The 5 Secrets to Developing Better Characters | BookDaily

The 5 Secrets to Developing Better Characters | BookDaily #AuthorTips

By TA Sullivan

November 8, 2017

The 5 Keys to Character Development

My friend wanted me to attend a writing seminar with her, so I agreed to go. However, the summary said it was geared more for novices, so I didn’t really expect to learn much. Boy, was I surprised.

The instructor, a creative writing instructor from one of the top schools in the south, came in and took her place at the podium. After introducing herself and giving us a brief synopsis of what the presentation was to be about, she asked us to take five minutes to describe her as if she was a character in one of our stories.

The results were pretty much as expected. Most of the attendees gave similar descriptions to this:

Melanie is a 30-ish woman with brown, shoulder-length hair, dressed in a gray suit with a lacy, rose-colored blouse.

She told us to hang on to those descriptions, and then she went on to give us her presentation. That’s when we all learned how wrong we had been in actually thinking we had described a character. What we had described was a one-dimensional, uninspired, and uninteresting person.

A story character should be as varied as someone in real life. They should have substance, not just a description. They should come alive for the reader and become someone that the reader can actually believe in. The 5 primary attributes that each character needs in order to achieve this kind of depth are:

Mannerisms/Traits: These are the tics or compulsions that a character displays consistently. For example, the character paces when nervous or agitated, chews gum or tobacco, hums to him- or herself, blinks excessively, clicks a pen without realizing it, taps the end of a pencil on desk all the time, bounces his or her foot, plays with his or her hair or runs his or her fingers through his or her hair, chews his or her fingernails, rubs at a scar on chin, cheek, nose, etc., stutters, or laughs inappropriately.

Behaviors/attitudes: These are how the character displays his or her feelings. For instance, the character might be belligerent, argumentative, disagreeable, a yes-man, Polly Anna-like, naïve, happy, bland, or teasing.

Scents (what smells are associated with the character, if any): Most memories are related (and often triggered) by scent. Yet, as authors we tend to forget about the smell-factor. Perhaps, because books (even electronic ones) don’t yet include the ability to smell our characters or their surroundings. Still, even a description of an odor or an aroma can evoke a sense memory and help our readers remember and relate to our characters. So, include references to scents whenever possible. As it is, most people have a particular scent, and those that wear perfumes or aftershaves, or use perfumed dryer sheets, usually have a cloud of odors surrounding them. Or perhaps, your character forgot to bathe, was climbing about in a dumpster, or lives with a herd of cats.

Sounds (what sounds are associated with this character): Sounds are another overlooked, yet memorable way to help your readers remember and relate to your characters. Perhaps your character whistles, imitates bird calls, makes clicking sounds (of fingernails on a desktop or keyboard, of tongue against the roof of the mouth) or tapping sounds (of shoes or cane or fingers while texting), drags his or her foot, is associated with a rustling (of petticoats, silk fabric against skin), snapping (of cape or of gum), clomping (of boots or shoes), or wheezing (due to asthma or being overweight).

Looks: Physical attributes are the easiest to describe and usually what we (as authors) tend to focus on. However, since most readers are inclined to let their own imaginations flesh out the character, this is where the author needs to be more sparing. Include only a few basics and let the reader do the rest. For instance, relate your character’s hair color, hair style, eye shape and color, colors worn (bright colors, dull colors), clothes styles, height, weight, or unusual physical features (scars, nose size, ear shape, piercings, missing limbs, or tattoos), but describing the shoe size, exact height, and a detailed discussion of the character’s wardrobe is rarely useful and is, most times, distracting.

With all this new information at hand, she again asked to describe her as if describing a character in one of our stories, and the results were profoundly different. For example:

Melanie, our instructor for the day, was a professional-looking woman, who paced the stage in her enthusiasm. Our eyes followed her tapping heels, while her down-home voice engaged our ears. She was a southern lady, from her warm smile to the hint of jasmine that surrounded her.

Now, which description makes you feel as if Melanie was, or could be, a living person? Which description helps you connect on all levels with this person?

So, the next time you need to describe a character for your story, remember there is more to people than just how they look. Ask yourself: what does the character sound like, smell like, and act like. Add each layer to that character until you have someone so real you can see them standing in the room with you. That’s a character that your readers will remember. That’s the type of character you need to help you tell your stories.

So, how about you? How did you make your characters come alive?

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🐦CLICK TO TWEET🐦 #Authortip from @BookDailycom: 5 Secrets To Developing Intriguing Characters by @tasinator

About the Author:

TA Sullivan was born in the back of a cab in Chicago, Illinois, and she has continued to be unconventional in all that she does.

For over thirty years, she has made her living as a technical and marketing writer and editor in such diverse industries as manufacturing, cellular technology, and computer software. She has become quite proficient in turning boring into something readable and entertaining.

Her first book, “Escorting the Dead: My Life as a Psychopomp,” is an autobiographical look into the world of death escorts and near death experiences. It won praise from critics and readers alike.

Her next book, “On Dreams and Dream Symbols,” strove to expand people’s awareness of their dreams and what those dreams might be trying to tell them.

The first book of her fantasy series, “The Starstone,” came out just last year, and she is readying her second book, “The Globe of Souls,” for release this summer.

You can find out more about her on her website and on Twitter

Sally’s Cafe and Bookstore – New on the Shelves – An Uncertain Faith: A Novel for those who live between a rock and a hard place. (A Rocky Road Novel) by Allie Potts

Sally’s Cafe and Bookstore is a great place to get a free book promotion and I love Sally’s idea for this wonderful opportunity. What is also wonderful, is that all your different sites on social media are given here too, with all your new reviews as they come in. What could be better! I am thrilled. My new novel to be released in January, “The Stone Arch Secret”, will be there at Sally’s Cafe and Bookstore soon for promotion and Sally does it all for you.

Smorgasbord - Variety is the spice of life

A welcome to a new author to the Cafe and Bookstore – Allie Potts with her two books. The featured book today is her first novel, An Uncertain Faith: A Novel for those who live between a rock and a hard place. (A Rocky Road Novel).

About the book

Feeling trapped in a job that bores her, Charlotte used to yearn for the life she had before the responsibilities of marriage and motherhood. That was until the day she came home to find her husband and son missing. Did they leave her, or is there a more dire explanation? An extreme example of the reason to be careful what you wish for, Charlotte must now come to terms with her new reality and decide if she wants to continue to merely daydream about a better future, or to take charge of her own life. Along the way she must also…

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Keep Calm and Keep On Writing!

 

 

 

 

 

 

 

 

 

 

This was written by Writer in Wedges. I don’t have his or her website, So if that writer is on WordPress, I must give thanks because this is simple and very helpful for a writer.

So you have written your story and cannot wait to release it into the world. But before doing that, it is important to take some extra time to make sure your story is properly edited, despite the fact that editing is nowhere near as fun as writing.

Spell/Grammar Check

The first step towards the best version of your story is hitting that spellcheck button and proofreading it to make sure there are no errors. A story which contains spelling and/or grammar mistakes very often won’t be taken seriously.

Remove Adjectives/Adverbs

Sometimes, less is more, and this is especially true when it comes to adjectives and adverbs. Too much of either can suffocate your story. Instead, opt for using a stronger verb or a noun.
Remove Repetition This is very important to keep your readers’ attention. If you catch yourself repeating the same thing several times throughout the story, you know what to do.

Remove Clichés 

Clichés are a deadly sin of fiction writing. Avoid them at all costs. Begin with a Bang. If you explain too much at the beginning of your story (if you “tell” instead of “show”), your beginning might not be as effective as it would be if you jumped straight into action. Mind you, this “action” does not have to be your characters running away from zombies (but hey, I’m not judging), however, if you begin your story with a lengthy description of the weather, many readers might get bored and abandon the story altogether.

Check For Consistency

Make sure your writing is consistent in every way. This can refer to either checking that the names of your characters are consistent throughout the story, or that their motivation corresponds to their actions. The story has to follow the rules of logic (except when its primary purpose is to twist those rules).
Remove Unnecessary Explanation I cannot stress this enough. Just like long beginnings, explanations are often a lazy way out which indicates that an author couldn’t be bothered to write a scene in which s/he would show something instead of telling it. Let’s face it: explanations are boring. There are many things about the characters that the writer has to know, that never make it to the final version of the story. There’s nothing wrong with that. Make sure the readers know only what they really, really have to know in order to follow your story.

Edit Your Dialogue

Editing is essentially, a conversation where the boring parts have been left out. Make sure that your dialogue truly reveals only the necessary information for the story, and cut all those random chats that do not move the story forward.

Get Perspective Okay

So, you have made sure that your short story does not have any repetition, clichés, or unnecessary explanations. Now what? The best thing you can do is to leave your story alone and come back to it with fresh eyes. You can leave it for one day, or a couple of weeks, depending on your schedule or personal preference. However, I find this step very important because it allows you to gain some perspective and to see the possible shortcomings of the story more easily.

Get Feedback

Give the story to your beta readers. They can be members of your creative writing workshop, your family or friends. In any case, they should be people you consider honest and trustworthy, and preferably experienced readers. It is better to have several opinions than only one. However, take their advice with a grain of salt: even though their feedback can be very useful, remember that you are still the author and at the end of the day should do what feels right to you instead of listening to others.

Once a writer has completed these steps, the writer can be assured that at least all of the most egregious  errors are gone and never give up writing!

 

THE STONE ARCH SECRET – A New Novel

 

 

 

 

 

 

 

 

 

 

 

My new novel, The Stone Arch Secret, a romantic mystery, is to be published in January on Amazon! Next week I will publish Chapter One, here on WordPress, please let me know what you think!  My Beta Readers have given The Stone Arch Secret a thumbs up and I am so excited.

Anyone who has written a novel knows how very complicated building a story can be, let alone development of believable characters.  Mysteries have their unique challenges too, for someone like me who is a fantasy writer.  Another challenge, and a very important one, is choosing a title and cover that works for the story content. For me, developing a title is agonizing!  I probably had five or six different titles until this one and this one fit perfectly.

Deciding on a cover that reflects what the story is, is more than challenging, it is exhausting, especially for the designer when the writer doesn’t really know what the cover needs. Fortunately, I have a wonderful, talented Cover Designer, Judy Bullard who understands and is there to present what the author envisions.  She does wonders with whatever title and content needs to be represented, You can find her at: customebookcovers.com.

 

 

 

 

 

 

The Top 10 Elements of a Book People Want to Read!

 

 

 

 

Many Indie writers are just now finishing their summer novel writing and will publish soon!  I thought it would be a great time to repost this article about the elements of good writing for readability!

By Writer Digest contributor, Helga Schier, PhD, Editor, Guest Column | March 16, 2015

This guest blog is written by Helga Schier, PhD, former Big Five editor and founder of With Pen and Paper, an independent editorial services firm. With over 20 years of experience in the (self-)publishing industry. For more information, visit http://www.withpenandpaper.com

Aim for High Readability

People enjoy books with a high level of readability—books with a captivating story and memorable characters, books we can’t put down, books that stick with us long after we’ve read the last word.

As an independent editor, I’ve come across my fair share of readable books, and all of them are well crafted on three distinct but intricately connected levels.

  • The surface structure of the words on the page, which includes grammar, punctuation, and spelling
  • The level of style and voice, which is defined by the choice of words, the sentence rhythm, the use of literary techniques and images, and the tone or approach
  • The content level, where the fictional world comes to life.
  • Highly readable books are polished, refined, sophisticated, and mature on all three levels. To fulfill the potential of your book, develop and sharpen the following top ten elements.
  1. Your Words Are Your tools; Make Sure They Are in Working Order.

Avoid typos, sort out commonly mistaken words such as die/dye or there/their/they’re. [Like this quote? Click here to Tweet and share it!] Watch your grammar—make sure your nouns agree with your verbs and the personal pronouns fit. If a paragraph begins in the past tense, it likely ought to end in the past tense, too. Figure out where those commas go to help your readers make sense of your sentences. Sounds basic? It is. So run that spell-check and get it right.

  1. Check for Inconsistencies.

Writers revise their work constantly. As a result, characters may appear or disappear at random, because chapters were rearranged; subplots remain unresolved, because chapters were cut; and timeline issues may tiptoe in. Looking for inconsistencies and holes in your story is an integral part of polishing your work.

  1. Avoid Overwriting.

Your style or voice should step into the background to serve your story. No need for a clever metaphor in every sentence, or for an adjective before every noun. Avoid complicated sentences if a simple sentence will get your point across. Avoid inflated sentences and unnecessary introductory or summarizing phrases. Don’t be verbose—every sentence has a point; get to it.

  1. Avoid Underwriting.

Allow your language to adapt to its context. Using the same words and/or sentence structures repeatedly makes a novel repetitive and monotonous. If the teenage girl and the CEO of a multibillion dollar company have the same voice, we’ll learn more about the writer than about the characters and their relationships. Avoid clichés and create your own personal images instead. Or use clichés and stereotypes to your advantage—say, to define a character.

  1. Make Sure Your Characters Are More Than a Name.

As a reader, I want to be able to relate to your characters. I don’t have to always like them or agree with their choices, but I want to understand why they say and do whatever it is they say and do. I want to care for them, fear and worry with them. Therefore, your characters need to be recognizable and unique at the same time. They need to be complex rather than cardboard cutouts, and dynamic rather than passive. Even a bad guy deserves a redeeming quality.

  1. Show, Don’t Tell.

“He was anxious.” Or: “She was happy.” Or: “They were angry.” That’s telling. Trouble is, this does not really tell me what I am to imagine. Is he chewing his nails? Is she smiling as she embraces her newborn baby? Are they raising their voices to a level that could be heard down the block? That’s showing, and it conjures up a clear image in your reader’s head. And that’s what you want.

  1. Sharpen that Dialogue…

Dialogue passes on information between characters and to the reader. Dialogue propels the plot forward. And, dialogue reveals the personality of the dialogue partners, as well as their relationship. Avoid repeating small talk, too much clever banter, and uninterrupted speeches. At least two people should exchange information, ask questions, answer them, comment, fight, tease… whatever. The way your characters interact with each other says a whole lot about them and about their relationship.

  1. …And Expose that Subtext.

People don’t necessarily say what they mean or mean what they say. Every conversation has a subtext. Dialogue is not only about what is being said, but also about how the dialogue partners feel about and relate to each other. Do they like each other? Who has the upper hand? Do they trust each other? Show us in their gestures, glances, body language, and behavior while they’re talking. Is anyone leaning in or moving away? Anyone nervously fidgeting with a pen? Anyone looking out the window because he is bored or to the floor because she is ashamed? The narrative must support the dialogue by exposing the underlying tension, conflict, and motivation of your characters.

  1. Drive the Plot Towards Your Reader’s Aha-Moment.

A readable novel provides meaning to the world we live in, which is to say that the succession of events must make sense. Your characters react to these events in ways that are motivated by their psychological disposition. The interplay of events and character behavior moves your plot forward. The writer’s hand should remain invisible. Therefore, prepare your plot twists within the novel before they happen, and give your characters a reason for their behavior. These clues should not be so obvious that we can predict the way your story goes, but in retrospect, once the plot has twisted a certain way, your preparation must become clear. It’s your readers’ aha-moment, if you will.

  1. Build Your World.

Stories don’t happen in a vacuum. Your story could happen in China in the distant past, in present day America, or in the future on a planet you imagined. Your readers need to know how your world compares to theirs. This is world building, which involves establishing a clear timeline, a recognizable locale of your overall story, and, just as importantly, the ambiance of any given scene.

As a writer, you must create a world populated with characters who live their lives before our eyes, and you must do so with words only. [Like this quote? Click here to Tweet and share it!] There is no camera to show us that the police car drives off with lights flashing, no sound to give us the sirens, and no actors to make a comment sound bored or sexy or irritated or funny or scared. Your words and their rhythm build your world and make it turn.

Your words are your tools; make sure they are in working order.

Change The World

Adm. William H McRaven has written the most inspiring, uplifting, and wonderful speech I have ever heard! thank you for this wonderful uplifting post.  https://fourthgenerationfarmgirl.com/2017/08/17/change-the-world/  and also https://jenniefitzkee.com/

fourth generation farmgirl

This speech by US Navy Admiral, William H. McRaven is beautiful, moving, and inspiring.  I hope you will watch it.

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10 Great 10 Minute Fixes to 10 Common Plot Problems!

Some years ago, I found this interesting and these helpful fixes to writing problems that I come in handy. Good fiction takes time. You cannot sit down at the keyboard and pound out the Great American Novel in one or two sessions. (Take it from me; I’ve tried.) Says the author of this piece of writing. I don’t remember who the author is and if anyone knows, please let me know. I would like to give him or her credit!
No, we must be patient with our art and our craft, we must read, we must study, we must write. And write, and write. Then we must think, cut, rewrite, polish and look again.
But there’s such a thing as agonizing too much over your writing. Just as excessive reworking with charcoal and gum will ruin a drawing, too much scrutinizing and amending will sap the vitality of your original words. Most aspiring authors fall victim to this from time to time, causing needless pain, delay and, frankly, stunted results. It’s the hard parts that get you. When you come up against a knotty structural problem, take a breath and do what professionals do:
• Calmly evaluate the problem.
• Decide whether it really is a problem.
• Work out a solution.
• Implement it.
• Move on.
• Revisit the situation later.

1. I’M MISSING A CRUCIAL PIECE OF INFORMATION.
You’re writing a key scene, and you realize that you really need to know something, but it’s either impossible to find out or too costly in time or money to do so.

10-MINUTE SOLUTION: If you can’t find the exact data you need, get as close as you can and wing the rest.
Recently I was on a conference panel with other authors discussing intensive research, and after everybody shared exciting (or humiliating) stories about our quests for authenticity, we all agreed on one thing: When the chips are down, make it up.
You might be surprised at how much you can make up in a convincing way. Maybe you need a recipe for the perfect poison and have no idea where to begin. Invent a character who’s a chemist, and have that character develop a poison that’s as lethal as cyanide, as innocent-smelling as strawberries and as traceable as water.
Be bold!
2. MY ACTION IN THIS SCENE DRAGS.
We’ve all been there: You’ve got an action scene that’s starting to bore even you. Granted, your story is moving forward, but it feels cumbersome.

10-MINUTE SOLUTION: Resist the urge to pile it on; rather, tighten what you’ve got.
You could spend hours—days!—trying to inject more life into a scene, but the best solution is often just the opposite. Usually a quicker pace will do the trick.
One of the easiest, most effective ways to tighten prose is to turn full sentences into fragments and opt for one-line paragraphs.

3. ONE OF MY CHARACTERS IS STARTING TO SEEM LACKLUSTER.
Sometimes you get too careful with a character, especially if you’ve based her on yourself or a close friend or relative. If this seems to be the case, consider adding weirdness.

10-MINUTE SOLUTION: Give her an obsession.
Obsessions are great because they’re simple to drop into a character’s personality, and you can use them repeatedly to spice up your plot.
Think what you can do! Give a ghetto hooker a fixation on growing the perfect eggplant in her window box, turn the commander of a space station into an incurable pack rat, bestow upon your straight-A prom queen a fascination with arson, twist a fat, old cop into a joyful, compulsive transvestite.

4. I HAVE TO COMMUNICATE A LOT OF INFORMATION, AND IT’S OVERKILL.
You’re at a turning point in your novel, and you’ve got one character revealing information to another, or making connections in his head as the puzzle pieces fall into place. Or your omniscient narrator is explaining a lot of stuff to the reader. And it doesn’t feel natural.

10-MINUTE SOLUTION: Turn narrative into dialogue.
Don’t underestimate the modern reader’s ability to infer, generalize and make connections. A professional’s first instinct is to cut exposition, but when you’ve sliced away all but the essential and you’re still looking at an awkward block of text, turn it into dialogue. Scope around for a handy character for the first one to talk to. Then, give the two some back-and-forth, something to disagree about. Create a little conflict while delivering your basic facts.

5. I DON’T KNOW WHAT SHOULD COME NEXT.
You’re writing something new; perhaps you even have a rough outline. You’re galloping along, happy and breathless, and you finally bring a scene or chapter to a satisfying conclusion. Then you get that uh-oh feeling.

10-MINUTE SOLUTION: Have a 10-minute brainstorm.
I actually feel great in this situation: I love to brainstorm, and I know I’m about to have ideas I’ve never had before.
Flip to a fresh page in your notebook or computer notepad, check the time and give yourself 10 minutes to write down anything and everything that might come next. Record every idea that comes to you, even if it seems ridiculous or awful. Keep going. If you do this with a feeling of open exploration, you will come up with a good idea of what should come next.
The answer is a paradox: The more honestly and thoroughly you brainstorm, the sooner your material will sort itself out. The chaff will be obvious—and there will be wheat.

6. I’VE GOT A COMPLEX PLOT, AND ALL MY FINAL UNRAVELING FEELS FORCED.
You’re proud of your plot, and you want to show the reader that you’ve thought of everything. This one’s as tight as a drum! But now it feels as if you’re ticking off boxes on a checklist, and the effect is artificial.

10-MINUTE SOLUTION: Choose some loose ends to leave loose.
Readers will know they’re in good hands if you pay off your suspense. This is key, and it bears repeating: Suspense is the most important aspect of a book to build and bring to a satisfying climax and conclusion. This holds true in any genre; even the most sedate literary novels are built on a foundation of suspense. In this way, Mrs. Dalloway and her flowers have everything in common with Hannibal Lecter and his fava beans.
Challenge your impulse to wrap up everything with a bow, and you might achieve a more natural result.

7. I NEED A BRIDGE BETWEEN TWO SCENES, BUT I’M AT A LOSS.
Transitions can be the bane of fiction writers. I think this goes back to composition teachers in high school, who insist that there “be a link” between every idea. Oh, the contortions we used to go through to satisfy that requirement! Forget it.

10-MINUTE SOLUTION: Insert a chapter break, or use the magic word.
An excellent way to bridge two scenes is to actually separate them. A chapter break can eliminate the need for a bridge altogether. Pick a novel you like and study the last and subsequent first pages of chapters. You’ll find that most modern novels freely jump forward (even backward) in time, or sideways in space (from one character’s viewpoint to another’s, for example), and the overall effect is smooth. Give it a try.
The magic word is meanwhile. Rather than a big-deal transition, meanwhile might be all you need.

8. MY ENDING MADE MY CRITIQUE GROUP GO, “SO WHAT?”
You’ve written your novel, you’re at the point of bravely hearing any and all criticism, and you’ve just found out that your ending leaves your writing buddies cold. You feel (understandably) frustrated, and maybe a little angry. Now what?

10-MINUTE SOLUTION: Add passion, violence or both.
A weak ending, of course, may signify major problems with the rest of the book. But not necessarily. If you’ve built convincing characters and worked out a believable, suspenseful story, but things still fall flat at the end, this could be because you haven’t gone far enough. Some authors simply take their foot off the accelerator toward the end, either from fatigue or from an unnecessary sense of restraint. Whatever the case, if you discover you’re one of them, you’ve got to ramp up the emotion.
Now, you don’t want to be cheap, but be advised that exploitation works. Readers expect to be knocked out of their socks, and it’s really OK to give them that.
So try heightening the ending you’ve already got. A good way to do it is to add passion or violence—or both.

9. MY AGENT/EDITOR WANTS ME TO CUT 10,000 WORDS!
Many authors on the brink of getting published are told by a prospective agent or editor, “I love this novel, but it’s too long. If you can cut it by about 10,000 words (or whatever terrifyingly high number), I think I can sell (or publish) this.” They don’t want any specific cuts at this point; they just want the manuscript to better fit a common format.

10-MINUTE SOLUTION: Micro-edit your way to success.
You can spend lots of time rereading your manuscript and painfully strategizing what hunks to cut, but an excellent way to quickly trim it to size is to cut one word per sentence. This technique is pure magic. Or, you can divide the number of words you need to cut by the number of pages you have, and come up with an average words-to-cut per page. Of course you won’t be able to whittle down your whole manuscript in 10 minutes, but take it as a challenge: Time yourself, and I bet that once you get the hang of it, you can blow through 10 pages of a draft in 10 minutes. This is a job you can do in the interstices of your day; you don’t have to find large spans of time for it.

10. THE WHOLE THING STINKS.
Every author is stricken, at least once per book, by Creeping Rot Disease. CRD begins as a dark feeling that takes over your mind and heart when you least expect it. You look at your manuscript and the feeling creeps over you that all you’ve done is foul a perfectly good stack of paper. It’s lousy. It’s not original. It’s nothing any agent, let alone editor, would look at twice. I’m wasting my life, you think. I’m a fool.

10-MINUTE SOLUTION: Take a break!
Believe me, when CRD strikes, you are in plentiful, excellent company. Terrific authors have drunk themselves to death trying to self-medicate against CRD.
The better solution is to take a break. Turn off your computer, close your notebook, cap your pen (because the problem is not with your manuscript, it’s with you) and do something completely different, like:
• Walk outside. Pay attention to the first great-looking tree you see. Hang out with it for a while. Get some good coffee. Phone a friend and spill your guts.
• Prepare a mini picnic lunch and open the window. Make a sketch of a simple object, like a bowl or a bottle. Or do anything else you can to break the stream of negative thoughts.