#writing process

[chodzacaparodia]

It's frustrating that you can come up with the plot of an entire fic in just a few seconds, but writing it all down can take anywhere from never to forever.

[sorakazeno]

The story of my life.......

non-writers will never understand the mental illness of writing an entire conversation in your head while doing dishes and then forgetting every word the second you open a blank doc

[thewriteadviceforwriters]

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[unknownwriter404]

All of my writing is slow burn...

Not because I want it to be, I just suck at pacing, lmao

[dionysiaproductions]

Why would I try to make art that's universally well-received when I can make art that's deranged and bespoke? The world is already full of art that wasn't made for me.

[rottingcherub-txt]

This is why you can never trust big corps unfortunately

You need to move off of Google Docs!

I know some people have seen the news recently and may be doubtful of it. To the uninformed, Google Docs has started using AI to find "inappropriate" and "problematic" content, scraping your documents and deleting it. I know some people are unsure if this is real or think this is not going to affect them.

I regret to inform you that this is real.

As I was on a call with some writers and we were moving our documents as a precautionary measure, one person discovered entire pages missing that they did not delete themselves. This is happening to us, it's not a hoax or a rumor, it's happening right now. You need to move everything if you want to preserve it.

If you're a writer with writer mutuals, please reblog this so they know. I rarely write on Google Docs anymore, but I started my fanfics on there, and I would be devastated if I lost works more than ten years old because people decided marketing appeal is more important than creative freedom.

[alive-gh0st]

no one warned me that “editing a tumblr post” means rereading it 84 times, fixing one comma, googling the most basic words because somehow you’ve forgotten years of english, swapping the header image 6 times, holding your finger on the screen for 4 straight minutes just to drag it to the top, and finally hitting “save”… only to realize you picked the wrong image anyway

[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.

[call-me-mother-darling]

Prompt from tessah.journal on tiktok

My response:

You were supposed to be my dad.

[hollcwboy]

main draft: write me

me: i am

main draft: write more

evil plot demon: yk if you wrote a few thousand words of horror from lucy’s POV i bet the main draft would be so much better for it

me:

me: yk if i wrote a few thousand words of horror from lucy’s POV i bet the main draft would be so much better for it

[char-writes]

Daydreaming about my book:

Writing my book:

[maelancoli]

Writing Intimacy

i often see writers sharing a sentiment of struggling with writing kiss scenes which honestly bleeds into other portrayals of physical intimacy. i see it a lot in modernized styles of writing popularized by the recent trend in publishing to encourage short, choppy sentences and few adverbs, even less descriptive language. this makes intimacy come across awkward, like someone writing a script or clumsy recounting of events rather than a beautiful paragraph of human connection.

or just plane horniness. but hey, horny doesn't have to be mutually exclusive with poetic or sensual.

shallow example: they kissed desperately, tongues swirling and she moaned. it made her feel warm inside.

in depth example: she reached for the other woman slowly and with a small measure of uncertainty. the moment her fingers brushed the sharp, soft jaw of her companion, eliza's hesitance slid away. the first kiss was gentle when she finally closed the distance between them. she pressed her lips lightly to gabriella's in silent exploration. a tender question. gabriella answered by meeting her kiss with a firmer one of her own. eliza felt the woman's fingers curling into her umber hair, fingernails scraping along her scalp. everything inside eliza relaxed and the nervousness uncoiled from her gut. a warm buzz of energy sunk through her flesh down to the very core of her soul. this was right. this was always where she needed to be.

the first complaint i see regards discomfort in writing a kiss, feeling like one is intruding on the characters. the only way to get around this is to practice. anything that makes you uncomfortable in writing is something you should explore. writing is at its best when we are pushing the envelope of our own comfort zones. if it feels cringy, if it feels too intimate, too weird, too intrusive, good. do it anyway! try different styles, practice it, think about which parts of it make you balk the most and then explore that, dissect it and dive into getting comfortable with the portrayal of human connection.

of course the biggest part comes to not knowing what to say other than "they kissed" or, of course, the tried and true "their lips crashed and their tongues battled for dominance" 😐. so this is my best advice: think beyond the mouth. okay, we know their mouths are mashing. but what are their hands doing? are they touching one another's hair? are they scratching or gripping desperately at one another? are they gliding their hands along each other's body or are they wrapping their arms tightly to hold each other close? do they sigh? do they groan? do they relax? do they tense? are they comfortable with each other or giddy and uncertain? is it a relief, or is it bringing more questions? is it building tension or finally breaking it?

get descriptive with the emotions. how is it making the main character/pov holder feel? how are they carrying those emotions in their body? how do they feel the desire in their body? desire is not just felt below the belt. it's in the gut, it's in the chest, it's in the flushing of cheeks, the chills beneath the skin, the goosebumps over the surface of the flesh. everyone has different pleasure zones. a kiss might not always lead desire for overtly sexual touches. a kiss might lead to the desire for an embrace. a kiss might lead to the impulse to bite or lick at other areas. a kiss could awaken desire to be caressed or caress the neck, the shoulder, the back, the arms etc. describe that desire, show those impulses of pleasure and affection.

of course there is the tactile. what does the love interest taste like? what do they smell like? how do they kiss? rough and greedy? slow and sensual? explorative and hesitant? expertly or clumsily? how does it feel to be kissed by them? how does it feel to kiss them?

i.e. examine who these individuals are, what their motives and feelings are within that moment, who they are together, what it looks like when these two individuals come together. a kiss is not about the mouth. it's about opening the door to vulnerability and desire in one's entire body and soul.

[themightyhumanbroom]

My average writing experience:

"Alright I think I'm almost done actually-"

*Google doc grows second health bar and a choir starts singing in latin*

[thewriteadviceforwriters]

What To Do When You Know Your Ending but Have No Clue How to Get There

congrats. you’ve unlocked the most ✨ cursed ✨ form of storytelling: knowing the destination but having zero map, no snacks, and one emotionally unstable protagonist riding shotgun.

aka: you know how your book ends. maybe even the Last Line™. but the middle? the plot? the scenes required to get there?

🦗🦗🦗

welcome to liminal writing hell. here’s what to do about it:

🚨 STEP 1: Write the ending anyway.

yes. even if you’re only on chapter three. write the ending now. not perfectly. not canon. just get it down while it’s burning in your brain.

this does 2 things:

gets you emotionally invested in where you’re headed

gives you a north star to align your scenes to

future-you will thank you when you're knee-deep in act 2, spiraling, and you need to remember what this mess was for.

🧩 STEP 2: Backwards logic it like a feral detective.

ask: what has to happen right before this ending can exist? then ask that question again. and again. until you’ve accidentally built a whole reverse-outline.

like:

✨ final scene: heroine stabs the love interest to save the world → she needs to know he’s the villain → she needs to see him do something unforgivable → she needs a reason to be in the same room as him when it happens → she needs to go to the city where he’s hiding → she needs to choose betrayal over loyalty

now reverse those like breadcrumbs through the forest of chaos.

🎯 STEP 3: Identify your mid-point emotional switch.

the best middles aren’t just “stuff happening.” they’re a turning point. a reversal. a Big Choice. often it’s the opposite of the ending.

ending = character sacrifices love midpoint = character believes love will fix everything

this sets up contrast + emotional stakes. the midpoint shows how wrong they are. the ending proves how far they’ve come.

no midpoint? no tension. build the middle to break them, then rebuild toward the finale.

🧱 STEP 4: Stack up your themes like Jenga blocks.

what are you actually saying with this ending?

if the ending is: “freedom comes at a price” then the story needs to explore:

what freedom means

who pays that price

how people deny the cost

how your protagonist learns to accept it

if your middle scenes aren’t touching these ideas? they’re just filler. start weaving the theme early, subtly, and repeatedly. make it hurt a little.

📦 STEP 5: Write “junk scenes” in the blank spaces.

not sure how they get from castle to climax? write a fake scene. not canon. no pressure. just vibes. let the characters mess around in the setting. argue. kiss. kill. eat soup. whatever.

you’ll learn what they want, what secrets they’re hiding, what tensions spark.

some of these junk scenes will turn out to be real. others will guide you to what needs to happen next. use them as scaffolding.

🧃 STEP 6: Accept that messy = forward.

you won’t always see the whole road. write the next landmark. write the next mistake. write the next bad scene and figure out why it doesn’t work.

knowing your ending is a gift. the rest? that’s the part where you dig.

you don’t need a perfect bridge. you just need enough planks to get across without falling into the river of I’ll-Fix-It-Later.

now go. write the scene where everything breaks.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

🕯️ download the pack & write something cursed:

[lannegarrett]

Writing Advice:

1. Write what's in your heart

2. Wait, hold up

3. THIS is what's in your heart?

4. Dear god

5. Your poor characters.

6. Why is there so much blood and death?