#Writing About Writing

[prisilasweetheart]

insane to think there was a time in my life where my characters didn’t reside in my head 24/7

[deadghostgirl12345]

[jmweaverauthor]

Writing sometimes feels like a strange disorder you just kind of cope with by being creative. Like your brain randomly decides to dump a million-piece puzzle in front of you and says, 'Solve this or we will never think of anything else, ever.' You toil away for years and by some miracle you solve it, and it's the most fulfilling, exhilarating feeling in the world. It's perfect. You did it. And your brain is like, 'OK, here's my idea for three sequels and a spinoff.'

[tahbhie]

How many drafts should you go through before deciding your novel is ready?

There's no specific (official) number, but to create a foundation that ensures you don't burn out quickly, overwork yourself, and get tired of your work, I'll say four. It's the same number I use for my students since most of them have other engagements outside writing that take up a copious amount of their time.

1. Initial or Zero Draft:

This draft is also called the 'just write' draft. Focus on putting that idea down. As the creative juices flow, let it all out. Don't worry about perfection or coherence; the goal is to capture your raw ideas and get the story out of your head and onto the page.

2. Second Draft:

This is the plot draft. Read through what you have written to see if every detail you added was meant to be. Here, you focus on the structure of your story. Ensure that the plot makes sense, the pacing is right, and there are no major plot holes. This is where you might add, remove, or rearrange scenes to improve the overall flow of the narrative.

3. Third Draft:

Character development draft. In this stage, you look deeper into your characters. Make sure their motivations, backgrounds, and arcs are well-defined and consistent. Flesh out their personalities and relationships, ensuring they are compelling and believable. This is also a good time to refine dialogue and make sure it sounds natural and true to each character. That's for this drafting stage.

4. Fourth Draft:

Grammar and punctuation draft. This is the polishing stage. Focus on correcting grammatical errors, punctuation, and spelling mistakes. Pay attention to sentence structure, word choice, and overall readability. This draft is about making your manuscript as clean and professional as possible.

Keep in mind that the goal is to define what completion means for each draft. Once you reach the goal, take a break and return to it for the next drafting stage.

Some writers pay people to carry out some of the drafting stages for them, so if you fall into that category, you might have fewer drafting stages to handle yourself!

Reblog to save for later 😉

Thank you all for the support 💜!

[transhuman-priestess]

Putting this as its own post because it deserves to be its own post.

If you want to be good at any kind of art you have to take the part of your brain that tells you “everything must be a wholly original idea formed in a perfect clean room environment” and you have to rip that synapse out of your skull, put it through a shredder, stomp on it, light it on fire, then pour it into acid, because it’s a liar and will never ever help you.

[writers-potion]

Editing Tips: Watch Out for Tautology

When you say the same thing twice with different words, it's a "tautology". They make manuscripts wordy.

Examples:

He shrugged his shoulders. -> He shrugged.

She clapped her hands. -> She clapped.

Her feet stepped back. -> She stepped back.

He hand picked up the knife. -> He picked up the knife.

If a movement is necessary for an action, the movement is included in the action and doesn't need to be spelled out separately.

He reached out his arm and took the book from her -> He took the book from her.

She lifted the glass to her lips and drained it. -> She drained her glass.

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[imbecominggayer]

Writing Advice: Writing Authentic Dialogue

For @radiantmocha TL;DR: advice for writing combat and improving dialogue authenticity?

I'm sorry that this post is going to be so short but it's a really simple topic for me :D

A) Authenticity: Actually Talk To These People Or Read Their Books

When it comes to looking for authentic dialogue, especially in relation to combat, just trying to start up a connection with a professional can be the gateway into actual realism.

If you can, try talking to a veteran or someone actively serving in the military!

If you are interested in a specific time in history that no one is currently alive from, try talking to either a historian or a history buff.

If neither of those options work for you, try reading books and other stories that were written by veterans. My favorite book of this genre is "All Quiet On The Western Front" which is a semi-autobiographical book exploring what life was like for german soldiers in WW1 which was written by Erich Maria Remarque, a German veteran of WW1.

I emplore you to explore stories, even fictional stories, that were written by soldiers!

B) Authenticity: Accounting For The Environment

What's the time period that the story is set?

Where is the story set?

What is the socio-economic status of the protagonist?

What is the personality of the protagonist?

Answer these questions (and more) to understand what a character will and wont say. Characters fighting in WW1 won't reference tanks pre-Battle of Somme.

This advice is true for everything. An innocent, rich kid will certainly speak differently, using different verbage, in comparison to a kid living in the slums. They will also prioritize different things.

What I hate most in stories is when characters, poor for their entire life, poverty-striken, starts wildly proclaiming ideas of justice, fairness, and equality while fighting bullies left and right. Most people in that situation need to keep their head down. They can't afford to go to the police station for "contributing to the a fight" Independent women can't get into the middle of a fight! Do you know how much medical bills cost? If they manage to survive, it's not going to be pretty. No matter how much self-defense classes like to tell women, most women understand that they can't overpower a determined man.

That isn't evil, that's survival, that's practicality! Ideals have always been prioritized by people privileged enough to have the time to think while the poor and always working need to be always working!

Sorry, that was a rant

In Conclusion:

Read stories that real people have written that are either semi-autobiographical or autobiographical! Keep in mind the time and place!

And so sorry for that rant!

[burntoutdaydreamer]

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

[ellipsus-writes]

Part four of our collaborative guide is here! 🫂 We’re wrapping up the series with a look at how writing communities are changing how we create, share, and stay inspired—and why community matters now more than ever. Head on over to the blog to read more! 💫

[theshenanijiang]

That feeling when you are writing a fic and it is flowing so smoothly and you read what you have written and go... I did not see that coming!

Or when people are like: xyz plot was so well written and perfect, how did you come up with it?

And the answer is: I don't know, I don't know, I really don't know (I wanted the gif, but they seem to be broken right now).

[prisilasweetheart]

this is literally me whenever something goes on in my life that i can use as writing inspiration😭 you may think you’re hurting me but what you’re really doing is giving me material! (ok and also slightly hurting me maybe)

i’m like if a writer weren’t a singer but simply a writer

[deadghostgirl12345]

[jmweaverauthor]

I think one of the best pieces of writing advice I ever got was to ask yourself constantly, 'What is the most interesting thing that can happen right now?' Whether you have writer's block or you feel like you're simply moving in a generic/uninspired direction with a project. Stop, and treat your story to a little chaos.

[inexplicifics]

I’m also a writer, of both fanfics and works I hope to publish someday, and I was wondering if I could ask your advice. I have a number of larger projects that I want to undertake, but thinking about how long it’s going to take to finish them makes me anxious and then I won’t even start. You’re an incredible writer and you have so many finished works; how do you do it? What would you recommend for someone who feels incredibly daunted by the lengthy and disheartening process that is writing a novel or series?

Also thank you for your Accidental Warlord series; it brings me inexpressible joy every time I read it

Oooh okay this is a complicated one. Let's see.

First off, and this is hard: don't compare your output to other authors. I have what my friends affectionately refer to as Wordy Bitch Disease. I write a lot, I write fast, and I write clean enough copy that Rose isn't doing copyedits, she's doing plot and characterization fixes. I start a new WIP...pretty near daily some weeks, and they do not all get done. My WIPs list is frankly fucking terrifying. But it's important to note that I have been writing pretty consistently for twenty years at least, and I was not as fast, coherent, or skilled when I started. For that matter, when I'm tired or stressed or just feeling blah, sometimes the words don't come, and it's important not to beat yourself up about it when that happens.

Second bit of advice: start smaller. I really, really like flash fic challenges and themed prompt lists and tumblr ask memes, because they make me limit my story to what can be told in a few thousand words. That lets me improve my craft without getting bogged down in enormous plotlines. (Yes, sometimes the story still grows a plot. But it's less frequent.)

Third bit of advice: take little bites, and accept that it's going to take a long time and possibly several drafts. When I started MBTT, I genuinely thought it would be 50K. (I am bad at estimating finished lengths of stories.) But I still took it one chapter at a time, and tried to have each chapter be a coherent whole, a chunk of story that needed to be told. When I'm working on the AWAU, if I think about the whole overarching storyline too much, I get overwhelmed and have to go stick my head under a proverbial rock for a while. But one story is doable, most of the time. I've had to restart drafts for some stories two, three, four times to get the voice and style and plot to cooperate. Be willing to say, That's not working, and try something else, even if you're really fond of what you've written so far.

Fourth bit of advice: learn what style of planning works for you. Some people like to outline in great detail. Some people like a sketchy outline. Some people, like me, can't outline - it kills the story for me. The WIP I started this morning has a notes section for important characterization details and the single plot point "Bandits?" Anything more than that, and I won't write it, because in some sense I've already written it so why bother doing it again?

Fifth and final bit of advice, because this is getting long: if you can find a cheer-reader, cherish them. Having someone in the doc leaving comments or emoticons helps immensely with knowing how my readers will react and with keeping my own enthusiasm for a story stoked high, which vastly increases the likelihood of it getting finished.

Good luck! Be brave! Thank you for the compliments!

I hope to read your stories someday!

[calamityjimao3]

Writing Advice 7-Don't fill in the blanks

Ever watch a horror movie and get down to the end and then BAM the monster is on screen for the first time and now we’re all feeling let down? Well this is an elementary writing error that artsy people like to forget because they make story telling about their vision, not the collective experience. Don’t show the monster. This is something I learned in a high school English class. We read the Pit and the Pendulum by Edgar Allen Poe and, spoiler alert for a story that is over 100 years old, we never find out what was in the pit. We are told that it is horrible, the most horrible thing we can think of, and we are left with that. Now my teacher went around and had us write down what we thought was in the pit, quietly and without collaboration, and we passed our guesses to him and he went and read through them aloud. One person thought it was a pit of snakes. Someone else thought it was a pit of lava. The guy who freaked the teacher out the most thought it was a rotating cheese grater. So the point? We all wrote down the thing that scared us the most. Poe’s story was fuelled by our imagination and our fears and that is where he really reached the audience. He let us build the setting and never said we were wrong, allowing the entire audience to take the journey. So when you set up a hidden monster in a horror movie and you show it, you are popping that bubble. I know what a monster that scares me would look like and it doesn’t look like that, so I’m not scared anymore and I am a little bummed by that. Now, this ALSO applies to other situations in stories. The monster is just the easiest one because if you are a horror fan you’ve had it happen. Another place you see where this is super common is character descriptions. Fanfiction this is a little less of a big deal because a lot of times you are borrowing characters that are already defined, but this is important for original characters. You don’t need to describe them. That isn’t saying you always shouldn’t, far from it, but it really depends on the why. You can use character descriptions to tell you more about the environment they are from, the culture they are from, the class and position they hold, etc. I like to be blunt about certain aspects of character description when I am explicitly representing a minority so people can’t whitewash my story or make everyone heteronormative.  But this is where it gets interesting. You can skimp on details. Let’s look at our good boy Tolkien and what we know about Legolas. Yes yes, he has long blond hair and blue eyes and pointy ears because that’s what Peter Jackson put in the movie so that must be true. Wrong. Tolkien gives us next to no physical details on Legolas. We know he’s an elf and that’s it. We don’t even know if elves have pointy ears. Tolkien never says. Without Jackson getting in there and mucking about everyone would have had a very individual and specific image as to what an elf, especially what Legolas specifically, looked like. We do have characterization. Legolas is silly and a little sassy, so it isn’t like we don’t know him. He’s not a mystery. We just don’t know what he looks like. And that is very intentional. It makes the character way more relatable and interesting. If I have an image of what Elf means to me I am going to slap it on Legolas so fast. Maybe I think he should have brown hair because he grew up amongst the forest elves and maybe it should be short so it doesn’t snag on trees (I am not getting into LOTR vs ROP lore lol). Maybe I like the character and have a bit of a crush on Legolas, so I insert my crush into this Legolas shaped hole in the story. Not saying Tolkien never described his characters but he refrained enough to really bring the audience along on the journey. When he did get specific he was doing so with the intention of creating a vibe or letting everyone else know his wife was the most beautiful person to have ever existed. 

So if you really want to have your audience create the world with you, give them hints, not descriptions. Sure, maybe she’s in rumpled clothes with frizzy hair. You don’t need to tell us hair color, or whether or not it is curly or just bushy. Maybe she is the most beautiful person in all the land, with her skin that positively glowed and her hair styled carefully. If you start getting into facial features you start describing what you think is beautiful or what the land thinks is beautiful, which is definitely going to be different than some readers. There is a tumblr post floating around how if snow white had red lips and pale skin and dark black hair she’d look like a vampire, despite that always being the way she’s described.

I think the best philosophical understanding of this is the taoist concept of the uncarved block. When you have a sculpting block that is untouched it has the possibility of being anything, but the moment you start cutting into it you start limiting what it could be. Descriptions are like that.

Of course you can’t abandon them completely. They are still important. I definitely need to know if your character has fangs that everyone can see. And there are going to be characters that as an author need to be described in full detail because that is so much of who they are. But skimping is not only fine but, when done deliberately, can really improve the relationship between the audience and the story. You just need to know that the mechanic exists and whether or not you want to lean into it.

So, this might be as clear as mud but I hoped I got the gist communicated.