Writing style - an author’s unique way of communicating with words.
An author creates a style with the voice, or personality, and overall tone that they apply to their text.
A writer’s style can change depending on the type of writing they’re doing, who they’re writing for, and their target audience.
A news journalist will have a very different style than a blogger, for example.
Elements of Any Writing Style
An author’s writing style is defined by 2 elements:
Voice: Voice is the personality you take on in your writing. It is the point of view through which you’re telling a story.
Tone: Tone is identified by the attitude that a piece of writing conveys. Writers create tone through elements like word choice, sentence structure, and grammar.
Types of Writing Styles
There are 4 main types of writing. While a writer will still incorporate their own voice in their writing, these different writing styles each have a purpose and specific audience, which dictates how an author should shape their copy:
Expository writing: Use an expository writing style to inform or explain a topic to readers. Examples of expository writing include technical writing, business writing, high school essays, and news articles.
Descriptive writing: Descriptive writing uses figurative language and sensory detail to describe a person, place, or thing to allow readers to create a picture in their mind. Descriptive writing is the style of writing most often found in poetry.
Narrative writing: Narrative style is writing that tells a story and includes elements often found in a novel or short story, like the main character, setting, and plot. It is most often used in fiction writing. Examples of narrative writing style include The Catcher in the Rye, The Color Purple, and The Lord of the Rings.
Persuasive writing: When you use a persuasive writing style, you communicate your opinion to try to influence the reader to adopt your stance on a subject. Examples of persuasive writing include cover letters, advertising campaigns, political speeches, and editorials.
Tips for Developing Your Writing Style
Whether you’re writing a novel or an article, you need a unique writing style that is distinctly you. Follow these general guidelines to help you find that style and develop your writing voice and tone:
Be original. Focus on the point you are trying to make and say it as only you can. Avoid using clichés—they lack creativity and originality and imply that you can’t think of anything else to write. Choose language that reflects both who you are and who you’re writing for.
Use your life experiences. The accumulation of unique experiences in your life have given you a distinct point of view. Incorporate that into your writing process. Let events in real life that have shaped you also inform your own work and voice.
Be present in your writing. Whether you’re developing a narrative storyline or writing a blog post, immerse readers in your story by being present when you write. Use an authentic tone. Use efficient syntax to effectively convey the details of your story.
Have an adaptable voice. While you should have a confident and consistent voice, writing styles should shift depending on what type of writing you’re doing. Different genres will work better with different types of writing styles. In creative writing, your personality will shift depending on the narrator’s perspective, and whether the story is told through first person or third person. Writing narratives with heavy dialogue, like screenplays, will require a writer to take on different styles with each character.
Step out of your comfort zone. Don't be afraid to experiment a little in your writing. While your style should reflect who you are, it should also stretch the limits of your literary personality. Incorporate a variety of literary devices to amplify your voice.
Read other authors. William Faulkner. Margaret Atwood. Stephen King. Ernest Hemingway. Each author has a unique voice, tone, and overall writing style they developed over the course of their writing career. Read some of your favorite authors as well as famous writers you’re not yet familiar with, and focus on how they use words and compose sentences to tell a story.
Write often. Good writers have a regular writing habit. The more you write, the more your writer’s voice will come into focus. One method many writers use is to have a morning journal. This daily writing ritual requires a three-page, longhand, stream-of-consciousness writing exercise first thing every morning. You’ll develop better writing skills and find your own unique style.
Hone your craft. Once you feel like you have a handle on your personal style, consider these other, more technical ways you can further improve your writing style:
Tips for Improving Your Writing Style
To be a better writer, you need to know how to be direct and clear, while also putting your own stamp on your writing. Follow these 8 writing tips for improving your style:
Be direct in your writing. Good writing is clear and concise. Lose filler words, like unnecessary adverbs and prepositional phrases, simply take up space and weigh a sentence down. Say exactly what you mean in the most direct way.
Choose your words wisely. There are many ways to write a sentence, and there are different words you can choose to convey the same idea. Always choose the simpler of two words. Use familiar vocabulary instead of lofty words from the English language. Simple words are more direct and easier for all readers to understand. Use a thesaurus if you need a little help finding a replacement or an easier way to say something.
Short sentences are more powerful than long sentences. A story loses steam with wordiness. Short sentences are easier to comprehend, something that readers appreciate. Avoid trying to pack too much into a line. Every sentence should contain one thought or idea.
Write short paragraphs. Keep your paragraphs short and manageable. Each one should consist of sentences that support the same idea. Short paragraphs are easier to digest. They also create a more visually appealing layout on the page. Academic writing often consists of lengthier paragraphs, as they need more information to support each theme. In less formal writing, shorter paragraphs are the norm.
Always use the active voice. Use the active voice and adhere to subject-verb-object sentence structure. It’s the most direct path to making your point. With the active voice, the subject is doing something, which is more exciting than the passive voice, in which something is being done to the subject. The passive voice might be grammatically correct, but it creates long, complex sentences and is a weaker way of presenting information.
Review and edit your work. Proofreading your first draft should be the first step in your editing process before you hand your story over to a professional editor. Tighten your writing, check your word choice and sentence structure, and hone your voice to improve your style.
Use a natural, conversational tone. Your writing style relies on your own, unique voice. Communicate in your comfort zone. In other words, write like you converse. Shape ideas with your original thoughts and voice, and do your best to avoid clichés. Your writing style should reflect your personality.
Read famous authors. Pick up any book by Mark Twain, and you’ll know it’s his writing simply by the tone of the story and the words he uses. Great writers put a stamp on their writing with a signature style. Along with works of fiction, read Strunk and White’s famous style guide The Elements of Style. Learning how other writers create their style. Then do the same with your own writing.
Character Diversity Done Right: Beyond Tokenism & Forced Inclusivity
Diversity in storytelling isn’t just about ticking boxes or adding characters to look inclusive. It’s about creating real, nuanced people who enrich your world and resonate with readers. Let’s break down how to do diversity thoughtfully — without falling into the trap of forced inclusivity or the “token minority” trope.
✨ What Is Forced Inclusivity?
Forced inclusivity happens when diversity feels like an obligation instead of a natural part of the story.
Characters might be added just to meet a quota.
Their identities are mentioned but not explored or integrated meaningfully.
They often feel out of place or like an afterthought.
Why avoid it?
Because it can feel performative, shallow, or even disrespectful. Readers want authentic stories — not characters who exist only to “check a box.”
⚠️ The Token Minority Trap
A “token” character is often the only member of their group in the story, included to represent an entire community. They usually:
Have one-dimensional traits centered on their identity (e.g., the “sassy Black friend” or “nerdy gay sidekick”).
Are used to educate or explain cultural issues instead of being full characters.
Serve as a plot device rather than people with their own goals and flaws.
💡 How to Write Diversity Well
1. Make characters fully fleshed-out individuals.
Diversity isn’t just skin-deep or a label — it’s about who the character is inside. When you create a diverse character, ask yourself:
What motivates them? What are their dreams and fears beyond their identity?
How do their relationships shape them?
What quirks, flaws, or contradictions make them human?
This makes them feel real, not like a “diversity prop.” For example, a transgender character could be a talented detective who struggles with self-doubt, a funny sense of humor, and complicated family ties — not just “the trans character.”
2. Avoid stereotypes and clichés.
Stereotypes reduce complex people to a handful of traits. They can be harmful and alienate readers who identify with those characters.
Do your research! Read books, watch films, and listen to podcasts created by people from the community you’re portraying.
Avoid relying on common tropes like the “magical Native American,” “angry Black woman,” or “promiscuous bisexual.”
Give your character individuality that breaks expectations — maybe they defy norms within their own culture or identity.
Example
Instead of the “model minority” trope, write an Asian character who struggles with their own passions, insecurities, and family dynamics, making them a well-rounded person, not just a stereotype.
3. Include multiple diverse characters.
Having just one “diverse” character often makes them a symbol rather than a person. Real communities are rich, varied, and nuanced — and your story should reflect that.
Introduce more than one character from the same or different backgrounds to show variety.
Show how their experiences differ even if they share an identity. For instance, two queer characters might have completely different outlooks based on age, culture, or personality.
This avoids the “token” feeling and creates a more believable world.
4. Let diversity shape the world naturally.
In real life, diversity influences culture, language, food, traditions, and social dynamics. Your story world should feel lived-in and authentic.
Think about how diverse backgrounds affect worldbuilding — from holidays and cuisine to language and fashion.
Show interactions between communities, including cooperation, conflict, and blending of cultures.
Don’t just “drop in” diverse characters without integrating their identities into the story’s social fabric.
Example
In a fantasy city, different kingdoms might reflect distinct cultures with their own customs and dialects — giving your setting richness and depth.
5. Don’t make identity the only thing about them.
A character’s ethnicity, gender, or sexuality is part of who they are — but not the whole story.
Their identity can influence their worldview and experiences, but they should have other defining traits too — like ambitions, fears, or talents unrelated to identity.
Avoid writing characters whose entire personality or plot revolves around their minority status.
This lets readers see them as complex individuals, not just representatives.
Example:
A Black engineer who’s passionate about robotics and has a dry sense of humor — their race is important, but so is their love for tinkering and problem-solving.
6. Listen and learn from feedback.
No one gets it perfect on the first try. Writing diverse characters is a learning process.
Seek out sensitivity readers from the communities you’re writing about. Their insights can catch unintentional biases, inaccuracies, or harmful stereotypes.
Be open to constructive criticism and willing to revise your work.
Remember: it’s better to listen and grow than to defend mistakes that could hurt readers.
Final Thought
Diversity is about inclusion and respect, not obligation or tokenism. When you write with empathy and intention, your story becomes richer — and your characters become unforgettable.
💬 Got tips or experiences writing diverse characters? Drop them below or tag me — let’s learn and grow together!
How to Structure a Oneshot That Hits Like a Thunderclap
“A good oneshot is a single breath—sharp in, slow out.”
A oneshot isn’t just a short story. It’s a moment, a mood, a slice of intimacy that wouldn’t survive being stretched into a full-length fic. Here’s how to make it count.
Pick One Core Emotion
Build the whole thing around a single feeling. Obsession. Longing. Regret. Euphoria. Grief.
If a full-length fic is a symphony, your oneshot is a single piano note.
Ask: What should the reader feel when they finish?
Ex: “This oneshot is about the moment someone realizes they’ve already fallen in love.”
Limit the Timeline
Don’t span days. Or even hours, if you can help it. The strongest oneshots focus on a single scene or moment.
A kiss in a hallway.
A final goodbye at dawn.
A confession said too late.
Tight time = tight tension.
Start Late, End Early
Drop us into the scene already in motion—no lengthy set-up. And leave us just after the climax, not long after.
Don’t: “They met three years ago and…”
Do: “It’s raining the night he finally says it.”
Your oneshot should feel like eavesdropping on something private.
Structure Like This
ACT I: Setup (15–25%)
Who are we with? Where are we? What’s simmering under the surface?
ACT II: The Shift (50–70%)
Something changes. A kiss. A fight. A confession. A memory.
The mood deepens or flips—this is your emotional peak.
ACT III: The Fallout (15–25%)
How does it end? A single line. A final look. A choice not made.
Leave a lingering echo, not an epilogue.
Let Style Do the Heavy Lifting
A oneshot gives you space to lean into voice, imagery, and metaphor. Write like it’s the last thing you’ll ever write.
“He says her name like it’s a prayer, but the gods stopped listening hours ago.”
Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot
You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”
We don’t know them.
We’ve just met their tropes.
Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.
So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.
1. Hair: It’s About Story, Texture, and Care
Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?
Good hair description considers:
Texture (fine, coiled, wiry, limp, soft)
Context (windblown, sweat-damp, scorched by bleach)
Emotion (does she twist it when nervous? Is he ashamed of losing it?)
Flat: “Her long brown hair framed her face.”
Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”
You don’t need to romanticise it. You need to make it feel real.
2. Eyes: Less Color, More Connection
We get it: her eyes are violet. Cool. But that doesn’t tell us much.
Instead of focusing solely on eye color, think about:
What the eyes do (do they dart, linger, harden?)
What others feel under them (seen, judged, safe?)
The surrounding features (dark circles, crow’s feet, smudged mascara)
Flat: “His piercing blue eyes locked on hers.”
Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”
You’re not describing a passport photo. You’re describing what it feels like to be seen by them.
3. Facial Features: Use Contrast and Texture
Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.
Things to look for:
Asymmetry and character (a crooked nose, a scar)
Expression patterns (smiling without the eyes, habitual frowns)
Evidence of lifestyle (laugh lines, sun spots, stress acne)
Flat: “She had a delicate face.”
Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”
Let the face be a map of experience.
4. Bodies: Movement > Measurement
Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?
Ask:
What do others notice first? (a presence, a posture, a sound?)
How does their body express emotion? (do they go rigid, fold inwards, puff up?)
Flat: “He was tall and muscular.”
Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”
Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.
5. Let Emotion Tint the Lens
Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.
In love: The chipped tooth becomes charming.
In rivalry: The smirk becomes smug.
In mourning: The face becomes blurred with memory.
Same person. Different lens. Different description.
6. Specificity is Your Superpower
Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.
Examples:
“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”
“Her nail polish was always chipped, but never accidentally.”
Make the reader feel like they’re the only one close enough to notice.
Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.
Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.
Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot
You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”
We don’t know them.
We’ve just met their tropes.
Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.
So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.
1. Hair: It’s About Story, Texture, and Care
Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?
Good hair description considers:
Texture (fine, coiled, wiry, limp, soft)
Context (windblown, sweat-damp, scorched by bleach)
Emotion (does she twist it when nervous? Is he ashamed of losing it?)
Flat: “Her long brown hair framed her face.”
Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”
You don’t need to romanticise it. You need to make it feel real.
2. Eyes: Less Color, More Connection
We get it: her eyes are violet. Cool. But that doesn’t tell us much.
Instead of focusing solely on eye color, think about:
What the eyes do (do they dart, linger, harden?)
What others feel under them (seen, judged, safe?)
The surrounding features (dark circles, crow’s feet, smudged mascara)
Flat: “His piercing blue eyes locked on hers.”
Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”
You’re not describing a passport photo. You’re describing what it feels like to be seen by them.
3. Facial Features: Use Contrast and Texture
Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.
Things to look for:
Asymmetry and character (a crooked nose, a scar)
Expression patterns (smiling without the eyes, habitual frowns)
Evidence of lifestyle (laugh lines, sun spots, stress acne)
Flat: “She had a delicate face.”
Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”
Let the face be a map of experience.
4. Bodies: Movement > Measurement
Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?
Ask:
What do others notice first? (a presence, a posture, a sound?)
How does their body express emotion? (do they go rigid, fold inwards, puff up?)
Flat: “He was tall and muscular.”
Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”
Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.
5. Let Emotion Tint the Lens
Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.
In love: The chipped tooth becomes charming.
In rivalry: The smirk becomes smug.
In mourning: The face becomes blurred with memory.
Same person. Different lens. Different description.
6. Specificity is Your Superpower
Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.
Examples:
“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”
“Her nail polish was always chipped, but never accidentally.”
Make the reader feel like they’re the only one close enough to notice.
Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.
Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.
Some Actually Useful Questions to Get to Know Your OC Part Two
↳ What lie do they tell themselves to sleep at night?
Seriously. What’s the little piece of denial that keeps them functioning? Do they pretend they don’t care what people think? Tell themselves they’re over that one person? Convinced they’re not the villain of someone else’s story? We all lie to ourselves; your OC is no exception.
↳ What’s their emotional kryptonite?
A specific thing that absolutely shatters them, like someone crying? Being ignored? Praise from a parent figure? The sound of an old song? The smell of something nostalgic? Find it and use it against them (lovingly, of course).
↳ When do they feel the most alive?
Is it mid-battle, mid-baking, mid-breakup? Does adrenaline light them up, or do they find joy in the quiet, mundane things, like folding laundry while listening to sad girl music? This can reveal a LOT about what drives them.
↳ What would totally ruin their day?
A bad haircut? Someone touching their stuff? Or is it something deeper, like being reminded of their failures, or seeing someone else succeed where they couldn’t?
↳ Who do they think they should be? And who are they really?
This one’s juicy. Do they think they should be a hero, but keep acting like a villain?
↳ What’s the one thing they’d never admit out loud, even under duress?
The shameful thought. The inappropriate desire. The thing they desperately want but don’t think they deserve. DONT FORGET: Characters are built on what they repress.
↳ What are they petty about?
Don’t pretend your OC is above this, I mean everyone’s petty about something. Do they hold grudges over stolen pens? Get irrationally jealous of someone’s hair? Still mad about a game of Uno from 2007? Petty makes them fucking real.
↳ How do they act when they think no one’s watching?
Do they let their mask slip? Dance around the kitchen? Talk to their cat in baby voice? Cry a little?
↳ What would make them snap?
Where is the breaking point? What line has to be crossed for them to finally say “Enough”? Is it injustice? Betrayal? Feeling powerless? You’ll know you’ve found it when it scares you a little (Or a lot).
↳ If they had a theme song, what would it be?
No, seriously. The vibe of a character’s soundtrack says a lot. Is it Angsty indie rock? Bubblegum pop masking deep pain? Make a playlist. Your OC will tell you who they are... <3
💥 Small Writing Habits That Genuinely Changed How I Write 💥
listen. i’m not here to sell you a productivity system or convince you that waking up at 5am will make you a novelist. i am deeply Not That Girl. HOWEVER, here are 5 chaotic little writing habits that quietly rearranged my brain chemistry:
✏️ typing BEFORE i know what happens
i used to think i had to outline everything before writing. wrong. i get more done when i let the scene surprise me. just start with vibes and a line of dialogue. the rest shows up once you start moving.
🗣️ saying the scene out loud like a play
no joke. talking my scenes out like a script?? life-changing. the pacing, the emotion, the rhythm of it all makes more sense when i act like i’m gossiping about my blorbos in a voice memo.
⌛ 20-minute timers (not for productivity, just to start)
i tell myself “just 20 minutes.” sometimes i stop. sometimes i blink and it’s 2 hours later and someone’s been emotionally eviscerated in chapter 12. this one’s black magic. use wisely.
🕯️ re-reading my WIP like a book
no editing, no judging, just reading through with snacks like it’s already published. changes how i see the pacing and emotional arcs. also reminds me it doesn’t completely suck.
🧂 leaving in the messy parts
i used to delete scenes that felt “off.” now i just write a little comment like “THIS IS BAD BUT KEEP GOING.” turns out momentum matters more than vibes. shocking, i know.
6 Quick Writing Exercises to Wake Up Your Imagination
We all hit those blah writing days. Your fingers are ready, your doc is open... and your brain goes static. That’s where writing exercises come in — small creative boosts to shake off the dust and get back into your story flow. Here are six to try when your words feel stuck in traffic.
1. The 5-Minute Word Sprint
Pick a random word (use a generator or close your eyes and point at a book), set a 5-minute timer, and write anything involving that word. No stopping, no deleting.
2. Dialogue Without Context
Write a short convo between two people. No descriptions. No setting. Just back-and-forth lines.
3. Rewrite a Scene in Another Genre
Take a scene from your current story and flip the genre. Drama becomes comedy. Fantasy becomes sci-fi. Romance becomes horror.
4. Describe a Place Using the Five Senses — No Sight Allowed
Can’t mention what anything looks like. Only sound, touch, smell, taste, and intuition.
5. Character Swap POVs
Write a paragraph from the POV of a side character reacting to your main character. Bonus if the POV is brutally honest or completely wrong.
6. One Line Story Hooks
Write 3 one-sentence story starters that make you want to keep writing. (Example: “I woke up married to my enemy, and worse — he knew it before I did.”)
You don’t need to write a masterpiece every day. But showing up — even for a silly exercise — keeps the creative part of your brain warmed up. Try one of these before your next writing session, and see where it takes you. 🍒
5 Tiny Writing Tips That Aren’t Talked About Enough (but work for me)
These are some lowkey underrated tips I’ve seen floating around writing communities — the kind that don’t get flashy attention but seriously changed how I write.
1. Put “he/she/they” at the start of the sentence less often.
Try switching up your sentence rhythm. Instead of
“She walked to the window,”
try
“The window creaked open under her touch.”
Keeps it fresh and stops the paragraph from sounding like a checklist.
2. Don’t describe everything — describe what matters.
Instead of listing every detail in a room, pick 2–3 objects that say something.
“A half-drunk mug of tea and a knife on the table”
sets a way stronger tone than
“There was a wooden table, two chairs, and a shelf.”
3. Use beats instead of dialogue tags sometimes.
Instead of:
"I'm fine," she said.
Try:
"I'm fine." She wiped her hands on her skirt.
It helps shows emotion, and movement.
4. Write your first draft like no one will ever read it.
No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird — future you will thank you for at least something to edit.
5. When stuck, ask: “What’s the most fun thing that could happen next?”
Not logical. Not realistic. FUN. It doesn’t have to stay — but chasing excitement can blast through writer’s block and give you ideas you actually want to write.
What’s a tip that unexpectedly helped with your writing? Let me know!! 🍒
Hello, I'm currently writing two first-person books, and I need help as one of them for almost the entirety of the first chapter it's only the MC so I'm stuck writing a lot of 《 I 》 and I'm trying to avoid it... But it's hard when it's all first-person POV. Could I get any help with this? I'm asking for advice if that helps clarify anything.
I'm sorry if this goes against anything, and if it sounds offensive, I'm very sorry...😔
Hi, thanks for asking! Here are some tips that might help out a little.
1. Make the world do the work.
Instead of leading every sentence with "I," try leading with the environment. You'll still be experiencing the world through the character's senses, but the focus shifts so that the reader feels more immersed rather than just watching the character observe it, as well as reducing the use of "I" in your writing.
Instead of: 'I walked through the forest. I could hear birds singing. I felt the damp earth beneath my boots.'
Try: 'Branches swayed overhead, birds sang somewhere beyond the moss-covered path, and wet earth clung to my boots.'
2. Thoughts without labels
One of the best parts of writing in first-person is the ability to show internal monologue without constantly saying 'I thought' or 'I wondered' or tags of that element—you can just state the thoughts as part of the narrative rather than announcing that your narrator is thinking. If it’s first-person and we’re in their head, the reader will know.
3. Sentence structure variety
If you feel like you're using "I" too much, the problem may lie in stacking sentences in the same structure rather than overuse of the word. Adding in variation will help keep the flow more dynamic and make it seem less repetitive or robotic.
Instead of: 'I took a deep breath. I couldn't believe it. I was shocked.'
Try: 'I drew in a sharp breath, disbelief flickering through me as I stood, frozen in shock.'
4. Body language
You can use body language, sensory reactions, and behavior to replace direct declarations of emotion, and let your readers feel it rather than being told straight out. Consequently, this will also make your writing more descriptive and immersive.
Instead of:' I was nervous.'
Try: 'My hands wouldn’t stop twitching. The room suddenly felt two sizes too small.'
5. Zoom out sometimes
Your narrator doesn't have to be narrating every second of their life—rather, they can remember, summarise, or observe in a more omniscient way. By zooming out like this, you're describing the space, mood, and moment and showing your character's feelings through the environment instead of stating them directly.
Instead of:' I sat on the edge of my bed. I tried to breathe, but it felt too hard.'
Try: 'The room hadn’t changed, but everything in it felt wrong. The walls leaned too close, the air suffocatingly thick with unsaid thoughts.'
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The bottom line is, writing in first-person isn't about reporting events, but about letting your reader experience them, filtered through your character's personality, humour, wounds, and overall worldview. And keep in mind that you're not doing anything wrong by having a lot of "I" in your writing—writing in first-person entails it. Rather than aiming to banish it or reduce your usage of it, try to find more ways to add variation in your writing and sentence structure to keep it fresh and immersive for your readers.
I've already said that my number one piece of writing advice is to read.
But my number two piece of advice is this: be deliberate.
Honestly this would fix so many pieces of bad writing advice. Don't forbid people from doing something, tell them to be conscious and deliberate about it. This could help stop people from falling into common mistakes without limiting their creativity. Black and white imperatives may stop a few annoying beginner habits, but ultimately they will restrict artistic expression.
Instead of "don't use epithets": "Know the effect epithets have and be deliberate about using them." Because yes, beginners often misuse them, but they can be useful when a character's name isn't known or when you want to reduce them to a particular trait they have.
Instead of "don't use 'said'" or "just use 'said'": "Be deliberate about your use of dialogue tags." Because sometimes you'll want "said" which fades into the background nicely, but sometimes you will need a more descriptive alternative to convey what a character is doing.
Instead of "don't use passive voice": "Be deliberate about when you use passive voice." Because using it when it's not needed can detract from your writing, but sometimes it can be useful to change the emphasis of a sentence or to portray a particular state of mind.
Instead of blindly following or ignorantly neglecting the rules of writing, familiarize yourself with them and their consequences so you can choose when and if breaking them would serve what you're trying to get across.
Your writing is yours. Take control of it.
It probably sounds like I'm preaching to the choir here because most of my mutuals are already great writers. But I'm hoping this will make it to the right people.
Unhealed Wounds Your Character Pretends Are Just “Personality Traits”
These are the things your character claims are just “how they are” but really, they’re bleeding all over everyone and calling it a vibe.
╰ They say they're "independent."
Translation: They don’t trust anyone to stay.
They learned early that needing people = disappointment. So now they call it “being self-sufficient” like it’s some shiny badge of honor. (Mostly to cover up how lonely they are.)
╰ They say they're "laid-back."
Translation: They stopped believing their wants mattered.
They'll eat anywhere. Do anything. Agree with everyone. Not because they're chill, but because the fight got beaten out of them a long time ago.
╰ They say they're "a perfectionist."
Translation: They believe mistakes make them unlovable.
Every typo. Every bad hair day. Every misstep feels like proof that they’re worthless. So they polish and polish and polish... until there’s nothing real left.
╰ They say they're "private."
Translation: They’re terrified of being judged—or worse, pitied.
Walls on walls on walls. They joke about being “mysterious” while desperately hoping no one gets close enough to see the mess behind the curtain.
╰ They say they're "ambitious."
Translation: They think achieving enough will finally make the emptiness go away.
If they can just get the promotion, the award, the validation—then maybe they’ll finally outrun the feeling that they’re fundamentally broken. (It never works.)
╰ They say they're "good at moving on."
Translation: They’re world-class at repression.
They’ll cut people out. Bury heartbreak. Pretend it never happened. And then wonder why they wake up at 3 a.m. feeling like they're suffocating.
╰ They say they're "logical."
Translation: They’re terrified of their own feelings.
Emotions? Messy. Dangerous. Uncontrollable. So they intellectualize everything to avoid feeling anything real. They call it rationality. (It's fear.)
╰ They say they're "loyal to a fault."
Translation: They mistake abandonment for loyalty.
They stay too long. Forgive too much. Invest in people who treat them like an afterthought, because they think walking away makes them "just as bad."
╰ They say they're "resilient."
Translation: They don't know how to ask for help without feeling like a burden.
They wear every bruise like a trophy. They survive things they should never have had to survive. And they call it strength. (But really? It's exhaustion wearing a cape.)
Ugh! I hate it when sources contradict each other and somehow ALL are awesome when I try to build my stories!
Take Troilus and Polyxena for example!
Ancient sources like we believe Cypria and all mention how Troilus was killed early on in the war when he was literally a child. The Iliad also implies that Troilus was already dead at that point given the speech given by Priam. However other sources indicate that Troilus was killed at the tenth year of the war which could imply that he was getting dangerously close to the age of 21 and sources like Aeneiad seem to also speak on the great talent of Troilus in battle.
On one hand it is the most ancient sources like Homer the ones that speak of Troilus being killed early and we assume he was literally a child! Which makes his death really tragic and sad (or even more disturbing given the OTHER interpretations that seem to be hinted by the vases aka the rape and beheading of Troilus in the altar) as well as the power imbalance and the potential foreshadowing of the brutality of taking of Troy or the madness of Achilles (in one way if we bind these sources with Statius Achilleid we COULD get a connection here but still seems like an overkill for Achilles that early on unless of course he was already charged up with the whole Aulis business)
On the other hand seems rather overkill that Athena sends the strongest of all Greeks to slaughter a child (not to mention what was a literal child doing alone with his horses out in the middle of a bloody war?) The brutality of the crime could be more explained if Achilles was swaying between reason and madness after the death of Patroclus (also Apollo being the father of Troilus could explain his hatred for the offspring of the God that helped to slay his companion) Troilus would still be young but also show a bit off his strength and the explanation as to why he absolutely HAD to be slaughtered so that he wouldn't be Hector #2 and lead the counter attack to the Greeks and it could explain why Athena sent Achilles of all people to slay Troilus (parallels and all) or the urgency for it.
So yeah! I am in a dead end 😫 hahahahaha all sources work so well and have life of their own and create their own individual stories! I might as well create different versions in the end (given that from those who didn't realize it yet I WAS planning to add Troilus one way or another to my Achillochus one-shot anthology)
And we also have Polyxena business and the death of Achilles! We do have the classical version of the story in which after Achilles loses Antilochus in battle he challenges Memnon in a duel and wins and then enraged he charges the attack against the Trojans and leads them close to the walls once more but eventually he is killed by Paris at the gates of Troy. But did you know that one version of the story indicates that Polyxena charmed Achilles so much that Achilles considered fucking treason? He goes to Priam and suggests that he will fight for him as long as he gets Polyxena as his wife. Priam is ecstatic and agrees but it seems that the whole thing is a ploy (most likely organized by his children rather than Priam himself). When Achilles is lured in the temple Paris is hidden in there and shoots Achilles and he dies.
Alright this is a bit easier for me to choose from because apart from the moment of the Iliad where Achilles wishes death to the Greeks to protect his honor, treason goes a bit too far even for him. I doubt he would just randomly switch sides because he wants to marry. If anything he would focus even more to burn Troy to the ground till he gets what he wants. And sure that could explain A BIT his ghost demanding Polyxena as he holds a grudge against her or something but still I'd say nah here. Maybe he was smitten for her but I doubt that he would betray everything he stands for in order to get her.
However I have to say even if I might as well go with the version that Achilles dies by the walls of Troy I find really interesting that there is a version in which the Trojans needed to perform a literal trick themselves because they wouldn’t think they could take Achilles down otherwise or Polyxena also taking some active role as a bait or potentially organizer and it is really tempting the idea of Paris coming out of a vase or something with his bow like "surprise motherfucker!"
dededos
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turnnoffyourmind
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