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[thewritingumbrellas]

Fun ways to develop characters:

Pinterest boards for their outfits or stuff they’ll like.

Take buzzfeed quizzes as the character.

Make a list of conspiracy theories they do or do not believe in and why.

Make memes based off their backstory.

[thesesummersonspoet]

V.E. Schwab’s advice on creating memorable characters.

[doebunnybooks]

this has changed me character creation entirely

[fixyourwritinghabits]

Remember to apply this to both protagonists and antagonists!

[theliteraryarchitect]

Hi! So I recently discovered removing the word 'that' from 90% of my writing actually made it more fluid and hardly impacted the readability. Tiny achievement but very proud of myself as a novice writer ^.^ I was wondering if (other than the up/down one) there were any other tiny tricks for removing superfluous words? Thanks!

Great question! Honestly, there are hundreds, but here are a few to get you started.

Words You Can (Usually) Safely Cut from Your Writing

That

Then

Start

Begin

Suddenly

Down

Up

Kind of

Really

Just

Basically

In general, look out for adverbs (actually, really), “hedging” words (kind of, sometimes), and ambiguous words (nothing, everything, someone). Some can be cut; others will need to be revised or swapped out. “That” is a classic offender. “Then” can usually be changed to “and.” It’s only necessary to qualify that an action was “started” if the action gets interrupted, otherwise it can be cut. (”She started to cry” becomes “She cried”).

I have a detailed, exhaustive list of words like this (with explanations!) in my book The Complete Guide to Self-Editing for Fiction Writers, which will be done soon :)

Nice to hear from you & hope this helps!

//////////////

The Literary Architect is a writing advice blog run by me, Bucket Siler. For more writing help, check out my Free Resource Library, peruse my Tumblr Post Guide, or get The Complete Guide to Self-Editing for Fiction Writers. xoxo

[wordsnstuff]

Hi, just have a quick question. I'm trying to come up with a story, but I've found that it's easier for me to create the characters rather than the story itself. Is it possible to create and develop the characters first, then write the story when I've sorted out the main plot?

Characters first, story second method…

I think it’s possible, and for a lot of writers, a bit more fun to start with the characters and build the plot around them. It can strengthen the characters’ motivation-driven-action within the story and the plot can be better suited to fit them. If you’re going to go with this order of operations, I suggest spawning plot points from your characters directly by dissecting them and designing a plot around answering key questions about who they are, what they want, and what they need. 

I would start here with a game of 20 questions:

What do they want?

What do they think they need?

What do they actually need?

What are they willing to do to get it?

What’s in their way?

Who is willing to help them?

Who is willing to work against them?

What are the pros and cons of them achieving their goal?

What makes them want to achieve it in the first place?

How can the origin of their motivation be their downfall?

What will they learn as they work to achieve their goal?

What will they learn once they succeed/fail?

How will they change for the better?

How will they change for the worse?

How can their flaws help them succeed?

How can their best qualities hinder their success?

Who will they gain in the process?

Who will they lose in the process?

When will they be satisfied with their achievement?

What is their biggest fear?

All of these elements can become plot points or scenes, because by the end of the book you want the reader be be able to answer these questions. You create a plot around characters by having them drive it. Test them, expose them, force them into situations that reveal their deepest textures and colors, and try to teach the reader something by the end of it.

–

Masterlist | WIP Blog

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[jessicacaseyauthor-deactivated2]

Your characters have problems.

I don’t mean flaws in character design, even though they possibly do. I mean the problems your characters SHOULD have. The problems they face in your story ie. villains, conflict, war, homophobic parents, not having a date to the big dance. Y’know…like a plot.

Here are 3 ways to improve your plot

1. Your Characters Need to Make Decisions

This may sound obvious, but it isn’t always. The Problem™ isn’t just something your character has to go through that sucks—they should be faced with options, and have to make Active Decisions™ that affect the outcome of the story. This gives your characters agency—if they don’t have agency, if they don’t make decisions, your characters will be read as passive. Passive characters aren’t interesting.

2. These Choices Need To Be Hard

Give your characters inner conflict.

Hard, tough decisions to make. How to face their big problem. In figuring out what options your characters will choose, remember their

Motivations

Background

They way they were raised

Moral/Ethical/Spiritual beliefs

Fears

Loyalties

3. Figure Out The Stakes

Based on what kind of story you have, the stakes for your protagonist are going to be different.

SciFi novel about how the world is going to get obliterated by an evil force in 2 days? High stakes.

Romance novella about 29-year old Tequila Sheila who can’t seem to find a date to her brother’s wedding? Lower stakes.

And there’s nothing wrong with having higher or lower stakes—but do think about where your stakes should be for your particular story. Many stories don’t have high enough stakes for readers to be captivated; these stories need to be reconfigured, after realizing what exactly is at stake and to what degree. Understanding what your stakes are can help you figure out what kind of reading experience your book will be.

[michaelbjorkwrites]

Your character is driven by 3 emotional motives. See? I even made a graphic.

(I’m proud of the graphic, too.)

Mood: The immediate (and temporary) emotions of your character. A feeling of joy after kissing the girl they like; frustration after a busy day working a summer job at the fair; despair after somebody eats the last Oreo.

Situation: The plot and relationship contexts of your character. The apprehension they feel with a friend in the weeks following a nasty fight; the nerves felt in the week leading up to their big championship game; the frustration and boredom of being grounded after crashing the family car into the county creek.

Struggle: The core, deepfelt pain of your character, which often emerges from their background. The fear of failure from overly demanding parents; a deep longing for a family they never knew; a desperate need to be accepted after spending years as an outcast.

How these 3 motives influence your character

The above emotional motives all play an important role in driving your character’s actions, muddying or even overriding their more logical intentions — just as it happens to the rest of us. (We’re all human, after all.)

That being said, while your character’s mood and situation will shift throughout the story, their struggle will remain constant: their true north, emotionally speaking. This struggle will always be at the root of their actions, even as you swap in new situations and moods.

Take Bethany as an example

Let’s say your character’s name is Bethany, and her struggle is this: a deep fear of failure, stemming from her parents’ impossible academic expectations, which conflicts with her own desire to finally experience the life she sees passing her by.

Her actions, while primarily driven by that struggle, are going to vary quite a bit depending on her situation and mood. For example, if it’s the night before a big test, she might blow off a friend’s invitation to a party so she can study.

But if the party is a week before the big test, and she finds a handwritten invitation in her notebook from Emma (the girl on the lacrosse team she has a crush on), Bethany might act differently. Maybe she feels a lightness and warmth in her cheeks as she reads Emma’s note. Maybe she puts those textbooks away, and maybe, just maybe, she sneaks out the window and goes to the party.

But if Bethany finds the note after her parents just chewed her out for being ungrateful and not studying hard enough? Maybe Bethany doesn’t go to the party. Instead, maybe she reads Emma’s note, trembles, then rips it in two, knowing she can’t disappoint her parents like that. Then she spends the rest of the evening studying. Alone.

Mood. Situation. Struggle.

All three kinds of emotional motives are important. Your character’s struggle is the anchor, but their mood and situation are the ever-shifting masks you use to express their struggle in fresh ways. 

And by the end of the story, hopefully your character will overcome their struggle — putting away the textbooks, sneaking out the window, and meeting their crush at a party. Maybe even having their first kiss.

Whatever the character, and whatever their struggle, I’m sure you’ll do great. 

So good luck! And good writing.

— — —

Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

[callitgoodwriting-deactivated20]

Naming Chapters

I personally think naming chapters beyond the standard “1”/ “I”/“One” is an art we lose after middle school chapter books. And while I do think the minimal numbering fits certain books, I also think detailed chapter names fit others. So how do you name a chapter (and how do you know if it fits your story)?

1. Chapter names can be much longer and break the more strict nature of book titles

Chapter names can be a single word all the way up to a full sentence while still being manageable. They also don’t have to be as catchy or marketable as a book title. This means you have tons more freedom in the name. Which is really fun. 

2. How to Name a Chapter

What kind of tone the chapter title evokes is important. It doesn’t have to match the overall tone, but it should mirror the one within the chapter. Just like the book title, you’re telling your readers what to expect. Here are some ways to find a chapter name (P.S. All the examples are made up):

Within the text

Ex. The sentence  “The morning was awash with simple pleasures.” can turn into the title “Awash with Simple Pleasures”

Name of a side character who gets their moment in the chapter

Ex. “About Emily”

A question the reader and/or MC may have about their circumstances

Ex. “What Do You Do When the World Ends?”

A chapter’s motif 

Ex. If the chapter revolves around a character getting the MC a pearl necklace, the title could be “Pearls”, “A Girl’s Best Friend”, etc.

An allusion

This could really be anything. Some of the most common allusions refer to Shakespeare, mythology, old songs, famous poems, and classic literary works. Of course, you could make an allusion to something niche (or otherwise unknown) that relates directly to the story.

Ex. “Et tu, Brute?” (referring to Shakespeare’s Julius Caesar) could a title after the reveal of a betrayal

An utterance

Anything your MC would think or say, given the opportunity to break the 4th wall, bridges the gap between character and reader a little. It’s not something they’ve said to anyone in the story. And it has an air of self-awareness.

Ex. “So This is Where We Are Now”, “This Wasn’t Supposed to Happen”

Foreshadowing

Use this sparingly and carefully, but you can plant clues and things similar in nature in the title

Ex. The chapter ends with the abrupt murder of a character using a coffee pot that was previously inconspicuous. The tile is “Coffee Pot”.

3. The “Other” Kind of Chapter (AKA The Part)

There are two main ways to split up a novel. The chapter and the part. Chapters are usually a given and can work concurrently with the story also being split into parts. If you read The Hunger Games, among many others, you’ve seen this in practice.

The parts of a novel are usually in 3s. This can (indirectly or inexplicitly) mark beginning/middle/end or childhood/adulthood/elderhood. Or it can mark more story-specific events, like The Hunger Games and its sequels. You mostly see this in sci-fi/fantasy novels, but they can go anywhere. 

The titles of these parts are usually short and correlate with each other (similarly to how book titles in series can correlate). 

Ex. “The Dawn”, “The Day”, “The Dusk”

Ex.  “Spark”, “Flame”, “Wildfire”

Ex. “The Test”, “The Proof”, “The Job” 

Ex. “4″, “16″, “25″

Where you place these divisions is up to you. It works best if it feels natural and fits in well with the pacing. You can plot your story around these parts, or add them in later. Either way, whether they work or not is going to be subjective and you might need beta readers/a critique partner to help you out. 

4. So, is it right for my story?

That’s totally up to you and all I can really give you for an answer is my opinion. I think chapter titles are a given for stories with a comedic tone. There’s an easy sense of irreverence or goofiness that comes with it when used right.

Other stories can be tricky, though. I think unless your story is super serious (like a thriller), you can effectively use chapter titling. With serious stories, it might be a bit more tricky to maintain the stricter tone with title, but it’s accomplishable.

And of course, you don’t have to add titling. Sometimes the minimalistic nature of  “One”/”I”/”1” fits a story better than any other title could.

If you feel so inclined to title your chapters, it can add a whole new layer of mechanics to better tell and represent your story that you can experiment with. And if you don’t feel inclined, don’t worry about it! It’s a personal choice, not something you’re missing out on. And isn’t that what your writing is? Your own style based on what you do and don’t add?

[michaelbjorkwrites]

5 frustrating workshop rules that made me a better writer

Throughout the 15 workshops I joined in college and grad school, I encountered two types of writing rules.

First, there were the best-practice guidelines we’ve all heard, like “show don’t tell.” And then there were workshop rules, which the professor put in place not because they’re universal, but because they help you grow within the context of the workshop.

My college’s intro writing course had 5 such rules:

No fantasy, supernatural, or sci-fi elements.

No guns.

No characters crying.

No conflict resolution through deus ex machina.

No deaths.

When I first saw the rules, I was baffled. They felt weirdly specific, and a bit unfair. But when our professor, Vinny, explained their purpose (and assured us he only wanted us to follow the rules during this intro workshop, not the others to come), I realized what I could learn from them.

1. No fantasy, supernatural, or sci-fi elements.

Writers need to be able to craft round characters, with clear arcs. While you can hone those skills writing any type of story, it can be more difficult when juggling fantastical elements, because it’s easy to get caught up in the world, or the magic, or the technology, and to make that the focus instead of the characters. So Vinny encouraged us to exclude such elements for the time being, to keep us fully focused on developing strong, dynamic characters.

2. No guns.

Weapons have a place in many stories, but when writers include a gun, they often use it to escalate the plot outside of the realm of personal experience and into what Vinny called “Hollywood experience.” He wanted us to learn how to draw from our own observations and perceptions of life, rather than the unrealistic action, violence, and drama we’d seen in movies, so he made this rule to keep us better grounded in our own experiences.

3. No characters crying.

When trying to depict sadness, writers often default to making characters cry. While there’s nothing inherently wrong with that, tears are just one way to show grief, and they aren’t always the most subtle or emotionally compelling. That’s why Vinny challenged us to find other ways to convey sadness — through little gestures, strained words, fragile interactions, and more. It was difficult, but opened us up to depicting whole new gradients of grief and pain.

4. No conflict resolution through deus ex machina.

This is the only one of the rules I’d say is generally universal. Meaning “God from the machine,” deus ex machina is a plot device where a character’s seemingly insurmountable problem is abruptly resolved by an outside force, rather than their own efforts. These endings are bad for various reasons, but Vinny discouraged them because he wanted us to understand how important it was for our characters to confront their struggle and its consequences.

5. No deaths.

Death is inherently dramatic and can be used to good effect, but many writers use death as a crutch to create drama and impact. Writers should be able to craft engaging, meaningful stories, even without killing off their characters, so this rule challenged us to find other methods of giving weight to our stories (such as through internal conflict).

How these rules helped me grow as a writer

First things first, I’ll say it again: apart from #4 (deus ex machina), these rules were never meant to be universally applied. Instead, their purpose was to create temporary barriers and challenges to help us develop key skills and write in new, unfamiliar ways.

For me, the experience was invaluable. I liked the way the rules challenged and stretched my abilities, driving me to write stories I’d have never otherwise attempted. They made me more flexible as a writer, and while I don’t follow the rules anymore (I LOVE me some fantasy), I’ll always be thankful for how they shaped my writing.

My recommendation to you?

Give some of these rules a shot! Follow them temporarily while writing 2-4 short stories — but remember to always keep their purpose in mind, because the rules themselves will only help if you understand what they’re trying to achieve.

Write with purpose, and you’ll always be growing.

— — —

For more tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

[fairy-prompts]

How to: write pain

Don't make paragraphs about it - battles are supposed to be fast-paced

Describe:

- the object used to harm the character

-where the injury is

-how long the character had had the injury

-how deep the cut is (for blades)

-whether or not the wound triggers other things (dizziness, bleeding)

There are different kinds of pain

punch/blunt force trauma:

-how it feels: aching, a single spike of pain before it fades into an ache, throbbing, numbness

-effects: swelling, bruising, broken bones, unconsciousness, dizziness, concussion, internal bleeding.

stab wound/cut

-how it feels: stinging (shallow wounds), burning

-effects: bleeding (the blood from arteries is a brighter red, like vermilion, the blood from veins is dark crimson), dizziness from the blood loss, unconsciousness, infection (if left unattended), death

gunshot

-how it feels: depends on the caliber bullet, from how far away they were shot and in what place

-effects: same as stab wounds

Things that an injured character may have/do

-heavy, harsh, ragged breathing

-panting, gasping, crying, grunting, hissing, groaning, whimpering, screaming, shrieking, clenching their teeth

-ears ringing, unable to speak

-pressing their hands on the injury to try and stop the bleeding, trembling, eyes rolling up into their head

-vision blurring, room spinning

Where to hit in a fight

temple and jaw - good for a knockout punch, but are near the skull so it will be dangerous if you miss (it can broke/dislocate your fingers)

nose/eyes - messes up the senses and distracts the opponent

neck: can mess up breathing, talking and the spinal cord

inner elbow: can disable the opponent's arm

solar plexus: hard to hit but very effective

liver: causes immediate pain, dizziness and loss of breath

kidneys

groin

outer/inner thighs

knees

-----------------

But not getting into a fight stops the injury for both the opponents :)

(thank you very much for all the support!!! i appreciate every single reblog/like/comment 💕 I'm happy I could help you)

[thatwritergirlsblog]

Killing off characters: the shoulds and shouldn’ts

1. Why you should

The death is a major plot point

It reveals some shocking plot twist

It supports your themes/what you’re trying to say with your book

Your novel explores the afterlife

You are George R.R Martin and the selling point of your work is that everybody dies

It suits the genre/mood of your novel

2. Why you shouldn’t

The character isn’t serving any purpose (this isn’t the Sims)

You want your readers to be shocked for the sake of being shocked

You want to be edgy

You think your MG story needs more gore

You want to romanticise grieving/loss

3. How you should

This really depends on your genre and target audience

If you’re writing something that isn’t intended to be graphic/traumatic, you can stick to the impact the death has on the other characters. If your novel explores illness, focus on that rather than on the disturbing death scene itself. Perhaps you’re writing a drama/tragic romance - you might want to ease up on the gore here. For these genres, I would suggest focusing on the emotional aspect of the death - the sobbing, the last words, the bright white lights (whatever floats your boat). Think of Mufasa in The Lion King - the actions are suspenseful, but we don’t see him being trampled with his guts spilling everywhere. But it’s still one of the most impactful deaths in fictional history.

If you’re writing in a more mature and gritty genre (like thriller, dark fantasy or crime), you can go all out. If there’s blood and guts, you readers probably want to see it in vivid detail to get their violence fix for the day.

Whichever genre your novel falls into, you should also go with what feels comfortable to you. Even if you’re writing adult dark fantasy, you don’t have to write graphic violence to make a character death impactful.

4. How you shouldn’t

Please don’t let your character have a three-pages-long monologue after they’ve been stabbed in the throat. It’s not realistic and it’s often very boring. Yes, a few well-written last words can have a great impact. Just make sure that your character would realistically be able to speak at that point and that it doesn’t become a cheese fest.

Unless you’re aiming for very dark/nihilistic humour, afford your characters some dignity in the way they kick the bucket. (e.g. don’t use the phrase “kick the bucket”). Having someone slip on a banana peel and then choke on a pretzel is a little ridiculous and will make the entire story seem silly. Once again, this really depends on what you’re going for. If your genre is serious and your character is important and beloved, try for emotion rather than whimsy.

Don’t let your characters die only to be resurrected again and again and again. Look, I love Supernatural (long may they reign), but even I have to admit that the Winchester brothers’ luck with death has become a bit ridiculous. Doing this takes away from the impact of the death - it removes the fear and suspense, and will leave your readers emotionally stunted.

5. Who you shouldn’t

Your only female character in a bid to make the male hero feel something and become a better person

Your only LGBTQIA+ character, who is just too pure to live in this terrible world

Your only character of colour, who dies to save the white hero

Your only disabled character, who can now finally find release from life with disability

The one character who has never experienced a sliver of joy and bears the brunt of the tragedy, right when happiness is finally within their reach

The main character in the middle of the story - unless you have a REALLY good plan for what happens next

Reblog if you found these tips useful. Comment with your own thoughts on killing off characters. Follow me for similar content.

[sandydragon1]

Things to Consider when Creating a Magic System

What are the drawbacks of using magic? Does it have mental, physical, and/or emotional consequences for the user?

What tools are needed to harness magic? Wands? Spells? Magical artifacts?

How do people learn magic? Instinct? In school? From family members?

Can everyone use magic or are only certain people capable of using it?

Is the capability to use magic hereditary? What about different ways of using magic (transformation powers, teleportation, etc.)?

What is impossible for magic to do?

How long does it take to master different magical skills?

Can creatures other than humans learn magic? Are different creatures better at using different kinds of magic?

Does it require spells to be spoken, written, or thought?

Is it possible for someone to lose their magical abilities?

How do characters’ emotions affect their ability to use magic? Do their emotions affect the magic’s intensity or controllability? 

How does the strength of a person’s magical abilities change as they age?

Can people normally perform any kind of magic or can they only perform things that fall under their specialty? Are their exceptions?

What rules restrict magic use in society?

How do people’s magical abilities impact their career prospects?

What kinds of magic are the most feared or seen as the most powerful? Which are seen as mere jokes?

How do people use magic to help with everyday tasks?

Can magical energy be stored for later use?

What objects or other factors can amplify someone’s magical powers?

When do magical abilities initially manifest? From birth? At a certain age? Under certain conditions?

What is the first spell a character is likely to learn?

What happens if a spell is performed incorrectly? Nothing at all? A weaker version of the intended results? Pain?

Can different spell casting methods be used to obtain the same result? What are their advantages and disadvantages?

[therainsoakedwriter]

It took me forever to get the hang of starting scenes. Save yourself some time.

(Credit in Pic)

[writeness]

one of the best pieces of writing advice i’ve ever gotten:

if a scene isn’t working, change the weather.

it sounds stupid, but seriously, it works. thank u to my screenwriting professor for this wisdom

[andworldbuildingtoo]

Tired of Good Vs Evil?

I have other type of conflicts for you:

Order Vs Chaos

Tradition vs Progress

Discipline Vs Harmony

Selflessness Vs Egoism

Bacon Vs Tie      

Safety Vs Freedom

Individuality vs Community

Emotions Vs Stoicism

Romanticism Vs Enlightenment 

Nature Vs Nurture   

Life Vs Death

Bacon Vs Broccoli

 Pacifism Vs Self-Arming

Chance Vs Purpose

Talent Vs Hard work

 Passivity Vs Action      

Performance Vs Technique

Law Vs Good

Order Vs Harmony

Science Vs Nature

Human morality Vs Non-human morality (especially if both sides are “good”)

UPD: Added new ones

Also old three-way picture. Just in case if anyone might need it.

[writing-ideas-inc]

I don’t know what the bacon ones mean, but the rest are great, especially if you want to make the readers question which side is the right one, the characters question their own sides, etc. Basically, morally grey conflict in my opinion tends to be a lot more interesting and thought provoking than the standard Darkness vs Light, Good vs Evil stuff.