Fix Your Writing Habits

a tumblr to encourage the writer in everyone, sometimes accompanied by a whole lot of swearing.

[motherfuckingshakespeare]

A HANDY CHART FOR THOSE OF YOU WONDERING WHAT THE FUCK IS UP WITH THESE. NOTE THAT THESE ARE ALL THE INFORMAL AND YOU IS THE FORMAL SO LIKE YOU WOULD ALWAYS ADDRESS YOUR SUPERIOR/ OLDER PERSON/ SOCIAL BETTER WITH YOU BUT WITH YOUR BUDS YOU CAN USE THESE. 

[heywriters]

How to survive the phase of shitty writting? I know i can't skip it in order to grow, but realistically, how to not give up? I already tried to quite completly, but i still feel that call,nbut when i try to write it feels so pointless. How to keep going knowing everything i create is worthless for now and i don't even feel i'll ever progress? I’m trying to come back after quite long time of not writing, i was writing for years before but never got any good, so obviosly i wont come back to write a masterpiece right away, i never aimed for a mastepiece in fact, i just want to make it any readable and i know i need to practice but i’m worried it can never get better.

I get asks like this every now and then, and they always contain the problem.

Your writing is not shitty. It is not worthless.

Bloggers using these terms to describe early writing are often being either glib or depressing. Ignore their advice if it is making you feel bad.

Do you write for pleasure or for praise/accomplishment? If the latter, then you are simply in the practice stage. Practice is inherently worthwhile and no effort in this regard is a waste.

If you write for pleasure, then everything you create fulfills its purpose by being entertaining to create. A small child does not drop the crayon when it realizes its drawing will never be in the MoMA, does it? No, they don't care they just like drawing stuff. Adopt that mindset. Just write to get words on the page and ideas developed because you want to.

My advice for the insecure writer:

Stop re-reading your own work; you're a very biased critic right now and that in itself is holding you back.

All improvements are for later drafts. Trust me, you'll have whole new ideas by draft three so put off the nitpicking and focus.

Avoid outside opinions, writing advice, and blogs like mine for a while; we tend to inadvertently make you feel like you've done everything wrong and need to start over.

Stop starting over. Stop deleting your early drafts. Save all of it (this was the best advice I ever received).

Read and watch books and movies for motivation, and to analyze their strengths and weaknesses.

Do. Not. Compare. Yourself. To Other. Writers—your art is about you and what concerns you, other creators have nothing to do with it.

Remind yourself dumber people are doing it wrong confidently. Copy their confidence.

When you feel self-doubt creeping in again, tell it to take a hike, you've got a story to write.

Whatever you write, no matter the quality, take pride in being a writer at all. Lazy suckers just use AI.

There's nothing wrong with making a mess. How are you supposed to learn from constant perfection? Scratch out dumb sentences, leave afterthoughts in the margins, and side tangents in brackets. If the writing isn't going well, write ROUGH DRAFT in big letters at the top to remind yourself it's just a sketch of what you had in mind, not the finished product.

"...i’m worried it can never get better" I have great news for you! This fear will only be realized if you quit. Since you feel the pull to write there's clearly no point in quitting, your brain already knows writing is the answer. Ideas don't like to wait, and life will keep trying to interrupt you with bigger things, so there's really no time like the present. Go write!

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Please review my pinned Ask Policy before sending in your ask. Thank you.

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[literaticat]

For illustrated mg and chapter books, since illustrations can take up a lot of page space, what would the lowest acceptable word count be? Especially considering kids have less attention span these days and some are struggling with reading. Like is 10,000 too low?

MG books and Chapter Books are different species with different norms. If you don't know the difference, I've answered MANY questions about that, look in the pinned FAQ! But basically: MG books are for 8-12 year olds who are fluent independent readers. Chapter books are for about 6-9 year olds who are still gaining confidence with independent reading. MG books can be standalone or series; Chapter books are pretty much always part of a series. 10k words is quite short for a MG novel (whether or not it is illustrated). It's long for a chapter book.

I would suggest you figure out what it is you are trying to write. Then look up popular books that are sorta like the kinda book you are imagining, see how long they are, and aim for something about that length. Really. It's that easy.

So for example, let's say you want to write a MG novel with a lot of illustrations, such as Katherine Applegate's POCKET BEAR. Go to AR Book Find, look it up. It's about 29k words. LAST KIDS ON EARTH is 21k. STUNTBOY is 29k. LOST EVANGELINE is very short for a MG: 14k. There might be some MG books that are 10k words, but that would definitely be quite low for a MG.

IF, on the other hand, you are writing a chapter book such as IVY AND BEAN, that's more like 7,800 words. DORY FANTASMAGORY, likewise, is in the 7k zone. There probably ARE some Chapter Books that are 10k words, but that's definitely on the high side.

Everything I have ever known about Word Count is in my EXHAUSTIVE WordCount post, which I have updated over the years -- most recently JUST NOW. Go forth and read it.

[mumblingsage]

Using a Reverse Outline to Understand Your First Draft’s Structure Before Editing

I've been using versions of this tool for years, for both my own self-editing and when I work as a developmental editor for clients. Now I'd like to share a template and a hopefully not-too-long explanation of ways you can work with it!

First off: congratulations on finishing a draft of your story! Now, as you get ready to revise it into a second, improved draft, it helps to see what the story is currently shaped like. Even if you aren’t a “planner” who outlines stories before writing them, you can benefit from a reverse outline after completing the story. It's lower-pressure and often easier than a planning outline because you just need to describe what you’ve already written. In fact, writing about your story can be pretty fun! And it will give you a sense of direction and increased confidence as you begin editing.

A reverse outline can be as simple or as detailed as you like. I’m going to give directions (and a sample file) for a fairly detailed one, which you can use as-is if it works for you, or adapt to be simpler, or adapt to include additional elements if that’s better for your process.

Here's the link to the reverse outline template in Drive. I've filled out the first few rows with example information from one of my own stories. Please go ahead and make a copy for your own use! One tip: under the "View" tab, there's an option to "Freeze" columns or rows so they move with you as you scroll in the file. I've already frozen the top row; you may also want to freeze columns A and B for ease of reference when you scroll horizontally. There are quite a few columns, and you don’t need to use all of them at once—different elements are more relevant to different writers and in different stories. In the rest of this post, I’ll explain what each column can do for you.

(The second tab of the file includes a sample reverse outline for nonfiction, with examples from a book of advice on editing that I'm writing at the moment and which this post may become a chapter in. Exactly what columns you’ll want in a nonfiction reverse outline will depend on your overall structure. Narrative nonfiction and memoir use similar techniques as fiction and could benefit from the standard reverse outline.)

Column A: Chapter number and title, scene

Some writers make their reverse outlines chapter-by-chapter, but since each chapter can include multiple scenes, and each scene deserves TLC, let’s give each scene a row.

(My reverse outline sample is for one of my short story collections, so I've given the title of the short story instead of a chapter number. Again, the template is adaptable!)

Among other benefits, filling out this column shows if you've acquired two Chapter 20s by accident. Or if you've given some chapters too-similar titles. Or if one chapter has way more scenes, or way fewer, than any other—which isn’t necessarily a problem, just something to observe right now.

While I’m giving advice: using the “Heading” style to mark your chapter titles/numbers makes it easier to find things your manuscript. Headings get their own space in the Navigation toolbar that comes up when you hit “Control + F” in Microsoft Word or click the “Document Tabs” option in Google Drive.

Column B: Action summary

Write about what happens in the scene. How much detail to include depends on your personal taste and memory. You don’t want to crowd the box with information or take a very long time at this. But it can be useful to spell out not just what happens, but some of why it happens and what results. This helps you follow the chain of logic and spot where links might be weak or missing.

A quick example of how an action summary can include cause and effect: “Overhearing Jason’s phone call, Miranda begins to suspect he was involved in the murder. She confronts him, he denies everything, and he leaves the house and doesn’t come back that night.” If you feel comfortable with shorter action summaries, you might just write this as “Miranda confronts Jason about the murder. He leaves.”

If you're going to write a synopsis to query this novel to literary agents or publishers, the reverse outline can help you get started. (I made my first reverse outlines for synopsis-writing purposes, before adapting them for other uses as both a writer and a freelance editor.) It accomplishes the major step of turning a novel into a few pages. You’ll still need to edit those few pages into something shorter and smoother, and I'd write the actual synopsis after you've given the book a structural edit, since elements of the plot may change in the process!

Speaking of summary, if the action in the story draft is told in narrative summary rather than shown as it happens, it’s often helpful to make a note of this. Summary has its uses: it can convey a lot to the reader quickly and it adds variety to pacing. Whether you have too much narrative summary or too little is something to consider once you have the outline filled out.

Column C: Scene wordcount

Use words, not number of pages, because the same amount of words can fit on more or fewer pages with different formatting. In publishing and professional editing, there’s still the convention that 1 page = 250 words, but in my experience, 12-point Times New Roman font that’s double spaced often fits 300+ words onto a page.

Column D: Cumulative wordcount

I’ve entered a formula here to sum up column C to the current row. This gives you a sense of when each scene takes place on the scale of the story, and also how your pacing is. (You can click the corner of a cell and drag it down to extend the formula as you add more scenes.)

That's the simplest version.

If you just want to fill in the first three columns and let the formula fill out the fourth for you, that gives you a one-sheet "map" of your story that can make the full manuscript easier to navigate, and it can be sufficient to get started on evaluating your story. But you’re missing half the fun.

Column E: POV character

To avoid both reader and writer confusion, I recommend sticking to one POV per scene. Some editors and publishers insist on it. But if you want to risk omniscient POV, that can go here too.

This column reveals when POV changes and whose perspective we spend the most time in. In one story I’m working on, I've added notes in this column about alternative POVs I could narrate the scene from, if I decide to change things up in the second draft. You don’t need to divide POV equally among all your characters, even if you have multiple protagonists. However, if one POV evaporates from the story partway through, or one takes over a long stretch of chapters, it’s good to spot this. And readers may be distracted if you have one or two scenes that make atypical POV choices without clear reason.

Columns F and G: Location; Date and time

These may help you catch continuity errors, like if a character returns home from the same trip twice, a minor character is in two places at once, or a particular evening in August winds up way too busy.

Column G is especially helpful for stories that span a long time—or a very short time. Even if you don’t have exact dates, a note such as “three days after the previous scene” can help avoid logistical tangles. (When timeline is especially important to a story, some writers fill out a virtual or physical calendar with their story events. You can often get print calendars for the previous year cheaply at an office supply or stationary store in January/February.)

If your story takes place in a single location or timeline is not a big concern, you don’t need to use these columns—this reverse outline is always customizable!

Column H: Plot and subplots advanced

There’s a lot going on in a story, and often a lot going on at the same time. This column lets you track where and when different plotlines are developed. You may find it useful to label your plots and subplots with categories like “External” (dealing with the world around the protagonist), “Internal" (psychological change that drives character arcs), or “Interpersonal” (rivalry, romance, and more).

Column I: Conflict of the scene and character desires

Conflict doesn’t have to be violent or flashy. But stories generally include a goal and some friction that prevents the goal from being met. In this way, desire and conflict are often closely connected.

If nobody wanted things to change, there wouldn’t be much to write a story about. If everyone immediately got the change they desire, the story would be very short. Adding friction will make events feel more realistic and engaging to readers. Conflict creates suspense: if there are opposing forces, we can’t predict who will win (or how they’ll manage to win, even if we trust the story will end well for a character). Conflict also lets you explore multiple sides of a situation or theme.

Depending on how you fill out the action summary in Column B, you might cover much of this information there. But I suggest filling out Column I for at least a few scenes to get the hang of evaluating conflict and motivation. If these are missing, a scene can feel directionless and emotionally flat.

Splitting information across multiple columns can also prevent any one part of the outline from getting too swollen. Especially if you write long or action-packed scenes, you may find yourself writing a lot in each cell. A few solutions: one, you may prioritize only the most significant developments of each scene. You can always come back and add more information later. Two, you may realize a scene would work better as two shorter or simpler scenes. (Though don't do this just because it's busy in the outline: consider how the scene itself reads in the story.) Three, you may adapt the outline to give each scene multiple rows evaluating different elements. Just put the wordcount in column C as 0 for the added rows, and it won’t mess up the cumulative wordcount formula (I've given an example in the template).

If the protagonist does get what they want, you’ve either reached the happy ending of the story (or at least a subplot) or you need to give them something else to want, another itch to satisfy. Maybe solving one problem makes them realize there’s an additional problem. Or it’s a question of short-term vs long-term goals: Frodo has made it to Rivendell, but then he takes on the new goal of reaching Mordor.

Column J: Reader emotional response

One reason we write stories is because we want to make people feel things. Here’s where you can talk about what you want the reader to feel. This gives you ideas for what to punch up and enhance in revisions. If you want them to be sad, what is the line they’ll start crying on?If you want them to be hopeful, what should they hope for and why will they feel hope that it will happen?

You may update this column after getting beta reader feedback on an early draft (but not a first draft—the first draft is for you): where and how did your beta react? Was it the way you hoped for, or were there surprises? You could even ask your beta reader to fill out a version of this chart.

Column K: Questions raised or intensified

A powerful emotion to draw readers in is curiosity. And every story will involve some exposition and explanation as we learn about the characters, the setting, and the plotline. Some writers use the term Dramatic Question or Narrative Question to refer to the single biggest and most crucial question that keeps the story going. Once that single question is answered, the story wraps up. Others use the term Story Questions for the various mysteries on different scales that keep readers turning pages—and not just in mystery novels. Whatever you call them, you can track in this column the questions you expect readers to ask with each scene.

In general, when a question is answered, a new, larger or more intense one should take its place. Or the answer to a still-lingering question becomes more urgent. By the end of the story, the majority of questions are answered. You may include a sequel hook, and writers often leave some small, tantalizing details open-ended to make a story feel more realistic, more vivid, or more haunting—or because we don’t have space to chase down every loose end. But if your biggest questions aren’t resolved, the story doesn’t feel over.

I find story questions hugely exciting because curiosity is what most often sucks me in as a reader. But a story isn’t just an intellectual exercise. It’s fatal if a reader ever decides, “I don’t care about learning the answer to this question.” Make sure your other columns are providing reasons for readers to care (especially column J).

You don't want this column to be empty. But you may not want it to get too full, either. It’s possible to draw out a question for too long, leaving readers confused or frustrated. It’s also possible to raise too many questions to easily keep track of. If they’re asking too much and learning too little, some readers might give up on ever finding answers. So be sure to consider both new questions and the weight of the questions already hanging over the readers' (and characters') heads.

As for where to track the answers, it’s dealer’s choice—you could put them in this column, or the answers might be described as part of the action summary or another column. Use this outline in a way that matches how you think, since it's organizing your story.

This is another column it can be useful to ask your beta readers to fill out (or "What questions do you have at the end of this chapter?" could be something to ask them in another format.) You may be surprised by what piques your readers' curiosity!

To reiterate, the mysteries that draw a reader to the next page or chapter—or sentence—don't have to be big. Jack Hart’s guide to narrative nonfiction, Storycraft, provides two excellent examples of opening lines with tiny mysteries that hook you. Joan Didion begins a piece with “Imagine Banyan Street first, because Banyan Street is where it happened.” Right away we wonder: what is “it”? And where is Banyan Street? The second example was written by Spencer Heinz in the Oregonian: “Pat Yost was in bed when she heard the sound.” Most readers will give Heinz’s next few sentences their attention to learn what the sound was, and Yost’s vulnerability makes the question feel urgent. You can get a bit too obviously manipulative with tiny questions (so that the reader asks “For crying out loud, what is it now?”), but it’s a useful technique to keep in mind.

The other beauty of these questions is that they can make the need for exposition work for you. Rather than being bored to tears by an infodump, the reader is intrigued by hints and glimpses, then satisfied to receive more context and explanation.

Column L: New characters and concepts introduced

This column can help you pace your exposition and introductions. (It overlaps with the previous column, but different writers find different angles helpful for analyzing a story, so I’ve included both. You may not fill out this column for every chapter, especially shorter chapters or chapters later in the story.) Tracking this can prevent you from introducing the same person in two different scenes. It also reveals opportunities to energize any doldrums in the middle of your story by adding a new idea.

Column M: Notes (and whatever else you desire)

I use this column to make revision suggestions to myself. You can also use it to track elements you find important but which don’t fit in other columns. Again, please feel free to add more columns and delete ones that aren’t a priority for this story or your process!

Mystery writers may want a column to keep track of where clues or red herrings appear. Romance novelists may want to track beats. A kinky romance novelist may want to keep track of which toys the characters use in which sex scene. Other writers may want to track what Robert McKee calls the “value charge,” measuring how much closer to or farther from their goal a character has moved.

Using the Outline

You don't have to fill out the entire spreadsheet in one sitting. You might do a few chapters/scenes at a time. You might get one or two columns completely filled out in one go (I do columns A and C together) but take time to do the rest. Some columns may never get entirely filled out. My tip is to try every column to start with, because you never know what will make something click for you. It’s better to fill out half the columns than none.

Some authors create reverse outlines as they write the first draft. After completing each chapter, they end their writing session by filling out a row with a summary of what they’ve just written. This has the benefit of your memory being fresher, and if it sounds like it’d work for you, please try it! It may help you spot issues early and course correct. However, some authors find too much analysis paralyzing in the first draft stage. Personally, I find it easier and fun to do my outline at the end, in a sugar rush of triumphant celebration at finishing a story. I write it up, stand back dusting my hands, and go “Well, what do we have here?”

And what do we have here?

Things a reverse outline can reveal:

Where does your climax—the peak of suspense, intensity, and emotion—happen in the story? How close to the end? How do you build up to it and climb back down? Are there mini-climaxes earlier in the story to keep readers engaged? Your main plot will have a climax, and so will your subplots and your character arcs. These may be located in different places, or they may all climax together. (Stop snickering, you in the back!)

What’s left unresolved at the end of the book? (For traditional publication, you’ll have the best luck if your first book is a “standalone,” though it may have opportunities for a sequel if it sells well. You might think self-publishing is more forgiving, but in fact, readers may greet a cliffhanger ending with bad reviews if they feel you’re trying to trap them into buying more books for unclear payoff. They may even return the book and demand a refund. However, in both traditional and self-publishing, books later in a series may end in cliffhangers once the author has won readers’ trust by finishing earlier stories in a satisfying way.)

How do the character arcs develop? Anything important enough to write a story about will probably change a person—how are each character’s actions and desires different at the end of the story than they were at the beginning?

How long are questions left unanswered or conflicts left unresolved? You generally want these to last for at least a few chapters to let suspense grow and keep the story flowing. (The author Benjamin Percy, in Thrill Me, speaks of his failed early novels: “I treated chapters like short stories, introducing and resolving trouble in fifteen pages. The containment, the stand-aloneness of my chapters, gave my books a stop-start quality that destroyed any sense of momentum.”) At the same time, each scene should make a little progress, whether positive or negative. It will end with the character a little better off or worse off (or better in some ways, worse in others) than they were before.

Friction, tension, conflict, and struggle make a story richer and more vivid. Even for small and simple goals, let the readers and characters yearn just a bit before you give them what they want. Make sure your payoffs each have setup.

Do you have scenes without action? Or where the action is all internal rather than external: does your protagonist sit around thinking until they change their mind about something? This isn’t fatal—I’ve done it myself on occasion. But try not to make these static scenes too frequent (and internal action is better than no action at all: beware scenes that are pure exposition).

Do you have scenes that are overgrown transitions, moving characters from Point A to Point B? In particular, you have an overgrown transition rather than a proper scene when there aren’t enough questions, conflict, stakes, urgency, or emotional engagement. Make your story more vivid by fleshing out these transitions or removing them (a transition can often become a paragraph or sentence at the beginning of the next scene).

Do any significant events happen off-page or between scenes? Would it be clearer or more impactful for readers if they happen on-page?

Do you spend a lot of wordcount introducing a particular character, setting, or detail that doesn’t go on to play a significant role in the story? Be wary of one-offs: characters, POVs, locations, and apparent subplots that only appear once may be a sign you should develop them further—or take them out entirely. Not always! But make sure it’s clear to readers why you break your story’s pattern. Sometimes, an author will give a character one flashback scene to share backstory. However interesting the backstory, be sure the events of that flashback are relevant to their present-day storyline!

How does each scene fit into to the larger story? How do the subplots connect to each other? If something doesn’t connect, does it belong? Can you flesh it out and connect it more? (Whether you connect it more tightly or delete it often depends on if your story is longer or shorter than you want it to be—see next section.)

You can color-code rows by subplot if that makes things easier for you. The reverse outline can become a very visual document, helping you see things it’s harder to find in a manuscript of text.

Look at scenes that only advance a single plot or subplot, and see how strong they are in the other columns. One way to punch up a sagging scene is to combine it with a second scene and do two things at once. Maybe the scene in which Miranda overhears Jason’s suspicious phone call is also the scene where she reels from the revelation that she’s about to be fired from her dream job (which she learned in the previous chapter). As our friend writing at the Cincinnati Enquirer in February 1947 said, “Life is just one damn thing after another, is a gross understatement. The damn things overlap.”

Do tensions and stakes rise over the course of the story? This is often phrased as “things have to get worse and worse for your characters,” but that isn’t the only option. Giving your characters an occasional “break” provides hope, which, for you literary sadists, gives characters more to lose when things get worse again. Hope raises the stakes. And building a character up lets you continue a story for longer because it gives them farther to fall. The occasional achievement can give your character new abilities and resources to make future scenes exciting. Also, alternating hope with loss or disappointment creates a variety in tone and texture; most readers find variety welcome. (This also means you should beware of too many scenes of unmitigated success, even if your story's tone is one of cozy wish fulfillment.) In some genres, both your character and your audience may need occasional injections of hope to be motivated to see the story through. There are exceptions—a short horror novel may be nothing but things getting worse—but overall, don’t worry that you’re failing at suspenseful storytelling if your characters are sometimes happy! But there still should be something missing, an unanswered question, an unachieved goal, or an unresolved risk that keeps the story going. And generally, these risks, goals, questions, and unfulfilled desires should get bigger as the story goes on.

How's the length of your story?

Some writers end up with first drafts way longer than they want. Some wind up with first drafts that are too short. For some authors, each story causes them wordcount-related stress in a different way. And in every manuscript, whatever its overall length, some scenes will go on a bit longer than they need to, while several character details and plot threads will tantalize with their ability to be developed further.

Too long/too short is also a question of the audience you’re writing for. Young adult novels tend to be shorter than adult historical epics. If you’re writing fiction to publish in magazines paying pro rates, you'll often have a better short with a 4,000-word short story than a 9,000-word novelette. And if you don’t intend to write a novella (I love them, but they can be tricky to sell), then a 40,000-word “novel” probably needs more development.

If your story or scene is too long, either:

Too much is happening

You’re giving too many details about what’s happening

(It may be both at once, of course.)

You’ll want to make changes in that order: first, decide what needs to happen in the story. As I advised earlier, making some of it happen simultaneously can reduce the number of scenes and make each scene more intense. But upon consideration, and with the help of your reverse outline, you may find one or two excess subplots. Save them for a different story.

Once you’ve reduced your number of scenes, if you’re still longer than you want, look at each scene and tighten paragraphs and lines. But that fine-tuning is something to work on later, in the line-editing rather than organization or structural edit (what I'm calling the second draft in this post, and which we editors also call developmental editing).

If your story is too short, either:

Not enough is happening

You’re not giving enough details about what is happening

Should you add a subplot, or draw out a subplot you currently have? Do the characters’ problems get resolved too quickly? Have you raised enough narrative questions? Given enough answers? Is the conflict strong enough and are the stakes high enough? Have you shown how high the stakes are? Look at where you’ve used narrative summary. Would any of this be more interesting or dramatic as a scene? Are there sentences you could expand to paragraphs, or paragraphs into chapters? Don’t pad the story, but flesh it out.

You may want to do more research, especially if you put research aside to complete your first draft (which you've done—congratulations!) Learning about your characters’ jobs, the world they inhabit, and processes within it can open up lots of avenues, many of which you wouldn’t have predicted.

Or you may write short because you know so much about the story. You’ve been developing this magic system since you were in high school, so you don’t realize how weird and wondrous it is to your readers and how much they’d enjoy a (vivid, active, non-lecture) tour of it. Now’s the time to add some more scenes of your protagonist learning to use magic! Or, switching genres, a mystery writer may have meticulously planned the crime—but they need to add enough description that the reader can follow the logistics.

The emotions of revision

Personally, I think adding more scenes and details is great fun. You get to write fanfiction of your first draft—and publish it! However, expanding a story can take time and requires you to keep track of what you’re doing. The record in the reverse outline will help with that.

Cutting scenes, plot threads, characters, and even favorite sentences can be melancholy. I encourage writers to save what they cut in case it can fit in a future story—even if it doesn’t, this feels less like a final execution. However, sometimes cutting something is a relief. You’ve had a feeling that element wasn’t working out, and now you can let it go.

Some writers may get a little too eager to cut. It might seem like the easy way out, but if you delete everything that causes you trouble, the story will get smaller and smaller, and it might wind up less interesting as a result. You’re also depriving yourself of the chance to stretch your creativity and try new things. (Mary Oliver in A Poetry Handbook warns that “deletion teaches nothing.”) It’s a judgment call: does this troublesome bit have enough potential that it’s worth rescuing through revision? Try sleeping on it in case your subconscious offers a new solution you hadn’t expected. If that doesn’t pan out, you can always save the idea to try again in a different story. As Matthew Salesses says in Craft in the Real World, “Some encouragement (hopefully)! The bulk of successful writing is in the fact that you have an endless number of tries. Persistence is key.”

To wrap up, a few more uses of reverse outlining:

Reread your story in light of the outline. Going between the outline and each scene, consider this question: does your outline describe what’s actually on the page or what you intended to write? If your outline is more wishful than actual, that's still progress: it's helped you express your intentions, which is a step that brings them closer to reality. Now the reverse outline has become a planning outline for your next draft.

Similarly, some authors find it tricky to revise existing scenes. Instead, they write the second draft more or less from scratch in a new file. They trust their memory to give them back the best parts of the stroy and to drop or rework what wasn’t succeeding. If you want to use this approach but still need some guidance, the reverse outline can be made into a new outline.

You can reverse outline other people’s books! It's fun and insightful to examine how a favorite author works on a scene-by-scene level. Heck, it can also give insight into how an author you can’t stand, but who is undeservedly successful, works on a scene-by-scene level. Maybe you can learn from their success after all.

Again, here’s the reverse outline template in Google Sheets, with an example from one of my own stories filling out the first few rows. Make a copy and make it yours!

[voidandradiance]

the most disorienting thing thats ever happened to me was when a linguistics major stopped in the middle of our conversation, looked me in the eye, and said, "you have a very interesting vernacular. were you on tumblr in 2014?" and i had to just stand there and process that one for a good ten seconds

[booksandchainmail]

#i was in a car with a linguist i had never met before the car trip and like half an hour in he looked at me#after i finished describing a geology thing that was happening out the window and asked if i'd ever spent much time on tumblr#the fuckor of it all#and then we spent six more hours driving#it sure does leave linguistic markers! i'm not sure i'm good with it (tags via @thoughtsformtheuniverse)

[issela-santina]

it is one thing to be a linguist and another to be a linguist who knows enough of 2010s Tumblr to spot one of its enjoyers

[lierdumoa]

Oh! @meret118 see above comment! The use of the word "enjoyers" instead of "users" or "bloggers" -> You left a comment a while back asking, "Does this just mean vocabulary words? Other than blorbo and sweet cinnamon roll etc, I can't think of what a Tumblr accent would be." I almost never see anyone use the word "enjoyer" anywhere outside of tumblr, but I see it on tumblr fairly frequently.

Another one is the verb "perceive" i.e. "don't perceive me" "I am perceiving" "I am being percieved." That's something that feels very specific to tumblr parlance.

There's the thing where people on tumblr have an emotional reaction to something and instead of, or in addition to telling you how they feel about it using emotion words, they will narrate a fictional action in the present progressive tense. "I am gnawing at the bars of my enclosure "I am kissing you on the mouth" "you are going into the soup" "you are getting all of the awards"

I once saw someone use that response format in ... I think it was a restaurant review, or a doordash review, or something like that. It was very unexpected seeing it outside of a tumblr post.

There are a lot of other tumblr linguistic quirks I can't currently remember off the top of my head, but I'll instantly recognize them if I see/hear them outside of tumblr. It's always a bit startling to see them out of context.

[pacificnorthwhore]

[i-wear-the-cheese]

when I was in university one of my modules was about internet slang and for our grades project we had to compile and analyse a small database of 100 words used by a specific community of our choice. I chose tumblr and that's how I stumbled across Gretchen McCulloch's research and discovered that yes not only did tumblr have its own vernacular and syntax (as @lierdumoa demonstrates), it was at the time a crucible of slang and memes probably unrivalled by any other part of the internet. and it's stayed that way! even the very title is McCulloch's book because internet is an example of this specific phraseology.

sadly my project is lost due to the website being wiped from the university database after graduation and my then laptop having a major hardware failure. backup your backups people! but the crux of the entire module was that the internet is full of communities using language not only as jargon for specific purpose but also to signal membership in said community. I even wrote a bit about non capitalisation and punctuation useage as a visual cue on tumblr and how including information in the reblog body or the tags indicated different levels of importance or intimacy of thought

I am holding the side of your face and looking deep in your eyes and telling you that love is stored in the syntax, and that we are rotating words together all at once as we all nod at their new and baffling meanings. if the devils sacrament be tumblr then the devils gospel is our collective voice. thanks for coming to my tedtalk

[weirdchristmas]

I am being perceived.

[heywriters]

Character motivation advice? I need my character to be in a city for reasons relevant to the plot, but I feel his motivations for being there are weak (especially considering he has family in another country). I’m trying to write more character-driven than plot driven, but I don’t know how to strengthen his motivations

Going on the assumption your character resides in this city and isn't just a visitor, I've compiled a list of ideas.

Reasons A Character May Live in a City

1. work—either it's the best place to succeed in his chosen career, he has strong financial ties to a physical place of business there and cannot commute, his primary customer base lives there, or wages are high there

2. education—his preferred school, university, intern/apprenticeship, etc. exists in the city

3. relationships—he made friends there, or friends have moved there, or there is/was a romantic interest there that drew him to the city

4. circumstance—whether he used to go to school, work, or live with friends/lovers in the city but that's now all in the past, he's settled down and doesn't feel leaving would be worth it

5. family—either he likes independence from his family, needs to be away from them due to conflict/trauma, or earns money in the city that he sends back to them

6. medical—he or a nearby loved one has to stay near a hospital or other medical center in this particular city for their own health

7. culture/lifestyle—he just likes it there. his "people" live there and not in his home country. maybe his personal tastes and interests are better catered to in this city than anywhere else.

—

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[heywriters]

Basic animal terminology for spec fic writers with little knowledge of animals:

Domestic animals are species that have been bred to help humans and can often be classified by their "breeds"; e.g. farm animals, dogs, horses, and some exotic pets.

Wild animals incapable of being domesticated are mainly classified by their "species." They do not have "breed" classifications.

An individual wild animal, and potentially its offspring, can be tamed and adjust to living with humans in captivity. This is not the equivalent of domestication.

Feral animals are domestic animals that escaped or were abandoned to nature and survive long enough to become wild again—their offspring born in the wild are also called "feral." In some cases ferals can be tamed and returned to domestic life, but many remain wild despite attempts to tame them. Since they adapt well to being around humans, but are still wild and unpredictable they can be dangerous.

Cross-breeding between a domestic animal and a wild animal, depending on the species, can create feral offspring—comfortable in the world of humans, but ultimately wild and potentially dangerous to humans and other domestic animals.

Many, many domestic breeds of animals cannot survive without human care and can die quickly in the wild; by predation, inability to find adequate food and shelter, or disease. They do not turn feral or thrive, they simply die, often slowly.

I realize most of these facts are used as themes in YA, werewolf, and ABO lit as cool character traits or whatever. Please recognize they originate with actual animals who can actually harm you if not properly respected.

[libraford]

Advice I gave someone today was: 'do it stupid.'

She wants to learn photography. Do it stupid. Take a million photos. Don't think about why they're not good. Enjoy the process of taking photos.

Pick out tge ones you like the most and figure out why you like them. Is it because the subject is centered? Is it because you caught them doing something cool? Is it because the light made cool shadows?

Do it stupid. If you try to do it smart, youll get stuck. If you think too much you'll never get to doing. Do it stupid.

[etherdiver]

Holy shit

[quill-ting]

This is honestly how I started quilting! I had fabric, I had a knowledge of backstitch, I had a quilting magazine. I asked "how hard can it be?" and now here we are. Just have fun and give it a go!

[rowan-e-ravenwood]

SERIOUS: NEW BOT SCAM ALERT

heya!

this right here?

THIS IS ABSOLUTELY NOT REAL.

the "@staff" is just the bio text.

tumblr staff will not contact you through anything other than email or their official accounts, which will all have this badge:

DO NOT ENGAGE WITH THIS OR SIMILAR ACCOUNTS AND ABSOLUTELY DO NOT CLICK ANY LINKS FROM IT.

report and block. i'd also appreciate it if you shared this post, bc that blog was JUST created and was already tagging a LOT of people, and i know not everyone has the scam-sensing instinct, even if this might seem obvious to some.

@staff @tumblr @support

[disorientation]

Having a "stupider people have done this" attitude about the things you want to do can open so many doors

[sapphia]

i needed this because i find doors very difficult sometimes

[aquilacalvitium]

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

[aquilacalvitium]

Please keep interacting with this post because when I come to tumblr to procrastinate, this shows up again in my notifications and guilts me into writing again

[literaticat]

Hello Jenn! Why do some publishers and people insist on fiction authors doing or having big social media accounts when the fact is that publishers themselves have the greatest sway and reach and stuff? Most of authors I know barely get a drop in the bucket when they do their own promos and they track their sales to prove it. I mean, yeah, we would make or build one if asked but even some agents are insisting on “influence” nowadays to get their attention…

Publishers are well aware that they can do significantly more than the author can with traditional marketing. Things like ARCs, bringing the book to school library conferences, doing bigmouth mailings, having special bookstore display signage and special discounts for stores -- all of these things are things that drive sales to bookstores, schools and libraries. All of which are, obviously, necessary to sell books to consumers. (People can't buy the book if it isn't in the bookstore!)

So, MARKETING is to some extent consumer-oriented, but really mostly geared toward getting gatekeepers to know and love the book so that they can then make their community aware of it and push it, because that's the most bang for the buck. A passionate bookseller or librarian can reach a LOT of people, and those tentacles spread out!

Publicity is a bit of a different beast. The goal there is getting "earned media" -- that is, NOT PAYING for coverage, rather, getting the NYT or whoever it is to WANT to write a story about you. Publishers are decent at that too, but of course, not all books lend themselves easily to being featured in major media. So those two are the main avenues by which publishers get the word out about books.

But there is that third prong, SOCIAL media... which publishers, frankly, kinda often suck at. And this isn't ACTUALLY their fault. The problem is, things that the publisher creates tend to look like ADS. (surprise!) People on social media aren't looking for ADS. The things that go viral are things that feel AUTHENTIC.

So a publisher spends time and money crafting an elegant video about a book -- 30 copies sell. A grainy video of grandma hilariously reading a book aloud to a kid and laughing will set the internet on fire and suddenly a half a million copies of a nearly-out-of-print picture book sell. Obviously you can't manufacture or buy "authenticity" -- that's the whole point!

But it is just a fact that on social media, the AUTHOR is a way better ambassador for the book than the publisher can be. People DO want to listen to authors -- they DON'T want to listen to ads. So that's really the main place where an author can help with book marketing.

THAT BEING SAID. I've been doing this for nearly 20 years and have literally never had a publisher or anyone else in a position of power "insist" that one of my authors have "big social media accounts".

They might suggest that an author have at least one social media account. Not because they are expecting you to have a string of viral videos or anything -- but just because that's best practices! It's good for you to be able to post stuff on easily and and it's good for them to have a way for them to tag you in their posts. They'd appreciate that. But I don't think they are insisting, and I don't think they are follower-counting. If anything, that seems like LESS of a conversation than it was in the 2010s!

Of course, if an author HAS a big social media account, that's a nice bonus, I'm sure they'd be delighted -- but it's laughable to think that an author who DOESN'T have a huge following is just going to "get big" overnight because a publisher "insists". I just really don't think most publishers DO expect that.

I mean there ARE publishers and agents who are explicitly seeking influencer-type authors who have a huge social media presence. But that's not all or even most publishers and agents. If you DON'T have a huge social media presence, you probably aren't a fit for those particular folks, or vice versa. So, OK, move on. Normal authors with normal, regular social media (or even hardly any at all) do get book deals all the time.

[fixyourwritinghabits]

Whelp lesson learned, don't queue a possibly controversial post and then hit a major depressive episode. Apologies to everyone who probably had some great points and good feedback on cosy fantasy, but it has yet again been another Bad Week To Be Trans and I'm not able to engage at the moment.

[elleldoe]

absolutely love abusing the power that comes with 3rd person limited pov and just ignoring things and being vague sometimes. does the character know all the details? no? then I don't have to either.

[rainintheevening]

Okay, we got a new one, boys.

[fleshengine]

Close enough welcome back Chekov's gun.

[comma-souptra]

Prev you can’t bury this in your own tags

[violetsandshrikes]

to all my researchers, students and people in general who love learning: if you don't know this already, i'm about to give you a game changer

connectedpapers

the basic rundown is: you use the search bar to enter a topic, scientific paper name or DOI. the website then offers you a list of papers on the topic, and you choose the one you're looking for/most relevant one. from here, it makes a tree diagram of related papers that are clustered based on topic relatability and colour-coded by time they were produced!

for example: here i search "human B12"

i go ahead and choose the first paper, meaning my graph will be based around it and start from the topics of "b12 levels" and "fraility syndrome"

here is the graph output! you can scroll through all the papers included on the left, and clicking on each one shows you it's position on the chart + will pull up details on the paper on the right hand column (title, authors, citations, abstract/summary and links where the paper can be found)

you get a few free graphs a month before you have to sign up, and i think the free version gives you up to 5 a month. there are paid versions but it really depends how often you need to use this kinda thing.

[thefifthtetrahedron]

researchrabbit works similarly. you do need to create an account to use it, but it is completely free (as far as I know), meaning no limits to your collections/graphs.

[fixyourwritinghabits]

Not to harp again on cosy fantasy, but something that struck me recently is that none of these characters ever have to care about money and resources.

I recently read one where the main character is banished from her village. Great, could be conflict there... except she still goes to the market and pays for things, seemingly without worry. Another one had a penniless MC welcomed with open arms wherever she went. A third had a stowaway character instantly forgiven by a supposed desperate crew, who - again! - seemed to have no problem putting food on the table.

And like, I get it. Not having to think about characters paying rent or worrying about when they can eat next is a relief these days. Everyone likes chosen family. But there is a huge lack of conflict to these stories that also results in a lack of character development. No one faces a hardship that is both the result of the environment around them and their own personal flaws. Bad choices don't have negative consequences characters have to learn from, because there are no consequences at all. Endings just kind of peter out or feel unearned. There is no real stress in the environment that feeds into stakes at all.

Think of the Murderbot Diaries, which I have bafflingly seen people refer to as cosy. Murderbot doesn't have to worry about feeding itself. Murderbot would rather watch its shows, but it repeatedly has to get involved in situations it doesn't want to instead. Murderbot would like to pretend it doesn't have to deal with icky emotions, but the driving core of the books are its attachment to its human friends (and ART). Murderbot makes choices that have positive and negative consequences, and has to learn how to deal with its own emotions and anxiety while also learning to accept that other people like it. While you might not be writing science fiction, it's a great study on how a character tells you one thing about themselves while their actions tell you another.

Another series I liked a lot is Daniel M Ford's Warden books, which take a lot of the dressing you see in cosy fantasies - generic DnD tropes, found family aspects, and romance - and injects it with mystery, plot, and stakes. Aelis de Lenti is rich, powerful, and connected, but she steps on toes, insults other characters on accident, and is locked out of the great path she believes she deserves. Throughout the first book, she learns and grows, and carries that forward into the next books.

Okay, stepping off my ranting box here. If you love cosy fantasy, great. If you love to write cosy fantasy, also great! But I really do think these stories can benefit by turning up the conflict dial a little bit. You don't need your character have to deal with real world hardships to still have stakes. You can have your elf open a coffee shop, have a whirlwind romance, and resolve some internal flaw that's holding them back. You can tackle a tough subject in cosy setting (Kay Synclaire's House of Frank is my favorite "cosy" book!) and still carry through a theme. Saving the world and facing down the grimdark bad can get exhausting, but I think there's a solid middle that will benefit everyone to take more advantage of.