First Five Pages Checklist

The first five pages of your book are so important. As aspiring authors, we are well aware of their significance. And we place so much time and emphasis on getting them right. While we probably have a fair idea of what to do and not do in our first five pages, here is a quick recap of things to keep in mind when looking at the start of your novel.

Important questions to ask yourself:

Does the first line engage your reader?

Is your main character properly introduced?

Has the POV and narration style been made clear to the reader?

Does your reader get a good feel for the world – i.e. have you set the status quo?

Have you established your main character’s deepest desire?

Is there an inciting incident?

The most important thing to avoid at the beginning of your novel:

The information dump. 

Your reader is only starting to get to know your main character and within these pages, so you don’t want to overwhelm them with backstory or world building information so early on. Remember, you’ve got a minimum of 80,000 words to work with, you can take your time introducing the important background information. 

Writing Flashbacks

There are many ways that we can provide our audience with the information they need to follow along in a story. Many of us will use dialogue secondary characters to expose important tidbits of information that are integral to the plot.

However, sometimes another technique that can be used are flashbacks. These are moments within a story that take you back to specific moments within a character’s life. Flashbacks are not to be confused with simple memories. Memories can be summed up in a few sentences like “Alice held the melting ice cream cone in her hand, thinking back to the breakup. She hadn’t touched mint chocolate chip since.” Instead, flashbacks are a whole scene set in the past that takes your reader to that exact moment. And, flashbacks usually tend to expose something important. 

I had a professor in college once who described flashbacks as sort of like an “aha” moment for the reader. They are supposed to make something click in the story, whether it’s a key plot point or a breakthrough in character development. 

Since flashbacks are usually set in the past, they can be a little tricky to write as they can be jarring for the reader if not done correctly. That is why some writers tend to stay away from them. Personally, I love a good flashback. I think they’re great for giving readers very in-depth insight into a character’s origins. But flashbacks should be used sparingly – don’t include one in every single chapter or else you’ll end up with some very confused readers. 

The rule of thumb that I tend to follow for setting up a flashback is essentially what my college professor told me. She said keep them short and sweet. They don’t have to be any longer than a paragraph. And don’t use dreams as a way of setting up a flashback. It’s too cliché. Instead, she taught me to think of all flashbacks as being a doorway for your reader. While your character might be your reader’s guide, you still need something that will take your reader through that doorway. This has to be a trigger for your character to then open up that door. For example, that trigger could be the smell of lavender if your flashback is set in lavender field in the south of France. Or, perhaps a stack of dishes crashing to the floor in a busy restaurant can trigger your character to flashback to a traumatic moment in their past. Either way, it has to be something that will pull them into the flashback and then pull them out. 

So, if your character is an old woman harboring a secret about her eldest child not being her husband’s child but rather the product of an affair with a French lavender farmer, then you have two options. You can either expose it through dialogue or some other means like a found letter, etc., or you can reveal it during a flashback. If you decide that a flashback is how you want to expose the secret then you need a doorway. If the old woman smells the fresh lavender in her garden and thinks back to that wild summer in Provence, then she needs to come out of that flashback through the scent of lavender. If your character is escaping an abusive relationship and the sound of shattering plates takes them back to a really dark moment in their past, then those shattered plates need to bring them back to the present – that can be the scraping of the dishes being swept up or something like that. 

Flashbacks can seem intimidating to write, but they do add something unique to your writing. Are you pro flashbacks? Let me know!

Killing Characters

This seems to always be a divisive subject amongst writers. Some writers wouldn’t dream of killing off one of their characters, while other writers are more than happy to recreate their own versions of the infamous Red Wedding from Game of Thrones within their own works. Within the realm of fiction, character deaths can extend beyond just those of the villains. Side characters and even some main characters can be subject to meeting an untimely death. These are the characters that readers will mourn, especially if they happen to be a fan favorite. As writers, we know that not every character’s story can end in happily ever after. But killing characters can be a delicate art. You don’t want the death to be pointless, you want it to mean something. Below are somethings to keep in mind when you’re contemplating a potential character death. 

Positive Reasons to Kill a Character:

1) Kick off the inciting action or to reveal a hidden secret. Sometimes our main character needs to experience the death of another character in order to get them to begin the proverbial hero’s quest. But at the same time, you don’t want the death to come across as cheap writing or cliched. You want this to be meaningful to the plot. In order for the death to be meaningful to the story’s plot, ask yourself if this inciting action can be kicked off any other way? Or can this hidden secret that is integral to the plot, can that be discovered any other way? If not, then you can proceed with the character’s death.

2) To motivate other characters. Again, death can be a great motivator to both heroes and villains. But you don’t want it to be the sole purpose of their motivation, meaning don’t kill a character just to get your hero or villain started on the path of their character arc and development.

3) To highlight a universal truth within your story’s universe. Sometimes some character deaths have to be sacrificial for the greater good of the story. If death is the only way to highlight a universal truth in your story, then do it. Or if you’re writing a series and you get to a point where there is no other way to illustrate a continuing theme then use a character death. 

4) It’s the only logical way of ending a character arc. There are plenty of ways for your character to come full circle and grow. Death doesn’t always have to be the answer. However, there are times when it is the only answer. As the writer of the story, you will know if this is the only way of wrapping up a character’s arc. 

Negative Reasons to Kill a Character:

1) Solely for the purpose of shocking your audience. No, no, no. You will only make your fan base angry. Don’t alienate your fan base.

2) To start some drama. If you’re killing a character just to spice things up within your story, then you really need to re-evaluate your plot. There are definitely tons of other ways to shake things up without having to kill a character. My personal rule is if you feel your story needs something shocking like a death to save it, then you really need to start from scratch again. 

3) Just for the character development of someone else.Yes, sometimes either a hero’s backstory or even a villain’s backstory will include the death of someone close to them in order to get them started on their respective paths. However, killing a character just for the purpose of further developing another character is not necessary. You can achieve the same effect with a less tragic accident. For example, if your story is about two brothers who haven’t spoken in 10 years, you don’t need to reconcile them by having them lose their mom in a firey car crash. Simply having her hospitalized with a broken leg would be enough to get them back in town and have to face one another and eventually reconcile. You still achieve the character development but without the character death. 

4) You’re unsure how to further the character’s storyline. This more applies to minor characters who sometimes serve their purpose in a story, but then we, as writers, don’t know what to do with them. While the topic of what to do with minor characters after they’ve served their purpose is always up for debate, killing them off isn’t advised. It serves no purpose and if they happen to be a well-received minor character, this can end up angering the fandom. 

5) You don’t like them. We’ve all had characters that we don’t like in our stories. And I’m not necessarily talking about villains. Sometimes as writers we create minor characters or even major characters that, as we get into the writing process, come to find we don’t actually like writing them. Either they’re too boring, we’ve gotten sick of writing them, or we simply can’t connect with them. The easiest solution to this is to remove them all together from the story. Make it such that they’ve never existed within our story’s universe. Sometimes I have found that these characters I don’t like are simply in the wrong story and once I find where they fit, they work much better. I’ve also found that if a character is easily removable from the story, then they were irrelevant to it anyways. Of course, problematic characters aren’t always easily removable like this. Sometimes a character needs to be in a story but we, the writers, just can’t stand their story anymore. Don’t kill them off, find another less dramatic way of writing them out.

Author Interview with Ashley L. Hunt

Dragon Soul Press sat down to interview Fairytale Dragons Author Ashley L. Hunt.


  1. Where do you get your inspiration?

My inspiration comes from a lot of places. Sometimes it’s a way I had wished another story ended. Some of it is adventures I would have loved going on, if they were possible. (Anyone know where I can team up with a dragon?) Sometimes characters just form and they need places to go.

  1. When did you start writing?

I was very young, I remember that. When I was 3 or 4, my brother and I would get all our toys and we would send them on these long epic odyssey to reach a goal. I didn’t think to set my stories to paper until I was 9 or so.

  1. What does success mean to you? What is the definition of success?

Success to me is completing a task and getting some acknowledgement for it. It’s probably on the smaller scale of what success means to others, but it’s good for me.

  1. How much ‘world building’ takes place before you start writing?

It’s a little bit before and some after. I leave space to build as I go, but I have enough foundation for a solid world.

  1. Describe your perfect book hero or heroine.

A perfect book hero is someone who is flawed, someone who gets scared or isn’t always sure, but does their best anyway. For me, they need to do what they can to make the world better, and they learn a lesson on the way.

  1. What was the inspiration for the Fairytale Dragons story?

I’ve been studying fairy tales since I was a child and I absolutely love dragons. Cinderella is easy to mock because in today’s day and age she looks weak. It’s not fair because she was a brave and courageous young woman who stands up and she bears her part well. She deserves better and I hope I gave her that.

  1. What were the key challenges you faced when writing this story?

In the original, Cinderella is passive and docile. She reacts to the plot rather than inspiring it. The plot happens around her. So I had to give her an active role in the story. Her godmother is also this strange shadow in the background who shows up randomly then vanishes from the story again. (According to the French telling, she’s absent in the German and Italian) so an added challenge was to show a relationship with Cinderella and her godmother while giving her a reason to not help Cinderella.

  1. Who is your favorite author and why?

Favorite author is harder to pin because there are so many for a million different reasons. Madame Du’alnoy stands out among fairytale writers because she has a particular style to her writing that is rich but doesn’t bog down the story. My favorite book is the Wizard of Oz, by Lymen Frank Baum so of course he has a special place on.

  1. What was your dream job when you were younger?

I wanted to be a singer, but I can’t hold a note. My dog runs up to check if I’m dying.

  1. Where can readers learn more about you?

You can find me on Facebook.

View at Medium.com

Balancing Multiple Projects

As writers it is nearly impossible not to have a constant flood of new ideas. But we how do we balance all the new ideas while still working and completing what we’ve got? Some of us might find that working on multiple projects helpful, but we also want to find a balance. 

Tips to balancing different projects:

1) Use Different Notebooks

We all love a good notebook. It’s almost like a writer’s rite of passage to have hundreds of unused notebooks in some desk drawer just waiting to be used. Put some of these notebooks to good use by dedicating them to your projects. Instead of scattering your ideas for all your stories across several different notebooks, just use one notebook per project. I have found it makes a world of different when I can just go to one notebook for everything having to do with Project A instead of rifling through five different notebooks trying to find the note I wrote.  

2) Plot, Plot, Plot

Organization is key to balancing several different writing projects. Writing one book is difficult enough and requires you to be organized, but when you’re juggling two books or more books, organization is essential. Plotting and outlining is a great way to make sense of your different storylines so that they flow cohesively. The last thing you want is your different plots overlapping in your head, which is why creating clear and concise outlines for each will help to keep you on track for each project. 

3) Compartmentalize One Project Per Day

Divide your time evenly amongst your different projects. And when you go to work on a project, work on just that project. For example, if you’ve decided that you have an hour on a Tuesday evening and you want to work on Book A, then just work on Book A. For that hour, pretend that nothing else in the world matters but working on Book A. If you like to spend your Saturday mornings working on multiple outlines, then make sure whatever length of time you take for yourself you evenly distribute for all your outlining projects. I find that if I’m outlining two things at once, I like to set a timer for each. So, if I’ve given myself half an hour each, I’ll set a timer so I stay on track. This also helps to create a sense of urgency to focus my allotted time to the project at hand, rather than wasting time letting my mind wander. Going off this point, dedicate your day to whichever project fits your mood. For example, if you wake up feeling like you’ve got a million different plot points you want to connect, then maybe take that day to focus on the project that is still in its plotting phase. Or, if you wake up thinking of some really good dialogue, then maybe focus on the writing aspect and choose one of your projects that is already in the drafting stage. 

5) Get in Your “Zone”

Before starting work on any project, it’s a good idea to get your head in the game. As writers we all have our different Go to your favorite writing space, play a specific playlist, light a scented candle – do whatever makes you get into that writer frame of mind. This ritual is also helpful when trying to transition between projects that you’re working on. I personally like to use different playlists for each of my projects. The music helps me shift from one story to the next through different themed playlists. But you can do whatever it is that makes you get in your writing zone. 

6) The 10-minute trick

This is great for those writer’s block moments. At some point we will all experience writer’s block on all of our writing projects. But if you don’t want to abandon yet another manuscript then this is a great idea, especially if you’re experiencing writer’s block on the dedicated writing day of one of projects. Rather than letting it roll over to next week or whenever you’ve scheduled yourself to work on it again, try this instead. Sit down at your chosen writing space and set your timer for 10 minutes. And during that time just start working. By the time your alarm goes off, you’ll be so entrenched in the flow you won’t want to stop. 

7) Be Patient and Don’t Give Up

Perhaps the biggest lesson to take away from trying to balance several different writing projects at once is that you need to have patience with yourself. Each project will end up going at its own pace. You might find yourself wanting to constantly write Project A while neglecting Project B or having severe writer’s block on Project C – and that is okay. No one is expecting you to finish all three at once and within an entire year’s timeframe. That is your own internalized pressure. Be patient and just keep going. Everything that you’re writing will eventually get written, you just need to keep working on them. Some of your projects will end up going fast than you expected, others will give you a little bit more resistance. Just keep moving forward and you’ll eventually get there.