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So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

missroserose

I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how? How does he know it?” Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.

heck-in-a-handbasket

All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.

ineedthesons

This is your "show not tell" advice explained!

tarysande

Editor here.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

“It was rainy.” Versus: “The rain pounded against the roof.” Or “The rain howled like an injured animal.” Or “The rain tapped against the window like an anxious lover.” All of these are inviting the reader deeper into the experience of the story by using stronger verbs and similes. And, at the same time, they stir feelings (instead of TELLING feelings). And feelings keep your reader engaged. Engaged readers keep turning pages; engaged readers become FANS.

whatagrump

Apparently a lot of people get dialogue punctuation wrong despite having an otherwise solid grasp of grammar, possibly because they’re used to writing essays rather than prose. I don’t wanna be the asshole who complains about writing errors and then doesn’t offer to help, so here are the basics summarized as simply as I could manage on my phone (“dialogue tag” just refers to phrases like “he said,” “she whispered,” “they asked”):

“For most dialogue, use a comma after the sentence and don’t capitalize the next word after the quotation mark,” she said.

“But what if you’re using a question mark rather than a period?” they asked.

“When using a dialogue tag, you never capitalize the word after the quotation mark unless it’s a proper noun!” she snapped.

“When breaking up a single sentence with a dialogue tag,” she said, “use commas.”

“This is a single sentence,” she said. “Now, this is a second stand-alone sentence, so there’s no comma after ‘she said.’”

“There’s no dialogue tag after this sentence, so end it with a period rather than a comma.” She frowned, suddenly concerned that the entire post was as unasked for as it was sanctimonious.

thewritinggrindstone

And!

“If you’re breaking dialogue up with an action tag”—she waves her hands back and forth—”the dashes go outside the quotation marks.”

writing-is-a-martial-art

Reblog to save a writer’s life.

jaydove-writes

Thank you

localcanadiancryptid22

Oh my god thank you. No wonder grammarly keeps complaining about my punctuation when I boot my writing up into word counter

skribblegurl

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

heywriters

I couldn't remember the word "doorknob" ten minutes ago.

bumblewyn

ok but the onelook thesaurus will save your life, i literally could not live without this website

breelandwalker

REBLOG TO SAVE A WRITER'S LIFE

cedar-west-deactivated20230408

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

mishkatelwarriorgoddess

Thank you so much for this!

coffeeandcalligraphy

Things to say about your writing instead of “this is so bad”

My writing doesn’t have to be perfect all the time

The dialogue in this scene feels stale (or another adjective), but I can revise that later

The descriptions lack specificity (or another issue), but I can revise that later

The [another specific craft element] isn’t working the way I’d hoped, but I can revise that later

I don’t feel like I can objectively judge my work at this current moment

I’m not happy with my writing right now, but that doesn’t mean I’ll feel this way forever

I’ll reread this writing at a later time and move on for now

This scene isn’t turning out how I’d pictured in my head, but I can accept that for now and tweak it later

I trust myself to edit this in the future

I’m afraid people are going to judge my work, but I’ll accept that I can’t control the reactions of other people—my reaction matters most

This scene/subplot/character/etc is overwhelming me.

I’ll take my time through this scene/chapter/subplot as more time may allow me to immerse more in the draft.

I’ll write this scene/chapter/subplot as quickly as I can—I would like to get through this part ASAP.

It’s okay to make mistakes in my writing.

I’m not feeling very confident in my craft right now, but I know this will pass

This scene might be bad, and that’s okay. Sometimes I write gems, and sometimes my writing needs a bit more work (that’s normal)

This scene relies on [certain skill] that I’m still honing. I understand to get better at something, I have to practice and practicing requires mistakes.

I’m not excited about this scene right now

I had high expectations for this scene, and unfortunately, I don’t feel like I’m hitting them. However, it’s okay for expectations to change.

I’m disappointed with how my writing is turning out. That’s normal, even though it sucks.

I’m going to remind myself what I DO like about my writing because this feels bad, though I know this feeling won’t last forever.

Sometimes writers need to say “my writing is so bad,” and that’s fine too! Sometimes though, it’s good to note what is specifically wrong in case you need an extra boost forward! <3

er-cryptid

Limits of the Human Body

Body Heat = 107.6 F

Cold Water = 40 F

Hot Air = 300 F

High Altitude = 15,000 ft

Starvation = 45 days

Diving Depth = 282 ft

Lack of Oxygen = 11 minutes

Blood Loss = 40%

Dehydration = 7 days

meanpear-deactivated20241004

Writers finding this post:

a-casual-egg

Thank you

hessys-corner

Europeans about half of this post:

nanaccused

Body Heat = 42 C

Cold Water = 4 C

Hot Air = 148 C

High Altitude = 4572m

Starvation = 45 days

Diving Depth = 390m

Lack Of Oxygen = 11 minutes

Blood Loss = 40%

Dehydration = 7 days

edwin-payne-enthusiast

Europeans seeing this version of this post:

battlestar-royco

here have 10 pieces of writing advice that have stuck with me over the years

every character’s first line should be an introduction to who they are as a person

even if you only wrote one sentence on a really bad day, that’s still one sentence more than you had yesterday

exercise restraint when using swear words and extra punctuation in order for them to pack a punch when you do use them

if your characters have to kiss to show they’re in love, then they’re not in love

make every scene interesting (or make every scene your favorite scene), otherwise your readers will be just as bored as you

if you’re stuck on a scene, delete the last line you wrote and go in a different direction, or leave in brackets as placeholders

don’t compare your first draft to published books that could be anywhere from 3rd to 103rd drafts

i promise you the story you want to tell can fit into 100k words or less

sometimes the book isn’t working because it’s not ready to be written or you’re not ready to write it yet; let it marinate for a bit so the idea can develop as you become a better writer

a story written in chronological order takes a lot more discipline and is usually easier to understand than a story written with flashbacks

luna-azzurra

Tips for portraying the chemistry between your characters in front of their friends or family:

1. Non-verbal cues: Show their natural gravitation, shared glances, and subtle physical contact.

2. Inside jokes and laughter: Highlight their shared humor and lighthearted moments.

3. Magnetic presence: Make others notice their captivating energy when they enter a room.

4. Genuine interest and support: Illustrate their caring and supportive interactions.

5. Subtle displays of affection: Include brief touches or tender gestures that hint at their connection.

6. Protective instincts: Showcase their instinct to shield and defend each other.

7. Body language mirroring: Describe how they mirror each other's gestures and emotions.

8. Genuine admiration: Show them openly expressing admiration for each other's qualities.

9. Unspoken understanding: Highlight their ability to understand each other without words.

10. Observant friends or family members: Include characters who notice and comment on their chemistry.

Remember, these moments should feel natural and add depth to your characters' relationships.

abalonetea

my writing fundamentally changed forever ten years ago when i realized you could use sentence structure to control people’s heart rates. is this still forbidden knowledge or does everyone know it now

dreamtofswallowingcoins

?????? *raises hand* I’ve been writing for years and don’t know this trick by these words! do tell?

abalonetea

Okay, so a few people have asked for me to cite the dark magics at them, and i’m super happy to share because it’s my favorite thing ever.

so, let’s see if i can explain this the same way that i learned. read a sentence out loud. you come to a full stop when you hit the period, and you take a normal, breath. but, when you hit a comma, you take a slightly longer pause. and when you hit a dash - you take an even longer pause.

this is a natural rhythm that we pick up when we’re first taught to read; we do it without even thinking. but when you start to think about it, you realize that it can become a tool.

think of your heartbeat. a period is badump. a comma is badump-dump. and a dash is thump badump. one breath. a longer breath. two breaths.

that means what you read automatically affects the rhythm of your breathing and your heartrate. which means that you can control the amount of physical tension your reader feels… by altering your punction and your sentence structure.

for fast paced scenes, you use short sentences. a lot of hard stops. mostly periods, with just a few comma’s thrown in for the full breath. your reader’s heartrate accelerates. their breathing is slightly and unintentionally, on their end, quicker. you hit the dramatic ending of the scene - and your reader’s body phsyically feels the gasp, the breath of fresh air, of these longer sentences.

now, read that paragraph again ant take note of your natural pauses, and how it subtly affects your breathing.

the same thing can be said of comma’s and dashes. while they can be used as a breath of fresh air, they can also cause a new line of tension as they lead your reader to hold their breath. during this section, you should use longer sentences; breaking up the harshness of the pauses by using variations of punction. read this paragraph out loud from the start and take note of how long you go between pauses and full breaths.

and then, comes the biggest trick.

the hard stop.

the paragraph.

because while the periods, commas, and dashes are variations on a short stop, the paragraph is a hard stop. you take a full breath. you pause for a moment, then move to the start of the next paragraph.

which means you can create an entirely new sort of dramatic tension. read the sentences that are in bold. see how you take a naturally longer pause at the end of each paragraph?

see how it makes you feel?

how it makes you breath different?

how doing it once, twice, or three times creates a different line of tension?

this little magic trick can be used to cause a reader’s heartrate to speed up during a fight or chase scene. it can be used to cause their breathing to slow down during moments of dramatic tension, sorrow, or softness. and it can be used to create hard breaks that add a new level of physically felt emphasis to your written work.

i hope these examples make sense! it’s my favorite writing trick!

whump-queen

anyone have any advice/resources on how to write suspense?

painsandconfusion

Have you ever played with silly putty? You know when you stretch it out it slooooooowwwwwwwwly droops down?

Suspense is like that

You need to start small and write small

if you start too big, the tension is going to fall looser and looser and looser, even if the stressor is the same

so small stressor. don't start with 'someone's chasing me!'

start with '..something doesnt feel right' then 'what was that sound?' and work your way up. it keeps the tension relatively the same while increasing the action

also, write small in other ways. focus on little details. the beat of their heart. the texture of the ground under their feet. the little noises that cut into their focus. all those little things not only make your story more vivid and relatable to the reader, but they also tease the reader with details without giving them the full picture until they need it

have fun!

l1atena1

Don't you sometimes get an absolutely extrodinary, mind blowing, such an awesome idea for a story, but you just don't have enough skill level to pull it off?

dark-magical-ships

Write it anyway.

Write it anyway, write it anyway, write it anyway.

There are so, so, so many reasons:

You gain that skill level only through practice. So practice.

No matter what you’re writing, no matter how badly you think you’ve written it, there is ALWAYS some audience that will love it and cherish it.

You can use what you write the first time around as a first draft and just rewrite it again later when you feel like tackling the story again!

Rewriting the same story over and over is a valid writing process. It’s literally just creating new drafts. Each iteration will be better than the last, because each is building on your growing skill and experience.

If you love the story, it will always be worth telling simply for your own enjoyment. If no one else ever sees it, that’s okay! Your art should be for you first, anyway.

Write it anyway.

bettsfic

“One of the things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.”

― Annie Dillard, The Writing Life

biscuitsandspices

Encouragment for writers that I know seems discouraging at first but I promise it’s motivational-

• Those emotioal scenes you’ve planned will never be as good on page as they are in your head. To YOU. Your audience, however, is eating it up. Just because you can’t articulate the emotion of a scene to your satisfaction doesn’t mean it’s not impacting the reader.

• Sometimes a sentence, a paragraph, or even a whole scene will not be salvagable. Either it wasn’t necessary to the story to begin with, or you can put it to the side and re-write it later, but for now it’s gotta go. It doesn’t make you a bad writer to have to trim, it makes you a good writer to know to trim.

• There are several stories just like yours. And that’s okay, there’s no story in existence of completely original concepts. What makes your story “original” is that it’s yours. No one else can write your story the way you can.

• You have writing weaknesses. Everyone does. But don’t accept your writing weaknesses as unchanging facts about yourself. Don’t be content with being crap at description, dialogue, world building, etc. Writers that are comfortable being crap at things won’t improve, and that’s not you. It’s going to burn, but work that muscle. I promise you’ll like the outcome.

writtenbyevie

do you ever not write for so long that you’re almost afraid to? like what if I’m dumb now

keyboardandquill

You just gotta unclog the pipe. Are you dumb now? No. The water was sitting stagnant because you were busy doing other things (100% fine btw). If any 'dumb' got in the water then it will quickly leave once you let the water start flowing again. Go get all the stupid out into a doc that doesn't matter. Even several of them. It might take a good while, especially if you're returning to writing after years or after a period of intense burnout, or both (waves). But you're just rusty, and letting that stop you will only ensure you stay stuck! Go forth and write some nonsense!

sxptember-s-deactivated20230222

Reasons to keep writing:

it brings you joy

somebody has to take care of the characters

you have a lesson to teach

it gets you through everyday life

there’s people excited for the next chapter

to provide hope for yourself and others

if you don’t tell the story, no one else will

it’s a way of expressing yourself / what you go through

to make yourself and others feel less alone

people adore your writing

your characters would miss you if you left

nobody can take your place / write your stories for you

to leave something behind to be remembered by

to release your emotions

to inspire other people

thewritingumbrellas

Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

writerlyn

This is legit good writing advice, especially the first bullet point! In playwriting class we did a bit where every bit of dialogue had to be an accusatory question and it was glorious.

aye-write

Top Tips for Clues, Red Herrings, and Breadcrumbs

One of the most important parts of writing MYSTERY is figuring out what to do with clues and red herrings - and how to use them effectively. Here’s some advice that’s never steered me wrong:

Hide the real clue before the false ones! Most people, so by extent your readers and your sleuth, tend to focus on the last piece of information presented to them. A good strategy is to mention/show your real clue and then quickly shift focus.

Do a clue cluster! Squeeze your real clue in among a whole pile of red herrings or other clues, effectively hiding it in plain sight. This works especially well with multiple suspect mysteries.

Struggling to think of what a clue could be? Try this list:

Physical objects: Letters, notes, tickets, emails, keepsakes, text messages, diaries, etc.

Dialogue: voicemail recordings, overheard conversations, hearsay, gossip, rumours. All of these can hold grains of truth!

Red herrings distract and confound your protagonist and your reader, so you should be careful not to overuse them. Well balanced, red herrings should lead your characters down false paths to create confusion, tension, and suspense.

Contradictions! Have characters claim they did so-and-so at such-and-such a time, but other characters have evidence that contradicts this.

Balance! Avoid a clue that’s so obvious it’s like a neon sign saying “Look at me, I’m a clue!” but don’t make it so obscure it’ll be missed entirely. A good clue should leave a reader saying “Damn, I should have noticed that”

mjgauthor

Writing advice that changed my sentence

When I was a young writer, I was told that I often started my sentences with "there is/there was/there are." I was told to eliminate those as much as possible.

I couldn't believe how often I used them. My first novel was completely littered with them.

I learned to diversify and grow my use of verbs. Instead of the state-of-being verbs, like "is" which isn't very descriptive at all, I started using stronger verbs.

Instead of writing "There were a bunch of trees on the hill" I wrote "A cluster of trees towered over the hill."

"Towered" is a much stronger verb than "Is"

Use the state-of-being words, but if you can, try replacing them with more active verbs. You might be surprised how much your writing improves.

writingwithfolklore

My creative writing prof pointed out that I use 'so' a lot and since then I haven't been able to stop seeing it. Every writer relies on certain words and phrases--knowing yours is the first step to writing better sentences and becoming a more intentional writer. Good luck!

sariahsue

Mine is starting with the characters’ names or their pronouns. He did that, she felt this, so-and-so turned and saw, etc. I always struggle, but always worth it, to remember to describe the scenery around them and how they interact with it, not just what the characters are saying or doing.

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