Novlr

Built by writers, for writers, run by writers, and owned by writers, Novlr is the creative writing platform to help you achieve your writing goals.

[novlr]

Welcome to Novlr!

Hi everyone 👋 I’m Pamela, Writer Development and Community Lead at Novlr!

Let me introduce us!

Novlr is a writing workspace designed to get you from the spark of an idea to a completed first draft without any distractions.  We're all about putting writers first and making sure you get words on the page.

Our app is completely free to use for up to five projects, to make writing accessible to more people than ever before. We're also the first creative writing platform to be writer-owned. That's right! We're owned by the writers who use our platform. 

What makes us special?

At Novlr, we put your writing goals at the centre of everything we do. No matter what those goals look like, from words on the page to landing that publishing deal, we're with you every step of the way, working with you to build the features you need to get you there.

We're a writing workspace that cheers you on as you write. Our success nudges will keep you motivated as you reach your milestones, and goal and streak tracking make it easy to see how much progress you're making.

And for those who need the extra detail, our paid plans also include advanced writing analytics that will help you learn all about your writing habits, like when you’re most productive, and help you get the most out of your writing time.

Want to learn more? Just visit us at Novlr.org!

Novlr: the creative writing workspace designed with your writing goals in mind

With Novlr, you can achieve your writing goals. Built by writers and owned by its writing community, Novlr helps you progress along every st

[novlr]

[novlr]

I need to figure out what genre my book is. I don’t think mine is classified as one, if you know what I mean?

You’re definitely not alone in feeling like your book doesn’t fit neatly into a single box. Lots of writers write stories that blend elements, defy conventions, or feel too unique to label. But ultimately all books fit into a genre, yours included.

Genre may feel like it’s limiting, but it isn’t. It’s all about helping readers find your book and setting their expectations for the kind of experience they’re about to have when reading it.

Why does genre matter?

Before we dive into finding the right genre for you, it’s worth understanding why genre classification matters in the first place. Genre is fundamentally a communication tool between you, publishers, booksellers, and readers. It tells readers what kind of reading experience to expect, helps booksellers know where to shelve your work so it reaches the right readers, and gives publishers a sense of your target market.

That said, genre is descriptive, not prescriptive. Just because your work fits into a genre doesn’t mean that you aren’t free to play with the format, tropes, and expectations that come with it.

How do you work out what genre your book is?

What is the setting of your book?

Does your story take place in our world as we know it, or have you built something different? Stories with magic systems, alternate histories, or futuristic technology usually fall under speculative fiction like fantasy, science fiction, or their many subgenres.

Stories in the world as it exists can have a much wider range. Is it set in the past? This can be anything from historical fiction, romance, literary fiction or thrillers. Is it set in the modern day? Again, this can be anything from romance, to crime or cozy mysteries. While a setting won’t help you pinpoint the exact genre immediately, it will definitely help you rule out what it’s not.

What is the core emotional experience?

What feeling do you want readers to walk away from you book with? A sense of justice restored? Butterflies from a love story? A sense of lingering unease? The primary emotional payoff often points directly to your genre. For example.

If the central focus of your novel is the love story, and there’s an emotionally satisfying ending, you’ve probably written a romance book.

If tension, suspense, and high stakes drive the narrative, then you’ve probably written a thriller.

If character and prose take precedence over plot, then you may have written literary fiction.

If fear and dread are the primary emotions you evoke through your story, then you’ve probably written a horror novel.

What is the central question your story seeks to answer?

What is your book fundamentally about? The main question your story poses often reveals genre:

“Will they fall in love?” → Romance

“Will they survive?” → Thriller or Horror

“Who did it?” → Mystery

“What would happen if…?” → Speculative fiction

Who is your target audience?

Think about who you wrote this book for. Are you writing for readers who want to escape into epic adventures? Fantasy, thrillers, or science fiction. Readers seeking the comfort of a guaranteed happy ending? Romance. Those who love piecing together clues? Mystery or crime fiction. People who want to be kept on the edge of their seat? Thrillers.

Your intended readers can help narrow things down a lot. What is your ideal reader looking for? Who do you want to appeal to? Are you looking to offer readers comfort, excitement, intellectual challenge, emotional catharsis? Whatever you answer, you can match that to genre conventions.

Readers choose genres because they’re looking for a particular experience, so understanding what your book delivers helps you find its category.

If you’re unsure, think about the books you were inspired by or the books you’d want yours to sit alongside. Who reads those books? That’s probably your audience too.

What are your comp titles?

Comp titles (short for comparable titles) are already published books that share similarities with yours. They’re incredibly useful for pinpointing genre because they show you where books like yours already live in the market.

To find your comps, ask yourself:

What books have a similar tone or atmosphere to mine?

What books tackle similar themes or subject matter?

What books would fans of my work also enjoy?

If I could put my book on a shelf in a bookshop, what authors would I want to sit alongside it?

Once you’ve singled out a few, look at how they’re categorised. Check their Amazon categories, where they’re shelved in bookshops, and how they’re described in reviews and marketing copy. If three of your comp titles are all shelved under “domestic thriller,” that should give you a pretty good idea of where your book belongs, too!

Aim for comp titles published within the last five years or so, as genre conventions and market categories shift over time. And don’t worry if your comps span slightly different subgenres. That’s normal and can actually help you identify where your book sits within a broader category.

What if my book spans multiple genres?

A lot of books can span multiple genres. A mystery can have romantic elements. A fantasy can be literary. A thriller can include science fiction concepts.

The trick is to identify your primary genre; the one that most accurately describes the core reading experience. You can make a note of any secondary genres or element, but it’s the primary one that’s the most important as far as genre definition goes.

In publishing, you’ll often see mutli-genre books described as “upmarket thriller with romantic elements” or “science fiction mystery.” There’s a genre that it belongs to, with sub-genres adding flavour.

What do you do when you genuinely can’t decide?

The best way to deal with decision paralysis is just to ask someone else. Usually this happens if we’re too close to our work and can’t see the forest for the trees. Get beta readers to give you their opinion, or describe it to someone and see what their initial reaction is. You can also focus on the genre that best serves your marketing. Which audience is most likely to love your book? Lead with that genre and mention cross-genre elements as secondary descriptors. Basically, take yourself out of the equation, and let other people lead you to the right answer.

[novlr]

How to Write the Perfect Antihero | The Novlr Reading Room

Discover the key traits that make an antihero so compelling and explore techniques to bring depth to your morally ambiguous characters.

[novlr]

"I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative." — Elmore Leonard

[novlr]

How do I know whether or not to put my book in multiple perspectives? I think it would make my story better but how do I know if it really *needs* it? Thanks!

This is one of those writing decisions that can keep writers from progressing and lead to massive bouts of procrastination. Ask me how I know 😉. Multiple perspectives can add richness and complexity to a story, but they can also dilute tension or confuse readers if you use them without a clear purpose.

You need to understand why someone would choose to tell a story through multiple perspectives, know how to make it work in a way that flows, and also be objective enough about your work to know if it’s the right choice to make. So let’s dive into how you can tackle all three of those aspects.

Why do writers choose multiple perspectives?

Before deciding if your book needs multiple POVs, it helps to understand what they actually achieve. Multiple perspectives are typically used to:

Show events the protagonist couldn’t witness firsthand.

Create dramatic irony (letting readers know something characters don’t).

Explore different sides of a conflict with equal depth.

Build tension by cutting away at crucial moments.

Develop relationships by showing both characters’ inner worlds.

Expand the scope of your story’s world.

If your story doesn’t need any of these things, a single perspective might serve you better.

Questions to ask yourself:

When deciding whether multiple POVs are right for your story, work through these questions honestly. And I do mean honestly.

Give yourself the space to answer the questions truthfully and not as if you have another writer looking over your shoulder. This is your project, no one else’s, so you need to make the right decision for what it is, and not what you think it should be.

Does each perspective offer something unique?

Every POV character should bring information, insight, or emotional weight that couldn’t be achieved another way. If you can communicate the same information through dialogue, action, or your main character’s observations, you probably don’t need the additional perspective.

Are you solving a problem or creating one?

Sometimes writers reach for multiple POVs because they’re struggling with a single perspective, or finding it limiting or difficult. But switching perspectives won’t fix underlying issues with voice, pacing, or plot. Be honest about whether you’re drawn to multiple POVs because they genuinely serve the story or because you’re avoiding a challenge.

Can readers stay invested across the switches?

Each time you change perspective, you ask readers to reset their emotional engagement. If one POV is significantly more interesting than the others, readers are probably going to get bored. Ask yourself whether each perspective can hold its own weight.

Does your genre expect it?

Some genres lean heavily toward multiple perspectives. Epic fantasy, thrillers, and romance often benefit from them, for instance. Others, like cosy mysteries or coming-of-age stories, typically work better with a single, intimate viewpoint. Think about what readers of your genre expect and whether breaking from that serves your story.

Signs that you probably don’t need a new POV

You’re only adding a second POV for one or two scenes.

The additional perspective reveals information that could be shown another way.

You find yourself struggling to differentiate the voices in each POV.

One perspective feels like filler between the “real” story.

You’re using it to avoid writing difficult scenes from your protagonist’s limited POV.

If any of those sound like you, then you probably should rethink whether multiple POV’s is right for your project.

A practical test

Try this: outline your story using only your main character’s perspective. Note every moment where you feel limited or frustrated by what they can’t see or know. Then ask yourself whether this is a limitation a problem, or is it actually creating tension and mystery that benefits the story?

Sometimes what feels like a limitation is actually a strength. A reader who knows only what your protagonist knows becomes deeply invested in their journey. Does the mystery and lack of knowledge actually make the pacing of your story better, or is there critical worldbuilding that your reader misses out on by only having a single POV.

There’s no universal answer to whether a story “needs” multiple perspectives. The real question is whether each perspective earns its place by offering something essential that couldn’t exist otherwise. If you can express exactly what each POV contributes, and it’s more than “I want readers to see this scene,” then multiple perspectives may well strengthen your story.

If you’re unsure, try writing a few chapters in both and seeing how you go. Your first draft should never be your final draft, so there is nothing stopping you from trying both options and putting them in front of readers to see which lands best.

[novlr]

How to Pitch Your Novel to Agents Like a Pro | The Novlr Reading Room

In this post, we'll walk you step-by-step through how to pitch your novel to literary agents like a pro and stand out from the crowd.

[novlr]

Hello! I got a "We just updated, refresh?" message this morning, and I was wondering if Novlr has a page that summarizes what changes between updates. Appreciated!

We'll be trying to keep our changelog up to date. You can view it here!

Changelog | Novlr

Read the latest updates from the Novlr team. Powered by Noora.

And don't forget that you can vote on features and make requests in the roadmap as well.

[novlr]

“When you're a writer sometimes you have to spend time poking at part of yourself that normal, sane people leave alone.” — Vikram Chandra

[turtlevariabilis]

Definitely the how is much more important than the what. Context is everything.

(Yes, I’m giving amazing writing advice, okay?)

[novlr]

How do I make a calm and collected character in a very overwhelming situation?

Writing a character who remains composed when everything around them is falling apart is a hard thing to do, especially since I’m sure a lot of us don’t feel that way when we’re in tricky situations. My significant other is cool as a cucumber when something is genuinely stressful, and I’m in constant awe of his ability to just be calm and take charge.

When it comes to writing a calm character in an overwhelming situation, the balancing act comes when you want them to feel grounded and in control, but not so detached that they seem robotic or unfeeling. The trick is understanding that being calm isn’t an absence of emotion; it’s managing those emotions in a way that serves the situation they’re in.

Understand where their calm comes from

Before you can write a calm character convincingly, you need to understand why they’re calm. Their composure ought to have a source. Does their calm come from:

Training or experience? Military personnel, emergency responders, or anyone who has faced repeated crises may have learned to compartmentalise and therefore find it easier to remain calm in situations outside of their normal experiences.

Personality? Some people are naturally less reactive and process their emotions internally rather than externally.

A coping mechanism? Their calm might be a learned defence against trauma or chaos in their past.

Responsibility? They may stay calm for others because someone has to, and they’ve taken on that role.

Neurodivergence? Many neurodivergent people may panic or stress at the little things in their lives, but when something genuinely big and dramatic happens, they’re suddenly calm and collected as adrenaline and dopamine flood their systems.

Understanding the root of why they are calm will help you write it authentically because those reasons will feed into their entire characterisation. It will feel genuine in the moment because you really know your characters.

Separate internal experiences from external behaviour

What a character shows and what they feel are not always the same thing. Even the most composed person experiences physiological stress responses that might not be visible to others. Their bodies react even if their behaviour doesn’t.

You can show this through:

Physical sensations like a racing heart, a tight chest, or icy hands.

Controlled breathing to ensure they have a strong and calm voice when they speak.

Micro-reactions like a brief pause, tightening their jaw, or a moment where their eyes flicker before they respond.

An internal monologue that lets readers into their head where the storm is happening, even as they appear calm externally.

Duality helps to create tension and makes characters feel three-dimensional rather than emotionless. Just because other characters can’t see the emotions doesn’t mean that someone doesn’t experience them. It can also make a good revelation later on down the line if someone misinterprets a calm character as cold and distant.

Use their actions to show competence

Calm characters often show their composure by doing rather than feeling. When chaos erupts, they act. They do things deliberately and with calculation. You can show them:

Assessing the situation methodically.

Prioritising what needs to happen first.

Giving clear, steady instructions to others.

Focusing on solutions rather than dwelling on the problem.

Stepping up to take charge, whether it is reluctantly or unasked.

Use strategic cracks in their facade

To make your composed character feel real, build in moments where their control slips, even just a little. This might look like:

A sharp edge to their voice that they quickly smooth over.

Hands that stay calm but finally start to tremble when the crisis is over.

A private moment where they come close to a breakdown.

Delayed emotional reactions that surface later.

Moments of vulnerability make a character’s composure more impressive. Readers will understand that their calm is earned and doesn’t come without effort.

[novlr]

The Synonym Question: Whose Advice is Right? | The Novlr Reading Room

Synonyms are all about precision rather than variety. Learn when to use them and when repetition is the right choice.

[novlr]

“Art stands on the shoulders of craft, which means that to get to the art, you must master the craft.” — Ann Patchett

[novella-november]

Friends, I cannot emphasize enough to you that the ability to accept criticism without flying off the handle is *critical* to your ability to be a published author.

[plain text: Friends, I cannot emphasize enough to you that the ability to accept criticism without flying off the handle is *critical* to your ability to be a published author. End plain text.]

If you cannot accept constructive criticism on your drafts, you are not ready to be published.

If you cannot accept negative reviews, you are not ready to be published.

If you cannot accept negative reviews without claiming that anyone who critiques your book is doing the equivalent of actively trying to suicide-bait you...

You are not ready to be published.

[Plain text: you are not ready to be published. End plain text]

If you cannot handle constructive criticism or negative reviews, and you still want to go ahead with publishing, you need to, at minimum:

* Use a penname completely unattatched to your person

* blacklist every. single. variation, acronym, character name, world setting name, author penname etc assosciated with your work on every single browser extension possible so you cannot come across critique of your work unless it is the most vaugely-worded post in the world.

* Completely get rid of / stay off of all social media for at least a few months after you publish your work

* do not look at reviews or discussions about your work

* if you want to get feedback but can't handle it directly, get a trusted friend, or hire someone to aggregate common compliments or complaints about the work that they can present to you in a calm, friendly setting, while you have something on hand to help you regulate your emotions.

* Legitimately: seek therapy to help you regulate your emotions, especially if you have (or suspect you have) autism, ADHD, BPD, NPD, etc that can make it harder to regulate your emotions, as our nervous systems tends to overreact *drastically* to negative feedback, and can make it feel like the whole world is crashing and burning down around your ears simply because someone left a review that *doesn't* view your work as some variation of god's gift to mankind perfection.

* If your first instinct to seeing critique of your published work is to immediately and publicly proclaim that anyone who thinks poorly of your work is

"Just [racist, queerphobic, ableist, xenophobic, etc] Because I, the author, am [insert minority here], and I included [ insert minority here] characters in my work!!!!! And also they want me to *dieeeeeee!* "

... you are not ready to be published.

TL;DR: if you are incapable of receiving constructive or negative criticism of your written works, you are not ready to be published. If you go ahead with publishing despite knowing you cannot handle criticism, it is your responsibility to blacklist all relevant terms regarding your work, and not seek out or interact with reviews of *any kind* until you can regulate your emotions in a responsible, professional manner.

[novlr]

I'm struggling to make my characters' relationships feel real. They interact, but it feels flat. How do I give them chemistry?

So much of what makes a plot interesting is character chemistry. And that goes for both positive and negative. Stories are all about characters: how they interact with each other and the world around them. Whether they’re friends, rivals, lovers, family, or enemies, their relationships need to be believable.

What is character chemistry?

Character chemistry is the intangible quality that makes a reader believe in a relationship that characters share. It’s what transforms names on a page into people who seem to know, understand, and affect each other and the world around them. Chemistry can exist between best friends, siblings, a mentor and student, or even enemies who have a grudging respect for one another, so don’t be afraid to explore these relationships beyond romance.

Generic interactions create generic relationships. When characters have unique ways of relating to each other, like their habits, rhythms, and interpersonal dynamics that are theirs alone, they’ll feel more real. Character chemistry comes down to knowing your characters well enough to know how they behave.

How do you write it?

Behaviour

One of the most effective ways to show chemistry is through the small, often unconscious behaviours that characters exhibit around each other. Things that might signal chemistry to a reader could be characters unconsciously mirroring each other’s actions. Something like picking up a drink at the same moment or shifting their stance at the same time.

In a relationship, chemistry will often show up as characters prioritising each other’s needs without making a big deal of it, or developing habits they only exhibit when they’re together. Perhaps one character only laughs a certain way around another, or they share inside jokes.

Vulnerability is also a very powerful way for behaviour to signal chemistry. Characters who can let their guard down around each other show a level of trust that reads as genuine intimacy. Over time, you might even have characters unintentionally adopt each other’s mannerisms or phrases as a subtle signal that they’ve become intertwined.

Meaningful interactions

Dialogue and shared scenes are where chemistry lives or dies. The secret ingredient is subtext. Characters with real chemistry rarely info-dump, because they’re usually in sync with the way they’re feeling (even if it isn’t conscious). For this reason, there’s is often something hiding just underneath the surface of their conversations that readers should be able to pick up through context clues rather than a character monologuing their feelings.

Dialogue that shows chemistry will often include playful banter and light teasing that reveals affection. But it also allows for moments of comfortable silence, because when you’re really in sync with someone, not every moment needs to be filled with words. When conflict happens between characters with powerful chemistry, it can be heated but should ultimately strengthen their relationship.

Body language

What characters do with their bodies often speaks louder than their words. Subtle touches like brushing hands and lingering glances can say a lot. Characters who lean towards each other while talking signal attraction or deep interest, and if their eyes light up or soften when they look at one another, or they instinctively position themselves between the other and a perceived threat, then you’re signalling a connection to your readers.

The right attitude

The attitudes that characters hold toward one another shape how readers perceive the relationship. Characters with strong chemistry show a unique respect toward each other that differs from how they treat others. They’re consistently patient with each other’s flaws and willing to compromise. They give each other the benefit of the doubt during misunderstandings and offer unconditional support during difficult times.

Genuine chemistry is often demonstrated by pride that is untainted by jealousy. Characters with chemistry applaud each other’s successes. They have faith in each other’s abilities and decisions, openly express admiration for one another’s talents, and maintain a positive outlook on the other’s intentions even when they make mistakes, and even if they don’t always like a decision or agree, they at least respect it.

How chemistry affects your story

Strong character chemistry creates ripple effects through a story. On the positive side, it can lead to stronger alliances, deep romantic subplots, and believable character development as characters influence each other. Moments of triumph become more powerful when achieved through combined strength.

However, chemistry can also drive conflict. Misunderstandings become more painful between characters who genuinely care for each other. Antagonists can exploit strong connections to create obstacles. Betrayals hit harder, sacrifices carry more weight, and tragic outcomes resonate when chemistry makes characters act irrationally for each other.

Both positive and negative outcomes serve your story. The critical part is using chemistry intentionally to heighten whatever emotional beats you’re aiming for.

[novlr]

How to Write Amazing Narrative Non-Fiction | The Novlr Reading Room

Want to learn what makes amazing narrative non-fiction? Get insider tips from commissioning editors and learn what publishers are looking fo

[novlr]

“It’s always a part of my purpose as a storyteller to first create characters that the reader will be anxious for.” — John Irving