#writing tips for beginners

[cryptidghostgirl]

Heyy :)))

any writing tips for beginners?

First off, can I just say, it is genuinely such an honor to get asked this question? It makes me so happy.

The biggest thing I would recommend for beginners is just to write. The more you write, the more used to it you get. I know that doesn't sound like very productive advice, but it is the truth. I have been writing fics since I was twelve and I am twenty one now. My first fics were shit. One of my earliest ones (its a BSD Akutagawa x Reader fic called Project X I started when the show first came out back in 2016 and finished in 2022 that is still up on my wattpad, which is linked in my pinned post, if you want proof I am not lying) is genuine shit, but I put a lot of passion and a lot of time into it (to the point that if you read the book, you watch me learn how to write). It was the practice and time spent that did the trick. So write and write and write. You don't have to post it anywhere or show it to anyone until you feel like you are ready (or at all). The more you do it, the more everything will fall into place.

The second thing I would recommend is to write the stories that you want to read, whether fanfiction or not. You have to be invested in whatever you're making in order for it to work. If you don't care, you wont put the effort in. You wont take the time for it. The only reason I started writing in the first place was because I would read fic after fic and I never saw anyone else putting the ideas I had on to paper (this actually lead to me starting a mini trend in the BSD fic community on wattpad lol). This will also help, if you are putting your work out into the world in some way, with the idea of reward. Whether through notes or readers or whatever, as long as you like what you are writing and you want to read what you are making, it is worth it and it is enough.

Third is to read. One of the ways I developed my own writing style was by taking note of the things I liked about other peoples writing styles (doesn't matter whom. I take a lot of the way I write from poets and authors like Annie Dillard and Terry Pratchett as well as other fic writers). So much of writing is about aesthetics and personal preference. Once I knew what I defined as 'good writing,' I could figure out how to morph my own work into something I deemed 'good.' This also counts for reading the things you yourself have written. I go back and re-read and edit my own work all the fucking time, both out of an enjoyment for the stories I create and in an effort to make them better. The best thing you can do is to read your work out loud. Listen to what you change when you read it out loud, what sounds odd or uncomfortable, where there are gaps. It really helped me when I first started writing fics almost ten years ago, and it still helps me now.

This is a weird one, but when you're writing about emotions, try to feel the emotion yourself. Think about what something like fear does to a person. Picture the situation you are writing and take the time to think about the ways in which you personally, or your character, would react to it. Writing reactions, body movements, things like that, has always been the most difficult for me, especially when its in-between dialogue and not just big blocks of text. Taking a moment and closing my eyes, feeling the shiver down my spine or the burst of sudden joy, really helps pin down the ideas and figure out how to describe them.

Also, if you know other languages, think about the things you like about the way those function and how you can incorporate that into your work. A lot of the way I structure sentences comes from ancient Greek, for example, with my usage of participles and timing. It doesn't have to be an ancient language though! And it doesn't even really have to be another language. All that matters is that you are actively thinking about the way the words interact with one another and what is pleasing to you. English is such a flexible and fun thing, there is so much meaning in every word and if you want to, it can be really fun to play around with. (I am a philologist. I am sorry for the little rant.)

That being said, it is important that you understand the grammar of the language you are writing in. This might just be a personal thing, but incorrect grammar tends to really bug me. Once you know the rules, they are easier to follow and it makes a huge difference. Also, incorporating techniques like varied sentence length/structure and literary devices like metaphor, allusion, ekphrasis, and simile can really make a piece more enjoyable for a perspective reader (whether the reader is yourself or someone else.)

Write what you know, write what you love, write what you want, write what you need, write. Don't worry about it being 'good enough,' if it is on the paper it is good enough. The hardest part is starting. Once you've got that under your belt, anything is possible.

Now that this post is almost excessively long, I am gonna make myself stop. I really hope at least some of this made sense and that you find it helpful.

<3 <3

[radiancewithlene]

The Art of Finding Your Writing Voice

Every writer has a unique voice, it is what makes your writing stand out, what gives it character, and what keeps readers coming back for more. But let us be real: finding your writing voice is not always easy. If you have ever felt like your writing sounds too generic or like you are mimicking someone else, you are not alone. Developing a distinct writing style takes time, experimentation, and…

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[joelekm]

Unlocking Success | How to Write an Expert Positioning Story | Summit Press Publisher

In this video, unlock the secrets to success with Summit Press! Learn how to craft compelling expert positioning stories that connect, convert, and captivate. Elevate your narrative for a thriving future. A powerful expert-positioning story (or signature story) will connect you to the people you are meant to serve....and make you money. If it's done right. The first part of this story, which involves your struggle, that thing that launches you on the journey for a solution, is the key to the kingdom. This is your hero's journey, the start of which likely involved pain.

[blogtey45]

Unlocking Success | How to Write an Expert Positioning Story | Summit Press Publisher

[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[3hks]

A Quick(ish) Comprehensive Guide to Writing in Third Person Limited

When we write, one of the very first aspects we consider is the perspective of the story. Is it in first person? Second person? Third person? Third person point-of-view is arguably the most flexible perspective, but that also makes it difficult to fully grasp and harness.

~~~

INTRODUCTION

Let's begin with the fundamental questions: what is third person and why do people use it?

> What is Third Person POV?

Third person POV is simply a narrative style in which the narrator has a broader view of all the characters and their thoughts. Unlike first person, which is seen through the eyes of one person, calling for the use of pronouns such as I, me, or my, third person uses pronouns such as he, she, or they to refer to everyone, including themselves. As the reader, we aren't meshed into the main character and viewing the story that way. Instead, we're moreso hovering from above and observing collective events, actions, and even thoughts.

There are three MAIN types of this perspective: third person omniscient, third person objective and third person limited.

Omniscient is where the narrator knows everything about the characters, events, and emotions, revealing many, if not all, of these aspects of the readers.

Objective is when the narrator focuses solely on the actions and behaviors of the characters, without providing insight to thoughts or emotions. It's an objective narration style.

Limited is where the narrator focuses on one character (which would likely be the protagonist) and centers the story around that character.

> Why Use Third Person?

To put it simply, third person can allow you to write more. You have access to multiple POVs and there is often less bias. In first person, the narrator is the character, which can cause warped views influenced by their bias.

However, for third person, the narrator is an external voice (oftentimes you), so while there can be some bias depending on the character you're hovering, there is significantly less.

***

THE BASICS

In this post, I won't be talking too much about third person omniscient because it's more uncommon in writing. Instead, I will be talking about a popular variant of third person limited in which we use the POVs of multiple characters one at a time.

> Using the Correct Pronouns

In first person, we use the pronouns "I, me, my, we, etc." to describe the narrator. In second person, we use the pronouns "you, your, etc." to describe the protagonist. In third person, we use the pronouns "she, he, they, etc." to describe the protagonist.

Avoid using first or second person pronouns unless you're writing thoughts or dialogue.

> Making the POV Clear

Since we're using the perspectives of different characters (at different times), it's imperative to clarify who the perspective belongs to. You can do this simply by listing the POV before writing the part or by starting a new paragraph, which begins with a sentence starting in active voice by the focused character.

EXAMPLES

Lexi's POV: She was astounded when she realized that... V.S. Lexi was astounded when she realized that...

Both examples are in third person and evidently centered around Lexi.

> Be Consistent

Be consistent with pronouns; unless you're writing thoughts and/or dialogue, make sure you're always using third person pronouns to address everything. It's easy to let it slip, but it's important not to.

Ex:

WRONG: She stares at the mirror. My hair is kind of messy, so I grab the brush. CORRECT: She stares at the mirror. Her hair is kind of messy, so she grabs the brush.

Another thing to consider is keeping the type of third person POV consistent. If you're writing in third person limited, don't suddenly switch to omniscient. Granted, many readers may not be able to identify this kind of mistake, but it's good to practice consistency!

***

GENERAL TIPS

Now, let's discuss some general ideas to keep in mind when writing in third person limited.

> Use Names

You might be thinking what? No duh I have to use names, but I'm being dead serious. In third person, you might find yourself writing out names of characters more often than when you might be using first person. This is because pronouns get confusing. If there are two girls talking, then which one is 'she'? Remember that your protagonist is also an outside character.

Use names, use different ways to identify people (the taller student, the younger employee, etc.), because even if you know who is who, the readers might not.

> Objectiveness

One of the pros of using third person to storytell is the objectiveness that it grants. First person comes with many biases, which can warp how the reader views the characters, actions, and events of the story.

However, in third person, you want your narrator to be as unbiased as possible. Be objective. Describe things as they are. Sure, sometimes a character's opinion might influence the story, but it shouldn't be too excessive.

> Be Descriptive

I'm sure I've said this only about one million times now, but third person POV is broad. You can talk about anyone, anything, and you can even explain events unrelated and outside of your protagonist's bubble, which you normally can't do in first person.

So be descriptive. You don't have to worry about how a specific may view something because we're in third person. There's so much more for you to describe, you just have to take advantage of it.

You can describe your protagonist's enemy with both distaste and detached neutrality; you can describe minute details of a tree without making your main character seem overdramatic--you just have to do it.

***

ADDITIONAL TIPS

> When to Change Perspectives

In third person limited POV, it's common and often necessary to change the character the narrator hovers around. This is because only following the protagonist is, well, quite limited. So, when do we change which character we follow?

Show Events Outside of the Protagonist: If you have part of the cast (such as the antagonist) that's taking action outside of what the MC is aware of, and you want to show what's happening, this is a good time to switch perspectives! ----

Show Different Reactions to the Same Event: Let's say an intense incident just occurred that affected multiple people. Switching perspectives here can be quite useful because it allows you to show how different characters handle and view the same situation. This also helpful because it gives the reader deeper insight to the characters!

> Incorporating Character

I talked about this alone in a separate post, but I'll reiterate it again. Many people believe that third person POV is less interesting because there's "less personality" in its writing compared to first person.

This is mainly due to the standard objectivity that comes with third person, but it doesn't mean you can't include hints of character within your writing outside of dialogue and thoughts.

At the end of the day, it all comes down to word choice and a bit of sentence structure. Different words and phrases have different connotations, and though it seems like a very subtle detail to focus on, it does impact your writing.

Try to use vocabulary that fits the character you're hovering. Vocabulary that they might use.

If you're writing from the perspective of an angrier character, maybe you'll use cruder language during their section. If it's a more dramatic character, perhaps you'll use more theatrical language and flowy sentence structures mixed with choppy ones.

EX:

1. He felt stupidly annoyed at the man's assumptions. 2. He felt irritated at the man's assumptions. 3. He felt fed up with the man's assumptions.

Those three examples all have similar meanings and identical sentence structures. However, you'll notice that there are slightly different connotations per each sentence.

For number one, it sounds like the character is upset that he's so annoyed. This offers the idea that the character feels he shouldn't be as annoyed as he is, quietly hinting that he isn't the type to get ruffled easily or at least, not towards such assumptions.

For number two, the statement is very direct. The character is irritated. He might not be as displeased as number one or three, but he is still annoyed. However, the forwardness of the statement might suggest that he's a pretty straightforward guy who's expresses his emotions frankly.

Lastly, for number three, the character sounds more tired and possibly angry. He's done with the assumptions. It can be assumed that he's the type who's more likely to take action than the other two.

Now, these are really simple examples, but you can see that the word changes do slightly alter the meaning of the sentence and evoke separate emotions based on the character of the perspective's owner.

If the character uses the word "excessively" instead of "very," we might think that the character is more eloquent.

Yes, all of these descriptions technically belong to the narrator, but there's no linear way to write the narrator. In this case, they act like a mirror, reflecting the voice of the character.

CONCLUSION

We're at the end! This was a MUCH larger post than I expected to write, so kudos to anyone who's read more than 50% of this LOL.

All in all, third person POV isn't actually terribly difficult to get the hang of. You'll need some practice, as with anything, but you'll understand it better the more you work on it--with or without my help!

The biggest point is to make sure your pronouns are in check. Don't use "I, me, my or you, yours, you're" unless you're writing dialogue or thoughts!

Hope this has been helpful! Reach out to me for any questions; I'd love to answer them!

Happy writing~

3hks <3

[olis-inkwell-symposium]

The Taste of the World: Writing Food as Storytelling

Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.

When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.

Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.

Why Food is Fundamental to Worldbuilding

Culture and Identity

Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.

Think About:

What ingredients are unique to this region, and how did they come to rely on them?

How is food served—shared communally or divided by status?

Are there specific rituals tied to preparing or consuming meals?

These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.

Food as Survival

Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.

Consider:

What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?

How do people preserve food in harsh climates or through difficult seasons?

What compromises are made when survival is at stake?

Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.

Food as Memory

Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.

Ask Yourself:

What does this food remind your characters of?

How does this memory shape their present choices?

What foods do they miss, and why can’t they have them anymore?

The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.

Integrating Food Into Your Narrative

The Subtle Art of Symbolism

Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.

Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.

It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.

Building Tension Through Meals

Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.

Think About:

Who prepares the food, and what does that say about their role or status?

What’s the mood at the table? Is the act of eating itself a kind of performance?

Are there unspoken rules about who eats first, how much they take, or what they avoid?

Food as tension is about the surrounding interaction, not the food itself.

Grounding the World in Small Details

Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.

Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.

Applying Food to Character Development

What Food Says About Relationships

Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.

Consider:

Do your characters share food equally, or does one person dominate the meal?

Is a meal an act of kindness, a manipulation, or an obligation?

How does the way they eat reflect their personality?

Preferences, Habits, and Rituals

The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.

Ask Yourself:

Does your character have a ritual or habit when it comes to food?

How do they react to unfamiliar dishes?

What’s their relationship with food—joy, necessity, or something else?

The Absence of Food

Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.

The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.

Final Thoughts: Food as a Storytelling Tool

Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.

When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.

TAGLIST - dm or reply to be added 🫶🏾

@slenders1ckn3ss @lucistarsfire @fond-illusion @p00lverinecentral

[five-sided-dice]

Tips for Beginner Writers

1 - Make a chapter out line as you go, so if you need any sort of information about what's happened in the book, you don't have to scroll through each and every paragraph you wrote.

2 - Your first draft is not Your published book, you're gonna have to revise it and edit it a lot over the while, so Let it Suck. It'll turn into a second, third draft, and published book in the end.

3 - What matters is that you wrote, not how much you wrote. Try to set a daily number of words for you to write, that way you get consistency and it gives you a routine to follow.

4 - Remember that many books have been written, many with the same premise, but by different people. If you worry that your idea is too average or too oversaturated remember this:

5 - Don't make scenes too long, dont detail what you don't need to. If your character is going to develop via an event, detail it where needed, don't detail every little thing because it makes the scene unnecessarily long.

This Idea has been written before, but not by you.

[aelenist--writng--process]

5 MINOR DETAILS TO MAKE YOUR FANTASY STORY MORE REALISTIC :

Hofball in Wien, Wilhelm Gause (1900)

• 1. Titles Matter:

While terms like "My Lord" and "My Lady" are generic, they may not always be suitable depending on the relationship between the speaker and the royal figure. Understanding the hierarchy is crucial; a servant might call a prince "My Lord" if they are familiar, but "Your Highness" is typically preferred, especially in formal contexts.

Different titles serve specific roles:

- "Your Majesty" for kings and queens,

- "Your Highness" for princes and princesses,

- "Your Grace" for dukes,

- "Sir" for knights.

Consistency in these titles is vital to maintain the integrity of the narrative.

• 2. Clothing Restrictions:

Heavy gowns make movement difficult for women, impacting their ability to act swiftly in emergencies. If an author chooses to describe a character's elaborate dress, they should also depict the practical consequences of wearing such attire, perhaps showing the character struggling to navigate challenges. Also, Characters wearing long, flowing sleeves while attempting complex tasks, like slipping poison into a drink, are impractical. Similarly, those in soft slippers planning a hasty escape should realistically face consequences for their poor choice of footwear. Characters should either change into suitable boots or face the challenges of their attire, as impractical clothing can lead to failure in critical moments.

•3. Consider the Atmosphere in Your Court Setting

Authors often describe court settings as smoky due to candles, fires, or incense, yet characters can see clearly across the room, even recognizing distant expressions. This inconsistency raises questions about visibility in such conditions. Reflect on experiences in smoky environments and how they affect sight. If the air is filled with smoke, characters should struggle to see, rather than having clear visibility when it’s convenient for the plot. Consistency in environmental details is crucial for believable storytelling.

• 4. Luxury Items and Trade Routes:

When describing luxury goods, authors should align these items with their world’s geography and trade routes. For example, a remote kingdom should not possess abundant glass windows if transportation is difficult. The narrative must consider logistics to avoid unrealistic portrayals.

• 5. Hierarchies of Politeness and Impoliteness:

Understanding who can be armed in the presence of a king is essential. Characters should not carry weapons without reason, respecting the established rules of the court. Challenges to these rules must be justified within the story.

[enby--ghost]

I'm trying to figure out how to describe an character's voice, and I'm struggling. I want her to sound confident and a bit sassy, but still friendly. My best comparison would be, like, Roxy, minus the synthesizing, from FNAF Security Breach or like Wendy from Gravity Falls, but a little higher pitched.

Does any of that makes sense?

This is how I have it described at the moment, and I feel like it doesn't really get across the idea or even make sense

Any advice, y'all?

[bonnibelleangelica]

Writing: Things I Learnt the Hard Way #7

Status Quo Addition...

Having revamped the synopsis for my WIP book, I’ve learnt many things:

I talk too much

Because I had only just finished the planning and plotting of the book when I wrote the first blurb, I was excited to throw every idea out to the public in as much detail as possible. Now that I’ve explained the concept to every stranger on the street, I’m much better at getting to the point.

Names aren’t necessary. Just make it clear what their role is and move on.

Start with your opening concept, then make it clear where the story will be headed. This book could have been about an adventure across the country or a tale of survival, so it’s important that I highlight Canopy (the girl) as being the centre of the narrative. The last section also hints that the conflict with circles back to his home and upbringing as he starts to realise how twisted his worldview was.

Use Canva. Everything is better when you add leaves and pretty graphics.

A mutated world that turns out to be beautiful is already a concept people are familiar with. I didnt need all those examples, save them for the book.

It’s pretty easy to figure out what a scientist’s goal would initially be in a world like this, I didn’t need to specify that they were looking for a solution to the mass mutation.

The whole thing tied itself off too well, the tone made it feel like I had gone through all there was to tell. “They fall in love and live happily ever after... AND THEN-”

Interested in the story of a biologist from an underground bunker falling in love with a vibrant, mutated girl the surface? Check out my new book, Status Quo (coming this year) here: @status-quo-book

[keeping-writing-frosty]

What has my 20+ years of creative writing taught me?

Hey beginner writers, guess what? Writeblr is full of a lot of advice. Some of it is bullshit, some of it is legit, and others are a mix of both. But what I want you to do is ignore the noise. I know this sounds cliche but the best way to learn when you start is to write. Write anything. Shorts, fanfics, poems, long stories, novels, 100k massive epics that only 20 people will read on AO3 but they will be so damned dedicated to it.

My point is writing is the best way to get better as a writer, alongside reading. I will also recommend doing a lot of read of various genres. And not just fanfics. They have their merits and there are some highly-skilled fanfic writers. Read some of the classics. Don't like gritty realism? Well still read some Steinbeck or Upton Sinclair. Don't like fantasy? Still, give Tolkien a shot.

In short, you have to write, read, and write some more. Once you got a basic grasp of it. Then start taking in some advice and feedback.

Writeblr is a great place, also very clique-y. So beware of that. And some advice is straight up bullshit. So keep an eye out for that.

On top of it all, there are rules for writing, but there's also room to wiggle and do your own thing. This isn't an academic essay needing to be done in APA or Chicago style. You can do your own thing, too! Don't let some people on their soap boxes tell you otherwise.

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[beth-nina]

Quiet femininity. Part 1

I created a female character with "quiet,hidden" femininity. I would like to explain in simple words what it is and why I like it better than openly feminine characters.

Quiet feminity is about being a woman who doesn’t directly demonstrate her sexuality, neither she is trying to use it to attract a man. It’s a rare and very deep type that does not scream about itself, but it feels.

Quiet femininity is not about skirts, lips, charms, big breasts and sexual attraction.

This is about:

🌷Softness, which does not become a weakness,

🌷 silence that speaks more than words,

🌷 a body that carries vulnerability, not temptation,

🌷 the dignity that holds her face, even in fear,

🌷a dress she wears, is not opening her legs or her decollete, but the hem of her dress is flowing around her slender body when she runs

🌷 it's not her gorgeous face,but a charming smile which warms even when it's freezing cold outside

🌷 she doesn't wear high heels,but she has that delicate flower aroma

[topazadine]

Remembering Perspective When Writing Descriptions

Just a short pet peeve of mine, inspired by a shower thought, where I remembered the most terrifying description I'd ever read.

It wasn't bad, or even horror. It was well written.

However. The POV character described his *sister* in a way akin to this (my recreation, not the actual text):

Braden met his sister at the gate. They'd been apart for several years, and in that time, she had truly become a woman. Her curves had filled out, and her red silk dressed strained across her tight figure. Her long black curly hair shone in the late evening light, while her blue eyes watched him intently.

No, this wasn't a brocon thing. The (male) writer was just horny for his female character and ... kinda forgot that his MC, her brother, would not feel the same way.

Now, of course siblings growing up together are going to notice the other one maturing, but it's not going to be ... that. This is how I describe 17-year-old Uileac looking at his little sister, 13-year-old Cerie, in 9 Years Yearning:

She'd shot up in height this past year - almost as tall as him, to his dismay. Whatever they were feeding her in the meronym was quite good for her metabolism, as she'd put on a bit of healthy weight. Her cheeks were losing their baby roundness, and the autumnal light accentuated the sharp intelligence behind her green eyes.

In this description, you can feel Uileac's paternal attitude toward his little sister. "Oh, she's put on a bit of weight and isn't a total twig anymore! I'm glad they're feeding her well. Her face looks more adult. Fuck, she's almost as tall as me now ... I wish I weren't so goddamn short ...."

This is a much more normal way for siblings to talk about each other, if a bit more "dad mode" than the typical older brother.

Siblings who grew up together are not going to say "holy shit I can really tell my sister has become a woman, wow her dress is tight over her curves." If my brother had said that about me while we were kids, I'd throw up and dump a pot of soup over his head.

This kind of thing is generally accidental and has to do with how *you* feel about a character. But the thing is that even the sexiest femme fatale is just going to be Jennifer, The Stupid Annoying Sister, to their sibling. Our brains are literally wired not to see our siblings as sexy if we grew up with them.

There are many other ways that you must take perspective into consideration when writing descriptions. Here are just a few of them.

Sexual attraction/orientation

You're going to focus on different things if you're sexually attracted to someone; namely, you'll focus in on things like breasts, legs, abs, etc. You'll also likely devote more attention to describing people of your particular sexual orientation than you would one that you are not attracted to, and you will focus on different things.

This is part of why we hate "men writing women:" they describe every woman as if they want to fuck them. (See the first example.) It has to do with the places that their gazes naturally linger on any woman, which is what they consider important and what they focus on.

But the thing that they miss is that just because we are sexually attracted to a specific gender does not mean we would want to bang anyone of that gender. I am a lesbian, but the way I would describe my mom or my therapist is vastly different than how I would describe a woman I am actually attracted to.

Romantic interests should get a more sexualized gaze; not exploitative, just more in-depth, and with more focus on their figure, specific details, etc. Everyone else should get a more basic look at eyes, hair color, height, build, and so on.

Feelings about a particular person

You're going to be more forgiving and complimentary toward someone you care about than someone you hate. Things that would be charming on a friend will be downright annoying on that one asshole at work who always throws projects to you at 5pm on a Friday.

A lover's thick eyebrows might be called "dashing" or "strong," while on an enemy, they'd be "overbearing" and "harsh." Your bestie's lisp is cute, while it seems babyish on your school rival. Your dad's meandering sentences give him a sense of harmless musing, but they make someone else look like an idiot.

If you have a character that is prejudiced toward a given group, they are always going to describe that group more harshly than they would a favored group. If they don't like authority figures, a police officer leaning toward them will seem menacing, when they wouldn't even notice it otherwise.

It can be very fun to give two characters similar traits but describe them differently based on the POV character's perspective of them. Readers might not even realize that it's the exact same physical feature!

Previous experiences at a given place

When describing settings, we're going to give more attention to somewhere we care about, like our home. I imagine you can tell me about every chip in the paint in your bedroom, or that one weird stain in the floorboard that you've tried everything to fix. Many times, this is a good time to add depth to the character's backstory by briefly mentioning previous occurrences there.

Would you notice any of those things about a place you're visiting for the first time? Probably not. You'll give a more global attention to the scene and provide impressions, not specifics.

Depending on how nervous or adventurous you are, you'll look for similarities or differences to things that you're accustomed to. You might compare it to other places you have been, trying to get a frame of reference.

If you're on a vacation and were really looking forward to coming to this specific spot, you will likely hone in on exactly what you came to see, whether that's the scene from a particular hilltop or a cafe, and this will get the most description.

Current Mood

Descriptions change with a character's mood, even if they've been in that place a millions times. People just notice different things depending on their mood; if they're happy, they'll look for things that support that mood, while if they're upset, they're pointing out the negatives.

For example, consider someone walking into a court room when they are on trial versus when they are there as a simple court reporter. The person on trial is probably going to be glancing longingly at the door, picking out the angry faces of observers (or assuming the observers are angry), focusing attention on the security guards, staring at the plaintiff with hate in their eyes.

The court reporter will likely pick out anyone they know in the room before looking at anything else. Then, they'll check out the defendant and plaintiff with idle curiosity. Since they are more familiar with the room, they'll gloss over the boring details that they have already seen a million times, giving them only a cursory once-over to see if anything has changed.

Current Need

Your character's objectives need to taken into consideration as well. As an example, remember the last time that you really needed to pee while you were out. Were you slowly and casually admiring the scenery? No! You were hunting for the bathroom. If literally anything registered for you, it was anything that looked vaguely bathroom-sign-shaped. Everything around that bathroom sign, and on your path toward the bathroom, got more attention and description to you than anything else.

Your character's interests

When describing a scene, you don't need to take time and define every single little thing in a character's path. It's annoying and overwhelming. You need to give us a basic overview (it's a forest, it's a grocery store, it's an abbatoir) and then hone in on the specific details that your character finds interesting in order to fill out the entire scene.

We, as people, focus on things we care about, things that we feel are relevant to us. Different people will notice completely different things when they walk into the same room. An animal trainer will appreciate a big pet bed and an ergonomic food bowl. An artist will admire the artwork on the walls. A computer nerd is going to roll their eyes at the scuffed-up Mac laptop.

This doesn't mean that you can't describe other things, too; it just means that your character's attention is going to be drawn to stuff that they, in particular, like or dislike.

Things like where a character's gaze lands, how they describe things, and how much detail they give to any particular element are an important part of secondary characterization: how we get to know a character beyond what they do or tell us. It helps to create a fuller picture of their relationships, their interests, and their thought process, and it deserves just as much attention as actions and dialogue.

If you enjoyed reading this, perhaps you'll consider purchasing my book, 9 Years Yearning. No weird sibling vibes I prommie