to happen, taking the mystery and lure away from the reader.

Deciding on Chapter Headings

My Suggestion: 

Step back from your book, and look at it from the eyes of your targeted audience.

·         What do they BRING to you book in the way of prior knowledge, ability and expectations.

·         What do they NEED from you book?

·         Why are they reading your book?

·         What do you want to GIFT them with, from the words from your book?

·         By adding Chapter Headings, are you giving, or taking something away, from the power of your words?

·         What stage is your reader emotionally at?

·         What gender is the book targeted at?

Step back to your book.

·           Are the Chapter Headings giving away too much information about what will happen in the story?

·           Are the Chapter Headings inviting the reader in to keep reading?

·           Does the Chapter Heading fit the context of your content?  Or, does you book need Chapter Headings at all?

·           Do the Chapter Headings  add to your story, or do they take away from your story?

·           Do you have to use words for your Chapter Headings, or can you use an image instead?

Chapter Headings In a Nutshell

Whether to have Chapter Headings or not, is totally up to you as the writer. But whatever you choose, your decision must be based on  the needs of your targeted audience.

Also consider the following: 

The Chapter Headings

·         need to add to your story.

·         have a link to the words used in the chapter,  making meaning, building strength, building the plot, building interest.

·         help to chunk information that have the common purpose of moving the plot along.

·         Can be words or images.

Obtaining opinions from beta readers, and writing buddies is essential J

For Added Interest….

In works of fiction, authors sometimes number their chapters eccentrically, often as a metafictional statement. For example:

• The Curious Incident of the Dog in the Night-Time by Mark Haddon only has chapters which are prime numbers.
• At Swim-Two-Birds by Flann O'Brien has the first page titled Chapter 1, but has no further chapter divisions.
• God, A Users Guide by Seán Moncrieff is chaptered backwards (i.e., the first chapter is chapter 20 and the last is chapter 1). The novel The Running Man by Stephen King also uses a similar chapter numbering scheme.
• Every novel in the series A Series of Unfortunate Events by Lemony Snicket has thirteen chapters, except the final installment (The End), which has a fourteenth chapter formatted as its own novel.
• Mammoth by John Varley, has the chapters ordered in chronological order from the point of view of a non-time-traveler, but, as most of the characters travel through time, this leads to the chapters defying the conventional order.

Thanks for taking the time to read my thoughts on Chapter Headings.                                                                                             

What are your thoughts about the topic?

References

http://en.wikipedia.org/wiki/Chapter_(books)                                                                                                                                                                                  * Image: Why reading feeds our brain  New York Times article entitled, ‘Your Brain on Fiction’ by Annie Murphy Paul http://dictionary.reference.com/

***** 

Julieann Wallace

~ Writer, Illustrator, Author, Editor, Educator ~

Publisher at Lilly Pilly Press

     It’s funny how life twists and turns and polishes people into who they are

created to be. Never in her wildest dreams did Julieann think that she would

become a published author.  Art, Sport and Teaching were her passions, besides being a mum to three amazing children.

Throughout her  journey in life, one thing is absolutely clear -

~ We are not all created equally, but, we all have the same capacity to love, to laugh,

and to treat others in kindness, patience and understanding equally~

       And this is what you will find in Julieann’s picture books - written with 

an author’s passion, an illustrator's hand, a teacher’s mind and a creative heart.

You can connect with Julieann at Julieann Wallace - Writer, Author, Illustrator

    or at Lilly Pilly Press

*****
Give-away:

One commenter will win a paperback copy of "The Writer's Digest Guide to Query Letters."  All you have to do is comment on this post to be entered in the drawing. Must be a signed-up member of the Chapter Book Challenge to qualify. Comment before noon on March 26th, 2014. Winner will be chosen by a random number generator on March 26th, 2014 at noon. 

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Winners:

And now for the announcement of the two winners of K.M. Weiland's books!

     

In the first drawing, for "Structuring Your Novel: Essential Keys for Writing an Outstanding Story," the winner is:

Amy Dixon!

Congratulations, Amy!

And in the second drawing, for "Outlining Your Novel: Map Your Way to Success," the winner is:

Beverley Baird!

Congratulations, Beverley!

Crafting Convincing Villains by Julie Anne Grasso #ChaBooCha

Introduction:

I am an Independent Author of middle grade sci-fi. When I was conjuring my villain, I couldn’t help but draw from the movies, books and characters I already loved.

The first draft of my MS was actually about 70,000 words, and for middle grade that is considered long. I had a manuscript service that suggested I had included a great deal about the villain, more so than the protagonist. 

You see, I had dreamed up an entire world that this villain inhabited, with fairly intricate details, but I had made the mistake of including all of his backstory. I was on the right track though, because although I cut 20,000 words before publication, I had a convincing villain with a bio that I stayed true to.

So true that I have had quite a few readers express how much they loved Alexander222.

Oh dear, I should be shaking my head you might be thinking, but actually, that’s how I wanted it to be…. You’ll see why. So let’s take a look at how to craft a convincing villain.

What is the function of a villain?

• Drive your plot forward.
• Create a problem / tension
• Up the stakes.
• Reveal a universal truth. ie Good and Evil.

Let’s Start With Some Inspiration:

Where do we draw from?

• Multimedia: TV, movies, YouTube, games
• Books
• People you know
• Universal Themes: ie Good v Evil
• Concepts: ie Corporate corruption  

Let’s look at some:

• Vodemort: The Truly Evil Villain:  http://youtu.be/eAHDS5Rn4kg 
• Doofenshmirtz: The Blundering Villain:  http://youtu.be/7HKtcGQGJDA 
• Bowler Hat Guy: The Creepily Ambitious Villain:  http://youtu.be/rWRMSN1-fyk 
• Muntz from Up: The Everyday Villain: http://youtu.be/63Wv4e_k0nw  
• Auto: The Inanimate Object Villain: http://youtu.be/p3A7vIcLL1M 

Let’s look at some examples from Children’s literature.

• “The Graveyard Book” by Neil Gaiman: Page 3-5The Man Jack is upfront on the first page, there is no doubt about who this villain is.
• “The Wishbird” by Gabrielle Wang: Page 23-25Panther bullies Boy into stealing from the Demon Monster’s House. He we have two villains revealed in one conversation.
• “Spiderwick Chronicles” By Toni Diterlizzi; Holly Black Page 373-5
  Mulgareth is alluded to throughout the book, until Jared finally meets the hideous creature about half way through.
• “May Bird and The Ever After” Jodi Lynn Anderson Page 82-83.  Page 95-98
  Bo Cleevil is alluded to throughout the book. Few have seen him, but everyone has a story about him.

Alexander Gordon Smith says: from his book “Writing Best Selling Children’s Books”

“A common pitfall for the new author is not matching villain to hero. He suggests try giving your villain the same personality but twists it.”

He also suggests that we get into the mind of our villain.

Get in the mind of your villain

In J.K Rowling’s  “The Prisoner Of Azkaban,” Harry confides in Sirius that he is terrified that he will become like Voldemort. Sirius responds that we all have darkness and light.

Start with a mission statement

Practice first on a few all-time, down-right dirty villains: Write a mission statement for him or her: just a couple of lines.  Here are some examples, or how about you try writing one for your own villain.

• Darth Vader
• Ursula The Sea Witch
• Voldemort
• The Wicked Witch from Snow White
• Bowler hat guy
• Cruella Deville
• Muntz from Up

Refer Back To Your Mission Statement

So now you have your mission statement:  If you are wondering how your villain is going to behave and speak, keep referencing your mission statement:

• Would my villain stop for directions and pay for gas? NO
• Would my villain take what is not rightfully his/hers? YES
• Would my villain stand around and gloat about his plan, before it has succeeded? YES
• Does my villain have a sense of humour? YES/NO This may impact at some point, so decide now.

A little Note To Beware:

Remember, villains who like to announce what they are going to do, can sometimes appear like you are telling not showing. 

If you are going to have a villain tell your protagonist his/her plan, make sure the dialogue flows, so it appears like the protagonist really wanted to know why, how and when.

Try not to be too Scooby Doo-like. “And I would have gotten away with it, if wasn’t for those pesky kids.”

Hang on just a second:

Before you get starting on the evil exploits your villain is going to perpetrate:

• Decide how transparent or translucent you are going to make them.
• Does the reader know from the get go that they are the baddie?
• Will you reveal their identity slowly over time, leaving the reader guessing?

Create a Bio for them:

• What events happened to them to change them or bring them to a place of evil?
• What's their motivation?
• Think about their actions and describe what they do as the villain.

Try not to drive the reader’s insane

• Having a villain wax lyrically out loud or in thought, will definitely convince your readers that the villain is bonkers, but it will also drive your reader bonkers.
• Keep it to a minimum, and find ways to dialogue or show instead through actions.

Consider adding a sidekick

Just as our hero can have sidekicks or supporting characters, so can our villain:

The aim of the side kick is to help reveal the villains character and motivations.

Do this in dialogue.

Do this in action: ie How the villain treats the side kick, gives us a great deal of insight into his character.

Don’t Box Yourself In

When conjuring a side kick, they don’t have to be the traditional Batman/Robin.

A side kick can also be a collection of incidental characters:

Note: Be careful not to introduce too many, as kids will lose the plot completely as to who is who.

Gru is a great example

From Despicable me: Gru is kind of a mish mash of good and evil and as a result, he has sidekicks that actually demonstrate the polar opposites of his character.

The girls he adopts help to show his warm and soft-hearted side.

The minions do his bidding, provide loads of comedy and help to further the plot of the evil genius.

And the old guy that does his inventions, helps to validate him as a criminal and spur him on.

Use your sidekick to reveal your villains character

• Through dialogue and how they speak to them: ie Condescending, giving orders
• Through physical interactions ie How they treat them?
• What does the villain make the side kick do?
• How loyal or disloyal they are to their sidekick?

OOPS! How serious are we?

According to Alexander Gordon Smith, “If you want readers cowering under the doona,” then comedy is not indicated.

Remember: Refer to your mission statement: Does your villain have a sense of humour.

If you are willing to let the readers route for the villain just a little….Pop in some comedic moments.

NO VILLIAIN IS AN ISLAND

What THE?

If your villain is completely and utterly bullet and fool proof, what hope does your protagonist have of defeating them.

They must have some flaws, which the protagonist can use to outsmart, outwit, or out perform.

Leave a little room for….

REDEMPTION:  Think of the great villains that weren't as bad as you thought: Shout them out to me

Let’s look at an all time classic:

"Luke, I Am Your Father"

Removing Darth Vader's Mask

Remember: Villain’s come in all walks

• They don't have to be just super natural beings with limitless power.
• Think of the people you disliked as a kid, your teachers, your class bully's, the other kids, your older siblings.
• Always bring it back to their mission statement.
• Would they do this to achieve their goals?

Time to check in on our villain:

• Appropriate for age range?
• Absolutely no sexuality.
• Are all their actions in keeping with the rating of your book?
• Avoid excess violence.

Beta readers are key:

In my first book, my 10 year old beta reader pointed out the level of violence. She suggested the 9 year olds might not cope with it…LOL!!!!

Put on the parent glasses:

• Do I want my child to read retaliation with weapons as standard?
• Is there another way to portray this without bullet weapons?
• In my books, I decided on stun guns that could revert to bullet weapons. The only time a bullet is fired, is accidental.

Don’t forget the protagonist:

If your villain’s actions are so heinous that they require, blatant retaliation and use of weapons by children:

You are not writing for children.

If your child protagonists have no empathy at all for the villain, when he/she is at their lowest, and they retaliate with equally heinous actions like murder:

I suggest you rethink the amount of violence included in your book.

Some folks can get away with it:

H---ger G--es

What would J.K Rowling say?

In her interview with Oprah, she mentioned a communication she had with her editor after certain worldwide event.

 “And they say we shouldn’t write about evil in children’s books.”

One last thing before we go:

You are the creator of this world that you have been dwelling in.

You can change your mind on your villain if you like:

Just remember, there is no going back once you do.

There has to be an entire plot and justification behind it.

Sometimes Cliché’s work

As clichéd as it is, villains are often forced into action by terrible circumstances.

Alexander Gordon Smith says,

“Nothing turns a plotline on its head and wakes the reader up like a villain who simply had to do what he did.”
“The better the villain, the better the hero.”

Keep Moving Forward

In all things, here is my parting advice…

http://youtu.be/TNXr5Alytg4

References

• Smith, Alexander Gordan. Writing Best Selling Children’s Books: 52 Brilliant Ideas For Inspiring Young Readers. Oxford UK Infinite Ideas Company Ltd. 2007. Print
• Buccieri, Lisa Rojany, Economy, Peter. Writing Children’s Books For Dummies. Hoboken NJ Wiley Publishing Inc. 2005. Print
• McDougal, Jill. Become A Children’s Writer, Insider Secrets. 2008  Kindle Edition.
• Rowling. JK. The Prisoner Of Azkaban London Uk Bloomsbury.1999. Print
• Anderson, Jodi Lynn. May Bird And The Ever After. New York. Aladdin Paperbacks. 2005. Print
• Anderson, Jodi Lynn. May Bird Among The Stars. New York. Aladdin Paperbacks. 2006. Print
• Gaiman, Neil. The Graveyard Book. London. Bloomsbury. 2009. Print
• Wang, Gabrielle. The Wishbird. Australia. Puffin Books. 2013. Print
• Diterlizzi, Tony, Black, Holly. The Spiderwick Chronicles. The completely fantastical edition. New York. Simon & Shuster. 2009. Hard Cover.
• Oprah Interview with J.K. Rowling http://youtu.be/Uv1O6JJMC5o

*****

Julie Anne Grasso is an Australian independently published author with a background in pediatric nursing.  She spent many years literally wrapping children in cotton wool. Every day she witnessed great courage and resilience from the tiny people she cared for, which inspired her to write stories about a little girl elf just like them. The Adventures of Caramel Cardamom Trilogy was the result.

Where to find me:

www.julieannegrassobooks.com

www.whenigrowupiwannawriteakidsbook.blogspot.com.au

*****

Comment on this post by noon on March 24th to be entered into the drawing for a paperback copy of Roz Morris's "Writing Characters Who'll Keep Readers Captivated: Nail Your Novel." Winner will be chosen by a random number generator on March 24th at noon GMT. You must be signed up for the challenge to qualify.

How to Reach Kid Lit Readers: Hone in on Power & Control by Angela Ackerman #ChaBooCha

Most kids know one thing: structure. There’s school to attend, homework to do, music lessons and sports practices, mealtimes, bedtimes and a host of other things. Parents place limits on their sugar intake, TV watching, social play and assign chores. Teachers shape their school hours and friends have their own set of expectations. With so many people laying down rules, it’s no wonder the desire to experience power or control is so strong in kids. So using these themes is a great way to draw readers into our books and keep them interested.

Above all else, we want young readers to identify with the hero of the story. This means creating a character who is both extraordinary yet just like them. These two things seem like they pull in different directions, but that isn’t the case at all. Delivering a protagonist who faces the same life challenges as the reader while gaining power or control is best done in one of two ways:

The Ordinary Kid Who Becomes Extraordinary

Ordinary kid heroes are mirrors for readers. They have rules to live by, friendship and school issues, goals, desires and dreams. They have quirks and talents and skills, but they also make mistakes, fail and need help from time to time. Kids relate to this type of protagonist, because the hero faces the same day-to-day struggles and challenges they themselves do.

This “everyday” hero becomes something more through a twist in the plot. Often something extraordinary happens (aliens crash land in his backyard, or zombie rats escape a nearby mad scientist’s lab) and the hero is the one to step up and save the day. Or an opportunity arises for the hero to shine (a school wide baking contest, or finally making the baseball team because another player is injured.) To make these scenarios feel realistic, the key to becoming extraordinary should be rooted in a talent or skill that seems ordinary, or a personality trait that the hero believes is more a hindrance, than a help.  Maybe the character loves baking cupcakes even though he’s a boy and gets teased for it, or the heroine wants to play baseball more than anything else, but believes her tendency to think everything through is what makes her a bad player.

When the author twists the character’s thinking about themselves so that they see they are special just by embracing their own ordinary skills, talents and passions, readers cheer because deep down, they want to believe they are just as capable of being extraordinary too.

The Extraordinary Kid Who Becomes Ordinary

There’s something exciting about a hero or heroine that is amazing right from page one. Maybe they are the town’s kid-sized superhero, saving the world each and every day. Or, they’re a child movie star or the most popular kid in school and a terror on the basketball court. These type of heroes are what kids want to be themselves, because they have power and control right off the bat.

But, being all-powerful and perfect will not sustain readers for the scope of the book. Eventually the rush of living their life will wear off and readers will start to view the character as unrealistic because while they admire this type of character, they can’t relate to them. So this is where introducing “ordinary” into the Extraordinary Hero must come in. As I mentioned before, a child’s real world is all about structure, and there are limits on what they can do and say. Showing a fantastic hero struggle with “real life” brings the protagonist into a young reader’s own experience.  Having the protagonist struggle with friends, need to obey rules, or simply making them bad at something (like being skilled at archery yet always tripping because he can’t tie his shoelaces properly, or saving the world by day yet having to wash supper dishes like any other kid at night, etc.) helps readers feel like they can identify with the hero, because in some ways, he’s just like them.

YOUR TURN: Does your character gain power and control in some way? Do they have a  skill that makes them special, or a personality trait that acts as a “hidden talent”? Let me know in the comments how you’re making sure your readers will identify with your character by making him ordinary and extraordinary and fulfilling the desire for power and control.

TIP:  Need to brainstorm a special talent or skill? Try our new Talents & Skill Thesaurus entries. Or if you need to find the perfect personality trait, there’s the Character Trait Thesaurus sample entries.

***** 

Angela Ackerman is the author of the bestselling writing guide, The Emotion Thesaurus, and most recently, The Positive Trait and Negative Trait Thesaurus books. Centering on the light and dark side of a character's personality, these new resource books help writers create layered, compelling characters that readers relate to and care for. Visit Angela's website, Writers Helping Writers for friendly support, description help, free writing tools and more!

Comment on this post by March 7th, to be entered into the drawing for a paperback copy of "The Positive Trait Thesaurus: A Writer's Guide to Character Attributes" by Angela Ackerman and Becca Puglisi. Winner will be chosen by a random number generator on March 20th at noon GMT. You must be signed up for the challenge to qualify. 

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Time to announce the winner of George Ivanoff's "Gamer's Quest."  The winner is:

Robyn Campbell 

Congratulations, Robyn! E-mail me your mailing address so I can get your copy mailed to you.