Writing Basics

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Writing Basics

will update this every few weeks/months. alternatively, here are all my tagged writing basics/refreshers

Basic Grammatical Terms ⚜ Improve your Vocabulary

Parts of Speech ⚜ Punctuation Marks ⚜ Poetic Meter

Adjective or Adverb ⚜ Conjunctive Adverbs ⚜ Tips on Adverbs

IPA Symbols ⚜ "i.e." & "e.g." ⚜ Lexical Universals

Prepositional Meanings ⚜ Prepositional Phrases

Questions Part 1 2 3 ⚜ Avoid Wordiness

Words

Commonly Confused Words Part 1 2 3

"Troublesome" Words Part 1 2 3 ⚜ Transition Words

Word Alternatives Part 1 2 3 4 ⚜ Nonsense Words

all posts are queued. send questions/requests here ⚜ Writing Resources PDFs

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Writing Notes: Descriptive Sentences

Description - what an author uses to depict a character, setting, or scene in a way that creates an image in the reader’s mind.

It’s the way that authors bring characters to life and create imaginative settings.

Well-crafted descriptive writing draws readers into the story and provides essential details to propel the action forward.

Tips for Writing Descriptive Sentences

Cut out obvious descriptions. One of the most common traps that new writers fall into is using predictable words to describe something—for instance, writing a sentence like, “The blue sky was dotted with white, fluffy clouds.” For the most part, when someone hears the word “sky,” they’ll picture it blue, and when they picture clouds, they’ll picture them “white” and “fluffy.” Adjectives like these are unnecessary and can bog down your writing. Simply cut those descriptive words out of the sentence. “The sky was dotted with clouds” conjures the exact same image and is shorter and more focused.

Use surprising words. Once your sentences are free of any obvious descriptive details, you have the space to pepper in some more interesting words. Pushing your descriptions in new and surprising directions will help your sentences be memorable for readers. For instance, if you want to describe a rainy day, the easy way to describe it would be to mention “the stormy sky”—but something a little more unique could be “the angry sky” or “the boiling sky.” Brainstorm common adjectives and other describing words and use them in unique ways to keep your writing fresh and interesting.

Remember sensory details. A common adage for good descriptive writing is “show, don’t tell”—and sensory information is a great way to make that happen. Sprinkling in specific details that appeal to readers’ five senses (sight, hearing, taste, touch, and smell) will bring your scenes to life and make them feel richer and more interesting.

Make use of figurative language. One of the most powerful literary devices that writers have is figurative language, which goes beyond literal definitions in order to describe things in a more interesting way. Comparisons like similes (using “like” or “as”) or metaphors (saying one thing is something else) can help paint instant pictures of your characters or settings; for instance, “His nose was a gnarled root growing out of his face” can pack a lot more punch than saying “His nose was twisted and misshapen.” Other types of figurative language include onomatopoeia, which uses words that sound like what they mean (e.g., “the pitter-patter of raindrops”), and hyperbole, which is a form of exaggeration (e.g., “he rang the doorbell a million times”).

Think about who is doing the describing. In most points of view, you’ll be writing from a character’s perspective—either using “I” and “me” in first-person or “they” and “them” in third-person. It may not seem obvious at first, but point of view is a descriptive element that can help you build a believable world for your story. To use POV properly, make sure that you’re thinking about your character’s perspective as you describe so that the description feels true to the way they would speak.

Be wary of over-description. To create effective descriptive writing, less is more. Try to limit yourself to one or two interesting details the first time you introduce a character or setting, and readers will fill in the rest. For instance, if you say “The cabin room was sparse except for the looming stuffed grizzly in the corner,” readers can fill in the details for themselves without you needing to describe the floorboards, the windows, the bedsheets, and what your character had for dinner last week. This will help readers remember each character or setting better than if you had an entire descriptive paragraph for each.

Read good examples of descriptive writing. If you start to feel stuck when trying to write vivid description, look up a few of your favorite books or short stories and see how other writers do it. Pay attention to what they do that you like—whether it’s only writing their description in simple sentence structure or making sure that the following sentences include strong action to counteract the description. Then, sit down and try to replicate their tactics in a simple writing activity to see where it takes you.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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Writing Notes: Types of Characters

There are 3 ways to categorize character types.

One is via archetypes—broad descriptions of the different types of characters that populate human storytelling.

Another way is to group characters by the role they play over the course of the story.

The third method is to group characters by quality, spelling out the way they change or stay the same within a narrative.

As you craft your own story—whether that’s a first novel, a screenplay, or a short story—consider the way that these character types function within the overall narrative.

If we categorize character types by the role they play in a narrative, we can hone in on 7 distinct varieties:

Protagonist: The main character of the story is the protagonist. They should be carefully crafted with a logical backstory, personal motivation, and a character arc over the course of the story. Often the story will be told from their point of view. From a heroine like Katniss Everdeen in The Hunger Games to a miserable wretch like Doestoevsky’s Underground Man, the protagonist is the character the audience is most invested in.

Antagonist: The villain of the story is the antagonist. Think Lex Luthor, Lord Voldemort, or Dr. Charles Nichols in The Fugitive. Note that an antagonist is not the same as an anti-hero like the Joker or Walter White. Anti-heroes are villainous people who function in a protagonist’s role.

Love interest: The love interest is the protagonist’s object of desire. A good love interest will be compelling and three-dimensional, like Daisy Buchanan in The Great Gatsby or Rhett Butler in Gone With the Wind.

Confidant: This type of character is the best friend or sidekick of the protagonist, the Sancho Panza to their Don Quixote. Often the protagonist's goal flows through the confidant—although not every story needs one. A particularly famous confidant is Horatio in Shakespeare’s Hamlet.

Deuteragonists: These characters often overlap with confidants. A deuteragonist is close to the main character, but the story’s main plot does not directly correspond with their own character arc. Horatio doubles as a deuteragonist. In Tolkien’s Lord of the Rings trilogy, Samwise Gamgee is a deuteragonist. In Shakespeare’s Romeo and Juliet, Benvolio is a deuteragonist who doubles as a confidant, while Mercutio is a deuteragonist but not a confidant.

Tertiary characters: Tertiary characters populate the world of the story but do not necessarily link to the main storyline. These minor characters serve any number of functions and may have varying degrees of personal dynamism. Think of Father Zosima in The Brothers Karamazov.

Foil: A foil character primarily exists to bring the protagonist’s qualities into sharper relief. This is because the foil is effectively the opposite of the protagonist. In the Star Trek series, Captain Kirk and Mr. Spock serve as each other’s foils since their personalities are so notably different.

One way to classify characters is by examining how they change (or don’t change) over the course of a story. Grouped in this way by character development, character types include:

Dynamic character: A dynamic character is one who changes over the course of the story. As such, a dynamic character makes the best protagonist. In Mark Twain’s The Adventures of Huckleberry Finn, both Huck and Jim are dynamic characters. Similarly, each character in the love triangle of William Styron’s Sophie’s Choice—Stingo, Sophie, and Nathan—is a dynamic character.

Round character: Closely related to a dynamic character, a round character is a major character who shows fluidity and the capacity for change from the moment we meet them. By contrast, some dynamic protagonists do not change until actions in the story force that change. Round characters can be noble, like Konstantin Levin in Anna Karenina, or morally dubious, like Humbert Humbert in Lolita.

Static character: A static character does not noticeably change over the course of a story. Sometimes known as a flat character, these characters often play tertiary roles in a narrative (think of various parental figures in Roald Dahl’s children's books). Many villains are also static: They were evil yesterday, they’ll be evil today, and they’ll be evil tomorrow.

Stock character: A stock character is an archetypal character with a fixed set of personality traits. Shakespeare’s various fools are stock characters, as are some of his comic creations like Sir Andrew and Sir Toby in Twelfth Night.

Symbolic character: A symbolic character represents a concept or theme larger than themselves. They may have dynamic qualities, but they also exist to subtly steer an audience’s mind toward broader concepts. Most are supporting characters, but some stories have symbolic protagonists, such as Dostoevsky’s The Idiot. When it comes to symbolic supporting characters, Boo Radley in To Kill A Mockingbird is an example, representing a much larger legion of outcasts.

Characters in a work of fiction can usually be grouped into archetypes. These archetypes have been categorized by Swiss psychologist Carl Jung, the American literary theorist Joseph Campbell, and generations of authors, screenwriters, and storytellers. Here are the 12 commonly discussed character archetypes:

The Lover: the romantic lead who’s guided by the heart. Their strengths include humanism, passion, and conviction. Their weaknesses include naivete and irrationality. Some famous lovers are Romeo, Juliet, and Scarlett O’Hara.

The Hero: the protagonist who rises to meet a challenge and saves the day. Their strengths are courage, perseverance, and honor. Their weaknesses include overconfidence and hubris. Some famous heros are Achilles, Luke Skywalker, and Wonder Woman

The Magician: a powerful figure who has harnessed the ways of the universe to achieve their goals. Their strengths may include omniscience, omnipotence, and discipline, while their weaknesses center on corruptibility and arrogance. Prospero, Gandalf, Morpheus, and Dumbledore are famous magician characters.

The Outlaw: the rebel who won’t abide by society’s demands. The outlaw can be a bad guy, but not always. The outlaw’s strengths include independent thinking and skepticism. Their weaknesses may include self-involvement and criminality. Among the famous outlaws are Han Solo, Dean Moriarty, and Humbert Humbert.

The Explorer: a character naturally driven to push boundaries and find what’s next. Their strengths: They are curious, driven, and motivated by self-improvement. They are weak in that they are restless, unreliable, and never satisfied. Famous explorers include Odysseus, Sal Paradise, and Huckleberry Finn.

The Sage: a wise figure with knowledge for those who inquire. Strengths of the sage include wisdom, experience, and insight. In terms of weakness, the sage may be overly cautious and hesitant to actually join the action. A few famous sages: Athena, Obi-Wan Kenobi, and Hannibal Lecter (an evil sage).

The Innocent: a morally pure character, often a child, whose only intentions are good. Their strengths range from morality to kindness to sincerity. Their weaknesses start with being vulnerable, naive, and minimally skilled. Famous innocents are Tiny Tim, Lennie Small, Cio-Cio-San.

The Creator: a motivated visionary who creates art or structures during the narrative. Their strengths include creativity, willpower, and conviction. Their weaknesses include self-involvement, single-mindedness, and lack of practical skills. Famous creators include Zeus, Dr. Emmett Brown, and Dr. Moreau.

The Ruler: a character with legal or emotional power over others. The ruler’s strengths include omnipotence, status, and resources. Their weaknesses include aloofness, being disliked by others, and always seeming out of touch. Famous rulers include Creon, King Lear, and Huck Finn’s Aunt Sally.

The Caregiver: a character who continually supports others and makes sacrifices on their behalf. Among their strengths, caregivers are honorable, selfless, and loyal. Among their weaknesses, they lack personal ambition or leadership. Sometimes they even lack self worth. Famous caregivers include Dolly Oblonsky, Calpurnia, and Samwell Tarly.

The Everyman: a relatable character who feel recognizable from daily life. When it comes to strengths, they are grounded, salt-of-the-earth, and relatable. In terms of weaknesses, they typically lack special powers and are often unprepared for what’s to come. Famous everymen: Bilbo Baggins, Leopold Bloom, Leslie Knope.

The Jester: an intentionally funny character who provides comic relief but may also speak important truths. Strengths include the ability to be funny, disarming, and insightful. Weaknesses include the capacity to be obnoxious and superficial. Famous jesters range from Sir John Falstaff to King Lear’s Fool to George’s parents in Seinfeld.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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Types of Writers

Generally, writers fit into one of 2 categories: fiction and nonfiction. Within those two categories, there are many different writing styles.

From fiction writers who create works of imagination to business journalists who report on breaking news, writers use different types of writing to achieve specific goals.

Novelist: A novel is a long piece of fiction, typically more than 40,000 words. Novels often include complex story arcs with multiple characters and span genres such as romance, science fiction, and historical fiction. Novelists are people who write novels; You can be a career novelist or write novels outside of your day job. Novelists generally fall into two categories: plotters—who meticulously plan the elements of their storyline and characters before starting; and pantsters—who are more spontaneous and “fly by the seat of their pants.”

Poet: Poets are writers of poems— a form of literature that conveys a thought, describes a scene, or tells a story in a concentrated, lyrical arrangement of words. Poetry can be structured, with rhyming lines and meter, or freeform (which follows no formal structure).

Songwriter: Songwriters craft lyrics that are set to music. A songwriter may be employed by a musician to provide lyrical accompaniment to a song, or they may write both the lyrics and musical notation.

Playwright: Playwrights craft stories that performers act out on a theater stage. The market for aspiring playwrights is competitive, but for those wishing to see their stories come to life, playwriting can be a gratifying experience.

Short story writer: Short stories are concise pieces of writing that tell a story in less time than a novel. Short stories are often published in magazines or compiled together in anthologies. The average short story runs anywhere from 5,000 to 10,000 words but can be anything above 1,000 words. Flash fiction is a short story that is 500 words or less.

Screenwriter: Screenwriters write original scripts for TV shows and movies. They may also write an adapted screenplay based on a book, story, article, or some other source material. Screenplays follow a specific format, and they tend to adhere to three-act structure.

Blogger: Bloggers self-publish content online. Though not exclusive to non-fiction writing, blogs tend to provide curious readers with fact-based knowledge on various topics, including food, travel, entertainment, and technology. Whether you’re a creative writer looking for an easy way to publish stories online or an entrepreneur looking for a way to promote your business, learning how to craft a blog post to reach your target audience successfully is a valuable skill.

Business writer: Most business writers work for newspapers or magazines that publish content for specific industries. Business writing can be a profitable form of writing if you’ve got a knack for networking and in-depth knowledge of industry-related terminology and concepts.

Copywriter: Copywriting involves writing copy for marketing and advertising purposes. Copywriters can be in-house employees at a company or advertising firm, or freelancers contracted to create copy.

Ghostwriter: Ghostwriters specialize in writing for other people. This requires the unique ability to be able to write convincingly in another person's tone of voice. Ghostwriters work with their clients— such as high-ranking government officials and media personalities—to craft a narrative and tell their story in the first person.

Journalist: Journalists write everything from op-eds to news stories. There are many kinds of journalistic writing; for example, a reporter uses an expository style to report facts on a news story. On the other hand, a features writer or editorial writer may use more a persuasive tone and share their point of view to influence an audience on a particular issue or topic.

Nonfiction book writers: Nonfiction is a popular writing form that combines in-depth research with compelling writing prowess. Common nonfiction formats include autobiographies, biographies, scientific writing, and more.

Technical writer: Technical writers are often in-house employees for businesses and corporations. Technical writing involves producing copy for instructional manuals and system documentation. This kind of work often requires the writer to have hyper-specific knowledge of a given field or industry.

Translator: To be a translator, you must speak two or more languages fluently and be able to accurately translate one to another. Translators work across numerous fields and have different specialties—you can be a translator for a technical manual, a novel, or even poetry.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

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one more list of "troublesome" words

waiver, waver

Waiver - a relinquishment of a claim

Waver - to hesitate

whence

”And man will return to the state of hydrogen from whence he came” (Sunday Telegraph).

Although there is ample precedent for from whence—the King James Bible has the sentence “I will lift up mine eyes unto the hills, from whence cometh my help”—it is nonetheless tautological.

Whence - means “from where”

It is enough to say “to the state of hydrogen whence he came.”

wound, scar

The two are not as interchangeable as writers sometimes casually make them.

A scar - what remains after a wound heals

Thus it is always wrong, or at least stretching matters, to talk about a scar healing, including in figurative senses.

who, whom

For those who are perennially baffled by the distinction between these two relative pronouns, it may come as some comfort to know that Shakespeare, Addison, Ben Jon-son, Dickens, Churchill, and the translators of the King James Bible have equally been flummoxed in their time.

The rule can be stated simply:

Whom - used when it is the object of a preposition (“To whom it may concern”)

or verb (“The man whom we saw last night”)

or the subject of a complementary infinitive (“The person whom we took to be your father”).

Who - used on all other occasions.

Source ⚜ More: On Vocabulary ⚜ Writing Basics ⚜ Writing Resources PDFs

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Writing Notes: Narrative Foils

Foil. This term is specific to the contrasts between characters. Where a writer juxtaposes two characters so as to emphasize their opposing qualities, the characters are foils of each other. E.g., tortoise and the hare from the classic fable.

Foil Character. Primarily exists to bring the protagonist’s qualities into sharper relief. This is because the foil is effectively the opposite of the protagonist. In the Star Trek series, Captain Kirk and Mr. Spock serve as each other’s foils since their personalities are so notably different.

Foil Characters

Literary Foil - a character whose purpose is to accentuate or draw attention to the qualities of another character, most often the protagonist.

This literary term is named after an old jewelry trick of setting a gem on a foil base to enhance its shine.

Types of Literary Foils

Foils are most often secondary characters, but they can also take other forms.

Object as foil. A writer will sometimes highlight the importance of an inanimate object in a story by contrasting it with another. In Wuthering Heights, for example, Emily Brontë contrasts the grey, dismal, storm-battered estate of Wuthering Heights with Thrushcross Grange, a sophisticated, “splendid” neighboring estate that sits in the sunshine. The presence of the Thrushcross Grange stresses the darkness that hangs over Wuthering Heights.

Subplot as foil. Writers will often weave subplots throughout a story. These secondary stories can make the main plot more complex, escalate tension, and highlight information the writer wants to emphasize. In William Shakespeare’s Hamlet, the subplots of Laertes and Fortinbras are foils to Hamlet’s story. All three want to avenge the murders of their fathers. As the more cerebral Hamlet writes a play to get his uncle to confess, Fortinbras and Laertes take the opposite approach: they draw their weapons and go to seek vengeance.

How to Write a Foil Character

Here are a few points to keep in mind as you develop this important character. 

Consider the conflict: Even if your foil is the protagonist’s best friend, they can’t just be a hype man—your story and the relationship need conflict. Why? Conflict is the basis for everything when it comes to good writing. This is where your opposite list (see below) will come in handy as it’s a built-in resource for creating conflict.

Establish wants and desires: During the character development phase, ensure your foil has clear wants and desires. They can be the same as the protagonist’s or in opposition; either way, they’re the driving force behind the conflict. 

Be careful with dialogue: You know the old saying “show, don’t tell”? Apply it to your foil by paying close attention to dialogue. Yes, a foil’s job is to highlight the character traits of the protagonist, but it shouldn’t be explicit. Subtext is key here: It’s not interesting if the foil just tells the protagonist they need to fend for themselves or toughen up. You’re more creative than that.

Writing Tips: Foil Character

Make an Opposite List. This is the easiest but most important step. When writing a foil, you need to remember they’re the opposite of the character they’re the foil for. (For the sake of simplicity, we’ll assume from here on out that the character they’re the foil for is the protagonist.) Juxtaposition is everything when developing a foil alongside your protagonist. So, make a list of your protagonist’s character traits—maybe the top five. Then, make a list of the complete opposite of those traits, and that’ll help with your foil. For example, if your protagonist is submissive or a pushover, your foil would be assertive. It will be through your foil’s assertiveness that the protagonist discovers they’re too much of a pushover and begins to change. 

Consider the World of your Story. While the point of the foil is to be the opposite of your protagonist, an effective foil still inhabits the same world your story—and protagonist—is set in. Are you writing a family drama? Maybe the foil is a sibling or parent. Does the story take place in a high school? Then maybe the foil is the protagonist’s classroom nemesis. Science fiction? Perhaps it makes sense for the foil to be a fellow member of the crew or a lab scientist. Truly knowing the world your story is set in is critical in establishing a believable—and useful—relationship between protagonist and foil.

Consider the Whole Plot. Yes, the purpose of a foil is to highlight another character’s traits, but this doesn’t mean the foil only shows up in times of the protagonist’s development. Could the foil also play a larger role within the plot? Example: You’re writing an action-adventure movie and your protagonist’s arc is going from timid to heroic. You’ve got a big action set piece and your protagonist buckles under the pressure. Perhaps your foil rises to the occasion and ultimately propels the plot forward. Here’s an instance that blends character and plot development.

Some Inspiration for your Opposite List

Here are some common contrasts in different kinds of character :

Intuitive vs. logical (Kirk vs. Spock in Star Trek)

Trusting vs. cynical (Forrest Gump vs. Lieutenant Dan in Forrest Gump)

Tyrannical vs. liberal (Napoleon vs. Snowball in Animal Farm)

Idealistic vs. pragmatic (Captain America vs. Iron Man in the MCU)

Cheerful vs. misanthropic (Donkey vs. Shrek in Shrek)

Daring vs. cowardly (Frodo vs. Sam in Lord of the Rings)

Noble vs. craven (Maximus vs. Commodus in Gladiator)

Examples of Foil Characters from Literature

Writers often use foils in their stories. Some of the most famous examples of foils throughout the history of literature include:

John Steinbeck, Of Mice and Men. George and Lennie are best friends. They are also physical and emotional opposites: George is small and lean, Lennie is big and strong. Lennie is mentally disabled, and George is his caretaker. This contrast buoys their friendship, but is also a source of conflict between them.

William Shakespeare, Julius Caesar. The devious and cunning Cassius and the nobler Brutus conspire to assassinate Julius Caesar. Cassius is plotting the murder for pure jealousy, while Brutus wants Caesar dead because he sees him as a weak leader. Compared to Cassius’ petty reason, Brutus seems more honorable in his motives. Brutus’ honesty, as well as his naiveté, makes Brutus a foil for the deceptive and conniving Antony, a confidante of Caesar’s who takes power after his murder.

The Importance of Foils in Literature

Literary foils exist to reveal information about characters and their motivations. Foils can also:

Help readers get a deeper understanding of a character. The main purpose of a foil is to draw attention to and emphasize another character’s strengths and weaknesses. Sometimes, this is done through contrast. For example, in Mary Shelley’s Frankenstein, Victor Frankenstein shuts himself off from others, driven by his obsession to create a living being. As a result, he creates his own foil: a creature who craves companionship and connection, exhibiting the human characteristics that Frankenstein lacks.

Put a character in context. Creating a counterpart for a main character sets a gauge for the reader. Without Mercutio as a foil, Romeo might just seem like a boy in love, in William Shakespeare’s Romeo and Juliet. Mercutio’s more casual approach to matters of the heart compared to his best friend’s helps illuminate the depth of Romeo’s obsession.

Take a different path. A foil might doe more than just offer insight into another character’s personality. Their different values and motivations may lead them to make different choices, illuminating an alternate “what if” plotline. In Mark Twain’s The Adventures of Huckleberry Finn, Huck is guided by his moral compass, and his foil, Tom Sawyer, by his sense of adventure. This causes the two characters to approach every situation in a very different way.

Differences Between a Foil & an Antagonist

Writers play characters off of one another to build drama and create conflict in a story. Foils and antagonists are 2 types of characters that serve very different functions.

An antagonist is a character who is in direct opposition to the protagonist. Their actions deliberately hinder the protagonist from achieving her goal. This relationship helps build conflict and propels a story forward.

A foil exists simply to shine the spotlight on certain traits of another character, without necessarily creating opposition or conflict. A foil can even be a friend of the character they are supposed to draw attention to: Dr. John Watson, for example, is a foil to Sherlock Holmes in Sir Arthur Conan Doyle’s Sherlock Holmes stories.

Sources: 1 2 3 4 5 6 7 ⚜ More: Notes ⚜ Writing Resources PDFs

I received this on my main blog. You can find more details and examples in the sources. Hope Anon sees!

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Two Kinds of Writers

When planning novels, writers generally fall into 2 categories: “plotters” and “pantsers.”

A plotter - is someone who meticulously plans and outlines their story before they begin writing.

If you’re a painstaking outliner who spends a large amount of time in the prewriting stage charting out plotlines, devising characters, and worldbuilding, you fall into the plotter category.

Most successful writers do plotting to some extent.

If you take any bestselling published author, chances are they’d fall into the plotter category.

If you’re new to writing, trying out writing as a plotter can give you a good sense of how pre-writing can prepare you before you dive into the writing process.

If you’re the type of writer who likes to fly by the seat of your pants and write without a roadmap, chances are you would identify as a “pantser.”

A pantser - doesn’t spend a lot of time evaluating writing methods or planning out story structure, nor do they follow a paint-by-numbers approach to novel writing.

It is the preferred method for Stephen King and many other successful writers.

Pantsing can be a great way to quickly get into the writing process and beat writer’s block.

Whether you are working on your first novel or a followup to your most recent bestseller pantsing can be a great method for jumpstarting your process and getting your creative juices flowing.

How to Approach the Writing Process as a Plotter

There are many ways to approach plotting, and you will probably experiment with many different techniques over the course of your writing life. If you’re just getting started trying out writing as a plotter here are some steps to get you on your way:

Generate ideas. The first step in writing a novel is generating story ideas. Some writers like to freewrite and brainstorm, others prefer working with writing prompts. Whichever approach you take, it’s important to spend time coming up with a variety of ideas and choosing a strong premise that lends itself to an effective plot.

Start with a simple, compelling premise. Once you have a basic idea, it’s time to develop a story premise. One way to develop a small idea into a basic story is called the snowflake method. The snowflake method involves starting with a core premise or theme upon which you build every other aspect of narrative and character as you flesh out the big picture.

Trace out general story arcs. Start to lay out a storyline. You don’t have to worry about building the whole thing at once. Rather you can focus on each act within your story arc—or even simple scene descriptions—and piece these together as you build out a full-length narrative.

Don’t neglect character development. Character is an incredibly important part of a story and helps to balance out plot-based narratives. Before you start writing you should make sure that you have detailed character arcs and a main character with a clear motivation and backstory. Part of building a good character is choosing a strong and nuanced point of view. Balance out the plot portion of your writing process by taking some time to analyze your characters and make sure they are strong, realistic, and nuanced.

Build subplots. Once you have a good sense for your main plot it’s time to layer in subplots. Subplots can often be character-specific, so this is a good time to think a bit about the characters you’ve populated your world with and how each individual backstory might come into play. Good subplots will weave seamlessly through your main arc and help advance your action rather than distract from it.

Write a detailed outline. Before you start writing, you should have a detailed plot outline. This should catalog the main story and individual plot points. It should be comprehensive enough that someone who has no knowledge of your story could look at the outline and piece together the narrative of events, identifying your inciting incident, rising action, and climax. It can also be useful to write individual smaller outlines such as a chapter outline or act outline that you can piece together to create a macro story outline.

Tie up loose ends. Once you have a detailed outline, it’s time to tie up loose ends and fill any plot holes. One common misconception about writing is that editing comes at the end of the process. Editing is something you should return to throughout your writing process, and it’s important to edit your plot and outline before you start writing in earnest.

How to Approach the Writing Process as a Pantser

There are many different ways to approach pantsing. The most basic principle of pantsing is to just start writing. Pantsers fly by the seats of their pants, whether they’re writing a full-length novel or a short nonfiction piece. That being said, there are some basic steps you can follow as you launch into writing a novel as a pantser:

Start with a concept. When you approach the blank page, it’s good to have at least a vague idea of what you want to write about. Part of pantsing is allowing your impulses and feelings to guide you, but having a basic sense of what inspires you can help focus your writing.

Follow your impulses. Once you get into your project, feel free to follow impulse and get lost in your project. One of the joys of writing fiction as a pantser, whether you’re working on short stories or a full-length novel, is to immerse yourself in the work and discover where your mind takes you.

Take pauses to evaluate your work. It’s important to take stock of your work as you go. This way you won’t leave any plot holes or loose ends that you forget to tie up in the second half.

Don’t be afraid to edit. Just because you are essentially freewriting doesn’t mean that you shouldn’t edit your work. Editing and revising can help you work out of dead ends and structure your story around a cohesive arc with a clear turning point.

Come to a resolution. Part of being a successful pantser is sensing when your work is approaching its endpoint. Pay attention to how your story is progressing and find a natural place to resolve your plot and tie up loose ends.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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Writing Notes: Word Economy

Word Economy - careful management of the words that end up in your text.

In the simplest of terms, it means keeping sentences, paragraphs, and chapters as short as they can be without degrading your storytelling or rhetoric.

Does striving for economy of words mean that authors have to constantly track their word count and try to reach a fixed quota for overall words? No it does not.

But it does mean that you need to monitor your word choice to make sure you aren’t filling your prose with superfluous words that make sentences longer but not necessarily better. When you review your own work, ask yourself: “Could I communicate this same idea using fewer words?” If the answer is yes, then rewrite the relevant sentences and paragraphs with that in mind.

 Tips for Improving Your Word Economy

It’s rare to find good writing that’s needlessly verbose. If you want to reach large audiences, get a publishing deal, and perhaps end up on the New York Times bestseller list one day, you’ll need to learn how to economize your language. Here are some ways to do that:

Use the active voice. When writing in the active voice, the subject of a sentence performs an action. Passive voice sentences contain subjects that are the object of the sentence’s verb. They are not the “doer” of the sentence; they are the recipient of an action. Sentences constructed with the active voice use fewer words and are easier to understand.

Use strong verbs. If you want to revise a sentence to make it better, start by looking for a stronger verb. If you choose a verb that accurately describes the action of the scene, you can cut down on modifying words you might otherwise need to better explain that action. Precise, strong verbs get to the point, which is great for word economy.

Avoid wordy prepositional phrases. A lot of inexperienced writers weigh down their prose with prepositional phrases without adding any further meaning. So instead of writing, “He ran in the style of someone who was a professional athlete,” just say, “He ran like a professional athlete.”

Use the English dictionary and thesaurus effectively. Some young writers mistakenly believe that making a phrase longer will make you seem smarter. In reality, the opposite is true. Economical word choice makes your prose more fluid and clear, so use the dictionary and thesaurus to help you make phrases shorter, not longer.

Have individual scenes accomplish multiple things. Introduce a character by writing a short, solitary scene. Place your character in a situation that both advances your story and provides character development.

Keep chapters lean. Make sure each chapter has a purpose that ties in to the bigger story. Don’t fluff up the novel with irrelevant content. Establish trust with your reader that you will not waste their time with authorial indulgences.

Plan your narrative, and stick with the plan. In a thriller, for example, people want to be on the edge of their seat the whole time, and this requires narrative focus. Don’t meander too far from your main storyline—that is, from scenes and dialogue that develop your stakes.

Compress your dialogue. You should keep dialogue economical in the same way you do with your prose. Unless your character is naturally verbose, tighten up their language, conveying only the information that will deepen the character or move the story forward. Making people seem real on the page often means giving them shorter sentences. Most people are naturally economical speakers and will tend to say “I’ll go” instead of “Yes, I will go.”

Avoid info-dumping. Beginning writers tend to drop large chunks of information onto the page all at once. This is called info-dumping, and not only does it bore readers, but it stops the momentum cold. You want to make your information feel natural and interesting. You can avoid the dreaded info dump by having your characters discover information in the course of a conversation. If that feels overly expository, let them discover information via action.

Compress, compress, compress. Go through your writing and see how many words you can cut while keeping the original feel of your work. (Hint: adverbs—words like gently or beautifully that usually end in “-ly” and modify verbs or adjectives—are a good place to start.) Next, beware of places where you’ve given too much description, especially of a static object. Do you need to spend two whole paragraphs describing a building that’s not essential to the plot? One powerful detail will often do the trick.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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Hi there, your blog has been a tremendous help, thank you so much for making so many good posts. I wanted to ask you if you could maybe make a post about story/novel starters, like with examples or some ideas for it. Thank you again and please keep up the amazing work!

Writing References: Starting Your Novel

The Beginning ⚜ Hooking your Readers ⚜ Your First Chapter

Chapter Outline ⚜ Chapters: What to Include ⚜ Dialogue

Establishing Voice ⚜ Exploring your Setting ⚜ Freewriting

Creative Writing: How to Start ⚜ Elements

"Interviewing" your Characters ⚜ Plotting your Novel

Snowflake Method ⚜ Plot Method ⚜ The Story Circle

Questions Before Writing Your Novel ⚜ Tips: First Novel

Tropes: Borrow from or Subvert them ⚜ Use Templates (Example)

Ways to Generate an Idea ⚜ Your Audience

Hi, thanks so much for your kind words. Here are some references and tips you can consider. Some links include examples in media portrayals, such as those on literary and character tropes that you can use for inspiration. All the best with your writing!

More: On Plot Development ⚜ Writing Templates ⚜ Tips & Advice

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The 17 Stages of the Hero’s Journey

In The Hero With a Thousand Faces, Joseph Campell breaks up the hero’s journey, also known as the monomyth, into 17 distinct steps:

The call to adventure: Something, or someone, interrupts the hero’s ordinary life to present a problem, threat, or opportunity.

Refusal of the call: Overcome by their fear and insecurities, the hero initially hesitates to embark on this journey.

Supernatural aid: A mentor figure gives the hero the tools and inspiration they need to accept the call to adventure.

Crossing the threshold: The hero embarks on their quest.

Belly of the whale: The hero crosses the point of no return and encounters their first major obstacle.

The road of trials: The hero undergoes a series of tests or ordeals to begin their transformation. Often, the hero fails at least one of these tests.

The meeting with the goddess: The hero meets one or more allies, who pick them up and help them continue their journey.

Woman as temptress: The hero is tempted to abandon or stray from their quest. Traditionally, this temptation is a love interest, but it can manifest itself in other forms, including fame or wealth.

Atonement with the father: The hero confronts the reason for their journey, facing their doubts and fears and the powers that rule their life. This is a major turning point in the story: every prior step has brought the hero here, and every step forward stems from this moment.

Apotheosis: As a result of this confrontation, the hero gains a profound understanding of their purpose or skill. Armed with this new ability, the hero prepares for the most difficult part of the adventure.

The ultimate boon: The hero achieves the goal they set out to accomplish, fulfilling the call that inspired their journey in the first place.

Refusal of the return: If the hero’s journey has been victorious, they may be reluctant to return to the ordinary world of their prior life.

The magic flight: The hero must escape with the object of their quest, evading those who would reclaim it.

Rescue from without: Mirroring the meeting with the goddess, the hero receives help from a guide or rescuer in order to make it home.

The crossing of the return threshold: The hero makes a successful return to the ordinary world.

Master of two worlds: We see the hero achieve a balance between who they were before their journey and who they are now. Often, this means balancing the material world with the spiritual enlightenment he’s gained.

Freedom to live: We leave the hero at peace with their life.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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do you have anything on syntax? i'm currently in the middle of writing a story that uses old and modern magic, and i want to emphasize the differences in syntax. thanks 🫶

Writing Notes: Syntax

Syntax - the study of sentence structure.

In spoken and written language, syntax refers to the set of rules that determines the arrangement of words in a sentence.

Along with diction, it is one of the key ways writers convey meaning in a text.

Comes from the Ancient Greek for “coordination” or “ordering together.”

Syntax is the part of grammar that pertains to a speaker’s knowledge of sentences and their structures.

Any speaker of any human language can produce and understand an infinite number of possible sentences.

Thus, we can’t possibly have a mental dictionary of all the possible sentences.

Rather, we have the rules for forming sentences stored in our brains.

Essential Rules of Syntax in the English Language

The rules of syntax can be quite complex and vary greatly by language (as well as by time period and place). Depending on the language you are speaking or writing in, these rules might be very restrictive, or quite flexible.

There are 4 baseline rules when it comes to English syntax:

A complete sentence requires a subject and a verb and expresses a complete thought. This is also called an independent clause. A sentence without a subject and a verb is considered a fragment.

Separate ideas generally require separate sentences. A sentence containing multiple independent clauses that are improperly joined is considered a run-on sentence.

English word order follows the subject-verb-object sequence. (It’s usually the same in French and Spanish.)

A dependent clause contains a subject and a verb—but it doesn’t express a complete thought.

The Rules of Syntax. Combine words into phrases & phrases into sentences.

They specify the correct word order for a language. [Example: English is a Subject-Verb-Object (SVO) language. ✓ "The President nominated a new Supreme Court justice." ✗ "President the new Supreme justice Court a nominated."

They also describe the relationship between the meaning of a group of words and the arrangement of the words. [Example: "I mean what I say" vs. "I say what I mean"]

The rules of syntax also specify the grammatical relations of a sentence, such as the subject and the direct object. [Example: "Your dog chased my cat" vs. "My cat chased your dog"]

Syntax rules specify constraints on sentences based on the verb of the sentence. ["Zack tries to be a gentleman" ✗ "Zack tries Robert to be a gentleman"]

Syntax rules also tell us how words form groups and are hierarchically ordered in a sentence. [Example: “The captain ordered the old men and women of the ship”]

This sentence has 2 possible meanings:

The captain ordered the old men and the old women of the ship.

The captain ordered the old men and the women of any age of the ship.

The meanings depend on how the words in the sentence are grouped (specifically, to which words is the adjective ‘old’ applied?):

The captain ordered the [old (men and women)] of the ship

The captain ordered the [old men] and [women] of the ship

These groupings can be shown hierarchically in a tree:

These trees reveal the structural ambiguity in the phrase “old men and women”. Each structure corresponds to a different meaning.

Structurally ambiguous sentences can often be humorous:

Catcher: “Watch out for this guy, he’s a great fastball hitter.”

Pitcher: “No problem. There’s no way I’ve got a great fastball.”

UG Principles and Parameters. Universal Grammar (UG) provides the basic design for all languages, and each language has its own parameters, or variations on the basic plan.

All languages have structures that conform to X-bar schema*

All phrases consist of specifiers, heads, and complements

All sentences are headed by T**

All languages seem to have movement rules

However, languages have different word orders within phrases and sentences, so heads and complements may be present in different orders across languages

*The internal structure of phrasal categories can be captured using the x-bar schema:

**All sentences contain information about tense—when a certain event or state of affairs occurred, so we can say that Tense is the head of a sentence. So sentences are TPs, with T representing tense markers and modals:

Sign Language Syntax. The syntax of sign languages also follow the principles of UG and has:

Auxiliaries

Transformations such as topicalization, which moves the direct object to the beginning of a sentence for emphasis, and wh movement

Constraints on transformations

That UG is present in signed languages and spoken languages shows that the human brain is designed to learn language, not just speech.

Ways to Use Syntax in Literature

Besides being critical to conveying literal sense, syntax is also one of the key tools writers use to express meaning in a variety of ways. Syntax can help writers:

Produce rhetorical and aesthetic effects. By varying the syntax of their sentences, writers are able to produce different rhetorical and aesthetic effects. How a writer manipulates the syntax of their sentences is an important element of writing style.

Control pace and mood. Manipulating syntax is one of the ways writers control the pace and mood of their prose. For example, the writer Ernest Hemingway is known for his short, declarative sentences, which were well-suited to his terse, clear style of writing. These give his prose a forceful, direct quality.

Create atmosphere. By contrast, Hemingway’s fellow story writer and novelist William Faulkner is famous (or infamous) for his meandering, paragraph-long sentences, which often mimic the ruminative thinking of his characters. These sentences, which often ignore the standard rules of punctuation and grammar, help create an atmosphere as much as they convey information.

That said, all writers vary their sentence structure from time to time. Using a variety of sentences is one of the key ways writers engage and maintain their readers’ interest.

Sentence Types in the English Language

The English language is extraordinarily flexible when it comes to building sentences. At the same time, all sentences in English fall into 4 distinct types:

Simple sentences. Consist of a single, independent clause. For example: “The girl hit the ball.”

Compound sentences. Consist of two or more independent clauses joined by a coordinating conjunction. The coordinating conjunctions are “but,” “or,” and “so.” For example: “The girl hit the ball, and the ball flew out of the park.”

Complex sentences. Consist of an independent clause and one or more dependent clauses joined by a subordinating conjunction. Some subordinating conjunctions are “although,” “because,” “so,” “that,” and “until.” For example: “When the girl hit the ball, the fans cheered.”

Compound-complex sentences. Consist of multiple independent clauses as well as at least one dependent clause. For example: “When the girl hit the ball, the fans cheered, and the ball flew out of the park.”

Syntax Examples in Literature

To get a sense of some of the ways writers use syntax to express meaning, it’s worthwhile examining a few famous examples from literature.

Moby Dick, by Herman Melville (1851). Melville begins with this famous line: “Call me Ishmael.” This first line—one of the most famous in literature—is short and direct. The sentences that follow, though, are significantly more sophisticated. In the fourth sentence, Melville uses a number of dependent clauses (“Whenever I find myself growing grim about the mouth,” “Whenever it is a damp, drizzly November in my soul,” and so on) to create a sense of anticipation.

Anna Karenina, by Leo Tolstoy (1877). Tolstoy’s novel begins: “Happy families are all alike; every unhappy family is unhappy in its own way.” This is actually two simple sentences joined by a semi-colon. Tolstoy could easily have just written them as separate sentences, but by joining them into one sentence he shows that these two thoughts are related and balanced.

Sources: 1 2 3 ⚜ More: Notes & References ⚜ Writing Resources PDFs

You can find more details and examples in the sources. All the best with your writing <3

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Understanding a Scientific Article

Abstract

A brief description of the key points you will find in the paper. This can include:

Objectives: What questions the researchers hope to answer.

Methods: What type of study the researchers used to conduct the study.

Results: What the researchers discovered.

Discussion/conclusion: What the results mean and/or the author’s interpretation of the results.

Look at the date of the study.

Was it conducted in the past year? 5 years? 15 years? As new information is learned, scientific standards and techniques change, and practices evolve.

New research may support results from older studies as well as lead to new methods to diagnose and treat conditions and diseases.

New research can, at times, also contradict other research, which may require additional research to explore and resolve these differences.

Research can separate the good results from the bad results. In this way, the scientific method is self-correcting, which is reassuring.

Looking at the date can provide insight into how the study fits into the larger evidence base on a particular topic.

Methods

Detailed information on the type of research or approach used, the study’s design, the participants, the measurements or outcomes recorded, and steps taken to avoid bias.

Types of Research

Basic research: Scientists ask questions about theories or concepts, and test hypotheses to improve scientific knowledge. It’s the first step in any research.

Translational research: Researchers build on the observations and results of basic research to develop and test new ways to prevent, detect, or treat conditions and diseases.

Clinical trials: Well-planned clinical trials are done with people and may vary in size and type. Clinical trials give the clearest information about whether a treatment or a lifestyle change is effective and safe in humans. However, because they are complicated, lengthy, involve many research participants and can be very expensive, they are usually done only after smaller preliminary studies have been completed.

Systematic reviews and meta-analyses: When researchers review each other’s research to check for quality and look for converging evidence among studies, they may write systematic reviews and meta-analyses. These look at different studies on the same topic. When many studies come to the same conclusion, it helps us know that the results are reliable and valid.

While all research studies are important and contribute to our knowledge base, clinical trials are the types of studies you probably hear about most often in the news. They can have the most immediate impact on improving health and treating disease.

Results

What the study showed.

The data, summaries, and analyses of the study are presented in this section. Tables, graphs, and charts that show the results are often included.

To better understand the results, you can ask these questions:

How do these results compare with previous studies?

A single study rarely provides a final, definitive answer.

Repeating a study using the same methods with different volunteers and investigators helps us know that the results are reliable and valid.

What do “statistically significant” and “clinically significant” mean?

Statistically significant means the differences observed between the groups are real and not likely due to chance.

Clinically significant is a measure of the size of the effects observed in the study, which shows the impact of the treatment.

A study can find statistically significant differences between two treatment groups, but the differences may be so small that they are not clinically significant in terms of usefulness for patients.

Are there potential conflicts of interest?

Did the study sponsor or the investigators have any financial or reputational "stake" in the outcome?

Most medical journal articles include information about relevant financial relationships.

Discussion

What the results mean.

This is where you can often find out how the study relates to your own health.

This section includes the authors’ explanation of, and own opinions about, what the results mean.

Since the conclusions are the authors’ own, others may or may not completely agree with their explanation of the results.

References

Previously published articles the authors used to review what related research was done before, to help design the study and interpret its results.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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Do you have any advice on how to write characters doing things while talking? Not just body language, but actual scenes, like playing games or (my default) eating

Writing Tips: Mixing Action & Dialogue

Striking a Balance

There are no hard-and-fast rules about when and when not to blend dialogue, action, and narrative.

To weave them together well is to find your story's rhythm.

But there are a few questions you can ask yourself about your story, especially in the rewrite stage, that can help you know which elements are most effective for a particular scene, and which might be better used elsewhere.

Ask yourself:

Is the story moving a little too slowly, and do I need to speed things up? (Use dialogue.)

Is it time to give the reader some background on the characters so they're more sympathetic? (Use narrative, dialogue, or a combination of the two.)

Do I have too many dialogue scenes in a row? (Use action or narrative.)

Are my characters constantly confiding in others about things they should only be pondering in their minds? (Use narrative.)

Likewise, are my characters alone in their heads when my characters in conversation would be more effective and lively? (Use dialogue.)

Is my story top-heavy in any way at all—too much dialogue, too much narrative, or too much action? (Insert more of the elements that are missing.)

Are my characters providing too many background details as they're talking to each other? (Use narrative.)

Whether we're using dialogue, action, or narrative to move the story forward, any or all 3 of these elements are doing double duty by revealing our characters' motives.

Your story's dialogue can reveal motive in a way that's natural and authentic because whether we're aware of it or not, we reveal our own motives all the time in our everyday lives.

And to understand a character's motive is to understand the character.

Action Beats - the descriptions of the expressions, movements, or even internal thoughts that accompany the speaker’s words.

They’re always included in the same paragraph as the dialogue, so as to indicate that the person acting is also the person speaking.

On a technical level, action beats keep your writing varied, manage the pace of a dialogue-heavy scene, and break up the long list of lines ending in ‘he said’ or ‘she said’.

But on a character level, action beats are even more important because they can go a level deeper than dialogue and illustrate a character’s body language.

When we communicate, dialogue only forms a half of how we get across what we want to say.

Body language is that missing half — which is why action beats are so important in visualizing a conversation, and can help you “show” rather than “tell” in writing.

Here’s a quick exercise to practice thinking about body language in the context of dialogue:

Imagine a short scene, where you are witnessing a conversation between two people from the opposite side of a restaurant or café. Because it’s noisy and you can’t hear what they are saying, describe the conversation through the use of body language only.

Remember, at the end of the day, action beats and spoken dialogue are partners in crime.

Examples

From Kazuo Ishiguro's Never Let Me Go, which highlights the power of interspersing action beats within dialogue:

“Tommy,” I said, quite sternly. “There’s mud all over your shirt.” “So what?” he mumbled. But even as he said this, he looked down and noticed the brown specks, and only just stopped himself crying out in alarm. Then I saw the surprise register on his face that I should know about his feelings for the polo shirt. “It’s nothing to worry about.” I said, before the silence got humiliating for him. “It’ll come off. If you can’t get it off yourself, just take it to Miss Jody.” He went on examining his shirt, then said grumpily, “It’s nothing to do with you anyway.”

Using a beat to interrupt the flow of dialogue:

“I love to write books!” John sat at the keyboard and cracked his knuckles. “But I don't like editing them as much.”

Sources: 1 2 3 4 ⚜ More: Writing References ⚜ Writing Resources PDFs

Choose which of these writing tips from the above sources work for your story. Hope this helps with your writing!

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a few more commonly confused words

Afflict - to cause suffering or unhappiness (something a disease does) Inflict - to force pain or suffering (like if you smack someone) (Both cause pain)

Allude - to refer to something in an indirect manner Elude - to evade

Alone - no other person is with you Lonely - you are alone, and sad as a result

Amicable - a friendliness or goodwill between people or groups Amiable - friendly disposition

Arise - happen or occur Rise - to go up

Assent - refers to agreement Ascent - a climb

Aver - to affirm Avow - to openly declare

Correlation - a relationship Corollary - more like a consequence

Disassemble - to take something apart Dissemble - to hide your true self

Discreet - under the radar, careful Discrete - individual or detached

Disinterested - unbiased; out of the loop Uninterested - don't give a hoot; bored

Disperse - to scatter Disburse - to pay

Eminent - famous Imminent - refers to something about to happen Immanent - inherent

Exalt - to glorify or elevate something Exult - to rejoice

Expedient - something helpful Expeditious - speedy

Extant - still here Extent - the range of something

Faze - to disturb, bother, or embarrass Phase - a stage or step

Fictional - literary Fictive - specific Fictitious - just plain fake

Imply - to hint at something Infer - to make an educated guess

Ingenious - smart and clever Ingenuous - innocent and naive

Insidious - something that lies in wait to get you Invidious - something offensive or defamatory

Loath - unwilling or reluctant Loathe - to hate

Morbid - describes something gruesome Moribund - the act of dying

Paradox - a logical puzzle that seems to contradict itself Oxymoron - a figure of speech—words that seem to cancel each other out (e.g., instant classic)

Parameter - a limit that affects how something can be done Perimeter - the outline of a physical area

Practical - sensible Practicable - possible

Pragmatic - you're practical Dogmatic - you follow the rules

Premiere - the first public performance of something Premier - the very best

Prescribe - to recommend Proscribe - to forbid

Rebut - to try to prove something isn’t true Refute - to actually prove it isn’t

Reluctant - resisting or unwilling Reticent - quiet, restrained, or unwilling to communicate

Sources: 1 2 ⚜ More: Writing Basics ⚜ Writing Resources PDFs ⚜ Part 1

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Writing Notes: Dramatic Structure

Dramatic Structure - the framework that allows a story’s plot to unfold.

Aristotle’s ancient Greek text on dramatic theory, Poetics, was the first written work to examine story structure.

Since then, writers and readers have used various approaches to dramatic structure to organize and analyze the plots of plays, poems, short stories, and novels.

Dramatic structure is typically broken up into acts, scenes, and plot points. Examples of popular dramatic structures include the three-act structure and five-act structure.

During the 19th century, German playwright Gustav Freytag presented a plot diagram, commonly known as Freytag’s pyramid or Freytag’s triangle. Freytag's analysis of structure—which centers around a rising action, climax, and falling action—is now one of the most common tools for storytellers.

Key Elements of Dramatic Structure

Introduction: This early part of the story includes exposition—backstory information about the setting and the protagonist, or main character. After introducing the key elements of your story, present an inciting incident—also known as an exciting force—that disrupts the status quo of the story and sets the plot into motion.

Rising action: Following the inciting incident, the main character enters a new world and moves toward a clear goal. The action rises along with the stakes as the protagonist faces obstacles and trials.

Climax: The rising action culminates in a climax, or the turning point of the story arc. At this stage, the protagonist faces their main conflict head-on, opposing the antagonistic force of the story—typically a villain.

Falling action: Immediately following the climax, the conflict between the protagonist and the antagonist unravels, creating suspense about the final outcome. The falling action is often out of the protagonist’s control.

Resolution: Sometimes called the denouement, the resolution of a story concludes the plot, tying up loose ends and answering final questions.

How to Use Dramatic Structure to Write a Story

Although there is a vast variety of methods for structuring stories, consider these general tips for how to best structure your story.

Identify your theme. Before locking in a plot structure, find the central theme of your story. Integrate the central philosophical question of your theme throughout the dramatic arc of your story.

Develop your characters. Identify the goals, desires, needs, and weaknesses of your main character. The more you develop your protagonist, the clearer your story structure will become. Alongside the main plot of your story, create subplots that develop your secondary characters, including allies, mentors, and antagonists.

Experiment with genre. Different genres include different tropes when it comes to story structure. Depending on the genre of your story, choose a story structure that either confirms or subverts the expectations of that genre.

Choose a plot structure for your story. Dramatic structures can be linear, cyclical, or non-linear with flashbacks. The most common plot structure in films and television is a three-act structure with a clear first, second, and third act. Two-act stories often include a climactic midpoint where the stakes rise or the protagonist’s goal changes.

Adapt your structure when necessary. The possibilities for potential dramatic structures are nearly endless. Be prepared to change your dramatic structure based on how your story unfolds on the page. Stay open-minded during the writing process to determine whether your dramatic structure is organic and authentic to the story you’re telling.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

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Writing Notes: Concrete Details

Concrete Detail - a descriptive detail grounded in specificity.

Why do stories need specific details? Because clarity and specificity trigger a personal response from readers.

When writers provide concrete examples, persuasive writing becomes more convincing, stories become more engaging, and characters become more vivid and lifelike.

As opposed to abstract language—which describes people, settings, and events on a conceptual level—concrete language evokes clear images in a reader’s mind.

The most sophisticated writing contains a balanced mix of concrete language and abstract ideas.

Clear, concrete details are essential for writing engaging prose.

Ways to Use Concrete Details in Your Writing

In each body paragraph of an essay, make your topic sentence conceptual and your commentary sentences concrete. Get your big ideas out in the first sentence of each paragraph, and then fill out the paragraph with detail. If you want to, you can switch back to the conceptual for the paragraph’s concluding sentence.

Lean on sensory details. The key senses are sight, hearing, smell, touch, and taste. You can easily create concrete descriptions by evoking these senses. If you’re writing a short story where the main character drinks a cup of coffee, describe that coffee. Tell your reader about its aroma, its color, its temperature.

Paint pictures with words. If you’re describing a person, item, setting, or action, ask yourself whether a reader would be able to visualize your subject in their minds. If not, revise your sentence, adding key words that paint a full picture of what you’re describing.

Provide specific examples. If you want to be certain that a reader will understand a concept, follow it up by providing an example of what it is you’re talking about. For instance, if you’re writing about how the concept of the “hero’s journey” manifests in literature and film, include a sentence that highlights famous stories that adhere to the format. Or if you’re trying to describe a personal experience from childhood, describe a specific activity you did with your best friend.

Example of Concrete Details

In the writing process, adding concrete details is about making precise word choices that evoke vivid imagery. For instance, the following abstract description is abstract and vague:

The tree was a tower of mystery, lurking in eerie dread with atramentous, abyssal depths.

Rewritten with concrete details, it can become the following:

The tree had gnarled branches and deep black holes in its trunk.

The second sentence is shorter and simpler, and as a piece of writing, it is also more concrete. It clearly describes the tree, while the first sentence leaves you guessing about what the tree actually looks like.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

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some more commonly confused words

Aggravate - make something worse Irritate - to annoy

Alternate - to take turns Alternative - an option

Ambiguous - something unclear or vague Ambivalent - about something, you can take it or leave it

Aural - refers to the ear or hearing Oral - refers to the mouth or speaking Verbal - expressed in words, either spoken or written

Definitely - for emphasis Definitively - for the final say

Didactic - teaches a lesson Pedantic - just shows off the facts

Envy - when you want what someone else has Jealousy - when you’re worried someone’s trying to take what you have

Fortunate - lucky Fortuitous - by chance or accident

Gambit - a kind of sacrifice* Gamut - a range

Gibe - to sneer or heckle Jibe - to agree** (but, jibe is a variant spelling of gibe)

Historic - has a great importance to human history Historical - something is related to the past

Holistic - treatment of the whole person Holy - having a divine quality (e.g., related to a god)

Partially - implies bias in favor of one or the other Partly - more precise when portion or proportion is meant

Rob - focuses on the place or person from which the thing is taken Steal - focuses on the thing that is taken

Sound - something which you can hear Noise - when a sound is unwanted or unpleasant

Tortuous - marked by repeated twists, bends, or turns Torturous - describes something painful

Voracious - describes someone super hungry Veracious - means truthful

Who - acts (like "he" or "she") Whom - receives (like "him" or "her")

Wreck - to ruin something Wreak - to cause something to happen Reek - to smell bad

Sources: 1 2 3 4 5 6 ⚜ More: Writing Basics ⚜ Writing Resources PDFs

EDIT

*specifically: Gambit - a chess opening in which a player risks one or more pawns or a minor piece to gain an advantage in position

**in sailing: Jibe (US) or Gybe (Britain) - a sailing maneuver whereby a sailing craft reaching downwind turns its stern through the wind, which then exerts its force from the opposite side of the vessel

Thank you to @introvertia & @anumberofhobbies for these additions!