How to Show, Not Tell: Using Character Actions to Bring Your Fiction to Life

From Edie: Zena Dell Lowe shares how to show, not tell by using character actions and visual imagery to reveal emotions, strengthen fiction, and engage readers.

How to Show, Not Tell: Using Character Actions to Bring Your Fiction to Life

by Zena Dell Lowe @ZenaDellLowe

How to Get the Story Out of the Character's Head and Onto the Page

If you're a novelist, you're accustomed to filtering everything through your character's thoughts. Every detail—the world, the events, the emotional beats—comes to the audience filtered through the character's mind. It's their perspective that shapes the narrative.

In screenwriting, however, there's no such luxury. A screenplay doesn't allow you to tell the audience what a character is thinking or feeling. Instead, everything must be shown through action, behavior, and visual imagery.

How to Improve Your Novel’s Pacing and Keep Readers Turning Pages

From Edie: Zena Dell Lowe helps writers learn how to improve your novel’s pacing, create stronger story momentum, avoid slow scenes, and keep readers engaged and turning pages until the end.

How to Improve Your Novel’s Pacing and Keep Readers Turning Pages

by Zena Dell Lowe @ZenaDellLowe

Writing a novel is like running a marathon. It’s not just about starting strong. You have to maintain momentum all the way to the finish line. That can be difficult when you’re trying to sustain a 70,000–85,000 word story. It’s easy to get bogged down in the middle. Characters start drifting. The story seems to lose the energy it had at the beginning. 

Why Your Story Feels Flat: The Difference Between Emotional and External Conflict

From Edie: Zena Dell Lowe shares insights into why your story may feel flat. Learn the difference between emotional and external conflict and discover how to write fiction that grips readers from beginning to end.

Why Your Story Feels Flat: The Difference Between Emotional and External Conflict

by Zena Dell Lowe @ZenaDellLowe

Writers know they need conflict. They understand instinctively that scenes require tension, pressure, obstacles, and stakes. But instead of allowing the conflict to emerge naturally from the emotional and relational dynamics already present in the story, they often manufacture external problems that are far less compelling than the conflict they’re avoiding. 

What Makes a Story Matter? How Great Fiction Shapes Hearts, Minds, and Souls

From Edie: Zena Dell Lowe shares how our stories do matter. And helps writers discover seven qualities of meaningful fiction that inspire hope, reveal truth, and leave a lasting impact on readers.

What Makes a Story Matter? How Great Fiction Shapes Hearts, Minds, and Souls

by Zena Dell Lowe @ZenaDellLowe

I’ve spent the last month at a few different conferences talking to writers about their stories. And beneath all the discussions of mythology, character development, story structure, and arc, there’s an underlying question that creatives seem to be asking:

Does my story matter?

The fact is, not all stories are created equal. Some stories matter more than others—not because of their genre or popularity, but because of the truths they embody and the loves they cultivate.

Why Writers Should Never Make Smart Characters Act Dumb

From Edie: Why do readers stop believing characters? Zena Dell Lowe shares why writers should never make smart characters act dumb for the sake of the plot, and discover how character consistency strengthens tension, credibility, and reader trust.

Why Writers Should Never Make Smart Characters Act Dumb

by Zena Dell Lowe @ZenaDellLowe

Have you ever been watching a show where a character does something so obviously wrong that you actually say out loud, “Wait… what are you doing!?”

Stop Writing “Christian Stories:” How to Write Fiction with a True Christian Worldview

From Edie: Zena Dell Lowe offers insight as to why so much Christian fiction feel shallow. With her help, learn how to write stories rooted in a true Christian worldview—honest, compelling, and aligned with biblical truth without being preachy.

Stop Writing “Christian Stories:” How to Write Fiction with a True Christian Worldview

by Zena Dell Lowe @ZenaDellLowe

Why are so many Christian stories so bad? Not all of them. But enough of them that even Christians hesitate to recommend them. It’s not because the talent isn’t there or the stories don’t matter. It’s because we’ve misunderstood what we’re trying to make.

Somewhere along the way, people started using the term Christian as a genre label. But a Christian worldview is not a genre. It’s a lens through which reality is interpreted. Confusing the two is exactly why so much faith-based content feels preachy, shallow, emotionally dishonest… and, if we’re being honest, bad.

What Makes a Story Meaningful? A Christian Writer’s Guide to Darkness, Hope, and Redemption

From Edie: Discover what makes a story truly meaningful through a Christian lens. Learn how to balance darkness with hope, build redemptive themes, and create stories that resonate deeply with readers.

What Makes a Story Meaningful? A Christian Writer’s Guide to Darkness, Hope, and Redemption

by Zena Dell Lowe @ZenaDellLowe

In anticipation of this year’s Oscars, I’ve been watching as many nominated films as I can—an unpleasant task at times, given the dark worldviews many of these films present. The problem isn’t that these films portray the plight of the human condition. Great stories often do. The problem is when a story makes assumptions about human beings that render suffering meaningless or inevitable.

So today I want to explore the difference between a dark tragedy and a nihilistic story. By nihilism, I don’t mean a story that is bleak or emotionally heavy. I mean a story that assumes there is no ultimate meaning, no moral order, and no real possibility of redemption.

Why Identity Is the Key to Character Development: How True vs. False Identity Shapes Every Story

From Edie: Discover why identity is the foundation of powerful storytelling. Learn how true vs. false identity shapes character development, drives conflict, and creates meaningful character arcs that resonate with readers.

Why Identity Is the Key to Character Development: How True vs. False Identity Shapes Every Story

by Zena Dell Lowe @ZenaDellLowe

There’s a lot of talk these days about identity. People are constantly saying things like, “I identify as….” But what does that actually mean? What defines a person’s identity? And more importantly for storytellers—why does identity matter so much in story?

How to Write Righteous Anger in Fiction (Without Turning Your Hero Into a Villain)

From Edie: Learn how to write righteous anger in fiction so it reveals injustice, raises stakes, and motivates courageous action—without crossing into vengeance. Craft a hero’s “enough is enough” moment with depth, restraint, and moral clarity.

How to Write Righteous Anger in Fiction (Without Turning Your Hero Into a Villain)

by Zena Dell Lowe @ZenaDellLowe

I came across a quote by John Chrysostom recently, and I can’t stop thinking about it:

“He who does not get angry when there is just cause for being so, commits sin. In effect, irrational patience sows vices, maintains negligence, and encourages not only bad men to do wrong, but good men as well.”

That’s quite a statement—and not one you often hear in our modern culture, where anger is almost always framed as negative, dangerous, or destructive. But Chrysostom’s point is sharper than that: not being angry when we ought to be is itself a moral failure. Sometimes, anger is not only appropriate—it is necessary.

That got me thinking about the role of anger in story.

Is Your Novel Ready for a Film Adaption? How to Begin the Process of Adapting My Story for Film

From Edie: Learn how to decide whether you should adapt your novel into a screenplay, including key choices, professional tradeoffs, and the practical steps writers need to take next.

Is Your Novel Ready for a Film Adaption? How to Begin the Process of Adapting My Story for Film 

by Zena Dell Lowe @ZenaDellLowe

As we head into the New Year—a season when so many writers pause to reflect on their creative goals—it’s natural to wonder whether your story might be ready for something bigger. Maybe even the big screen.

In Part 1 of this series, I outlined the four criteria every novelist should consider before deciding whether adaptation is even a viable path. If you finished that article thinking, “Yes… I think my story really could work as a film,” then the next logical question becomes: How do you actually begin the process?

Here are the essential steps. 

1. Should You Adapt It Yourself—or Hire Someone?

Before anything else, you must decide what you’re submitting to a production company. There are two main approaches:

Approach 1: Submit Only Your Novel

Some authors query production companies with their published book, hoping the studio will option it and hire a screenwriter to adapt it in-house. This still happens, but it’s increasingly rare—especially for smaller companies—because hiring a screenwriter requires upfront money before they know whether the project has commercial potential.

Approach 2: Submit a Completed Screenplay

Submitting a finished script makes your project far more attractive because it mitigates financial risk for the producers. But that leads to the real decision:

Do you adapt it yourself, or hire a professional screenwriter?

Adapting it yourself

There are clear benefits. It saves you money. It ensures that your adaption matches your vision. And because you know your characters intimately, you can often preserve nuance more effectively.

However, screenwriting is not “a novel with different margins.” It’s a fundamentally different art form—visual, structured, auditory, and incredibly lean. Writers who haven’t studied screenwriting often underestimate how truly difficult it is.

Hiring a professional screenwriter

If you don’t want to spend years mastering the craft, you can hire a professional to adapt your novel. This ensures you end up with a polished script shaped by someone trained in the medium. However, it will cost you money (and you get what you pay for), you will relinquish some creative control, and even if you end up with a beautifully written cript, there’s still no guarantee it’ll get made. 

Either way, you’re investing time, money, or both. So, approach this decision with clear eyes and realistic expectations.

2. What Happens After the Screenplay Is Finished?

Let’s assume you now have a completed screenplay—written by you or adapted professionally. This is where the real work begins. Here is a clear path forward:

Step 1: Get Professional Feedback

Before you send your script anywhere, get outside evaluation. Submit to competitions that offer detailed notes, not just rankings. Pay for at least three festival critiques so you can spot patterns. If multiple readers flag the same issue, it probably needs fixing. Strong placements and awards can also serve as credibility when approaching production companies.

Step 2: Revise and Format Correctly

Screenplay formatting is not cosmetic—it’s storytelling. Formatting conveys tone, rhythm, emotional beats, and even budget. A script with sloppy or amateur formatting often won’t get past page one. This is why I teach writers how to use formatting as an artform, not just a technical checklist. (Learn more about my course here: https://thestorytellersmission.com/formatting-as-an-artform)

Step 3: Build a Pitch Package

A screenplay rarely sells by itself. You will also need:

• A strong logline (one sentence)
• A 1–2 page synopsis
• A treatment (5–10 pages)
• A pitch deck or lookbook that conveys tone, genre, character breakdowns, and comps
• A professional bio (including awards, publication, or contest placements)

Think of this as your professional calling card—your project’s first impression.

Step 4: Research and Target the Right Production Companies

Don’t shotgun-blast your script to everyone. Research companies that already produce your genre. Study their submission guidelines. Find out what genres they’re actively seeking. Write personalized query letters. And track everything in a spreadsheet. This part of the process can take years. That’s normal. You have to commit to the long haul.

Step 5: Attend Film Festivals and Network

You don’t have to move to Hollywood to build industry relationships. Attend regional film festivals. Introduce yourself to filmmakers. Let people know you’re a writer. Some of the best opportunities come from organic conversations, not cold submissions.

Final Thoughts (and a New Year Challenge)

Adapting your novel into a screenplay can be an incredibly rewarding venture—but only if your story is strong, cinematic, financially feasible, and approached with professional rigor—including the excellence that opens doors.

As we enter the New Year, this might be the perfect moment to take stock of where your story truly is… and decide whether 2026 is the year you take this bold step. And if you’d like guidance along the way, please do reach out to me at zena@thestorytellersmission.com to book a coaching call. I’d love to help.

Whatever you choose, stay true, stay excellent, and keep writing stories that matter.

Happy New Year!

Zena

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Is Your Novel Ready for a Film Adaption? How to Begin the Process of Adapting My Story for Film from @ZenaDellLowe on @EdieMelson (Click to Tweet) 

Don't Miss the Rest of this Valuable Series!

Part 1: How to Know if Your Story is Viable for the Screen

Part 2: How to Begin the Process of Adapting My Story for Film 

Zena has worked professionally in the entertainment industry for over 20 years as a writer, producer, director, actress, and story consultant. Zena also teaches advanced classes on writing all over the country. As a writer, Zena has won numerous awards for her work. She also has several feature film projects in development through her independent production company, Mission Ranch Films. In addition to her work as a filmmaker, Zena launched The Storyteller’s Mission with Zena Dell Lowe, a podcast designed to serve the whole artist, not just focus on craft. In 2021, Zena launched The Storyteller’s Mission Online Platform, where she offers advanced classes and other key services to writers. Zena loves story and loves to support storytellers. Her passion is to equip artists of all levels to achieve excellence at their craft, so that they will truly have everything they need to change the world for the better through story.

To find out more about Zena or her current courses and projects, check out her websites at WWW.MISSIONRANCHFILMS.COM and WWW.THESTORYTELLERSMISSION.COM

Is Your Novel Ready for a Film Adaptation? How to Know If Your Story Is Viable for the Screen (Part 1)

From Edie: Discover the key criteria that determine whether your novel is a strong candidate for film adaptation. Learn how to evaluate story structure, genre, marketability, and budget considerations to decide if your book is truly viable for the screen.

Is Your Novel Ready for a Film Adaptation? How to Know If Your Story Is Viable for the Screen (Part 1)

by Zena Dell Lowe @ZenaDellLowe

Book-to-film adaptations are everywhere right now. Between the rise of streaming platforms, independent studios, faith-based production companies, and the success of projects like The Chosen, more writers are asking the same question:

“Should I adapt my novel into a screenplay—and if so, how do I get it made into a movie?”

The Masks We Wear: What Halloween Teaches Writers About Character Arcs

From Edie: Discover what Halloween reveals about character development. Learn how to unmask your characters and craft powerful, authentic arcs that transform readers.

The Masks We Wear: What Halloween Teaches Writers About Character Arcs

by Zena Dell Lowe @ZenaDellLowe

Every October, we put on masks and pretend to be something we’re not. But writers know this isn’t just a Halloween tradition — it’s human nature. Every character we create begins their journey behind a mask.

The Masks Our Characters Wear

At the start of a story, our heroes are not yet heroes. They may have all the raw materials — courage, compassion, conviction — but they haven’t yet embodied their true nature. They might have heroic potential, but they’re still playing a role — pretending, avoiding, or hiding. Here are the most common “masks” in story:

Writers Beware: How to Spot Fake Producers and Protect Your Work From Free Labor Scams

From Edie: Learn how writers can spot fake producers, avoid free labor scams, and set professional boundaries to protect scripts, stories, and creative work.

Writers Beware: How to Spot Fake Producers and Protect Your Work From Free Labor Scams

by Zena Dell Lowe @ZenaDellLowe

If you’re a screenwriter or novelist, you’ve probably had someone express interest in your work. Maybe they claimed to be a producer or industry “insider” who could take your story to the next level. But sometimes, these conversations are less about collaboration and more about free labor.

I recently had an encounter that illustrates this perfectly. An independent producer reached out to me, saying he was looking for collaborators. He asked me to read and critique one of his development scripts—without pay—and then requested that I send him one of my own scripts, which happened to be an adaptation of a novel. Believing this might be the start of a legitimate professional relationship, I agreed. I gave him thoughtful notes, sent my script, and invested hours of unpaid effort.

A week later, he came back asking for even more. This time, he wanted to set up a meeting with the author of the novel and me, and he asked that I prepare a full character breakdown for the project—even though he hadn’t finished reading my script. He claimed he was interested in developing it into a TV series based on my pitch, but I had no contract in place; no assurance that this would lead to anywhere but wasted time. That’s when alarm bells went off.

The #1 Mistake Writers Make in Plotting—and the Simple Fix

From Edie: If you're struggling with story structure, this blog post can help you discover why character-driven plots create stronger, more engaging stories—and how one simple shift can transform your writing.

The #1 Mistake Writers Make in Plotting—and the Simple Fix
by Zena Dell Lowe @ZenaDellLowe

I was sitting across from a writer at a recent conference, and she looked at me with that familiar, frustrated expression. “I know what happens in my story,” she said, “but I don’t know how to get there.” 

Suddenly, I was reminded of something I’ve seen over and over again: How so many writers try to build a plot before they’ve built a character. They treat plot like it’s separate from the person experiencing it. And that’s why they continue to struggle. Here's a simple truth about story structure to help you stay on track. 

Think Like a Screenwriter: Show, Don’t Tell Your Novel to Death

by Zena Dell Lowe @ZenaDellLowe

If your character spends most of your novel thinking, your readers will stop feeling.

The problem is, many novelists don’t know how to tell a story without overly relying on their characters’ thoughts. That’s understandable—because in a novel, everything the reader learns is filtered through a character’s point of view. We’re always inside someone’s head, seeing the world through their lens.

In screenwriting, though, the information comes through a literal lens—the camera. It's all about what we see on the screen. Screenwriters can't tell us what a character is thinking or feeling. Their job is to show us, using action, behavior, and visual imagery that gives the audience clues. Then it’s up to the audience to interpret those clues and draw their own conclusions.

So yes, novelists have the luxury of internal thought—and the medium demands it—but too many lean on it like a crutch. They forget that fiction is also a visual art. The key is strategic introspection, supported by storytelling that the reader can see and feel.

Not Every Quirk Is a Flaw: How to Identify a True Character Flaw in Storytelling

by Zena Dell Lowe @ZenaDellLowe

Writers are often told their protagonist needs a “fatal flaw”—something that must be overcome for growth to happen. But what many don’t realize is this: Not every character trait that causes problems is a flaw that must be fixed.

In fact, mislabeling quirks, wounds, or virtues as flaws can weaken your story. To build authentic, compelling characters and arcs, we need to learn how to tell the difference.

10 Ways to Reveal a Hero in Your Manuscript

by Zena Dell Lowe @ZenaDellLowe

If your protagonist is the hero of the story—and let’s be honest, they usually are—then your job is to make sure the audience sees them as genuinely heroic. But how do you do that? What does heroism actually look like in a character?

Below are ten techniques to help reveal the noble qualities of a true hero—each one crafted to bring out the character’s internal greatness in meaningful, dramatic, and emotionally satisfying ways.

When the Hero in Your Manuscript Can’t—or Shouldn’t—Change

by Zena Dell Lowe @ZenaDellLowe

A writer friend recently reached out with a concern. He was telling the true story of a real-life hero who led a dangerous mission to rescue 15 American kids from Afghanistan. The man faces real challenges—age, a heart condition, world weariness—but he doesn’t change in the traditional sense. He just keeps going, because that’s who he is at his core.

So, my friend asked: Can a story work if the hero doesn’t change?

How to Inject Comedy Relief Into Your Story Without Killing the Mood

by Zena Dell Lowe @ZenaDellLowe

Adding comedic relief to a story is like seasoning a dish—you don’t want to overdo it, but without it, things can feel bland or overly heavy. A well-placed joke or humorous moment can make dark stories more digestible, sentimental stories more impactful, and all stories more enjoyable since we love characters that bring humor to our lives. But how do you weave comedy into your story without making it feel forced or out of place?

Roles in Conflict: A Unique Approach to Developing Story Ideas

by Zena Dell Lowe @ZenaDellLowe

When we talk about developing story ideas, we often focus on arenas, themes, or the classic “what if” premises. And while those are all valid starting points, there’s another approach that doesn’t get nearly enough attention, and it’s one of my favorites. Full disclosure: I learned this method from Jeffrey Sweet’s book, “The Dramatists Toolkit.” He calls it Roles in Conflict.