Mastering Turning Points in Storytelling

By Jennifer Braddock – Editor

Ever read a story or watch a movie where nothing really happens? Where characters meander through scenes, conversations trail off, and by the end of the chapter, you’re still not sure why you read it? That’s the danger of a story without turning points.

Whether you’re plotting meticulously or flying by the seat of your pants, knowing how and when to shift the direction of your story can keep readers engaged and keep you from getting stuck.


What Is a Turning Point?
A turning point is the moment something changes: an emotional pivot, a decision made, an accident, or a revelation. It doesn’t have to be huge. A character forgetting the bathroom code and getting locked out in a moment of crisis can be just as pivotal as finding out their partner is cheating or the plane is about to crash. Big or small, the point is: the story should never stay still.

When your character says “yes” to something, whether that’s a job, a relationship, a journey, or a truth, the scene needs to end, pivot, or reveal consequences. Unless that “yes” leads to a new challenge or reversal, the scene is over. It’s time to cut and move to the next setup.

Small Turning Points Matter
If your story feels sluggish, ask: What’s changing in this scene? What’s the point of this moment?

  • Did your character forget their lines in a school play? That’s a moment of embarrassment that could change their confidence.
  • Did a dog bark at them in the street? Maybe that moment triggers a memory.
  • Did they get a “yes” from a job interview? Great. What does that decision force them to face?

The story should always move. There are four essential turning points.


The Inciting Incident: The first major turning point is the moment that upsets your character’s ordinary world. It’s the spark. Your character gets fired, gets dumped, discovers a secret, gets an invitation they can’t refuse, or gets For example: by a spider. The incident forces them to make a choice or react.

  • A woman opens a letter meant for someone else and learns her boss is lying about her.
  • A teen forgets their backpack and ends up on a different bus that changes their life.
  • A chef drops a fork, and a customer picks it up, the first spark of a love story.

These are all small events that open the door to a bigger story.


End of Act I: This is the point of no return where the character steps fully into the story. Maybe they lie to protect someone, and now they’re stuck in the lie. Maybe they say yes to an opportunity but realize it comes with serious risks. This moment defines the rest of the story.

From there, each turning point should push the character toward the climax—the biggest turning point of all, where change becomes permanent, and the story can go no further.

Story Climax: The climax is the highest point of tension in your story: emotionally, physically, or both. It’s when your character faces the biggest challenge, makes the ultimate decision, or comes to a painful truth. After this moment, the story can go no further.

The inciting incident, the end of Act I, and every small and large turning point lead to this. It’s the do-or-die, speak-now-or-forever-hold-your-peace, win-or-lose beat.

Examples:

  • A character finally confesses their secret—and risks everything.
  • The hero defeats the villain, but at great cost.
  • A daughter walks away from her family, knowing she won’t come back.

Once the climax happens, there’s no need to keep building tension. The job now is to land the emotional plane, tie up loose ends, show the fallout, and let the reader breathe again. Let the end of your story ring and echo. Then wrap it up with a purpose rather than dragging your story out.

Denouement: Once the climax hits, the reader needs a moment to breathe. That’s why the denouement is important, as the final stretch where the consequences of the climax play out and the emotional arcs come full circle.

This is not the time to introduce new twists or subplots. Think of it as the last few moments after the storm has passed:

  • The hero limps home.
  • The lovers decide whether to try again.
  • The family gathers around a dinner table that’s a little quieter but somehow stronger.

A good denouement answers lingering questions, shows how the world has changed, and gives your readers time to reflect. It’s the moment the character relaxes, looks at the horizon, and we know at that point that after all they’ve been through, they’ll never be the same.

Without it, the climax feels abrupt. With it, your story resonates.

Plotters vs. Pantsers: Turning Points Matter Either Way
Whether you outline every beat or discover the story as you write, keeping turning points in mind will help you stay on track. Don’t write to fill pages, write to shift the stakes. Every scene should have a before and an after. Something happens. A choice is made. A secret is revealed. A bus pulls out.

Your Call to Action!
Don’t get stuck, keep moving. When you hit a wall, look for a turn. Ask: What hasn’t changed yet? What needs to? Turning points don’t have to be explosions. They can be dropped forks, forgotten codes, or missed buses. What matters is that something shifts emotionally, physically, or in the plot. Keep those turns coming, and your story will never stall.

Revisit your draft. Look at each scene and ask, “What changes here? Where’s the turn?” Keep the motion going, and you’ll find your way from start to finish—without getting stuck in the middle.

Do you have questions or comments? Ask Besty Bot about the writing craft and how to publish your book with Best Chance Media!

Copy and Share this Post on Your Social Media:

🚨 Stuck in the middle of your story? You might be missing a turning point. Every scene should shift something: an emotion, a choice, a direction. Whether it’s a dropped fork or a life-changing “yes,” something must change.

✍️ Inciting incident? That’s your spark.
🎬 End of Act I? That’s your no-turning-back point.
🏁 Climax? That’s the final pivot before the end.

Whether you’re an outliner or a pantser, turning points are your best friend. Keep the story moving. Don’t write in circles, write to change. #WritingTips #StoryStructure #TurningPoints #AmWriting #FictionWriters #WritersOfInstagram #PlotTwist #KeepWriting #PantsersAndPlotters #WriteToChange https://bestchancemedia.org/2025/12/04/from-fork-drops-to-life-flops-writing-turning-points-that-keep-stories-moving/

Master Self-Editing Before Hiring an Editor

By Jennifer Braddock – Editor

You typed “The End.” You’re euphoric. You’re exhausted. You’re ready to send your masterpiece off to an editor… but slow your roll, Hemingway. Drafting is just half the job.

Now comes editing. This is the tedious part that turns your messy genius into a manuscript readers won’t want to put down.

Before you hire anyone, give your manuscript a round or three or four of self-editing. You’ll save money, make your editor’s job easier, and catch obvious stuff yourself.

Self-Editing Checklist:

  • Take Your Time: Editing is a slow process. When you find that your mind is wandering. It’s time to stop. Take a break and come back later.
  • Structure: Does the story flow logically? Do scenes build tension? Are character arcs satisfying?
  • Style: Are there overused words or cliches? Do you vary sentence structure?
  • Dialogue: Does it sound natural? Does each character have a distinct voice?
  • Pacing: Are there slow spots or info dumps?
  • Continuity: Are your character’s eyes blue on page 10 and brown on page 200?

Use Tools, Not Crutches

Digital tools can be helpful, but don’t let them write your novel for you. There are limited feature free versions, but do a pretty good job. If you’re reading your words and a historical point doesn’t make sense, cross-check your information. It doesn’t matter if you use an online tool or have people give you notes, you still have to decide whether or not you want to accept the proposed changes. Run your work through these, but read every suggestion critically. Don’t let algorithms rewrite your voice.

Popular Tools:

  • Grammarly: Good for catching spelling and grammar issues, but it can kill your style if you accept every suggestion.
  • ProWritingAid: Offers style suggestions and checks for repetition and readability.
  • AutoCorrect: Great for typos, dangerous if you rely on it blindly. It only catches misspellings, not homonyms.
  • Natural Reader: Text-to-speech is a good way to hear how your words sound. You can edit while you’re listening, then copy your work back into the manuscript.

Know Your Editor Types

Different editors do different things. Hiring the wrong kind is like bringing a plumber to fix your roof.

Types of Editors:

  • Developmental Editor: Big picture stuff, like plot, structure, character arcs.
  • Line Editor: Sentence-level style, flow, and clarity.
  • Copy Editor: Grammar, punctuation, consistency, factual accuracy.
  • Proofreader: The final polish. Typos and formatting only.

When to Hire an Editor

Once you’ve self-edited and maybe gotten beta reader feedback, then it’s time to hire.

Timing Tips:

  • Hire a developmental editor early if you’re unsure about your story structure.
  • Bring in a line editor once the plot is solid and your draft is clean.
  • Use a copy editor before you submit to agents or self-publish.
  • Get a proofreader after layout or formatting is done.

Your Call to Action!
Finishing your first draft feels like crossing the finish line, until you realize you’ve just qualified for the marathon. Treat editing like a vital part of your writing process. It is not a punishment. Then, you’ll come out with a manuscript that actually earns those five-star reviews.

Ready to level up your manuscript? Start with self-edits, test-drive some tools, then find the right editor for your stage. Share this post with your writing group, and let’s raise the editing bar together.

Do you have questions or comments? Ask Besty Bot about the writing craft and how to publish your book with Best Chance Media!

Copy and Share this post to your social media:

📚 You finished your draft—congrats! But don’t hire an editor just yet.
First, self-edit like a boss. Then choose the right editor for the job. Not sure where to start? This post breaks it all down—tools, timing, and types of editors you actually need.✍️
https://bestchancemedia.org/2025/11/20/so-you-think-youre-done-a-writers-guide-to-editing-before-you-hire-an-editor/

#AmEditing #WritingTips #IndieAuthorLife #SelfEditing #EditingTips #Grammarly #ProWritingAid #WritersOfInstagram #WritersCommunity #FinishTheDraft #WritingJourney #HireAnEditor

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Why Picking a Genre Matters More Than You Think

By Jennifer Braddock – Editor

When I first started reading about query letters, one piece of advice kept popping up: agents and publishers want to know your genre.

At first, I resisted. “My book doesn’t fit into a neat little box,” I thought. “It’s unique!” But here’s the truth: uniqueness and marketability aren’t the same thing.

I’m looking for ‘funky, magical romance’!

Think of it this way. Walk into a bookstore. What do you see? Shelves with clear labels: Mystery, Romance, Science Fiction, Memoir. If your book doesn’t fit neatly under one of those signs, where would a bookseller put it? If readers can’t find your book, or don’t know what to expect when they pick it up, they likely wont buy it.

This isn’t about stifling creativity. It’s about speaking the same language as the people who will help you get your book into readers’ hands. Agents, publishers, and booksellers all use genres as shorthand for understanding your audience.

  • Agents want to know your genre so they can decide if your book fits the kinds of projects they represent. An agent who specializes in romance won’t take on your hard sci-fi novel, even if it’s brilliant.
  • Publishers need genres because they plan book launches around clear categories. If they don’t know whether your book is a historical novel or a thriller, they can’t figure out where to market it, or which editor will champion it.
  • Readers use genre as a promise. When they pick up a mystery, they expect a crime to solve. When they buy a romance, they expect a love story. Delivering on those expectations builds trust and keeps them coming back.

Here’s a simplified way to think about it:

  1. Start broad. Is your book fiction or nonfiction?
  2. Pick a lane. If it’s fiction, is it a mystery, romance, fantasy, historical, or literary novel? If it’s nonfiction, is it memoir, history, self-help, or true crime?
  3. Drill down. Subgenres help narrow your audience. Is your fantasy epic or urban? Is your romance historical or contemporary? Is your memoir a travel memoir or a grief memoir?

Here’s the most important part: be strategic. Query agents and publishers who actually represent or publish your genre. If you have a unique hybrid subgenre, position it smartly in your query letter or pitch.

For example, you might describe your book as “a mystery with speculative elements” rather than forcing an agent to wrestle with a brand-new label. If you spend too much time explaining why your work is part this and part that, you risk sounding uncertain—and uncertainty is the fastest way to lose interest.

Another tip: think about genre before you start writing. Rather than pouring your heart into a draft and then pulling your hair out trying to shoehorn it into a category later, give yourself a boundary from the beginning. Boundaries aren’t restrictions; they’re frameworks. Knowing your story is a thriller, a romance, or a memoir helps guide your choices as you write and keeps you from drifting so far that your story doesn’t fit anywhere.

Once you know your category, you can find comp titles—books that are similar to yours in tone, audience, or subject. Comp titles aren’t about proving your book is unoriginal; they show agents, publishers, and readers where your book fits in the marketplace and why it belongs on the shelf.

So, yes, your book might straddle genres, but for the sake of selling it, you need to pick one primary genre and maybe a subgenre. Think of it as giving your book a home. After all, if you don’t know where to shelve it, how will anyone else?

Call to Action: The next time you sit down to write—or revise—ask yourself: What shelf would my book sit on in a bookstore? Start there, and you’ll save yourself countless headaches when it’s time to query, pitch, and ultimately connect with readers who are already waiting for a story just like yours.