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Are you looking for readers to connect to your story on a more primal level? Do you want them to feel close to your characters and to root for them? Well, this article explores how you can use character archetypes to do just that! You may have heard people talk about ‘archetypes and their importance to Jungian theory’ and wondered just what they were talking about. But an understanding of the key character archetypes may be just the thing to help elevate your stories and keep your readers turning the page. Carl Jung, the Swiss psychiatrist and psychoanalyst, believed that storytelling and myth making were an integral part of humanity’s development. At the centre of our stories are characters who appear repeatedly, irrespective of culture, custom, or language. They are part of our instinctive understanding as humans, resonating on a fundamental level. What Is An Archetype? An archetype is the original pattern on which other things are based; it is the prototype, or blueprint, as it were. In essence it is something that is universally recognised as a typical example of something or someone. In Jungian theory, this definition is taken even further and used to describe the collective unconscious we inherited from our earliest human ancestors, something almost hardcoded into us. What Is A Character Archetype? Character archetypes represent a specific set of universally recognisable characteristics and patterns of behaviour. Each archetype is defined by a distinct set of motivations, strengths, and weaknesses. They are so ubiquitous to us that we recognise them instantly. When someone says, ‘the hero’, we instantly think of someone fighting for good, someone who we wish to succeed. The hero is just one of the 12 archetypes, and we will explore these in more depth later in this article. Why Are Character Archetypes Important? Character archetypes are important because they resonate with the reader; they are recognisable and intrinsically understood. Using them to our advantage can elevate our stories by drawing the reader more fully into our character’s world. One of the biggest obstacles for writers when creating great characters is ensuring they are believable and that they act in realistic ways when faced with certain situations. Understanding the archetypes can help us ensure our characters are consistent and feel authentic. Put another way, the archetypes can give us a blueprint to ensure our reader sees a truth in our character’s actions because they fit a known psychological profile.  The 12 character archetypes described in this article (along with examples of archetypes from literature and popular culture) will help us develop our characters and ensure they are believable, recognisable, and resonate with readers.  The character archetypes are also often associated with 7 seven basic plots on which almost all stories are built. Archetypes, Stereotypes, Stock Characters, And Clichés Although archetypes are the typical example of certain character types, they are not stereotypes, stock characters or clichés. Stereotypes are overly simplified characters, usually defined by a small number of characteristics and are often negative caricatures.  Stock characters (including the ‘boy next door’ or the ‘cat lady’) represent generic character types and, in contrast to stereotypes, are not intrinsically positive or negative. Their use may be seen as rather lazy; but they may offer great opportunities to subvert the form, especially for comic effect.  The main thing to watch out for with stock characters is avoiding the cliché. This is a character who has been used so often throughout literature that it has become boring and predictable. Stereotypes and clichés will act predictably and according to type in a way that can easily be anticipated. They are therefore likely to be boring for the reader. Archetypes, however, may be seen to speak a universal truth and therefore, although we recognise them and empathise with them, they are not inherently predictable. 12 Character Archetypes Jung noted that there were 12 character archetypes, each with its own set of values, traits, and motivations. They are broadly grouped into three categories: The ego archetypes: the Innocent, the Everyman, the Hero, and the Caregiver The soul archetypes: the Explorer, the Rebel, the Lover, and the Creator/Artist The self archetypes: the Jester, the Sage, the Magician/Wizard, and the Ruler The Ruler The Ruler is obsessed by the pursuit of power and may become consumed by it. They are often the antagonist, someone against whom the protagonist must battle. However, there are plenty of opportunities to subvert the form here and create an anti-hero type like Tony Soprano or Walter White. The main strengths of the Ruler are their status and their access to resources. They may be charismatic and demonstrate enviable leadership skills. However, they are prone to suspicion and fear others are attempting to grab their power. They may also appear aloof and be disliked by many (if not all) of the people surrounding them.  Examples of the Ruler include the titular character in Edward St Aubyn’s Dunbar (based on King Lear), Miranda Priestly from The Devil Wears Prada, Macbeth, and Joffrey Baratheon from A Song of Ice and Fire. The Ruler may also be described as the Leader, the Boss, the King/Queen, or the President. The Creator Or Artist The Creator, also known as the Artist, is a visionary who creates things of enduring value, such as art, music, structures, or even entire worlds depending on the scope of their role within the story.  The main strengths of the Creator are their flair for creativity, their drive, and general ability to execute their vision. This makes them extremely determined, but this may also give rise to perfectionism and egotism. Creators may also demonstrate weakness in their willingness for personal sacrifice in the name of their vision or be overly single-minded at the expense of wider goals.  Examples of the Creator or Artist include Marvel’s Tony Stark, Dr Jekyll from Dr Jekyll and Mr Hyde, Geppetto from Pinocchio, and Slartibartfast fromThe Hitchhiker’s Guide to the Galaxy who is literally a designer of planets.  The Creator may also be described as the Inventor, the Innovator, the Musician, or the Writer. The Sage The Sage is the wise character who offers up their knowledge, typically using their intelligence to provide context or impart this wisdom to another character to improve their chance of success. They often perform the role of a mentor to the protagonist. The main strength of the Sage is their accumulated wisdom, and they will often provide considerable insight. However, they may be overly cautious and prone to excessive study. This gives rise to a large weakness in the form of a hesitancy to take any action. Examples of the Sage include Obi-Wan Kenobi in Star Wars, Magwitch in Great Expectations, Dumbledore in Harry Potter, and Master Splinter in The Teenage Mutant Ninja Turtles.   The Sage may also be described as the Expert, the Teacher, the Scholar, or the Advisor. The Innocent The Innocent archetype is the embodiment of all that is good in the world. They are unsullied by life or tragedy (in contrast to the Hero archetype) and wish for happiness for themselves and others. Often depicted as children, the Innocent is used to inspire a sense of compassion into even an apathetic reader. However, this archetype is not immune to hardship, and many literary Innocents do meet a terrible end (Tiny Tim in A Christmas Carol for example). The main strengths of the Innocent are their moral purity and sincerity. They will be kind and by extension well-loved. However, the Innocent’s weaknesses of naivety and lack of skills may make them especially vulnerable.  Examples of the Innocent include Pippin in The Lord of the Rings, Dory from Finding Nemo, and Lyra from His Dark Materials (although she eventually transforms away from the Innocent towards the Hero as she matures). The Innocent may also be known as the Child, the Youth, the Mystic, or the Naïve. The Explorer The Explorer archetype is driven by a desire for adventure and to discover the previously unknown. They are characters who will typically seek out new experiences and opportunities, and who wish for more freedom.  The main strength of the Explorer is their innate curiosity; they demand answers and are driven by a need for self-improvement. However, their weaknesses include a tendency for aimlessness, and they may become misfits, especially if they become unreliable as a friend or ally. Examples of the Explorer include Odysseus in The Odyssey, Indiana Jones, Ariel from The Little Mermaid, and James from Roald Dahl’s James and the Giant Peach. The Explorer may also be described as the Seeker, the Wanderer, or the Pilgrim. The Rebel The Rebel lives by the idea that rules are made to broken and are often driven by one of two primary urges: revenge or revolution. They do not live within the boundaries that society has demanded and will often be the character who leads the fight to overthrow the status quo. The main strengths of the Rebel are their independent thinking and dogged perseverance to achieve a change. However, this can make them self-involved and may even force them towards criminal activity. They may also lack the resources to achieve their aims, resulting in frustration which further increases their propensity towards crime. Examples of the Rebel include Katniss from The Hunger Games, Robin Hood, Sirius Black from Harry Potter, and even Elle Woods in Legally Blond as she takes on the status quo entrenched in the legal profession.  The Rebel may also be described as the Revolutionary, or the Outlaw. The Hero The Hero is the one who ‘saves the day’, rising to the challenge with the aid of their unique set of skills. They are generally depicted as the ‘good guy’ and embody the characteristics that are especially valued within society to represent a model of virtue.  The key strengths of the Hero include their courage and force of will, their strength (be that physical or mental), and their ability in specific areas that confers them an advantage over an intimidating enemy. However, they may have a propensity for overconfidence and an inflated ego, often bordering on hubris.  Examples of the Hero include Hercules, Achilles, Superman, Harry Potter, and Offred from The Handmaid’s Tale. The Hero may also be described as the Warrior, the Crusader, the Superhero, or the Dragon Slayer. The Magician Or Wizard The Magician, also known as the Wizard, is the archetype who brings significant knowledge or wields an ancient power. They are often key to achieving difficult goals within a story.  The main strength of the Magician or Wizard is their access to the ‘secrets of the universe’, most frequently coupled with a discipline to harness and wield that power effectively. They may provide an innovative solution to a problem; however, this may give rise to a series of unintended consequences. One of the main weaknesses of the Magician or Wizard is arrogance (which may exacerbate those unintended consequences) and they may become corrupted by their power (think Darth Vader in Star Wars).   Other examples of the Magician/Wizard include Gandalf in The Lord of the Rings and Prospero in The Tempest. Sherlock Holmes may also be considered as a Magician, although his skills are cerebral rather than supernatural.  As well as being known as the Magician and the Wizard, this archetype may also be described as the Shaman, the Inventor, or the Catalyst. The Jester The Jester is a comic character, often also known as the Trickster. They may provide an element of comic relief but may also offer up important truths. They likely live by the motto ‘you only live once’.  The main strength of the Jester is their ability to be funny whilst also offering insight in an accessible way. They are much liked by readers, although this may be a superficial appreciation. The main weakness of the archetype is borne from this superficiality, and they can quickly become obnoxious or time wasters. Examples of the Jester include the Fool in King Lear, the Weasley Twins in Harry Potter, Timon and Pumba in The Lion King, and Joey in Friends. The Jester may also be described as the Fool, the Joker, or the Comedian. The Everyman The Everyman is someone to whom all readers can relate, someone who is recognisable as a ‘regular person’. They are likely to be characters who ‘fit in’ easily and are great at bringing people together. The main strength of the Everyman comes from their ability to integrate; they are down to earth and easy to like. However, they may subsume their own sense of self to blend in, moulding themselves into who they think others want them to be. The main weakness of the Everyman archetype is that as a ‘normal’ person they likely lack specialised skills and so may not prove useful in difficult situations. Examples of the Everyman include Bilbo Baggins in The Hobbit, Arthur Dent in The Hitchhiker’s Guide to the Galaxy, the anonymous narrator in Fight Club, and Philip J. Fry in Futurama.  The Everyman may also be described as the Person Next Door, the Citizen, or the Regular. The Lover The Lover archetype is the great romantic, in love with the very idea of being in love. They may be anyone within a story, but their leading drive is to find (and keep) love.  The main strengths of the Lover are their passion and devotion, which may make them a powerful ally. However, this devotion may boil over into a willingness to sacrifice everything for love, including identity, life, and liberty (and not just their own). Further weaknesses include irrationality in their behaviour and a tendency towards naivety and a ‘love conquers all’ mentality.  Examples of the Lover include Romeo and Juliet, Edward in Twilight, and Jack and Rose in Titanic.  The Lover may also be described as the Partner, the Intimate, or the Spouse. The Caregiver The Caregiver plays a nurturing role, and this archetype has also been known as the Mother Figure, although they certainly do not have to be female. They are often seen in supporting roles, such the spouse or best friend, in addition to the more obvious parent/guardian role.  The main strength of the Caregiver is their selflessness, and they will frequently put everyone else first while expecting little in return. They will also show significant loyalty and a focus on honour. However, they generally lack leadership skills or personal ambition.  Examples of the Caregiver include Samwise in The Lord of the Rings, Mary Poppins, and Miss Honey from Matilda.  The Caregiver may also be described as the Saint, the Helper, or the Supporter. What Archetypes Work Best For Your Story? As this article has highlighted, understanding the main character archetypes can help you to build more believable and realistic characters that readers will be drawn to. Use them as a form of blueprint to ensure your primary characters jump off the page and into the hearts of your readers, keeping them turning the pages as they are sucked into your characters’ lives. Or use them to find new and exciting ways to give readers something unexpected: how about a young child in the Sage role for your ageing Innocent; or the assassin as the Caregiver? Play around with your story and see what archetypes work best for your characters. You never know where your story may take you next!

Learn what’s involved in building fantasy worlds, why this is important, and how to develop your world-building process. What Is A Fantasy Novel? I should start with a confession. I don’t know how I’d define a fantasy novel. Or at least, I don’t know how to do it quickly. In fact, I’d be surprised if anyone can come up with a single short and robust definition for a genre that encompasses so much.  I might not be able to give a quick definition of fantasy - but I can quickly recognise it when I see it. It’s a genre that lands us in a new world. It takes us through the cupboard and into Narnia. It bustles us into Diagon Alley. It sets us trekking through Middle Earth. It opens up new and unexpected vistas.  These new worlds are a huge part of the excitement and appeal, and for a writer and world builder they offer endless possibilities.  There are no limits to what you can achieve in a genre containing landscapes as different as Tolkien’s black and brutal Mordor and Leigh Bardugo’s unsettling and thrilling Grishaverse. It takes in everything from the ruined gothic splendour of Mervyn Peake’s Gormenghast, to Andrew Coldecott’s insular and rural Rotherweird, not to mention all those rugged Orc-filled mountainscapes, terrifying post-nuclear dystopias, and heavenly utopias. And then, there’s Terry Pratchett’s masterful, loving satire of the whole idea of fantasy world building, the Discworld, which drifts through space and time on the back of four huge elephants, who themselves are on the craggy back of Great A’Tuin The Turtle.  In short, fantasy world creation can look like whatever you want it to look like. What Is Worldbuilding? Back in the day, fantasy world creation was easy to characterise as a few scantily clad maidens, a lot of swords with names, a couple of big dragons, and a liberal garnish of incomprehensible magic. Luckily, it’s a whole lot more than that now. Yet, even where all those clichés are present and correct, you can still create something profound and compelling: just look at the success of George RR Martin’s Game Of Thrones novels.  There’s also far more to creating fantasy worlds than waving around wands and saying a few magic words. The genre allows writers to explore all sorts of new ideas. It also allows them to say all sorts about our own world. It’s often by encountering these differences that we learn who we are. And if there’s also excitement, adventure, diversity, and mind-bending invention on the way, well, so much the better. In fact, fantasy world-building is all about pushing the boundaries of possibility. It allows you not only to set the stage on which your story will play out, but to turn that stage into just about anything. To fill it with all the creatures of your imagination. In a fantasy world, you don’t have to be bound by the laws of physics. You can invent your own animals. You can create your own societies with their own customs and their own histories. You can give them new mythologies, new religions, new mysteries and power systems. You can invent new philosophies. You can control geography, lore, technology, economics, language, politics. You can - if you dare - entirely ignore contemporary morality.  You can build a world that is better than the one we are living in. You can build one that is much worse. Or, you can just make it interestingly different.  You can, in short, do just about anything. Essential Elements Of A Fantasy World I must pause here to re-emphasise that previous “just about”. Because while fantasy writing lets you play God in creative and exciting ways, there are still rules to those games. You can set the limitations - but those limitations do need to be there. When you’re thinking about how to build a fantasy world, you need to think about how to make it feel real as well as how to make it feel extraordinary.  You don’t want to leave your readers thinking that everything in your book is arbitrary. You don’t want them complaining that things don’t make sense. You need to consider how to create a realistic fantasy world. It might sound contradictory, but it’s also fundamentally important. Your characters need to have weight in that world. And that world needs to press on them in turn. You have to remember that while the world may seem fantastical to your readers, it has to be normal for your characters. It is their day-to-day reality. They have to react to it accordingly - and their expectations about how that world will react also have to be met.  Most of the time, anyway. Of course, you can still shock and surprise your characters. You can still overawe them with magic. Just make sure that these events feel as powerful and strange for them as they do for your readers. Make sure they count and have consequences. How To Create A Fantasy World: Ten Key Elements Okay, that’s the theory about how to make a fantasy world. How about the practice? What do you need to put into this exciting world? The short answer - as you might expect by now - is anything you like. The longer answer is that there are quite a few things you can do to set those important limits and give your world solidity.  Here are ten essentials to consider when you’re wondering what to put in your world. 1. Maps: Location And Situation I’ll be honest here. Part of the reason for including a map when creating a fantasy world is that maps are fun. They look lovely. They come with that wonderful promise that there will be new territories to explore and treasures to discover. But they also serve a good practical purpose. They give you a clear idea of the territory your characters will have to cover. They can help you to situate them and to move them around. They will give you ideas about difficulties they may encounter and challenges that will have to be overcome. They also help open up a whole host of other practical questions about how people travel in your world, how long it takes to get from place to place, what those places look like, how it feels to be in those places, what the weather is like... and so on. It’s once you start thinking about the practical outlines of your world that it really starts to take shape. 2. People: Who Lives In This World And What Do The Characters Do? Okay, you don’t have to stick to just people. But you do still have to answer important questions about who resides in your world. What do they look like? How do they interact? What they do from day to day? What makes them laugh? What makes them cry? What makes them get so mad that they’ll grab a sword, leave their village, scale impossible peaks, travel across fields of fire, and take it out on Orcs all the way? 3. Creatures Talking of Orcs, who and what else lives in your world? What do they look like? What are their strengths and weaknesses? What motivates them? Are they hungry? Are they angry? Are they peace-loving simple creatures who don’t deserve the brutal culling coming their way? You can see why this bit is fun… 4. Technology Here’s a fascinating thing. A lot of fantasy, from Tolkien’s Middle Earth to Schwab’s many versions of magical London, is set in a kind of pre-industrial world. There are swords and armour and fearsome siege engines. There are castles. People ride around on horses. They sleep on straw beds, and you really have to worry about the toilets… It can perhaps feel like a set of clichés, but it can also be remarkably freeing for a writer. This world is instantly and internationally recognisable - and because it’s so far removed from our time and experiences, it allows you to ignore a great many contemporary cultural hang-ups. And hey! You don’t have to restrict yourself either. If you want to write a futuristic fantasy or one with an entirely different concept of progress and invention, you can do that too. Just look at Laura Lam’s books. 5. Is There Magic? To take the technological discussion one stage further: Arthur C Clarke famously said that any sufficiently advanced technology is indistinguishable from magic. Which is certainly food for thought if you’re setting up a futuristic fantasy world. But, of course, in fantasy you don’t have to restrict yourself to advanced tech magic. You can also use good old fashioned wand magic too. Just make sure you think hard about how it works - and how it doesn’t work. About who can and can’t wield it. About what benefits it brings - and what the costs are. You can take inspiration from anywhere. Tomi Adeyemi was inspired by West African mythology and the Yoruba culture and language, when creating the magic system of Orïsha. 6. What’s The History Of The World You’re Building? When you build your fantasy world, distance yourself from the real here and now. What has made the present you are describing the way it is? What historic events have led to the development of this world? What is the backstory of the main characters? Where, in short, does your story come from? 7. Belief Just as in our own world, your characters may not want to confine themselves to historical evidence. They may have a set of myths and stories that are radically different from the facts they’ve been told. They may believe in gods that do not exist. They may also fail to believe in gods who are real, and correspondingly suffer for that. Neil Gaiman did a great job of combining old god beliefs with our present world in American Gods. 8. Power: Laws And Governance One of the great fascinations of fantasy is the way it allows you to talk about power and its implications. Who has it? Who doesn’t? Who has education? What does education even mean in this world? Who is rich and who is poor? How are such things decided? What are the systems that govern - and who is in the government? What issues are they dealing with and how do they deal with them? For instance, R. F. Kuang’s grimdark fantasy, The Poppy War, draws its plot and politics from mid 20th century China. 9. Trouble And Conflict Now that you’ve got religion, belief, history, power, and politics you have the basis for building coherent societies. And you also have the things that tear them apart. It’s time to think about conflict within your world. Who are the adversarial groups? What makes friends into enemies? Are there warring tribes? Are there religious differences? Do people have to fight for resources?  Don’t be afraid to look at our own world when dreaming up something abhorrent in your own fantasy world creation. As Margaret Atwood once famously said after having written The Handmaid’s Tale, “There\'s nothing in the book that hasn\'t already happened at one time or another.” 10. Story And more And now that you’ve got conflict, you’ve got the basis for your story. Easy, eh? Well, no.  I know that finding a good plot and a gripping narrative can be challenging to say the least. But it’s that challenge that also makes the writing process worthwhile and exciting. And once you have the motivating ideas that will get your characters moving across your map and exploring all the territories within it, then your world will truly come to life. Managing Essential Elements Of A Fantasy World We’ve seen what world-building is and answered some of the big fantasy world-building questions. We’ve discussed the importance of having rules - and also the excitement of not being bound by the limits of our own reality. We’ve got a good list of important ideas to work out and consider that will help you create and populate your new lands. We’ve got our kitbag, our weapons, and our map. We’re just about ready to go on that journey into our new domains.  But how do you manage your fantasy world? Even after you have worked out the structure and rules essential to building your fantasy world, there are still likely to be difficulties and snags along the way. Thankfully, some of these can be alleviated by good planning.  Documenting your world lore is vital. It may help to keep a spreadsheet of magical systems, a timeline of its history, a quick glossary of any key terms or place names you’ve invented. Don’t forget to have a document to keep track of difficult names and back stories, too. Pinterest mood boards may help you fix your ideas about landscape, fashion, and location.  Not only will this be useful for you as you write your book, or grow your series, but your future editor and proofreaders will also thank you! Finally, arm yourself mentally. Don’t beat yourself up if you have bad days and progress is slow. Writing is hard and creating a whole new fantasy world is even harder! The good news is that you don’t have to take this journey alone. Frodo had Sam - and you have a big community of other writers who will want to help you on your way. One of the best ways of finding them is by joining the world’s leading online writers club at Jericho Writers: https://jerichowriters.com/jericho-writers-full-membership/ 

Any writer will tell you that writing is hard. Although it’s something we can all relate to, we are only as good as our tools. Which is why it’s important to know what novel writing software is available for when inspiration strikes. Some of the best apps for writers are made specifically for novels or screenplays. It can be hard to choose and determine the best creative writing app for you, which is why I’ve compiled this handy guide. In this article, you’ll get to know what you might be looking for in creative writing apps as well as a list of my top recommendations for software for writers. Writing/editing software doesn’t have to be complicated, or expensive. Read on to learn more about some of my top picks for your writer’s toolbelt! Selecting The Best Novel Writing Software First thing’s first: choosing the best writing app for your needs and expectations. There’s an ever-growing abundance of software tools and apps available for writers, both for editing grammar and clarity, as well as structuring or formatting your writing.  Having so many choices can be bewildering, especially if you consider yourself a dabbler or a writer of multiple genres or styles. However, there’s an app out there for everyone, whether it be outlining software, proofreading software, or simply an aesthetically pleasing writing platform! Before we dive into these top 10 writing apps, take some time to determine your own needs and wants. For example, are you looking for an app that is just for story planning, or are you looking for a technologically advanced screenwriting software? Depending on how specific your needs are, some writing apps are better than others. One of the most determining factors when shopping for author software is knowing the platform on which the app or software is required to run. Do you have a Mac or Windows computer? The best writing apps for Android or iPad may vary. Are you hoping to work on your phone or tablet? These questions will help you select the best writing software. You should also think about the various capabilities and features that many creative writing apps can provide. These include: TemplatesMany apps offer novel or screenplay templates, a perfect feature for new or structured writers looking for assistance in their formatting. Cost / LicensingOn a budget? Some of these writing apps on this list are free, but many others have fees, including monthly subscription options. Ease of use / easy to learnOften writing apps can feel like you are learning an entirely new language; choosing a more simplistic app could be beneficial if you are searching for something that you can write on right away. Additional useful featuresAre you hoping for formatting tips or assistance with your overall grammar and sentence clarity? Some writing apps offer these features, and many more. If you are looking for something specific, keep an eye out for that! File formatsHaving an app for writing that will save in a variety of formats can be extremely valuable for writers, especially those of you submitting your work under very precise guidelines. Collaboration capabilitiesIf you are working on a writing project with a group or other collaborators, you may want to find an app that allows you to work on the same project with multiple writers, however remotely.  I have selected and examined the following software for writers, considering budget and needs. The 7 Best Book Writing Software Programs These are some of my top choices of software to write a book, including manuscript software. While these apps are listed under ‘book writing’, they might also be used for playwriting, screenwriting, or other various writing forms.  Scrivener My own personal pick for writing projects of all shapes and sizes, Scrivener is one of the most popular writing apps out there today. With fantastic template options and digital sticky notes for organising, the sky’s the limit for your writing projects. You can choose manuscript outlines with front and back matter formatting included, screenplay outlines for your next pilot, or even outlines for simple essays or formal documents. You can organise the app however you like, with theme colours and a wide array of content analysing features. While Scrivener has a lot to offer, there is an extremely steep learning curve. It took me a few days of consistent use to master it, and even now I know that I have just barely scratched the surface. However, the app has tutorials that you can follow at any time, should the writing app be confusing! Scrivener works on Mac or Windows systems, each costing £47 ($65) per operating system, and you may also consider purchasing a £20 ($28) app for Android and IOS devices. This allows all devices to sync so long as you have a Dropbox account, updating your writing projects across all platforms, wherever you are!  Read more about Scrivener here, and feel free to download its 30-day free trial so that you can get a feel for it. Microsoft Word The most classic of writing platforms, Microsoft Word still has a lot to offer a writer, no matter your genre or specialisation. Microsoft Word will no doubt feel familiar to most any writer, as it is set up similarly to most document programs, such as Google Docs or even Scrivener. Microsoft Word offers an annual subscription fee that includes Microsoft’s entire suite (Word, Excel, Powerpoint, etc.) as well as 1 terabyte of storage for single users. The fee is a bit steep- around £60 ($70) for the year.  However, their programs work across multiple devices, and offering cloud storage solutions is a great perk for writers with a lot of content or documents. Microsoft Word has grown a lot over the years too; their spell check and grammar tools have only gotten better, and Word can look at your documents for its overall flow and feel. You can check out all that Microsoft has to offer here, as well as compare each and every product that they offer. If you live in a house with multiple aspiring writers, a Microsoft subscription may suit you well. Google Docs A mainstay for many people, Google Docs is a fantastic free writing software available to anyone with an internet connection. You can work on a document both online and offline, with free storage from Google. Oh, and did I mention this writing tool is completely free to use? While Google Docs may not have all of your favourite fonts and editing options, it has a comprehensive grammar and sentence structure editor as well as standard formatting options found in Microsoft Word.  Like Microsoft properties, Google Docs is a part of an entire suite of useful apps and writing tools, such as Sheets, Slides, Drive, and many more. Google Docs is also ideal if you plan on collaborating with people across time zones or otherwise remotely. You can chat in real time in the document or leave comments for people to see later. Multiple people can edit a Google Doc at once with an internet connection, and you have the option to suggest edits that can be rejected or accepted and applied by your peers. A great tool for collaborations and teams. Plus don’t forget it’s totally free! Check out Google Docs here, if you haven’t done so already. Evernote Do you have a big project to tackle with images, deadlines, and more? Evernote may be the app for you, a perfect writing tool for the busy author. Much more than just a writing document, Evernote brings all of your organisation needs into one streamlined writing app. With Evernote, you can sync your documents and notes across all devices, no matter the operating system or product, from a Mac laptop to a Samsung phone and back to an iPad. You can organise your documents and notes to your heart’s delight or leave everything in chaos. Because Evernote’s ingenious search system can find the document that you’re hunting for. Do you take a lot of screen captures for your writing? Evernote allows you to annotate and edit screencapped PDFs, images, and more. It can search handwriting, images, and any document type for keywords, giving you access to everything you have saved with a quick search. Evernote keeps any writer’s business sorted and all in one place, no matter how busy you are. And the best part about Evernote? They offer free plans as well as monthly subscriptions depending on your usage and needs. Plans range from £6 ($8)/month to no more than £11 ($15)/month, per person. Check out all that Evernote has to offer here. Hemingway App Are you a writer known for being verbose, and prone to long, rambling sentences? Then you may be a writer that could benefit from the Hemingway App, named after no other than Ernest Hemingway. Import your latest novel and watch Hemingway light up, highlighting your work in various colours that correspond to different editing tips. Hemingway is designed to point out boring words, wandering or passive sentences, and those pesky adverbs. It’s like having a line editor in your own home for just $20 (£15) in total. It can be a great backup writing app, especially once your manuscript is complete. Hemingway works on Mac and PC operating systems, with or without an internet connection. You can format your document and write directly in Hemingway, a simple and focused editor leading to a more concentrated work environment. You can also publish directly to WordPress or other websites from the app. Check out Hemingway here. The Novel Factory Designed by a novelist for novelists, the Novel Factory is built to assist writers from the ideas stage through to the first draft, and to empower authors to write better and more efficiently. The Novel Factory offer a variety of specialised features. They provide multiple story templates, a tool that helps you map out your plot,  a planning section that helps you develop your premise, and a notes tool for keeping track of your ideas. They also offer a step-by-step guide to writing a novel from the first draft to the final manuscript, a feature that helps you track your settings, and a character development section with prompts and outlines. With so many resources to choose from, there really is something for everyone. The Novel Factory software starts at $6.25 a month and they also offer a free 30-day trial. Their software is a great tool for streamlining your writing process. It\'s suitable for writers of all experience levels, offering features that enhance organisation, efficiency, and enjoyment in writing. For more information and to get started with the Novel Factory, click here. Grammarly Let’s say that you have your favourite document program, but you just wish the spelling and grammar checker was a bit more informed. Enter Grammarly, a free program that you can use with most popular word document creators, including Microsoft Word and Google. Grammarly is capable of working in tandem with your favourite document editor, pointing out not only your spelling mistakes, but also any sentences lacking in clarity or engaging points. It’s a great free app for anyone to try, and you can download it as a browser add-on here. 4 Best Screenwriting Apps If you are a budding screenwriter looking for apps more directly geared for your work, you’re in the right place. While all of the apps and software I’ve already listed will still work wonders for your screenplay, the following writing apps are made exclusively for plays or screenwriters alike! Fade In Beloved by many Hollywood hotshot writers for its ease of use and comprehensive features, Fade In is a wonderful app for screenwriters at any level. Available for any operating system, including mobile app features, Fade In is your writing companion, whether it be a full-length play or short pilot episode. Fade In is a complete application for writing motion picture screenplays, including tools for outlining, organising, and navigating, plus extensive screenplay formatting and robust tools for managing rewrites and revisions. The app’s appearance is unfussy and simplistic, allowing you room to write and organise as need be. With many templates and the option to collaborate, Fade In is a great app for screenwriters. You can try it for free for a trial period, or buy it for a flat rate of $80 (£60). Learn more about Fade In here. Final Draft If you consider yourself more than a beginning scriptwriter, you might consider purchasing Final Draft. Apparently used by 95% of movie and television writers, Final Draft has been the industry standard for many years. Its price tag may be high for budding writers, but it could also take your work to the next level. Working on Windows or Mac desktops as well as offering a mobile app, Final Draft is key for those of you submitting your writing frequently. With over 300 templates across multiple disciplines, Final draft paginates and formats your writing to industry standards, saving you loads of time when submission deadlines loom. It has story planning and outlining capabilities, and real-time comments just in case you need to make a note and come back to your work later. It has a simplistic, non-distracting design, as well as many formatting options and tutorials included. Final Draft offers a 60-day free trial for those of you on the fence; it’s fair, given that it costs £183 ($250) upfront. You can look at Final Draft’s many additional features here. ScriptBuilder If Final Draft’s features feel daunting, I highly recommend checking out ScriptBuilder. Just like its name implies, ScriptBuilder is perfect for the budding screenwriter, offering both outline and character builders, scene formatting, and more all from your phone or other device. Costing less than £4/$5 to unlock all of the app’s features, ScriptBuilder is ideal for those of you who get ideas for screenplays while you’re out and about but don’t want to forget them. You can easily jot them down on your mobile device, and format using the app later. While it is simple, it is also effective for fleshing out the overall arc of scenes and screenplay plots. You can even build your characters. Keep in mind that this app is only available for Apple products at this time, but you can learn more about it here. Celtx Pro Writing for television, video production, and game production? Celtx may be a great choice for you, especially considering its many collaborative features. By housing familiar screenplay-style script editing within a branching sequence-based structure, Celtx Game & VR editor enables writers to easily create nonlinear, decision-oriented narratives of unlimited scope. Celtx brings your key creatives together in a single, secure, cloud-based workspace that facilitates seamless collaboration at every step of the narrative design process – including project-wide communication powered by an internal commenting and tagging system. This isn’t for the average writer, but it could be perfect for a team of writers and developers, especially if you want to produce games! The cost? It depends on what features you’d like, but pricing begins at £11($15)/month and scales up to £20 ($27)/month. However, they have an introductory first year price that you can check out here. Conclusion Finding a writing app that suits all of your needs is possible, though the search can be daunting. I encourage you to check out the many excellent software apps and programs available to aid authors and screenwriters found on this list.

As a new author, there’s nothing more important than a properly edited piece of writing. It can make or break your submissions, and editors on any level, for any project, will no doubt have notes to give you! While many writers use the Track Changes function on Word, or apps that can add changes or allow for suggestions from editors, there are still some writers opting for old-school hand-written edits. But why do proofreaders use all sorts of symbols and silly markings to edit your work? More than that, what do all of these marks mean? These unusual red scribbles are a necessary evil when it comes to your work being edited, and they can mean a variety of things. Let’s go over what proofreading marks are, and how you can best decipher them before your next big round of edits. What Are Proofreading Marks? These special signs and symbols relate to sections of your work that need editing or adjusting. This can range from spelling errors to grammatical errors to formatting preferences. These forms of corrections may be less frequently found these days, due to the progression of “track changes” and “suggestions” in many word processing applications. However, some of the symbols are widely used so every writer should familiarise themselves appropriately. It\'s also worth noting that some editors that have their own special characters too - so it\'s important to reach out to your proofreader should you not understand their corrections. How might these marks be used, and what are some marks that have been universally accepted by editors and proofreaders? Let’s go over these now... How Proofreading Marks Are Used Proofreading marks are used by editors to point out changes that need making in your document. They are typically located in the right and left margins of a printed document with pointers to where in the text changes are recommended. Both copy editing symbols and abbreviations will be found along your margins or in your text and various sentences, and they can mean anything from improper sentence spacing to transposing your sentence in an entirely different way for clarity.  You will have slashes through words (which means please remove) and abbreviations for formatting changes (such as italics and bold). You will encounter odd squiggles (often meaning “delete” or “transpose”), and your proofreader may even rewrite whole sentences in your margins. Yes, proofreading marks can be overwhelming, especially if you weren’t expecting so many specific edits! These shorthand symbols took me a while to learn and were more complicated than I expected them to be, so be patient with yourself. Once you\'ve gone through multiple rounds of edits with the same proofreader you\'ll soon get the hang of it. What Are The Common Proofreading Symbols? Here\'s a comprehensive list of proofreading marks. Note that there are two types - abstract symbols and abbreviations. ^   - Insert something, most likely an edit found in your margins ㄉ - Delete this word or section; usually this symbol will appear in the margins of your work while there will be a diagonal or straight line through the specific word, letter, or sentence that needs deleting [  - Move your writing left ]  - Move your writing right ] [  - Center your text #  - Add space eq#  - Make the spacing equal bf  - Bold a section of text Ital  - Italicise a section of text (/) - Insert some parentheses [/] - Insert some brackets =  - Insert a hyphen ;/ - Insert a semicolon ! - Insert an exclamation point ? - Insert a question mark ~  - Transpose (meaning rewrite the sentence, usually) ❡  - Begin a new paragraph fl  - Flush left, or align the text with the left margin fr  - Flush right, or align the text with the right margin AWK  - Something about a particular phrase or sentence is worded awkwardly or strangely WW  - This refers to “wrong word”, such as using the wrong form of “there” WDY  - A particular sentence is most likely too wordy, complicated, or overstated This is only the beginning of the many possible symbols and proofreaders’ abbreviations. Communicate with your proofreader so you don’t misunderstand any specific symbols. You may also wish to refer to a professional proofreading mark guide, such as this helpful list. How To Use Proofreading Marks While they may seem daunting and sometimes discouraging, these corrections are necessary for writers at any stage. No matter how many copy-editing marks you receive, know that you are on track to make your work the best it can be, with the help of a skilled proofreader! Try our proof-reading service here.

We writers are always looking for ways to strengthen our storytelling. One of the most impactful techniques to do this is using literary devices, which are effective techniques used to hint at different ideas, themes and meanings in a story. Literary devices are used across different genres, and each one serves a specific purpose. They are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. In this guide, we\'ll examine the definitions of literary devices and examples of different literary devices. It\'ll be everything you need to know to maximise the effect of literary devices and use them to strengthen your storytelling.  Understanding Literary Devices A literary device is a technique that writers use to express their ideas and hint at larger themes and meanings in a story. These devices are excellent ways to enhance writing, strengthen the narrative and engage readers, helping them to connect to the characters\' themes.  There are many different styles of literary devices, and most are used in tandem; some are used at sentence level, looking at flow and pacing, while others are a broader approach, serving the story as a whole. Understanding different literary devices and maximising their impact can significantly improve your writing and a reader\'s experience.  Let’s take a look at popular literary devices in more detail and see if there are any you recognise… List Of Literary Devices Allegory An allegory is a literary device that uses plot and characters to express and explore abstract and complex ideas. This might be used to present issues in a way that is understandable and approachable for the reader. We see many allegories in fairy tales and Biblical stories.  A literary device similar to this is \'anthropomorphism\' – a type of personification that gives human characteristics to either objects or non-humans, such as animals.  George Orwell\'s Animal Farm is one of the most famous allegorical novels (and is also an example of anthropomorphism in literature). Using animals to represent different political beliefs and the rise of communism, it’s a multi-layered commentary with a strong message beneath the story\'s surface. Alliteration Alliteration is a literary device that is a collection of words or phrases that reflect repetition, and all begin with the same sound. It gives more stress to the consonants and creates something memorable in your writing, particularly when choosing the title of your book. For example, Jane Austen\'s use of alliteration in her book titles, Pride and Prejudice and Sense and Sensibility, made them memorable at the time and classics today. Allusion An allusion is a literary device (not to be confused with \'illusion\') that references something in the real world, whether a person, a place or an event. This device can connect with your readers and paint an accurate picture of a situation. An allusion example is referring to someone as ‘a total Scrooge’. This reference (thanks to Dickens famous work) would immediately paint an accurate picture in a reader\'s mind without elaborating further. They would know this person is tight with money and is miserable and grumpy.  Anachronism An anachronism is a literary device that can portray an intentional error in the era of a story. This device can be used to comment on a theme or even for comedic effect. For example, a character appearing in a different time period, using speech from a different era, or technology appearing before its invention. William Shakespeare used anachronisms in his writing, like the dollar currency in Macbeth and the clock in Julius Caesar (mechanical clocks were not invented in 44 AD). Anaphora Anaphora is a literary device used to emphasise a phrase or words to reinforce meaning and feelings for the reader. This is when a word or phrase is repeated, typically at the beginning of successive sentences or phrases.  The perfect anaphora can be found in the novel The Help by Kathryn Stockett - \"You is kind. You is smart. You is important.\" This quote reinforces the relationship between the two characters. A famous example in speech is Winston Churchill\'s ‘We Shall Fight on the Beaches.’ He rallied the troops and the British people in this speech, and throughout it, repeated the phrase \"we shall fight\" – invoking strong responses and stirring emotions.  Anthropomorphism We touched on anthropomorphism earlier when we discussed an allegory. To anthropomorphise is to ascribe human traits, emotions or behaviours to non-human beings, like objects, animals or phenomena. This literary device differs from personification, which creates imagery, as anthropomorphism is literal. For example, Cogsworth the clock and Lumière the candlestick in Disney\'s Beauty and the Beast are household objects that act and behave like humans. And Pinocchio was anthropomorphised when he gained the ability to talk, walk, think, and feel like a real boy. Archetype An archetype is a literary device that brings familiarity to a story – it\'s typically a \"universal symbol\" with qualities or traits that readers can easily identify. This literary device is used to reveal characters, images or themes that are instantly recognisable to any audience. The literary Hero Archetype, for example, is typically noble, courageous, self-sacrificing and will right wrongs and fight injustice. Cliffhanger A cliffhanger is a classic literary device used as an effective way to keep your reader\'s attention – such as the revelation of who Luke\'s father is in The Empire Strikes Back. It marks the end of a part of the story (the end of a chapter or TV episode), but with the purpose of keeping an audience engaged. A common way to do this is through shock factor, an abrupt ending offering no obvious resolution (until the person turns the page, buys the next book, or watches the next episode).  Colloquialism Colloquialism uses informal language and slang, and when used as a literary device, it can build a character\'s personality and authenticity through their dialogue. A colloquialism is a word or expression common within a specific language, geographic region, or historical era. Therefore, it can also indicate the setting of a story in the context of time and place. The language Holden Caulfield uses in Salinger’s The Catcher in the Rye is a great example of colloquialism.  Dramatic irony Dramatic irony is a literary device used to create situations where the audience knows more than the characters. Therefore, the actions of the characters have a different meaning for the audience. Typically, this device often lends itself to tragedy, as demonstrated in Shakespeare\'s Romeo and Juliet, when the audience knows that the lovers are both alive but the characters think the other is dead.  Dramatic irony is not to be confused with situational irony (when readers expect a certain outcome and are surprised by an unexpected turn of events) and verbal irony (when the intended meaning of a statement is the opposite of what was said). Exposition Exposition is a crucial literary device – it is when the narrative provides background information about events, settings, characters or any other relevant element to help the reader understand what\'s going on. It is typically used in conjunction with dialogue and description, offering a richer understanding of the story.  Exposition is presented through many methods, including dialogue, a protagonist\'s thoughts, a narrator\'s explanation or in-universe media, such as letters and newspapers. For example, in the Star Wars movies, the opening title sequence gives the audience the information they need to understand the upcoming events in the film: \"A long time ago in a galaxy far, far away….\" Beware, though, that too much exposition runs the risk of undercutting the emotional impact of a story. As we all know, ‘show’ don’t ‘tell’ where possible. Flashback A flashback is a literary device used to split up the current scenes in a story and look back to something that has happened in the past. It is typically used to build suspense. Flashbacks can also present exposition (revealing information or context about something that\'s happened in the past). Examples of flashbacks include memories and dream sequences. In Gone Girl by Gillian Flynn, the alternate chapters in the first part of the book are flashbacks through the medium of diary entries.  Foreshadowing Foreshadowing is a literary device that can create and build suspense by indicating or hinting to readers that something will happen later in a story. It creates dramatic tension and can often be used in conjunction with flashbacks. However, the difference between the two is that a flashback directly offers readers exposition or background information. In contrast, foreshadowing is a little more subtle and gives just a hint or a sense of what is to come. The symbolism of Harry Potter\'s scar is an excellent example of foreshadowing.  Frame Story A frame story is when the main or supporting character tells part of the story or narrative. The frame story essentially \"frames\" another part of it. This device supports the rest of the plot – it is typically used at the beginning or the end of a story, or in small interludes in-between. The movie Titanic is a great example of this. The main plot is set in 1912, but Rose frames the narrative when she looks back over what happened and tells a story within a story.  Humour Humour is a literary device to make readers laugh or keep them amused. It can be difficult to do, as it relies on instinct, making it harder to teach or learn. But there are different techniques, tools and words that can bring funny situations to life and achieve the goal of making an audience happy. Different types of humour include slapstick, surprise, sarcasm and hyperbole, among many others. Humour isn\'t only present in contemporary writing, as Jane Austen used humour throughout Pride and Prejudice, especially in conveying the relationship between Mr and Mrs Bennet.  Imagery Imagery is a literary device that evokes a sensory experience for the reader by using highly descriptive language. Strong imagery will paint a picture by following the rules of \'show, don\'t tell.\' It means playing to the reader\'s senses by describing sights, tastes, sounds, smells and feelings to bring a scene, character or situation to life. An example of this in Shakespeare\'s work is in The Taming of the Shrew: \"If I be waspish, best beware my sting.\" In Medias Res In Media Res is a literary device used when a narrative begins without exposition or contextual information. It is a Latin term that means \"in the midst of things\". Therefore, the story launches straight into a scene or in the middle of an already unfolding action, creating suspense and tension immediately. Odyssey by Homer is a famous example of this. Irony Verbal irony is when the intended meaning of a statement is the opposite of what was said. It is not to be confused with situational irony; a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. There is also dramatic irony, a literary device used to create situations where the audience knows more than the characters. An example of irony in a plot is demonstrated in The Wonderful Wizard of Oz, when the characters already have what they are asking for from the wizard. Juxtaposition Juxtaposition is a literary device used to place different themes, characters, or concepts and highlight their differences. Instead of being overtly comparative, juxtaposition is an implied comparison, allowing the reader to discern how both entities are different. Juxtaposition can take many forms, such as human instinct and animal instinct in Life of Pi, and kindness and selfishness in Cinderella. Motif A motif is a repeated element, whether it takes the form of an image, idea, sound or word that has symbolic significance in a story. The defining aspect of this literary device is that it repeats frequently. Through repetition, the motif helps develop the narrative\'s theme and illuminates the central ideas, theme or deeper meaning of the story. Motifs are not to be confused with symbols, which may appear once or twice and help understand an idea in the narrative. An example of a motif is in the Godfather series, through the repetition of oranges featured on screen before a character dies. Another example is in Tolstoy\'s Anna Karenina – trains are a repetitive motif that ultimately symbolises death and destruction. Onomatopoeia Onomatopoeia refers to words that imitate the sound of what they\'re referring to. It can be used as a literary device to make descriptions more expressive and, therefore, more effective. For example, words such as buzz, snap and grunt are frequently used in children\'s books to add action and emotion to a story.  Oxymoron An oxymoron is a figure of speech that pairs two words together that are either opposing or contradictory. It can be used as a literary device to allow writers to take a creative approach and play with the use and meaning of words. As a result, it can create an impression and entertain the reader. An oxymoron is about words, not to be confused with juxtaposition, which contrasts two opposing story elements. An example of an oxymoron is in Shakespeare\'s Romeo and Juliet: \"Parting is such sweet sorrow.\" Paradox A paradox is typically a statement that might appear contradictory at first but makes sense after reflection. It\'s a literary device that asks people to think outside the box by questioning the logic and provoking readers to think critically. A paradox can also elicit humour and illustrate themes, such as in Scarface: \"Me, I always tell the truth. Even when I lie.\"  Personification Personification means assigning human traits to describe non-human entities or inanimate objects to express something creatively and imaginatively. It is not to be confused with anthropomorphism, which actually applies these traits to non-human things – whereas personification means the behaviour of the object or entity does not change – it\'s personified in figurative language only. This literary device might be used to create life and explore abstract ideas and themes within inanimate objects and animals by applying human behaviours and emotions. For example, Shirley Jackson\'s The Haunting of Hill House turns the house into a living entity through personification.  Point Of View Point of view is a vital literary device, as it\'s the angle of perspective in the narration of a story. It\'s a crucial decision because each point of view will have a different impact on the story and the reader\'s experience. The point of view effectively governs the audience\'s access and determines how much they will know as the story develops.  The most common points of view in literature are the first and third person. Both have their advantages and disadvantages. The first-person narrative (using pronouns I/we) allows the writer to connect with the reader, as this perspective means the reader has access to the narrator\'s inner thoughts and feelings.  An example of a first-person point of view is To Kill a Mockingbird by Harper Lee, when the story is told by Scout. From a storytelling perspective, the third person narrative (using pronouns she/he/they) is flexible because it allows you to write from multiple characters\' perspectives and show their actions and thoughts. An example of the third-person (omniscient) point of view is Middlemarch by George Eliot. The second person point of view is less common, as it uses the pronoun \"you\" to bring the reader into the story, for example, The Night Circus by Erin Morgenstern. Repetition Repetition means intentionally repeating a word or phrase two or more times. While you don\'t want to overdo it, occasional repetition can be an excellent tool to bring clarity to an idea, make something memorable for a reader, drill home a point or create an atmosphere. The best example of this is in horror stories, as horror writers use repetition as a literary device to make readers feel trapped. For example, in The Shining, Jack repeatedly types out \"All work and no play makes Jack a dull boy.\" This reveals Jack\'s downward spiral as cabin fever takes over. It is not to be confused with anaphora, which is specific in its intent to repeat, and the repetition is typically at the beginning of consecutive sentences, phrases, or clauses.  Satire Satire is a literary device used to make fun of human nature or society to expose or correct it. It is typically done through exaggeration, amusement, contempt, ridicule or irony, usually with the hope of creating awareness and subsequent social change. Satire can be overt or subtle but is common throughout history and popular culture. Examples of this in film and T.V. include Deadpool (satirises the superhero genre), Shrek (satirises fairy tales) and Family Guy (satirises American middle-class society and conventions). Situational Irony Situational irony is a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. This is not to be confused with verbal irony or dramatic irony, which we already covered. An example of situational irony in a plot is demonstrated in the T.V. programme Schitt\'s Creek when a wealthy family is catapulted into a less privileged life.  Soliloquy A soliloquy is typically a speech or monologue involving a character speaking their thoughts out loud and usually at length. These are frequently in theatrical plays. The purpose of this as a literary device is for the character to reflect independently – they\'re not speaking for the benefit of other people. It\'s an effective device because it offers insight into a character\'s internal thoughts, reflections and emotions. Shakespeare\'s Hamlet\'s \"to be or not to be\" speech is a classic example of a soliloquy.  Suspense Suspense is a vital tool that writers use to keep their readers interested throughout the story. There are many ways to use suspense as a literary device. For example, raising questions and withholding information. The purpose of suspense is to create a feeling of anticipation that something exciting, risky or even dangerous will happen. It helps readers to engage with characters and evokes emotions, such as sympathy, towards them.  In Gillian Flynn\'s Sharp Objects, the dark atmosphere creates questions about what is happening in her hometown and how the complex protagonist will deal with it when she\'s already struggling with complex personal issues. Symbolism Symbolism means using symbols – a word, object, character, action or concept – in a story. These symbols can represent abstract concepts and ideas beyond the literal meaning and evoke additional meaning and significance. This is not to be confused with a motif, which is an element that\'s repeated frequently to develop the narrative and illuminate the central themes or ideas in a story. An example of symbolism would be The Great Gatsby, when Fitzgerald uses the eyes of Doctor T.J. Eckleburg to represent God and his judgment of the Jazz Age. Tone The tone of a story is crucial for any writer, as it refers to the overall mood and message of the story. Tone is a literary device that sets readers\' feelings and can be established broadly through voice, themes, characterisation and symbolism. The techniques can be even more specific through word choice, punctuation and sentence structure. Tone can range from cheerful and humourous, to melancholic and regretful. Through tone, the writer essentially creates a relationship with the reader, which influences the intention and meaning of the words. This is why tone is so important. For example, the tone of Charles Dickens\' A Tale of Two Cities demonstrates that the story is serious due to the formal, rich language he used. Tragicomedy A tragicomedy is a blend of both tragedy and comedy that typically helps a reader process darker themes by adding humour and helping them laugh at a situation, even when the circumstances are bleak. When using this literary device, the characters are typically exaggerated, with jokes throughout the story, and sometimes there might be a happy ending. An example of this is Lemony Snicket\'s A Series of Unfortunate Events, which uses bizarre situations and over-the-top characters to provide light in an otherwise tragic story. Make Your Story Stronger Strengthening our storytelling abilities is something we writers are always working on (our blog is an excellent resource for this) and a good grasp of the most effective literary devices is certainly beneficial for authors. Literary devices are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. This is exactly what we want to do when telling a story, so these techniques are worth bearing in mind when writing. 

The relationship between an engaging protagonist and a compelling antagonist against the backdrop of an intriguing plot is what ensures a reader will continue to turn the page. But should your protagonist be an anti-hero – an underdog who goes against the grain of the typical \'hero\'? And what about the antagonist in the story – the character who will stop your protagonist from getting what they want? Is your antagonist somebody morally ambiguous, like an anti-villain? Or are they purely a villain, through and through? In this guide, we\'ll look at these two character types, what they are, how they differ and how to use them in your writing to strengthen your stories and engage your readers.  What Is An Anti-Hero? The definition of an anti-hero is somebody who lacks the virtues and traits of a traditional hero, such as courage and confidence. They can be morally ambiguous in their thinking and actions. However, when it comes to the anti-hero, the audience is rooting for them anyway. That\'s because they do the right thing, but maybe not for the right reasons. They have good intentions, but how they arrive at their conclusion or results can be questionable. An anti-hero typically lacks some of the attributes conventionally associated with traditional heroes. There are several anti-heroes in books, films and TV. Tony Montana in Scarface is an iconic character who ticks all the boxes of a classic anti-hero. Initially, he\'s the good guy, but he develops less than heroic traits throughout the film, as crime and drugs see him descend into a whirlwind of violence and greed. Despite this, he\'s still a character the audience can get behind because he does immoral things for moral reasons (his motivation is strong: getting his family out of poverty). Still, his life of crime escalates his downfall. Al Pacino\'s portrayal of Michael Corleone in The Godfather is another excellent example of an anti-hero. The film is widely regarded as one of cinema\'s greatest masterpieces, thanks to the protagonist\'s gripping character arc and his journey through the world of organised crime. It\'s a superb example of how the \"bad guy\" can be the hero.  Types Of Anti-Heroes One of the most important aspects to bear in mind when writing an anti-hero is that they\'re typically flawed but are usually engaged in doing good. So, now that we\'ve looked at what an anti-hero is and some examples of famous anti-heroes, let\'s explore the traits and characteristics that make up the different types of anti-heroes.  The Corrupt Protagonist Example of the corrupt protagonist: Thomas Shelby, Peaky Blinders. A corrupt protagonist will typically act out of self-interest and might be obsessed with motivations such as power, wealth and fame. For the reader to understand and sympathise with this type of anti-hero, the reasons for their corruption must be clear and logical. Another example is Walter White in Breaking Bad. He\'s a normal guy with a normal life at the start of the series - but his obsession with money and power, instigated by his cancer diagnosis, leads to his downward spiral. The Classical Anti-Hero Example of the classical anti-hero: Frodo Baggins, Lord of The Rings.  A traditional hero is confident and intelligent, with few flaws and weaknesses. Therefore, the classical anti-hero is the opposite and is plagued by self-doubt and a lack of confidence. Readers enjoy the complexity that comes with a layered character who is flawed and conflicted. Traditionally, the story arc will follow the classical anti-hero conquering their fears and coming to terms with themselves and their faults to fight and conquer whatever is threatening them. The Pragmatic Anti-Hero Example of the pragmatic anti-hero: Harry Potter. This type of anti-hero recognises their role in the greater good, and they see everything through a \'big picture\' viewpoint. For example, suppose the story means this pragmatic anti-hero must kill or sacrifice other characters. In that case, typically, this anti-hero will recognise that it must be done so that they can achieve the higher goal. For example, in Harry Potter\'s pursuit of Voldemort, he carries out actions that would be considered wrong (such as using curses) to ensure Voldemort\'s ultimate demise that\'s for the greater good. The Unscrupulous Hero Example of the unscrupulous hero: Jack Sparrow, Pirates of the Caribbean.  Heroes in this category have good intentions, and they\'re morally good. However, they don\'t care how much collateral damage they cause when they fight to achieve their goals. If your hero is unscrupulous, they\'ll be motivated by revenge and will typically be distrusting. Jack Sparrow is a great example of this as he\'s ultimately fighting on the good side.  Hero In Name Only Example of a hero in name only: Dexter Morgan, Dexter. These protagonists tiptoe along the line of a hero and a villain. The reader will still be on their side and root for them, but they won\'t necessarily agree with all their actions and decisions. These characters are on the side of good, but they\'re not entirely good themselves.  What Is A Villain? The best definition of a villain is simple: a villain is a character opposite of a hero. A villain\'s role in a story is vital, and every villain must be compelling enough to be believable while holding a reader\'s interest. A villain is an antagonist who will place obstacles in the protagonist\'s way and drive forward the story. Creating a great villain is just as important as creating a great hero – and the best villains help define and drive the character arc of the story\'s hero. Writing a good villain means examining different villain ideas and villain traits to see which type of character fits into your story.  What Makes A Great Villain? There are some key characteristics that you can use to create a villain. Arguably, the most important is the backstory. Without it, villains feel one-dimensional and inauthentic. With it, you can create a sympathetic villain that feels real – which is exactly what you want. A villain\'s background will ultimately explain their motivations and help a reader sympathise with them. It will demonstrate why they act the way they do due to past experiences and situations that they\'ve been exposed to. Even better, if a villain backstory is connected to the hero, the story and character arcs are even more compelling for readers. The perfect example of this, and the relationship between a hero you\'re rooting for and an engaging villain, is Harry Potter and Lord Voldemort. They\'re connected through a shared backstory when Voldemort murdered Harry\'s parents. But they\'re also physically connected; Harry\'s scar on his forehead serves to remind both the characters (and the readers) about their connection throughout the story.  But how to write a good villain? It\'s important to remember that a great villain character design should include some likeable qualities. They can\'t be bad through and through because a reader needs to understand them and even empathise with them to an extent. Typical characteristics of a villain include them being intelligent, capable, persuasive, proud and deceitful. They might occasionally reveal aspects of their personality that are good and perhaps even kind, but creating a villain ultimately means creating a ruthless character at their core.  Anti-Hero Vs Villain To distinguish between an anti-hero and a villain, there are certain elements to look at. The first is motive. Villains are typically motivated by something dark and even evil. Their ultimate motivations are not sympathetic as they will usually involve the protagonist\'s demise (even though a villain\'s backstory might encourage empathy from a reader). However, an anti-hero\'s motivations are sympathetic. A reader might not agree with why they\'re doing what they\'re doing, but they will understand and sympathise with their reasons why – for example, revenge and vengeance. The second characteristic is big picture balance. What would the world look like if the anti-hero won? And what would it look like if the villain won? The hero will ultimately restore balance and normality, with good prevailing. In contrast, the villain\'s victory would see the complete opposite. It\'s understandable that the lines might blur, as both types of character can be morally ambiguous. But you can readdress the balance by keeping in mind who the audience will naturally sympathise with – the anti-hero who\'s the underdog with redeeming qualities, rather than the villain who may encourage a little sympathy but ultimately reveals themselves to be purely acting in their own interests or against the protagonist. A typical character arc of the anti-hero is that they grow into becoming a better person, but a villain will go in the opposite way.  What Is An Anti-Villain? While we\'ve explored anti-heroes and villains and how they\'re connected, it\'s worthwhile looking at another type of character: anti-villain. An anti-villain is somebody who isn\'t completely evil (unlike a typical villain). They\'re much more complex, and their actions don\'t necessarily have to be particularly wicked.  Types Of Anti-Villains Now that we\'ve looked at what an anti-villain is, let\'s explore the traits and characteristics that make up the different types of anti-villains. The Sympathetic Anti-Villain Example of the sympathetic anti-villain: Benjamin Barker, Sweeney Todd. The sympathetic anti-villain is a character that the readers feel sorry for, and if some of their actions weren\'t so villainous, the readers might even root for them. The character\'s backstory is key here, as it must garner sympathy from the reader and tug on the heartstrings. It must reveal that the anti-villain is acting the way they do due to past circumstances outside of their control and because they don\'t see any other options open to them. The Well-Meaning Anti-Villain Example of the well-meaning anti-villain: Inspector Javert, Les Miserables. The reader can see that this character\'s heart is in the right place, but they take things a step too far in pursuit of their goal. They are driven by what they deem is the \"greater good\" and will stop at nothing to reach their goals, making them ruthless and morally questionable. Ultimately, the character is making the situation worse, but they might not even be aware of it because they\'re too focused on what they think is right and wrong – thinking purely in black and white, with no room for a grey area.  The Situational Anti-Villain Example of the situational anti-villain: Carrie White, in Stephen King\'s Carrie. This character might find themselves in a set of circumstances that set them against the protagonist. Or against themselves if they are the protagonist. For example, they might have started as a good person, but they\'ve come up against something that has pushed them to the brink of their limits, and now they\'re out for revenge. Or they might be simply in the wrong place at the wrong time. The reader will understand that their acts and motivations could be justified, but they won\'t get away with it.  Choosing Between Your Anti-Hero And Your Villain There are some great characteristics and traits that can create compelling anti-heroes, villains, and anti-villains. Ultimately, the anti-hero does the right thing, but not necessarily for the right reasons. Whereas the anti-villain does the wrong thing, but their reasons are often understandable. And the villain is there to make life hard for your protagonist every step of the way. By incorporating these strong character types, you\'re making the story even more interesting for the reader.  For more writing support visit our blog or join Jericho Writers - the world’s leading writing community. With our membership you get access to resources including 100+ hours of video content and masterclasses, live online events with top authors, one to one with agents and publishers, as well as editorial and mentoring support.

When it comes to creative writing, the protagonist and antagonist characters are often the main focus and essential in telling the story. These are the characters with depth and complexity, the ones that move a story on, the ones we champion or that we want to see defeated. The conflict between the two is age-old – it creates tension, action and consequence, and, if done correctly, brings great satisfaction to the conclusion of a story. So how do we define a protagonist and an antagonist? How do we write them? What Is A Protagonist? A protagonist is a character who, in most situations, a reader will be rooting for. This character differs from other main characters because they are the ones that drive a story forward with their decisions and actions, and their goals reflect the goals of the story. Consider Lord of the Rings for example.The goal of the trilogy is good triumphing evil, and its protagonist, the big-hearted Hobbit Frodo, has the goal of destroying the ring and thus destroying Sauron who embodies evil. In most cases, a reader follows the protagonist throughout the story, however sometimes we see the protagonist through the eyes of someone else – a supporting character or through a third person narrator. Consider the famous play Blood Brothers by Willy Russell. The narrator is an enormous part but isn\'t the protagonist – the audience care only about the two brothers, Eddie and Mickey. Types Of Protagonists There are three types of protagonist: HeroThe classic good, morally upstanding, saves-the-cat-on-the-way-to-save-the-world kind of character. The hero will have flaws, but readers will have a fair inkling about who\'s going to come out on top in this conflict from the word go. Think Harry Potter, Scout from To Kill A Mocking Bird, Luke Skywalker from Star Wars. Anti-HeroA deviation from the classic hero, often a reluctant or ill-equipped character who needs to navigate a situation thrust upon them. These characters may not be classic heroes, and they might also have some major flaws, yet they still evoke empathy and affection. Think Scarlett O\'Hara in Gone in with the Wind who, although spoilt and hotheaded, survives through wily means even when her glamorous southern belle life falls apart. Other examples are Becky Sharp from Vanity Fair, and Lyra from His Dark Materials VillainYes, you can still have a villain as a protagonist because a villain can still lead and decide the events of the plot. Think Jordan Belfort in The Wolf of Wall Street, Villanelle from Killing Eve, Grinch in The Grinch (who, OK, turns out good but man, in the beginning he\'s downright mean). Keep in mind when writing a protagonist that they need to be relatable. Your reader needs to care about what happens to them. If they\'re not flawed in any way, they won\'t feel real and therefore the reader won\'t care what happens to them. If they\'re too powerful, the reader will assume they can overcome anything and therefore the story will become boring – Superman maybe a classic hero but thanks to Kryptonite he still has one weakness. Yet, if they\'re too weak, the reader will feel annoyed at the character’s lack of gumption and won\'t root for them. And if they\'re too nasty, they won\'t feel like a protagonist. No one will want to see if they make it to the end of the book. What Is An Antagonist? An antagonist is a character working against the protagonist who, in most cases, the reader wants to see foiled. The antagonist creates the conflict and is generally seen as the \'bad\' one but, like the protagonists, there are different types of antagonists. Types of Antagonists There are four types of antagonists: The villainThis antagonist example is all about the evil-doing and often just for the sake of being evil (how liberating to be so horrible!). They live for the destruction of the protagonist and as such, they are mostly found in fantasy and sci-fi writing where the primary goal is ‘good triumphing evil’. Classic villains are The Emperor and Darth Vader in Star Wars, Voldemort in Harry Potter, the shark from Jaws (who still torments me to this day, so well done Peter Benchley for ruining swimming pools for me). The conflict-creatorThese antagonists are not necessarily a bad character. They are still very much human and have their own fears, hopes and dreams, but their goals work in conflict with the protagonist’s. They may also inspire the protagonist to act against their better judgment. Examples of a conflict-creator are Severus Snape in Harry Potter, Buzz Lightyear in Toy Story, or Willy Wonka in Charlie And The Chocolate Factory (he’s not an out and out bad guy, but he doesn’t make things easy for the children). Inanimate forces- Sometimes the antagonist in a story isn\'t even a person.  NatureThe antagonist in the Tom Hanks film, Castaway, is the relentless sea who won\'t let him leave the island. The antagonist in Bethany Clift\'s The Last One At The Party is the deadly virus that sweeps the world and leaves one woman pitted against the odds to survive a post-apocalyptic world. The supernaturalThe Shining is a perfect example of this force working against a protagonist. ObjectsThe ominous giant lighthouse in Emma Stonex\'s The Lamplighters causes three men to disappear. It\'s the perfect, atmospheric, antagonist. The protagonist themselvesThis internal conflict, for me, is the most satisfying antagonist, and which also brings the most rewarding conclusion to a story. A character starting a story at A, overcoming a flaw within themselves, and arriving up at B is my absolute favourite thing. The old man in Disney\'s Up is a great example of this – his antagonist is his own emotions, the grief for the loss of his wife which keeps him anchored in the past and unable to enjoy his life. Nudged by Russell, the boy scout, he discovers the joy and freedom of living again. As the saying goes, it’s often simply ourselves who are standing in the way of where we wish to go. It’s important to keep in mind that an antagonist must be as three dimensional as the protagonist. Their backstory should be just as important and relevant as that of the protagonist, and consequently their motivation should be something the reader can understand – even if they don’t agree. Voldemorts\' motivation to kill Harry in Harry Potter is because his broken and mutated soul got stuck in seven different places when he tried to kill Harry as a baby, so you know, if that\'s not motivation for a demise, what is?! Jaws was simply trying to score a meal. Making Your Antagonist Unforgettable Being creative with your antagonist can be a lot of fun and ensures they won’t be forgotten in a hurry. Let’s face it, everyone loves a baddie! They don’t have to be ‘ugly’ or scary or always in hiding, often the most dangerous can be loved by many. Look at giving them redeeming features to make them even more unsettling and unpredictable. Bond villain Blofeld was always cuddling his cat. How can a guy who loves his cat be all that bad? Let your protagonist find out! The Difference Between A Protagonist And An Antagonist A protagonist and antagonist are opposites – antonyms. The protagonists are generally the good guys (even it means that sometimes they are antiheroes) while antagonists are generally the bad guys. Look at the protagonists and antagonists in Disney films or in classic children’s fairytales. They are always perfect examples of clear conflict and well-matched foes. Basically, readers tend to empathise and relate to a protagonist, whereas they won\'t necessarily want to with an antagonist. However, they need to understand both these characters. Their friction needs to be relatable, or at least plausible. If we, as authors, want to hook readers into our stories, we have to make them care. And the only way they are going to care is by relating to our characters and understanding their motivations which drive the decisions they make. It\'s important that a writer addresses this for both the protagonist and the antagonist, not just to drive the plot forward but to connect with the readers. Whichever types of protagonist and antagonists you have in your story, always make sure they are worthy of each other. Opponents need chemistry in order to make a convincing and gratifying conflict. Think Clarice Starling and Hannibal Lecter in Hannibal who are very different characters but matched in an intelligence in which they find a mutual respect. Batman and The Joker are matched perfectly for their abilities to bring out a madness and darkness within each other. Sherlock Holmes and Jim Moriarty are matched in the depth of their intellectual game playing. Can A Protagonist Also Be An Antagonist? This is an interesting question with some conflicting points of view. For me, certainly a protagonist can be an antagonist. Villanelle from Killing Eve is the antagonist to Eve (the other protagonist) and slips her grasp constantly. However, the plot of the story is very much dual led. Villanelle is funny, unpredictable and wears outrageous clothing, and we find ourselves charmed by her despite her psychopathic, murderous ways. You can have real fun with this sort of protagonist. The appeal of writing someone who says and does questionable and outrageous things so far out of our normal everyday lives is big (at least it is for me, so I wonder what that says about me?!). As a reader, being thrust directly into the mind of someone villainous can be exciting. Not to mention it makes the baddie hard to forget. Also, the antagonist of the story can also be inside of the protagonist – such as the old guy from Up battling against his grief. Woody from Toy Story is another great example of the antagonist within the protagonist. He was Andy\'s most beloved toy until Buzz Lightyear was bought. His presence had a knock-on effect to the internal conflict within Woody – his insecurities and fear of being replaced meant his \'good guy\' persona was rattled and he had to work hard throughout the film to overcome it. Protagonists And Antagonists Make your Story Establishing a strong understanding of the roles played by antagonists and protagonists is essential for all writers. Develop your protagonist and antagonist alongside each other, keep their goals and motivations clear, keep their conflict electric, keep them real, but above all, ensure you enjoy writing them and your readers will be sure to love reading about them.

Ever been to a bookstore and wondered what all the little images on the book spines mean? All those H\'s, penguins and sowers lining the shelves? Well, they are the logos of the publishing companies who have published that book. Take a look at the rows of books in any bookstore and you will most probably be looking at the emblems for the Big 5 publishers and their many imprints, as well as a smattering of independent (indie) publishers. With so many amazing publishing houses out there, the perfect home for you book may well be out there, but how do you know where to look, and who are the most reputable? In this article we will be looking at the very best book publishers, how publishing companies work, and how to get published by a traditional publishing house. The publishing industry can be a little tricky to understand, but by the end of this article you will be armed with all the knowledge you need when it comes to choosing the best book publishing companies for your work. How Do You Search For A Publisher? Finding a book publisher can be hard, especially if you\'re hoping to be traditionally published by some of the top publishers in the business. Where do you begin, and what information is important for you to know before you start submitting your manuscript to some of the largest book publishers? Is there anything to be said for self publishing, and what types of publishing should you avoid? Do I Need A Literary Agent? Yes, you will most likely need to be represented by a literary agent before you (via your agent) can start submitting to bigger traditional publishers. Nevertheless, there’s no harm in window shopping; it might even provide you with a focal point if you are still working on getting an agent. For more information on how to find a literary agent, read more here. Where To Start If you’re feeling overwhelmed by the number of book publishers out there, I’ll be listing the top five biggest publishing houses, some of the best educational publishers and those who publish children’s books, as well as some of my personal favourite independent book publishers.Read on to discover the very best publishers, covering all book genres across the globe. The Big Five Book Publishers While aiming high can be daunting to some authors, literary agents will often wish to submit your manuscript to the top publishing companies first. After all, not only do they have the most power and influence, but they also know what they\'re doing - most of them have been publishing books for over a hundred years! Who Are The Big Five? The biggest and most successful traditional publishers in the world are often referred to as \'The Big Five\'. So I will be starting with them. These are the five powerhouse trade publishing houses which are most well known and widely recognised. Within them you will find many other recognised imprints (publishing houses owned by them) whose logos appear on the spine on the book. Let’s take a look at them in more detail. Simon & Schuster Simon & Schuster is where we begin our big five journey, as this publishing company holds an annual revenue of $830 million. They have over 35 imprints, including notable ones such as Howard Books, Scribner, and Touchstone, and they release over 2,000 books a year! Some of their biggest titles as of late are Salt, Fat, Acid, Heat by Samin Nosrat and The Institute by Stephen King. Founded in 1924, Simon & Schuster remains a prominent publisher today, publishing a variety of genres along with big names such as renown authors F. Scott Fitzgerald, Jodi Picoult and Philippa Gregory. They also offer many opportunities for those wanting to pursue a career in publishing and are one of the biggest names in the industry to work. HarperCollins With an annual revenue of $1.5 billion, HarperCollins has no shortage of good books and authors. Their notable imprints include Avon Romance, Harlequin Enterprises, Harper, and William Morrow, and their titles range broadly. Some of the top books as of late are Girl, Stop Apologizing by Rachel Hollis and The Last Romantics by Tara Conklin. Authors published originally by Harper include Mark Twain, the Brontë sisters, H. G. Wells and Agatha Christie. A book deal from this giant will most certainly help with book sales! With over 100 imprints, this publishing powerhouse also offers a great opportunity to learn about the industry from the best.  Macmillan Publishers Established in 1843, Macmillan Publishers is still going strong. With $1.4 billion in annual revenue, there are many publishing routes and imprints available through them, namely Farrar, Straus and Giroux, Picador, St Martin\'s Press, and Thomas Dunne Books. Some of their biggest titles from the recent past that you may have heard of include The Great Alone by Kristin Hannah and Me by Elton John. With an eclectic list of authors under its belt (from W B Yeats to Leigh Bardugo), and a global market with countless possible genres to publish under, you’d be wise to consider them an ideal place for your book to end up.  Penguin Random House Everyone recognises that little penguin on book spines in bookstores, and everyone is familiar with the orange Penguin Classics books, but what else do you know about this iconic publisher? With over 15,000 books published a year, not only is Penguin Random House one of the top five, it may well be the top of the top five. Their annual revenue exceeds $3.3 billion, and they have countless notable imprints such as Knopf Doubleday, Crown Publishing, and Viking Press. They also have many famous authors under their wing, including books like The Testaments by Margaret Atwood, and The Guardians by John Grisham. As of 2021, Penguin Random House employs approximately 10,000 people globally and has published 15,000 titles annually under its 250 divisions and imprints. Hachette Livre Looking for a European based publisher with more published books a year than Penguin? Then take a look at the Hachette book group. Hachette Livre has an annual revenue of $2.7 billion and nearly 200 imprints. Some of these include Grand Central Publishing, Little, Brown and Company, Headline, and Mulholland Books. Their biggest titles in the recent past include Talking to Strangers by Malcolm Gladwell and Little Weirds by Jenny Slate. they have also published names such as James Patterson, Martina Cole, Donna Tartt, and Celeste Ng. Growing steadily since their merger in 1992, Hachette Livre has a lot to offer both you and your book. Best Educational Book Publishers Looking for a reliable and quality educational book publisher, or someone who specialises in nonfiction titles? This can be more difficult than you think, but thankfully I’m here to shorten the list for you. These publishers are looking specifically for educational books, quality hardback textbooks and the like. This won\'t be helpful if you\'re looking to get your fictional manuscript published, but if it\'s educational materials you write, then read on! Bertelsmann Education Group Bertelsmann is a media, services and education company that operates in about 50 countries around the world. The online education and service offerings are primarily in the healthcare and technology sectors, as well as in higher education. With an annual revenue of around $300 million, this group has no shortage of educational texts, resources, and reliable online connections. Scholastic I can’t recall how many Scholastic book fairs I went to as a child. Perhaps you went to some as well, given that Scholastic is both an educational publisher and a popular children’s publisher. Their book sales are always consistent and their annual revenue is roughly $1.7 billion. Their notable imprints include Arthur A. Levine, Klutz Press, and Orchard Books. While their educational books are extremely popular for grades K-12, their YA fiction remains the most popular (no doubt you’ve heard of Harry Potter and The Hunger Games, right?). Pearson Education Have you ever used DuoLingo for your language learning needs? Did you know that Pearson Education has recently partnered with them? There’s a lot of other notable mentions surrounding Pearson, such as their annual revenue of $1 billion, and their well-known imprints (Adobe Press, Heinemann, Prentice Hall, Wharton Publishing). Their most popular publications are always subject textbooks for higher education, and for good reason. McGraw-Hill Education One of the largest publishers in American education is Mcgraw-Hill. Their annual revenue often exceeds $1.7 billion, and they are well known for their many editions of test prep books (SAT and ACT) and elementary school math textbooks. Their most notable imprints include Glencoe/McGraw-Hill, Macmillan/McGraw-Hill, and McGraw-Hill Higher Education, no doubt familiar to you if you’ve been involved in any American education system. Wiley While Wiley has a lot to offer in terms of non-educational publishing, their For Dummies series of educational books is one of their top sellers. With an annual revenue of $1.7 billion, their various instructional titles are big hits in the publishing world. Their most notable imprints include Bloomberg Press, Capstone, Hungry Minds, and Wiley-Blackwell, and they continue to publish a large variety of titles, both educational and otherwise. Cengage Learning Publishing both hard cover print books and maintaining a dedicated digital library can be difficult, but Cengage learning can do it all. From imprints that publish specifically for grades K-12 as well as books for higher education learning, Cengage is a wonderful publisher to consider. Cengage is also the owner of the National Geographic Education division, made to bring excitement to classrooms worldwide. With an annual revenue of $1.7 billion, it’s safe to say that this publisher is one of the educational publishing powerhouses. Houghton Mifflin Harcourt You may have already heard of Houghton Mifflin Harcourt, or HMH for short. This publisher specializes in different disciplines including business and economics, biography and memoirs, children’s books, cookbooks, health and wellness, and more. They make more than $1.4 billion annually, with many notable imprints: Clarion, Graphia, John Joseph Adams Books, and Sandpiper among them. Their largest and most recent titles include elementary school textbooks in all subjects, as well as cookbooks. Best Children’s Book Publishers Some of the top selling books published today are for children or young adults. However, writing and publishing for children and young adults can be a lot harder than you would think! Although young adult novels have really flown off the shelves in the last twenty years, and often offer the most variety in terms of diversity, content and audience, young adult fiction, middle grade fiction and picture books still remain one of the most competitive markets in the publishing world. Here are some of the best choices for children’s book publishing today, and how you can reach out to them (via your literary agent, of course). Bloomsbury With offices around the world and prominent publishing houses in both the US and the UK, Bloomsbury Books is a top contender for children’s book publishing (they also publish a vast array of nonfiction books including political nonfiction). Established in 1986, Bloomsbury has many popular children’s book authors across every age group. With an annual revenue of $150 million, Bloomsbury USA Books for Young Readers was established in 2002. Their YA fiction has grown increasingly popular, their authors often topping the New York Times Bestseller list. If they\'re good enough for the likes of J K Rowling, Sarah J Maas, and Samantha Shannon, then I\'m sure your book will be more than happy in this home. Ladybird Books It\'s impossible for anyone over the age of thirty to not have fond memories of their first Ladybird hardback book as a child. Who doesn\'t remember their favourite fairytales presented in that iconic little book with a plump ladybird on the cover? UK-based and another division of the Penguin Group, Ladybird books is perfect if you’ve got a bedtime story to tell. Their lineup of children’s books is primarily geared toward younger audiences, from toddlers to roughly age ten. They have many award winning series published under their name, including many Peppa Pig books, as well as an educational division with their famous Peter and Jane reading guides and other titles where they have teamed up with names such as BBC Earth. Their annual revenue is roughly $17 million. Chronicle Books San Francisco-based favourite Chronicle Books, with a $10 million revenue, has a wonderful eye for the unique and aesthetic storyteller. Their children’s books are beloved and unique, and this small independent publisher receives more than 1,000 submissions a month for their young adult department alone! They publish most type of children’s books including activity books, art books, board books, picture books, chapter books, middle grade, games, and gift and stationery items. Hogs Back Books Hogs Back Books publishes fiction books aimed at children up to 10, as well as early readers for children up to 14, and teenage fiction. Amongst its most notable titles, Boris the Boastful Frog was recommended by The Telegraph in 2013 as one of the best books of the year for young children. They are a small family-owned and independent publisher, and the small selection that they choose to publish is beautiful and heartfelt. Arbordale Publishing With just about $1 million in annual income, Arbordale Publishing isn’t the largest in US children’s publishing. However, their books are aligned to Common Core, Next Generation Science Standards (NGSS), as well as state education standards. Arbordale books are vetted by experts and professionals from a variety of organizations including NASA, JPL, Project Learning Tree, USFWS, SeaWorld, the Cherokee Nation and others. They publish an average of 20 books per year. Immedium Based in San Francisco, CA, Immedium is influenced by an increasingly diverse world. While they are a small company and make an average of $150k in annual revenue, they have wonderful illustrations and ideas for children’s books.  Immedium publishes subjects range from eye-catching children’s books to contemporary non-fiction, including commentaries on art, popular culture, and multicultural issues. Kids Can Press Kids Can Press is a Canadian-owned publisher of children’s books, with a list of over 500 picture books, non-fiction and fiction titles for toddlers to young adults and an estimated annual revenue of over $10 million.  The Kids Can Press list includes characters such as Franklin the Turtle—the single most successful publishing franchise in the history of Canadian publishing, which has sold over 65 million books in over 30 languages around the world. Quirk Books Looking for a smaller publishing agency for your unique and captivating children’s book? Publishing only around 25 books a year, Quirk Books is based in Philadelphia and is searching for the most original, cool, and fun ideas out there. Is your book creative enough for Quirk? It’s one of my favourite publishing companies, having taken the helm on series such as the Miss Peregrine anthology by Ransom Riggs, which has won many literary awards. August House Publishers A more traditional publishing company, August House Publishers are seeking children’s book authors committed to folktales, diverse and memorable. They enjoy stories from many diverse backgrounds, as well as stories that work well as oral tales, stories meant to be passed on from generation to generation. They also have a soft spot for scary stories and stories that can be used in a classroom environment. With an annual revenue of roughly $10 million, they produce beautiful children’s books. ABDO Publishing With almost $50 million a year in revenue ABDO is a formidable children’s book publisher. Based in Edina, Minnesota, this family-owned book publishing company specializes in non-fiction books for the school library market. From engaging nonfiction to illustrated titles, ABDO has both educational and fantastical book titles for children of all ages. Best Independent Book Publishers Are you looking for a smaller company to publish your book? This is a better option if you are still seeking a traditional publishing company, but want to work with them directly There are many benefits of working with an independent book publishing company. Smaller companies often accept unsolicited submissions (ie you don\'t need to have a literary agent and can approach them yourself), especially if the submission is more unique and experimental in nature. Plus, independent publishers often offer a more hands-on approach for new and inexperienced authors. the downside is that their budgets and reach may not be as large as that of the big five, so you are less likely to get an astronomical advance or become an international bestseller. But it\'s not impossible! Let’s check out some of the best in the business... Autumn House Press Autumn House Press is an independent, non-profit literary publishing company based in Pittsburgh, Pennsylvania that was founded in 1998. They began as a publishing company strictly for poetry, but they have since expanded to include fiction and nonfiction. Autumn House Press’s especially notable titles include Anxious Attachments by Beth Alvarado and Not Dead Yet and Other Stories by Hadley Moore. Tupelo Press Tupelo Press is an American not-for-profit literary press founded in 1999. It produced its first titles in 2001, publishing poetry, fiction and nonfiction. Tupelo Press publishes the winners of its national poetry competitions, as well as manuscripts accepted through general submission. Awards given by Tupelo Press include the Dorset Prize, the Berkshire Prize for a First or Second Book of Poetry, and the Snowbound Series Chapbook Award. They have a lot to offer as an independent book publisher. Influx Press Hackney-based London independent publisher, Influx Press, was founded in 2011. They focus on site-specific literature closely linked to precise places across the UK and beyond. They have printed unique books such as How Pale the Winter Has Made Us by Adam Scovell and A Door Behind a Door by Yelena Moskovich. Fledgling Press Fledgling is an exciting and innovative publisher founded in Edingburgh, Scotland. Their focus is primarily on Scottish talent, but they still consider writers from other parts of the world. Founded in 2000, Fledgling Press have have launched the writing careers of award winning authors including Helen Grant, Philip Caveney and Alex Nye. Graywolf Press Graywolf Press is an independent, non-profit publisher located in Minneapolis, Minnesota. They publish fiction, non-fiction, and poetry. Graywolf Press currently publishes about 27 books a year, including the Graywolf Press Nonfiction Prize winner, the recipient of the Emily Dickinson First Book Award, and several translations supported by the Lannan Foundation. Their published work is bold and award winning. New Directions New Directions was founded in 1936 and they publish about 30 new titles a year. They publish anything regarding literary fiction, poetry, memoir, nonfiction, and their annual revenue is roughly $1 million per year. It was the first American publisher of authors including Henry Miller, Vladimir Nabokov, and Jorge Luis Borges, among others. Tin House Books Publisher of award-winning books of literary fiction, nonfiction, and poetry; home to a renowned workshop and seminar series; and partner of a critically acclaimed podcast, Tin House champions writing that is artful, dynamic, and original. While they only publish about two dozen books per year, they are all astounding, and you can learn more about their small operation here. Europa Editions Europa Editions is an independent trade publisher based in New York. The company was founded in 2005 by the owners of the Italian press Edizioni E/O and specializes in literary fiction, mysteries, and narrative non-fiction. They have a few imprints, namely Tonga Books, and a series for mysteries known as Europa World Noir. City Lights Publishers Known for publishing Howl and other poems by Allen Ginsberg, City Lights Publishers is a great independent publishing option. Founded in 1955, with nearly 300 books in print, City Lights publishes cutting-edge fiction, poetry, memoirs, literary translations and books on vital social and political issues. For over fifty years, City Lights has been a champion of progressive thinking, fighting against the forces of conservatism and censorship. Forest Avenue Press Forest Avenue Press, founded in 2012 in Portland, Oregon, publishes literary fiction on a joyride and the occasional memoir. While they are currently a small-scale operation, they are growing in popularity in the Pacific Northwest. And That\'s Not All Of Them... And that is just the tip of the iceberg when it comes to the best publishers to consider! The best thing to do, when looking at what publisher to approach or consider, is to look at the books you love or that are most similar to your own and look at who publishes them. You may well be surprised, and they may well not even be on this list (which doesn\'t make them any less fabulous). A Publisher For Every Writer Writing a book and finishing it is a huge achievement in itself. Choosing whether to self-publish, look for an agent, or approach indie publishing houses yourself is the next step..and a large one. So take your time and choose your route to publication wisely. While I hope you found a few excellent book publishers to consider from this list, do keep in mind that there are many more that are worth your consideration. And however you choose to get your book out into the world (and all options come with a list of pros and cons) they all ultimately all lead to the same thing - holding your book in your hand one day and having others enjoy your words. Frequently Asked Questions Who Are The Big 5 In Publishing? The big five publishers in the world are: Harper Collins Simon & Schuster Macmillan Hachette Penguin Random House These five publishers make up over 90% of hardback book sales in the US and over 80% of paperbacks sold. What Is The Most Prestigious Book Publisher? In terms of the most established book publisher, Cambridge University Press, dating back to 1534. But in terms of revenue, iPenguin Random House generated revenues of 3.8 billion euros in 2020, up from 3.63 in the previous year. Which Publisher Is Best For First Time Authors? The best thing a first time author can do is find a great literary agent that specialises in whatever genre they write. Through that agent they will then have access to the very best publishers. Without an agent, you can\'t get near the Big 5! How Do You Pick A Publisher? To have access to the top publishers you need a literary agent, and they will know who to approach. But if you want to approach smaller publishers without an agent, or just curious as to who you\'d like publishing your book, then simply take a look at books that are similar to the one you have written and see who publishes them.

Most writers know that the opening of a book is all-important in terms of grabbing the attention of busy agents and editors. Many of us also know from our own experience browsing online that a striking beginning might make a difference between buying a book or not. Hence if how you start your plot can change your literary fortune, prologues can offer a fresh way to launch a narrative.  In this piece, we’ll look at what prologues are, a little bit of their history and their main types and purposes. What Is A Prologue? What does ‘prologue’ mean?  Prologues originate in Greek drama, coming from the term prologos, ‘before word’. Ancient dramatists used them as devices to introduce the play to come and you can see the influence of this in later Shakespearean works, such as Romeo and Juliet, where the Bard uses a prologue to set the scene for  the star-crossed lovers. Another famous prologue is that of Chaucer’s Canterbury Tales, which was written in the Medieval period and introduces his cast of characters and the context of the pilgrimage. As you can see, prologues are used at the start of a work to bring the audience into a piece, but, as you’ll see below, in fiction writing, there are particular types of prologue which you might use to make your book opening more compelling.  Purpose Of A Prologue As we’ve seen above, in plays, prologues literally set the stage for the action to come, bringing us into the world of the drama in a succinct way. However, prologues are not always necessary in novels and, indeed, they are a source of debate in writing circles as they can tempt writers to add too much ‘backstory’ about their characters and the setting in one go, before the main plot begins in Chapter One, leading to an overload of information which can be off-putting.  Prologues can also easily be too long, meaning the ‘real’ beginning of the story is delayed. Make sure you don’t make your prologue longer than your standard chapter and possibly consider making it even shorter to add real punch. You need to lay the foundations for the plot to come, but without being long-winded. Another difficulty is that prologues often don’t contain the lead character, unless in a mysterious and often unnamed way, so you’ve got to be careful about being too ‘on the nose’ as this device can be a way to generate real tension and excitement about your story. As you can see then, prologues come with various pitfalls, so they can be a challenge to pull off well. We’ll look at some of the reasons why you might use a prologue below, but just remember that not every plot needs a prologue, so don’t feel your work isn’t solid without one. Differences Between Prologue, Preface, Foreword And Introduction If we’re new to writing, it can be hard to tell the difference between prologues, prefaces, forewords and introductions and to understand exactly what is a prologue in a book. A preface is usually a short account by an author, explaining the origins of their book, with a foreword often offering an introduction to the text and its author by another person, usually a writer or authority in the same field.  An introduction, on the other hand, is a summary chapter, outlining the argument and contents to come, which is used primarily in non-fiction. Indeed, most fiction doesn’t have a preface or foreword on the whole, so it’s not something the majority of writers need to worry about.  Prologues are primarily the preserve of novelists then (as well as some playwrights), being a part of the narrative itself, rather than material which precedes it.  Types Of Prologues Considering the various functions prologues can perform is perhaps one of the most important things if you’re going to include one in your novel.  Many writing experts say there are four main types of prologue, involving a future protagonist, past protagonist, a different point of view and one which presents background. Future Protagonist This sort of prologue shows us the future self of the lead character – perhaps including their death – in order to set in motion the story of how they reached that point. It is written in the same point of view and style as the rest of the novel, but if you’re using the third person, the prologue often presents the end of the story first, with the journey towards that point beginning in the first chapter.  If you’re using a first person voice, the prologue might show the lead writing a letter or memoir, stating why they needed to tell this story, and the tone is often reflective. In this sort of prologue, an older character often is introduced, presenting the overall plot as a walk down memory lane. Past Protagonist Sometimes there’s a juicy event in your protagonist’s life which the reader needs to know to understand them fully. Often, it’s a tragic event, such as a loss or trauma, which might not be given its due in the course of a flashback, but which has set up the wounded detective lead, say, to have a passion for justice.  This sort of prologue allows us a look into the past then to let us see what makes the lead tick, bringing to life a powerful event which will draw the reader in and making us sympathise with the protagonist deeply right from the get-go and, luckily, it’s effective when written in the first or third person point of view. Different Point Of View Prologue Sometimes, it’s useful to bring in a different narrative perspective in a prologue than the viewpoints presented in the main plot. It can be particularly useful in order to add mystery to the coming story, perhaps, say, by showing a murder in the viewpoint of the unknown killer before the main plot shows the hunt for this villain. You can also use this sort of prologue to create dramatic irony, so the reader sees some event coming down the pipe – probably something which threatens them in some way – whilst the lead remains unaware. In women’s commercial fiction, for example, we might be presented with a cheating husband, while the protagonist wife goes on oblivious – until reality hits later in the book at some point. This sort of prologue is often useful in historical or adventure fiction with, say, an artefact being used or hidden in the past, which the lead only discovers later on, as this brings the world of the book into focus, as well as establishing the compelling question about what this thing is and why it’s important. However, it’s crucial that this sort of prologue is written in the third person, even if the main part of the novel is in the first person, to make it stand out from the rest of the narrative. Background Prologue If the world of your novel is very different than our own, such as if you’re writing science fiction or fantasy, this sort of prologue can be used to establish your unique setting and its rules in detail, so we understand the main action better. However, this is tricky to pull off as you don’t want to throw your reader into your alien world, say, unprepared, but you also don’t want the book’s opening to become an overwhelming info dump either. Focus then on creating a simple plot which illuminates how your particular world works – preferably one which links to the main narrative. Sometimes, however, the prologue might could take the form of a document which sets out the strange wonders of the world we’re entering and this form of opening offers a lot of opportunities to use your imagination, but, again, it’s a matter or balance as you also don’t want to make the beginning too obscure. Again, it’s good to narrate this sort of prologue in the third person, even if the main plot is told through the first. How To Write A Great Prologue So, does a book need a prologue? As I discussed above, many novels don’t require one at all, so it might not be necessary for you to learn the skills set out here in order to create a killer plot opening. However, as you can see, prologues can perform some very useful functions in terms of opening a plot with power and they can be particularly helpful when writing certain genres of fiction, so you might want to consider including one in your novel.  We all know how crucial a striking and stylish opening is, so bear this in mind when writing your prologue – this will be the first thing agents, editors and the general reader sees of your book, so you must make it compelling.  If you’re wondering how to write a prologue, it’s key that you grab your audience’s attention from the first line and keep it. The prologue needs to be essential reading for the rest of the book, so make sure it’s both relevant to the main plot and dramatic.  Immediately Engage The Reader In order to make your prologue stand out, it’s a good idea to take a powerful event and milk it for all its worth. You must also ensure you’re engaging the reader all the way through and not getting lost in backstory or obscure details.  You want the prologue to keep the reader turning pages right into the main narrative, so keep it peppy, no matter what genre you’re writing in. You might not need a car crash or explosion in literary fiction, but even emotional crises can stir emotions enough to lure the reader in. Provide Essential Information As I said before, prologues can help with world-building for fantasy, sci-fi and historical fiction writers, allowing the reader to become aware of the specific context of the coming story. Indeed, prologues can also provide relevant information about past events which have impacted the lead or show scenes, such as a murder, which set up the ensuing narrative.  In many ways then, prologues can give the reader relevant information for the literary journey to come and can be extremely useful devices. However, as I’ve also stressed, it can be difficult to not overload the reader with information. Add details gradually, like a breadcrumb trail through the forest, knowing you have the whole book to establish your characters and setting and remembering that an air of mystery and unanswered questions can be very alluring. Make sure the reader has the necessary information, but no more.  Use A Consistent Tone And Style It’s important to remember that, whilst the prologue might well be in a different point of view from the main text or come from the viewpoint of a character whose perspective does not appear in the later narrative, the prologue’s style always needs to fit with that of the main narrative. What you don’t want is for your prologue to seem inconsistent with the rest of the book. Yes, you want the prologue to stand out, but if your prologue doesn’t sit well with the rest of your plot and language, it will possibly offer a false impression of your book to the publishing industry and general reader.  You don’t want to confuse your audience as to what your book is like or to have your readers feel perplexed when they reach the first chapter, so make the prologue powerful, but in keeping with the ideas and style of the main text. Keep It Short I described before how prologues shouldn’t go beyond your average chapter length and this is one way to ensure you don’t bore the reader or include excessive information. Indeed, some of the most powerful prologues are brief, offering just a glimpse into a murder scene or a crucial part of the lead’s past, before delving into the main action. In this way, prologues can be very evocative, without giving away the store.  Consider then if less might be more with your prologue. Review Other Prologues Much of our skills as a writer come from reading, so research other prologues, particularly those from books in your genre to see how the best ones work. You could even try to experiment by emulating certain types, copying prologues to see how they’re put together, and experimenting with different types from the four given above to see what might work for your novel. Excellent Prologue Examples I’ve already mentioned some of the most famous prologues, such as Chaucer’s General Prologue, Shakespeare’s opening to Romeo and Juliet, but there are also plenty of more contemporary examples available, including those from Douglas Adams’ Hitchhikers’ Guide to the Galaxy, Michael Crichton’s Jurassic Park and Robert Ludlum’s The Bourne Identity.  From ancient Greece to modern action and adventure, there are plenty of juicy examples of prologues to ponder. Think carefully as you read about what the author is presenting in the prologue, what type of prologue it is (does it provide background, for instance) and how long the author has made it. By taking notes and really absorbing what the author is doing, your own ideas and writing craft will grow. Prologues Can Add So Much As you can see, prologues aren’t always necessary, but they can add a lot to the opening of a novel if handled well.  From ancient Greece on, writers have turned to prologues to provide important past information on the characters and general background. They also can be part of world-building in sci-fi and fantasy or generate context for historical fiction.  Moreover, prologues can offer a framework for an older narrator to look back to the past, or to present a different point-of-view – such as that of a murderer in crime – thus adding mystery, as well as dramatic irony and a juicy impending sense of doom. Although you have to be careful not to add too much backstory or go on too long, ensuring that you keep the prologue relevant and consistent with the style of the rest of the book, you might end up with a really special opening to your novel. Try it and see how you get on!

Natalie Chandler began researching and writing her debut novel, \'Believe Me Not\', in 2020, and attended the Summer Festival of Writing to build up her confidence before seeking agent representation. She\'s now represented by Liza DeBlock at Mushens Entertainment, and recently signed a deal with Headline Accent. Natalie kindly shares her story and some words of wisdom here.  JW: Tell us about finishing your book – where did the idea come from, and how did you go about turning that idea into words on a page?   NC: ‘Believe Me Not’ was born from a dream, believe it or not (delighted to have got a pun in so early on). I woke up thinking about a disorientated woman trying to find her baby son despite everyone she trusted insisting she didn’t have a child - and the idea just wouldn’t be quiet until I sat down and started writing.  I’m very much a pantser so I had no idea where the plot was going or what was going to happen. But my protagonist, Megan, was already fully formed and she drove the early chapters. I did a lot of research – I hate getting details incorrect – and was fortunate that one of my best friends works in the NHS and she not only patiently answered my countless questions but also put me in touch with other mental health professionals.  For the first time, I had no other distractions, due to the small matter of the world coming to a halt with a global pandemic. No lunch invites, no exhortations for ‘just one drink’ or weekend getaways. I was writing practically full-time and it was flowing like never before. I had nearly finished the first draft when I saw an advert for the Summer Festival of Writing and decided, since I was Doing This Properly, it would be a sound investment. It turned out I was right. I came away feeling empowered, knowledgeable, no longer a complete amateur – and ready to edit until I could edit no more.    JW: How did you land your agent? During the 2020 Summer Festival of Writing, I attended every webinar led by an agent. I wanted to learn as much as I could about submissions before jumping into the fray again, having previously tried to find representation for two earlier novels and been unsuccessful. Jericho Writers provided such wonderful opportunities to, for the first time, really discover the secrets of the industry and I felt much more confident in my submissions package after applying everything I’d learnt. I also booked several agent one-to-ones, which were nowhere near as terrifying as expected! One of the early ones was particularly brilliant. She ripped my opening pages to shreds and it really stung at the time, but when I sat down to work through her deeply perceptive notes, I realised she’d helped me improve tenfold and I was so grateful to her. From then, I had a stronger package to present at one-to-ones and I gained three more full requests from subsequent sessions.   By this point, I already had six full manuscripts on submission and was prepared to wait to see what the feedback would be when, out of the blue, I saw on Twitter that Liza DeBlock at Mushens Entertainment had opened her submissions that morning. I’d followed Liza for a while and really liked her style so I decided there was nothing to be lost in contacting her. She replied within hours asking for the full manuscript and just over a week later, I was signing on the dotted line in a state of wonder, disbelief and sheer joy.  It had been nearly a decade since I sent out those first tentative letters (no email back then!) seeking representation and I was so thrilled by the opportunity to become part of the Mushens Entertainment family – a dream agency I had followed since its creation – that I didn’t quite dare to believe it was finally happening.   JW: What was the process of choosing an agent after a number of full manuscript requests?   Liza was the first agent to call – she read the full manuscript in 48 hours and left me the most wonderful voicemail telling me how she loved it so much she’d stayed up half the night to finish it, which I intend to keep forever! As soon as we got talking, I was amazed by her excitement and her sheer passion for ‘Believe Me Not’. She already understood the characters and themes and we were completely on the same page regarding edits and improvements. I knew we’d clicked but Liza encouraged me to continue talking to the other agents who had the full manuscript and see what their thoughts were. They were all lovely and so encouraging but my gut was telling me I was going to accept Liza’s offer. My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me.  JW: What is your relationship like with your agent now?   Wonderful! Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity. She checks in regularly whilst still giving me total autonomy in the writing process, and she always has time for me despite being super busy. I can discuss any problems or concerns with her and know I can trust her advice and guidance.   My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me.  JW: So you got your agent, but then what? What was the submissions process like?   ‘Nerve-wracking’ is probably the best description. There had already been interest from a number of editors when I gained representation so we started with a list of twenty initial submissions to mostly Big 5 houses after we’d done two rounds of edits. I knew there are always rejections so I’d steeled myself but we were getting fantastic feedback and after three weeks, the magic word ‘acquisitions’ was whispered. Days later, Liza called with the news that Headline Accent wanted to meet me and was offering a two-book deal – I was really going to be a published author!  JW: Has everything met your expectations so far, or have there been a few surprises?   As a debut, I didn’t expect to be given the level of autonomy and control I have.  Even though I’m learning fast, I’m still inexperienced, therefore I’d anticipated more instructions and fewer discussions. I was impressed that my thoughts and opinions are valued and how it has been constantly emphasised that it is my book and I am free to decide what works best.  Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity. JW: Has this experience taught you anything about the publishing industry and pursuing your goals? Primarily, I’ve learned how lovely people in the publishing industry are! Everyone I’ve met has been so generous with their time, advice and encouragement. I’m very grateful. Don’t be scared to ask questions and take every opportunity to learn and network. If being an author is what you really want, understand it won’t happen overnight – sometimes it takes a decade. Stay committed through all the rejections and keep going – write anything, write everything, but keep honing your craft and growing as an author. You’ll feel like giving up many times but never forget you write, above all else, because you love it.  It’s all worth it the moment you get the voicemail that will change your life!  About Natalie Natalie Chandler was educated at the University of Durham and currently works in behavioural education, specialising in social, emotional and mental health issues.  Her debut psychological thriller \'Believe Me Not\' was written during lockdown and delves into the fractured mind of a woman abruptly diagnosed with psychosis, as she fights to prove the existence of her baby.  \'Believe Me Not\' will be published by Headline Accent in March 2022. Natalie is represented by Liza DeBlock at Mushens Entertainment and divides her time between London and the rural North of England.