A writer's log

My own personal and dirty little logbook about my writing journey.

[writer-logbook]

If your writing doesn't feel like it, remember that...

(DISCLAIMER: I've got the books mentioned below in French, so I either had to dig for the quotes on Goodreads or make a poor attempt at translating them myself. Just focus on the ideas I'm trying to get across through these great authors.)

In The Good Enough Life, Marina van Zuylen wrote something that sounded like* : "Experience is a set of viewpoints and judgments that can always be adjusted. This is why the relationship between an action and its reception can only one part of the equation. To let judgment take up the entire space is to admit that the result is more important than the process. In writing this book, I am conducting an inquiry that brings me pleasure, that helps me better understand my place in the world, and my relationship to failure and success. If I focus essentially on its reception, on the criticism it could provoke, then I am wasting the joy that pushed me to write it in the first place." = Because everyone should be able to do what they want because it feels inherently good, not because it benefits them in some way.

In her Writer's diary, Virginia Woolf said : "The way to rock oneself back into writing is this. First gentle exercise in the air. Second the reading of good literature. It is a mistake to think that literature can be produced from the raw. One must get out of life...one must become externalised; very, very concentrated, all at one point, not having to draw upon the scattered parts of one's character, living in the brain." = Because Virginia Woolf highlights the gap between the personal satisfaction she derives from the act of writing and the anxiety that the reception of her works can cause her. She insists that the true work lies in the labour of the mind, the attempt to give form to ideas, and not in commercial or critical success. And she said she didn't want to write anything that she didn't enjoy.

In Letter to a Young Poet, Rainer Maria Rilke, he reminds us that: "Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsay able than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life." = Because he encourages to focus on one's inner world and to write for oneself, trusting one own inner necessity. He conveys the idea that the judgement of others is secondary and that the true source of art is creative solitude and a deep connection with oneself.

So keep going, my friend.🌼

*Sorry, I wasn't able to find the original text so I had to improvise a translation. However, if anyone has the original version, please send it to me so that I can update this post.

[writer-logbook]

favorite things to write about?

Hello 👋

I hope things are going well for you. Thanks for getting in touch ! 💖 (Take care, sweetling, in case you decide not to read the post, at least you hear it now lol. And don't hesitate to share what you like to write as well !)

I am a fan of writing descriptions. So… how about we make a blog entry about it ?

HOW TO... MAKE A GOOD DESCRIPTION

A good description of a space gets all five senses going. For example, if I'm describing a bedroom, I might talk about the furniture placement or the curtains (what I see), the sound the floorboards or tiles might make (what I hear), if the floor is cold (what I touch), or if the room smells musty or has a specific odor (what I smell). In this example, I don't have to worry about taste, lol. It's just like real life: when we walk into a room, our whole body is involved. However, if it serves the plot to emphasize one particular sense, just do it.

If we use metaphors or comparisons, they have to represent the character they follow. That means sticking to their level of world knowledge, vocabulary, and language use. If someone lives in the city and has never been to the countryside, they probably won't use comparisons specific to it. They might do so using phrases like "He thought that must be what wheat looked like." Using the verb "thought," which expresses an opinion, makes the uncertain comparison seem valid because it's presented as perceived rather than factual. Also, descriptions are rarely just factual. They got a lot of emotional depth. This appreciation can be explicit or implied (e.g., pathetic fallacy). And often, this comes through in the use of figures of speech, like comparisons, metaphors, and personifications.

Stick to what's essential. It's not so much about saving time, but more about being practical. Everything in your text has a purpose. Descriptions should do more than just let readers imagine what you're showing them; they should also explain why what they see is important. For example: If your main character (MC) walks down a hallway with photos but doesn't stop and look at them, don't go into detail about the photos. No one will care. BUT, if MC spends a lot of time in their bedroom, it might be interesting to show their "living space" to help the reader understand who MC is and why they stay in their room. This can help the reader connect with the character and understand the plot better. Gentle reminder: keep your story flowing. That doesn't mean it has to be a bunch of actions, but the general rhythm should stay the same. A descriptive moment, which is basically a "pause in the action" because of its reflective nature, has to serve a purpose and shouldn't be gratuitous.

Showing vs. Telling. I have mixed feelings about this approach to writing. It's personal and reflects MY own style, so I'm speaking from MY perspective. I like it when things have a name. I use "telling" a lot, but I use "showing" a lot too, as a process. For example, when I write about fear, I'll describe the states my character goes through and end with "he was afraid." Yeah, okay girl, we get it. If I've given a clear enough description beforehand, this shouldn't be an issue. But I've noticed that ending a passage with its name makes it more emphatic and cuts out any doubt. It's not anxiety, and it's not terror. It's fear—nothing else. This helps me create the effect I'm going for. My character basically goes through phases, analyzes them, and draws conclusions (but that's just because I write sci-fi lol).

CONCLUSION: All these tips should help you write descriptions that give an ATMOSPHERE to your text. The choice of words and narrative voice ensure that your prose is SOMETHING OTHER THAN a biology textbook (but no offense, i love biology ).

BONUS: Here's an example of one of the last descriptions I wrote (which I unfortunately had to translate...):

Auxanne complies. Her steps make the staircase boards creak. She no longer remembers which step to avoid to prevent making noise, so she presses a bit harder than necessary on each one to try to compose a new score of silence. She ignores the photos covering the walls, closes her eyes to the portraits of Julien embracing her in some of them. When she closes her bedroom door, the young girl can't tell if the sad squeak she hears is coming from the rusty hinges or from her single sob that was almost immediately stifled.

It hurts to be here. It's hard to return. But she says nothing, she cannot. So her eyes embrace the room in its entirety, taking in the patchwork on the bed, the stains on the curtains, the beanbag in the upper left corner. There's even still the jacket (too small now) that she left during her last visit five years ago. The only real change she notices is the bath towel placed on the bed and the dust that seems to have frozen on the window frame. Auxanne timidly advances into the room then drops her bags on the floor. Then she lets herself fall flat on the mattress, which gently sags under her weight.

Eyes fixed on the peeling paint on the ceiling, she can't help thinking about her brother and the unfathomable void he left in her young heart. She still doesn't grasp what happened, didn't see it coming. And in the middle of this child's bedroom drowned in memories, sheltered from the bustle of the hallway where footsteps scrape against the floorboards, Auxanne remembers how alone she has felt since Julien's suicide.

[writer-logbook]

The MICE quotient [extract]

I was reading How to write Science Fiction & Fantasy by Orson Scott Card and decided to share the section on the MICE quotient because it's really worth it. I've selected the relevant parts to make it easier and more efficient for you to read. For those interested in the whole book, I found it on Archive.org (it's a pdf and free). I DID NOT WRITE ANY OF THIS - IT'S ALL COPY/PASTE FROM THE BOOK MENTIONNED ABOVE. I SIMPLY SHORTEN SOME PASSAGES

"All stories contain four elements that can determine structure: Milieu, Idea, Character, and Event. While each is present in every story, there is generally one that dominates the others." - How to write Science Fiction & Fantasy, Orson Scott Card

Milieu : The milieu is the world-the planet, the society, the weather, the family, all the elements that came up during the world creation phase. Every story has a milieu, but in some stories the milieu is the thing the storyteller cares about most. For instance, in Gulliver's Travels, Swift cared little about whether we came to care about Gulliver as a character. The whole point of the story was for the audience to see all the strange lands where Gulliver traveled and then compare the societies he found there with the society of England in Swifes own day-and the societies of all the tale's readers, in all times and places.

Idea : "Ideas" in this sense are the new bits of information that are discovered in the process of the story by characters who did not previously know that information. Idea stories are about the process of finding out that information. The structure here is very simple: The Idea Story begins by raising a question; it ends when the question is answered.

Character : The Character Story is a story about the transformation of a character's role in the communities that matter most to him. [...] All good Character Stories must have full characterization, because that's what they're about; and other ldnds of stories can have full characterization, as long as the reader is not misled into expecting a Character Story when that is not what is going to be delivered. On the other hand, many excellent Milieu, Idea, and Event Sto ries spend very little effort on characterization beyond what is necessary to keep the story moving.

Event : In the Event Story, something is wrong in the fabric of the universe; the world is out of order. [...] The Event Story ends at the point where a new order is established, or, more rarely, where the old order is restored, or, rarest of all, where the world descends into chaos as the forces of order are destroyed. The story begins, not at the point where the world becomes disordered, but rather at the point where the character whose actions are most crucial to establish ing the new order becomes involved in the struggle.

Are you interested in more extracts (in general) ?

Yes, I want to see more on your blog ! 🤗

Nah, I'm fine with the current blog posts 🌼

Can we have a full review/reading guide ?

Voting ended onMar 26, 2025

[writer-logbook]

The MICE quotient [extract]

I was reading How to write Science Fiction & Fantasy by Orson Scott Card and decided to share the section on the MICE quotient because it's really worth it. I've selected the relevant parts to make it easier and more efficient for you to read. For those interested in the whole book, I found it on Archive.org (it's a pdf and free). I DID NOT WRITE ANY OF THIS - IT'S ALL COPY/PASTE FROM THE BOOK MENTIONNED ABOVE. I SIMPLY SHORTEN SOME PASSAGES

"All stories contain four elements that can determine structure: Milieu, Idea, Character, and Event. While each is present in every story, there is generally one that dominates the others." - How to write Science Fiction & Fantasy, Orson Scott Card

Milieu : The milieu is the world-the planet, the society, the weather, the family, all the elements that came up during the world creation phase. Every story has a milieu, but in some stories the milieu is the thing the storyteller cares about most. For instance, in Gulliver's Travels, Swift cared little about whether we came to care about Gulliver as a character. The whole point of the story was for the audience to see all the strange lands where Gulliver traveled and then compare the societies he found there with the society of England in Swifes own day-and the societies of all the tale's readers, in all times and places.

Idea : "Ideas" in this sense are the new bits of information that are discovered in the process of the story by characters who did not previously know that information. Idea stories are about the process of finding out that information. The structure here is very simple: The Idea Story begins by raising a question; it ends when the question is answered.

Character : The Character Story is a story about the transformation of a character's role in the communities that matter most to him. [...] All good Character Stories must have full characterization, because that's what they're about; and other ldnds of stories can have full characterization, as long as the reader is not misled into expecting a Character Story when that is not what is going to be delivered. On the other hand, many excellent Milieu, Idea, and Event Sto ries spend very little effort on characterization beyond what is necessary to keep the story moving.

Event : In the Event Story, something is wrong in the fabric of the universe; the world is out of order. [...] The Event Story ends at the point where a new order is established, or, more rarely, where the old order is restored, or, rarest of all, where the world descends into chaos as the forces of order are destroyed. The story begins, not at the point where the world becomes disordered, but rather at the point where the character whose actions are most crucial to establish ing the new order becomes involved in the struggle.

Are you interested in more extracts (in general) ?

Yes, I want to see more on your blog ! 🤗

Nah, I'm fine with the current blog posts 🌼

Can we have a full review/reading guide ?

Voting ended onMar 26, 2025

[writer-logbook]

How I improved my writing style... without actually writing.

Intro : It's just a clickbait title to talk about theory and side techniques - before actually practicing, of course.

LINGUISTIC ISN'T GRAMMAR - AND IT'S BETTER TO KNOW ABOUT BOTH. It's useful for writing impactful dialogue and giving your characters depth. Your characters' language should (ideally) take into account: their social position (rich or poor), the locality (local expressions?) and sometimes their age (different cultural references). And this is best transcribed with linguistic knowledge. In short: linguistics is descriptive, grammar is prescriptive.

The areas of linguistic analysis are syntax (rules governing the structure of sentences),  semantics (meaning),  morphology (structure of words), phonetics (speech sounds and equivalent gestures in sign languages), phonology (the abstract sound system of a particular language, and analogous systems of sign languages), and pragmatics (how the context of use contributes to meaning). (Linguistics, Wikipedia)

Literary theory isn't as boring as it sounds. Learn more about internal criteria of the text (figure of speech, style, aesthetic...) and external criteria of the text (the author's persona and responsability, the role of the reader and what is left to interpretation...). I refer you to the French Wikipedia page, which you can translate directly via your browser in case you need more information. (Make sure you translate the page not switch language, because the content isn't the same).

Listening to Youtube Video about the analysis of film sequences and/or scenario. Remember when I told you to read historical fiction to learn how to describe a castle properly ? Same vibe.

Novel adaptations of movies. = when the movie exists before the book, and not the other way around. e.g : The Shape of Water ; Pan's Labyrinth. In line with tip n°3, it allows us to see how emotions, scenes and descriptions have been translated into writing - and thus to better visualize concepts that may have been abstract.

Read books about authors' writing experiences. e.g : Stephen King, On Writing: A Memoir of the Craft. Everyone's different, but they can provide some insightful tips not only on the act of writing itself, but on the environment conducive to writing, planning… Comparing completely different authors' experience could also be fun (this video of King and Martin is actually one of my fav)

Ah and many thanks for your ❤ and reblogs on my latest post ! UwU

[writer-logbook]

Random pieces of advice about worldbuilding and plot.

If every story is worth telling, there are some elements to take into account to make it right.

Every cause has consequences. A story is logical in one way or another. Whether you plan your story or go with the flow, if you ask about: the origins, reactions and actions to be taken following an event, the pieces somehow will ‘click into place’.

Everything has a cost. Magic system, war, life in general... Don't forget that resources are not unlimited. Consider the societal, social, natural, (magical, if need be) limitations.

Challenge the statut quo and the villain's motivations (if there's a villain in the original sense of the term) : Ask yourself why the villain wants to ‘change the world’ (and really question his legitimacy) and what the world should look like after the final confrontation. If we come back to the original point, it's that the plot didn't serve any purpose, being no more than a ‘historical aside’. Remember that everything happens for a reason, so make that reason a good one.

Make actual research about geography and climate: forest, desert and especially rivers can't pop out of nowhere, they must respect certain natural principles. For example, a river must have its source somewhere, often high up in the mountains. So it seems logical that a river should be close to a mountain. Be careful if you want to incorporate a map in your story !

Be careful when you rely on chance, fate or whatever you call it. I still can't work out whether it's worse than deus ex machina - especially if it's done badly. As far as I'm concerned, if you work well enough with the cause-consequence chain and have a good grasp of the limits of your universe, you won't need to rely on this kind of process. this one is actually pretty personnal, you have every right to disagree.

[writer-logbook]

Chapter length, sentences, paragraph... : how to balance your story ? [random pieces of advice]

Intro : I realized soon enough that my first writing project was a bit too ambitious for someone who hadn't written anything in ages, so I decided to start 2025 with a simpler one, just to 'oil the machinery' and get back into good habits while my hubris can rot in hell the meantime. That being said, let's talk about ✨rythm✨

Your chapter length is determined by the goal you settled for it : A short chapter often chimes with action and thus progress. It can sometimes give a sense of urgency, of acceleration (and sometimes of escape). In my case, it is bound to an increase in tension, the creation of suspense and tends to cultivate the reader's interest (i hope lol). A long chapter is more suited to introspection and 'descriptive' parts, it can help create moments of pause in the story, but it doesn't make it less useful ! In short : Adapt size to content.

Correlated but not dependant : sentence length. The length of sentences and chapters works together to shape the narrative rhythm. Based on that principe, you can mixt things up : long chapter with short sentences OR short chapter with long sentences. These combinations create a certain atmosphere: a long chapter with short sentences, for example, would tend to wear the reader out in the long run (but beware, it's hard to do well). And don't forget : one paragraph, one idea. In short : Try various combinations to suit the mood.

Consider the overall rhythm. And I do insist on that one.

Ellipsis might be your new bestie. Temporal, Event, Emotional... Anything that doesn't need to be said can be skipped. Why ? Because sometimes, leaving events off-page stimulates the reader’s imagination AND it keeps your attention on things that matter. To make it work, provide contextual clues and choose the right moment (I leave it to you, good luck). Vary your transitions and ellipsis, don't stick to the same ones and try your best to find a thread between the events (for narrative purposes). Honestly, that would require an entire blog entry but this is far too long already.

Outro: New year, new me. Yes I'm back, i'm sorry. The end of last year was a bit tensed and I took a one month vacations to go back home and make a total disconnection. But I'm back in business now (in theory). And no, i haven't forgotten about the tropes and clichés article I promised you.

edit: happy new year btw

[writer-logbook]

Random Pieces of Advice About Characters

Sometimes, they mess up. They should. A good character to root for is someone who makes mistakes and tries to make amends for them. Just because they’re the hero or on the “good side” doesn’t make them above reproach. It could even thicken the plot to see how they get out of a bad situation… Or maybe consider not forgiving them at all (I’ll write an essay about morals and ethics someday).

They have a life outside the plot (just like I do outside the office). Show some hints about how their life was before everything started. By giving them layers, just like an onion (thanks, Shrek), you also give them consistency and realism. And maybe people will relate to them. But be careful not to give all the info at once.

Don’t expect your characters to remain the same from the beginning to the end. A good story will shake things up for your characters, even slightly, but enough to make them grow—at least mentally. If they didn’t “learn” anything from their journey, something isn’t working. The whole point of a story isn’t to maintain the status quo. The reader is supposed to grow alongside your characters.

Choose your leader. I advise you to look at the main events of your plot, if you’re of the architect-author team, to see whether it’s best for the MC to take the lead or to be led instead. There’s no good answer except that of logic: if a battle is about to start, it’s better to follow the captain of the guards instead of some random folk who came out of nowhere.

Characters should all have different voices. It’s not only a personality trait; it’s also a part of themselves. They might have different social backgrounds, accents, verbal tics, peculiar slang… Even a group of friends from the same social circle has its own idiosyncrasies.

Sorry, I didn't have time to think up a more detailed article; things got pretty tense at work and I'm pretty tired. Again, I'm open to suggestions if there are subjects you'd like to see addressed.

My next article should be about

About tropes and clichés

About archetypes

Voting ended onSep 16, 2024

[writer-logbook]

i haven't forgotten about this, I'm working on it and it's coming very very soon ..... 👀

[writer-logbook]

Random Pieces of Advice About Characters

Sometimes, they mess up. They should. A good character to root for is someone who makes mistakes and tries to make amends for them. Just because they’re the hero or on the “good side” doesn’t make them above reproach. It could even thicken the plot to see how they get out of a bad situation… Or maybe consider not forgiving them at all (I’ll write an essay about morals and ethics someday).

They have a life outside the plot (just like I do outside the office). Show some hints about how their life was before everything started. By giving them layers, just like an onion (thanks, Shrek), you also give them consistency and realism. And maybe people will relate to them. But be careful not to give all the info at once.

Don’t expect your characters to remain the same from the beginning to the end. A good story will shake things up for your characters, even slightly, but enough to make them grow—at least mentally. If they didn’t “learn” anything from their journey, something isn’t working. The whole point of a story isn’t to maintain the status quo. The reader is supposed to grow alongside your characters.

Choose your leader. I advise you to look at the main events of your plot, if you’re of the architect-author team, to see whether it’s best for the MC to take the lead or to be led instead. There’s no good answer except that of logic: if a battle is about to start, it’s better to follow the captain of the guards instead of some random folk who came out of nowhere.

Characters should all have different voices. It’s not only a personality trait; it’s also a part of themselves. They might have different social backgrounds, accents, verbal tics, peculiar slang… Even a group of friends from the same social circle has its own idiosyncrasies.

Sorry, I didn't have time to think up a more detailed article; things got pretty tense at work and I'm pretty tired. Again, I'm open to suggestions if there are subjects you'd like to see addressed.

My next article should be about

About tropes and clichés

About archetypes

Voting ended onSep 16, 2024

[writer-logbook]

My story doesn't have a villain, so what ?

Does a story really need a villain ? What is a stake where there's none ? How can the protagonist evolve when they've got no one to face ?

In which I explain how the conflict can lie elsewhere - and it's a bit more challenging yet sometimes more interesting.

The world, and society in general. They are often a good starting point to create tension in your novel (because everything is most certainly wrong everywhere lol). For example : what happens if you don't share the beliefs of your city ? What choices can make you defy the current order and break the status quo ? It's a convenient way to plot distopian books, but it's not yet a cliché because of to the complexity of the trope and the different aspects you can explore as it is broad.

The complexity of your characters : the personal quest. The famous "You are your own worst ennemy" is a actually very effective in this case - but any other significant event, trauma, fear etc. can be consistent enough to be the core of a novel. I believe the journey is more important than the "plot" or the ending itself. The path of finding answers, healing and overcoming a traumatic event is easy to suggest, harder to write about, yet somehow always powerfull. I think it's hard to be cliché with 'personal quest' trope because everyone deals with their suffering in such different ways that you can't be exploring it twice. (Or it can be something lighter, like the pursuit of an artistic dream).

Various characters, same event. Multiple POVs are a great way of exploring all the aspects of the issue, based on the different beliefs and perceptions that drive your character. For this to be really effective, you need to have characters who do not share the same opinion on the subject. It doesn't have to be a difficult idea to come up with. For instance: in a futuristic world, you can choose what to do with your memories: keep them or erase them. Some people will argue in favour of the process (because you can erase a traumatic event), others will argue against it, saying that memory is what makes a person. In that kind of scenario, morality plays a huge role.

A destabilising event, much bigger than ourselves or a discovery that could shape the future. A destabilizing event, much bigger than ourselves or a discovery that can shape the futur. Think of that sci-fi novel where the end of the world is brought about by an incoming asteroid. It's the same thing. Either you try to avoid it, or you try to accept it, or you try to fight it. Each way is valuable to a story, if you create some consistent characters.

To conclude : we have to think a bit more about what is at stake when no one actually treathen the peace of the community. There's no manichaeism, we have to go beyond good and evil ; the solution isn't clear - sometimes there's none at all. And that's okay.

Thanks for all the kudos and reblogs, I feel relieved to see that my posts are of some help ! ❤

If it's a bit fuzzy for you, let me quickly explain what my story is about, because that's what motivates me to write this essay.

My MC is a priest in a religious town that is suddenly plagued by an unknown and incurable disease. She tries to get used to it, until her family contracts it. She manages to acquire the power of the goddess and, doing so, shakes the foundations of her entire city and society, believing that she is now able to act. There's no villain whatsoever, just a poor girl trying not to see her family dies and who has to face the consequences of her own actions.

[writer-logbook]

How to introduce your character in 3 steps

A friend of mine was the source of this very pertinent question. So I decided to write a blog entry about it. Because how do you introduce your character without sounding fake ?

Remember that, in real life situation, no one calls you by your name. Have you noticed that none of your friends is adressing you by your name, unless they're trying to get your attention or that something serious is happening ? That should be the same in your story : find a situation where it is relevant to use names. Or stick to nicknames, which is a more common way to address your friends.

Use another character. If you can’t come up with a situation, you can always rely on a side character to introduce your MC. It’s also the perfect way to describe your character rather than simply using mirror, which is convenient yet very cliché. But the fun thing to do is to make several characters talk about your MC : their opinion might go in different directions due to their relationships, their own sensibility and attention to details. It’s also a good way to breath life into your side characters so please consider that option seriously.

The reader doesn’t need to know everything, especially on the very first page. Unless the info is relevant to the plot, there is no need for the reader to know MC’s favourite food or eye’s color. If you’re on character-sheet-side (which I’m not btw), you should be careful about wether the reader the story will progress or not. Try to be balanced !

What I really want to stress in this article is the importance of action when introducing your character. You want the reader to know your character is courageous ? Put them directly into a situation where they can show courage. You want to describe their hair color ? What about that moment when the light is flickering in a way that gives their hair a peculiar effect that catches the eye of another character ?

Don’t worry, your creativity will always find a way ~

[writer-logbook]

How to promote your book online : a discussion about social media (and few tips)

If you're only reading this for the tips, please go directly to the violet section. Thank you !

I apologize in advance for this essay, which is a way for me to express my discomfort with some behaviours. As it is my most sincere wish to see you become a successful writer, I don't mean the next words to be negative.

First, let me explain WHY I feel the urge to write a blog entry about this. Some authors I've spoken to online are convinced that it is the job of the publishing house to promote their book online. Which it is, don't get me wrong, that's actually part of my job, but not all of it (we could discuss about that one day if you're somehow interested). That's why I want you to remember that several dozen of books are published every year and I can't spend all of my time promoting your book alone. You HAVE to help me do it and I'll explain why it's important.

As an employee of a company, my speech will always sound commercial - my goal as such is to get you buy our products. We will always try to cast the brightest light upon your book to make people want to buy it. But even if I trully believe in your book, the readers won't believe me because I am an employee of a company and they know my job is to sell them things.

That's why you need to support me : create content with me, interviews, videos, pictures and anything that can be shared on social media. With me. If we post something, please, repost it on your accounts. Because people will believe in you ; they want to be close to a person, not a company. (That's why recommandations from people you know or trust are often more effective than a brand message)

Also, don't forget that advertising on social media is quite new: Instagram was launched in 2010 (Facebook around 2004, if I remember correctly?), which means that it's still a new channel of communication for many people in the marketing department. I am from the generation that grew up with social media - my parents didn't (which means that a lot of people in position didn't either). I know all the codes, all the plateforms BUT WE ARE NOT EQUAL IN THIS SITUATION. I'm not trying to justify the potential lack of knowledge or involvement, but rather to put things into perspective.

Now, time for the tips

These tips can be used for both self-published and published authors.

You need to promote your book early. You can't start talking about your book on the very first day of publication. You need to tease a bit to get people thinking about the whole story. For instance : create an aesthetic, a special filter, moodboard, playlist, read a passage, cover-reveal, pre-order gifts, countdown, release day giveaways... Anything that can help build hype around your story and is worth trying. "Yes but when can we start to -" I recommend at least a month or two before the realease date. Give people some time get their heads around your books and its universe. (Yet there's no "right" time per se). You can obviously continue to use them after publication.

Make people interact with you. Create a group chat, make quizzes and polls on the story, invent riddles... Try various formats ! Let your audience be part of the adventure. Keep in mind that big things take time to get right, especially if you don't have a community to start with. Patience is the key. And consistency.

Talk about behind the scenes. I notice that people are curious about how things are done : where you get your inspiration from, how is your first draft compared to the final version - especially if you're the author of a visual novel. That can go hand in hand with writing tips, if giving pieces of advice is something you want to do.

Interact with others. It's slightly different from point 2. And IT DOESN'T MEAN SELF-PROMOTING ON OTHER PEOPLE ACCOUNTS. Never do that unless you're allowed to, it's the worst thing that can happen. In "social media", the keyword is social : go to workshops, help people with their own story, integrate groups about the genre you write in, participate in discussion about worldbuilding or whatever. In a nutshell: put back the 'social' in 'social media'. That again isn't something you'll be reaping the rewards immediately but I'm sure you'll find comfort in sharing things with people who share your interests.

Thank you all for reading, liking and rebloging my posts - it's an honour and I hope they help you !

[writer-logbook]

5 tips for proofreading & their pros and cons

Define your objectives for each chapter. In my case, some of my chapters are better written than others. My objectives for them will differ. Before starting my proofreading, I list my needs and areas of improvements, and I write them down somewhere so I have them in front of me rather than in my head alone.

Pros : allows you to know which points you need to focus on ; provides a guideline adapted to your needs.

Cons : risk of losing homogeneity and fluidity + flaws may be shifted to other chapters that didn't have them before due to a sudden imbalance.

Plan several proofreading sessions, each one of them addressing ONE NEED AT A TIME. (E.g., one for grammar, another for style, and a final one for coherence. ) And I insist on the "one need at a time" part. Even for those who can multitask (unlike me), I really don't recommend settling for a single proofreading session. It could interfere with your concentration and let you skip some flaws. And please, always give your chapter a final read after your edits to ensure that the elements make sense as a whole, and are not repeated every two paragraphs (I plead guilty, your honor)

Pros: allows you to focus precisely on each point, and give it dedicated attention.

Cons: you can quickly get confused and risk multiple re-readings + significant time investment.

I make my corrections on a separate file. Whatever you do, it's always better to have a backup and therefore to save your files (don't blindly trust autosave) to create archives. I think it's a two-ways process : 1) you open two files simultaneously, one with your V1 and one, blank, where you'll rewrite your chapter as you make changes. Eventually, this new doc will become your V2 ; 2) you copy the parts to proofread into a new document and edit directly in there.

Pros: allows you to rewrite as you wish without being discouraged by the following paragraphs - especially in case of the first way.

Cons: requires multiple files (maybe multiple screens to be at ease) and better organization.

Change the typography. I don't know about you, but after a while, I'm struck by semantic satiation (click on the link - it's Wikipedia -, it's very interesting) and nothing makes sense anymore. After the 52,846th proofreading, I might as well read in another language. I've found a relatively effective trick - not as effective as a complete break, but sometimes you need to move forward - which consists of changing the typography. I can't remember who gave me this advice though, but be sure they've been thanked more than enough in my mind. In any case, seeing words change their shape significantly helps my brain to stay focused and attentive. (Maybe it's just my mind playing tricks on me but I only see the results.)

Pros: it's simple to implement.

Cons: I don't know if this trick works for everyone or if I'm the only weirdo (you can tell me in the comment section).

Take notes. This is a very personal tip but I keep a proofreading logbook. Like, I record in a few sentences the first time an element is mentioned, how it's describes, and most importantly… I MENTION THE DATES. The story I'm currently writing is heavily governed by a chronological system, so I have an absolute need to keep the day count up to date.

Pros: helps avoid inconsistencies and oversights.

Cons: very tedious to maintain and creates (a lot) of extra work.

I've started my prooreading journey yesterday and I already want to die. If I find in the edits something that is worth making a post, be sure that I will. Or let me know if you're simply curious.

Gentle reminder : Best is the worst enemy of good so, at some point, you'll have to let it go and let your chapter live its life to its fullest. Don't be hard on yourself and be proud of your work - or know that I am.

[writer-logbook]

How to improve your writing style : a 5-steps guide.

Intro : I love the 5-steps format, don’t mind me. Again, this essay is based on my personal experience.

Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)

Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.

Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).

Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).

Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

That’s all for me today. Since I would be entering my proofreading phase for my writing contest, the next essay would probably about proofreading (with examples from my own novel ?). Unless someone wants me to write on a specific subject first.

Gentle reminder that I’m still French and not a native so please forgive my dubious grammar and outrageous mispellings.

[writer-logbook]

How to get back into writing: a 5-steps guide

As someone who hasn't written anything in a decade, this is what I did to get back into writing seriously.

Identify which archetype of writer fits me better. You may have heard George R.R. Martin saying there are two types of writers: gardeners and architects. Whether you believe in that statement or not isn't relevant per se, but the actual meaning behind that point is that you need to get to know yourself as a writer, how you work, what you need, etc., so you can adapt your environment to achieve your goals. Speaking of which…Gentle reminder : you're a person not a robot. You are allowed to work the way you want to, and not to follow whatever pieces of advice that are linked to these archetypes.

Set a realistic word count/session I can stick to over the long term. When you're a 9-6 office employee, it's not always easy to find time to write and sometime our day at work got the very best of us. Having that in mind, I set my word count up to 200-500 words per session or 1 chapter per week (they're rather small in my case). Gentle reminder : babysteps are better than no-step at all.

If I'm not writing, fine, I'll do some research or anything else. Your story will always require something from you. When I'm not in the mood for writing, there are two options : forcing myself or doing what I call para-writing. For instance it's : reading articles or books about improving my writing style, improving my worldbuilding, drawing a map of my city etc. This are not things that would appear in the novel but it would guide me throughout the process the way a walking-stick would do for an injured man. Gentle reminder : you always find something useful to do but at the end of the day, you still have to write.

Have a general idea of what I want to tell. I won't lie, I've plotted my entire novel from the very beginning to the very end, which means I know exactly what to write and when. If you're against having a defined plot, I'm no one to judge, but having at least the key events or the major points will definitely help you. Like a lighthouse, it will help you navigate through the mists of confusion or hesitation. Gentle reminder : It's better to know where to go even if you end up losing yourself along the journey. Having the map doesn't mean you have to follow it, but rather when you can allow yourself to take a step to the side.

Write something I enjoy. A bit cliché I admit, but it's the best advice I could give. You'll spend hours, days, weeks - even years !- on that story so better buckle up to something you really want to write. Otherwise the risk is to abandon that hard-work you've done halfway through the process. No one needs that frustration and that self-doubting questionnings. No one. Not you. Not even me. Gentle reminder : it's okay to want readers and reviews but I promise you, your writing will be really different on something you trully want to share...Remember how pissful it was to write an essay for class you didn't want to ?

[writer-logbook]

Foreword 📝

Just in case someone stumbles upon this notebook....

Know it's been a while (like a while) since the last time I wrote something other than poetry.

But finding a writing partner at my office makes me want to write again, especially since that person signed me up to a writing contest with them (an easy one, but still).

So here am I, on my way to write a full-length novel with absolutely no more memory of how to manage a story from the beginning to the end. (The last thing I wrote entirely was a 100k Hobbit fanfic and it was in 2016 so...)

If, like me, you're a rookie to the writing journey, feel free to subscribe to this blog so we can exchange about our mutual progress, our doubts, recommandations, the need for encouragement, best practices and so on...

It's time we meet our destiny as writers ✨

(Also, I will sometimes talk about books since it's my everyday job as a publishing house employee.)