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[imaginatrixproductions]

Small fantasy worldbuilding elements you might want to think about:

A currency that isn’t gold-standard/having gold be as valuable as tin

A currency that runs entirely on a perishable resource, like cocoa beans

A clock that isn’t 24-hours

More or less than four seasons/seasons other than the ones we know

Fantastical weather patterns like irregular cloud formations, iridescent rain

Multiple moons/no moon

Planetary rings

A northern lights effect, but near the equator

Roads that aren’t brown or grey/black, like San Juan’s blue bricks

Jewelry beyond precious gems and metals

Marriage signifiers other than wedding bands

The husband taking the wife's name / newlyweds inventing a new surname upon marriage

No concept of virginity or bastardry

More than 2 genders/no concept of gender

Monotheism, but not creationism

Gods that don’t look like people

Domesticated pets that aren’t re-skinned dogs and cats

Some normalized supernatural element that has nothing to do with the plot

Magical communication that isn’t Fantasy Zoom

“Books” that aren’t bound or scrolls

A nonverbal means of communicating, like sign language

A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)

I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.

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Fantasy Guide to Building A Culture

Culture is defined by a collection of morals, ethics, traditions, customs and behaviours shared by a group of people.

Hierarchy and Social Structures

Within every culture, there is a hierarchy. Hierarchies are an important part of any culture, usually do ingrained that one within the culture wouldn't even question it. Hierarchy can be established either by age, gender or wealth and could even determine roles within their society. Sometimes hierarchy can may be oppressive and rigid whilst other times, ranks can intermingle without trouble. You should consider how these different ranks interact with one another and whether there are any special gestures or acts of deference one must pay to those higher than them. For example, the Khasi people of Meghalaya (Northern India), are strictly matriarchal. Women run the households, inheritance runs through the female line, and the men of the culture typically defer to their mothers and wives. Here are a few questions to consider:

How is a leader determined within the culture as a whole and the family unit?

Is the culture matriarchal? Patriarchal? Or does gender even matter?

How would one recognise the different ranks?

How would one act around somebody higher ranking? How would somebody he expected to act around somebody lower ranking?

Can one move socially? If not, why? If so, how?

Traditions and Customs

Traditions are a staple in any culture. These can be gestures or living life a certain way or to the way a certain person should look. Traditions are a personal detail to culture, they are what make it important. Tradition can dictate how one should keep their home, run their family, take care of their appearance, act in public and even determine relationship. Tradition can also be a double edged sword. Traditions can also be restrictive and allow a culture to push away a former member if they do not adhere to them, eg Traditional expectations of chastity led to thousands of Irish women being imprisoned at the Magdelene Laundries. Customs could be anything from how one treats another, to how they greet someone.

How important is tradition?

What are some rituals your culture undertakes?

What are some traditional values in your world? Does it effect daily life?

Are there any traditions that determine one's status?

Values and Opinions

Values and Opinions are the bread and butter of any culture. This is the way your culture sees the world and how they approach different life hurdles. These may differ with other cultures and be considered odd to outsiders, what one culture may value another may not and what opinion another holds, one may not. There will be historical and traditional reasons to why these values and opinions are held. Cultures usually have a paragon to which they hold their members to, a list of characteristics that they expect one to if not adhere to then aspire to. The Yoruba people value honesty, hard work, courage and integrity. Here are some questions to consider?

How important are these ethics and core values? Could somebody be ostracised for not living up to them?

What are some morals that clash with other cultures?

What does your culture precieved to be right? Or wrong?

What are some opinions that are considered to be taboo in your culture? Why?

Dress Code

For many cultures, the way somebody dresses can be important. History and ethics can effect how one is meant to be dressed such as an expectation of chastity, can impose strict modesty. While other cultures, put more importance on details, the different sorts of clothes worn and when or what colour one might wear. The Palestinian people (من النهر إلى البحر ، قد يكونون أحرارا) denoted different family ties, marriage status and wealth by the embroidery and detailing on their thoub.

Are there traditional clothes for your world? Are they something somebody wears on a daily basis or just on occasion?

Are there any rules around what people can wear?

What would be considered formal dress? Casual dress?

What would happen if somebody wore the wrong clothes to an event?

Language

Language can also be ingrained as part of a Culture. It can be a specific way one speaks or a an entirely different language. For example, in the Southern States of America, one can engage in a sort of double talk, saying something that sounds sweet whilst delivering something pointed. Bless their heart. I have a post on creating your own language here.

Arts, Music and Craft

Many cultures are known for different styles of dance, their artwork and crafts. Art is a great part of culture, a way for people to express themselves and their culture in art form. Dance can be an integral part of culture, such as céilí dance in Ireland or the Polka in the Czech Republic. Handicrafts could also be important in culture, such as knitting in Scottish culture and Hebron glass in Palestine. Music is also close to culture, from traditional kinds of singing such as the White Voice in Ukraine and the playing of certain instruments such as the mvet.

Food and Diet

The way a culture prepares or intakes or treats certain foods are important to a culture. In some cultures, there is a diet yo adhere to, certain foods are completely banned. With Jewish culture, pork is prohibited along with fish such as sturgeon, along with shellfish and certain fowl. Meat must also be prepared in a certain way and animal byproducts such as dairy, must never be created or even eaten around this meat. This is known as kosher. The way one consumes food is also important to culture. In some cultures, only certain people may eat together. Some cultures place important on how food is eaten. In Nigerian culture, the oldest guests are served first usually the men before the women. In Japanese culture, one must say 'itadakimasu' (I recieve) before eating. Culture may also include fasting, periods of time one doesn't intake food for a specific reason.

What are some traditional dishes in your world?

What would be a basic diet for the common man?

What's considered a delicacy?

Is there a societal difference in diet? What are the factors that effect diet between classes?

Is there any influence from other cuisines? If not, why not? If so, to what extent?

What would a typical breakfast contain?

What meals are served during the day?

What's considered a comfort food or drink?

Are there any restrictions on who can eat what or when?

Are there any banned foods?

What stance does your world take on alcohol? Is it legal? Can anybody consume it?

Are there any dining customs? Are traditions?

Is there a difference in formal meals or casual meals? If so, what's involved?

Are there any gestures or actions unacceptable at the dinner table?

How are guests treated at meals? If they are given deference, how so?

[imaginatrixproductions]

How can I return to writing after a long hiatus?

This post is based on a conversation we had in the Duck Prints Press LLC Discord, and all contributors comments have been used/paraphrased/integrated into this post with permission. The people who contributed ideas to this post are: @nottesilhouette, @ramblingandpie, @arialerendeair, @tryslora, @deansmultitudes, @theleakypen, Owlish Intergalactic, myself (I’m @unforth), and one who preferred to remain anonymous.

Few things are harder than coming back to writing after a long period of not writing. Being creative takes a lot of energy, and starting after not doing so for a period of time takes even more energy. The writers on our Discord had a really productive discussion, where we talked about strategies we’ve each personally used to help us get our writing mojo back. None of these methods work for everyone, but if you haven’t written in a while, maybe one of these will work for you!

How to Revive that Creative Writing Spark:

doing sprints with a friend - knowing you’re all in it together can really help!

talking with writing buddies about what you’re each working on - the shared enthusiasm can be really helpful,

journaling, about daily life, or about dreams you’ve had - turning the dream into something coherent can be a great strategy (or, don’t bother, and just write it however crazily it took place!)

pick a random story you wrote in the past and read a chapter, paragraph, or 500 word segment - and look at it as a reader, say things you liked about it, praise it, emphasize the good things about your own writing.

transcribe a song with lyrics you find inspiring, or crack open a favorite book and transcribe a few paragraphs. You can even do it with something you’ve written yourself!

set a low-pressure, low-word count deadline - make it public, if you’re the kind of person that helps, or keep it to yourself.

sign up for a zero-consequence challenge, such as a bingo, or the Duck Prints Press #drabbledaysaturday prompts on Twitter - something where no one will mind if you don’t succeed, but you might find some inspiration.

create a small goal, either daily, weekly, or monthly - it can be a time frame (I’ll write for 5 minutes a day!) or a word count (I’ll write 1,000 words a month!) or even something tiny (I’ll write one sentence a day!) or a public sharing goal (post a ficlet a day!) and then do your best to stick to it, and reward yourself when you succeed.

open your ask box or otherwise solicit short prompts - for example, do a “three sentence” meme (”send me a pairing and a trope and I’ll write a three sentence fill”) or a story title meme (”send me a story title and I’ll write a little about the story I’d create with that title”) or an emoji prompt (”send me three emojis and I’ll write a ficlet”) or make your own fun one that will bring you joy (one of our writers created a “name two characters and I’ll make them kiss in six sentences or less” meme that helped them a lot)

participate in a prompt month, something with no consequences for failure but with prompts that can inspire daily ficlet.

write without editing, and just throw what you create out into the world - anything to get the words flowing.

challenge yourself to write a drabble day, no more and no less.

try changing how or when you write - get a nice journal and write by hand, or if that’s your normal, try writing in a word document instead.

write at different times of day, and see if it’s easier for you over breakfast, or after lights out, or during your lunch break, or by stealing a few minutes while you’re “on the clock” at work.

make an attempt at different formats of writing - if you usually write prose, try a poem; if you usually write really long things, try a drabble.

look out your window, or find a place you like, and just describe what you see.

do some free association exercises - for example, use a random word generator (I use this one sometimes) and then write literally whatever word comes into your head next - keep going until you fill the page, or until it starts to turn into a story, or just until you don’t feel like it any longer.

pick a random sentence (the person who suggested this often uses “Just write anything”) to be the start of a story, and “pants” your way through whatever comes next, without worrying about grammar, continuity, logic, or much of anything.

plan ahead - schedule your writing time and don’t let yourself put it off (rewards for success are always good!) and/or visualize exactly what you want to write ahead so you’re ready when you sit down.

if you get hit by inspiration, don’t put it off - even if all you do is scrawl a sentence in your phone or on scratch paper between other tasks, get it out of your head. Even a single sentence is a creation!

get out of the spaces where your usual things are - go to a park, or on a hike, or in your backyard, or even a different room in your own home, and bring a journal or phone or laptop, and see what strikes you.

pick That Thing You Haven’t Been Letting Yourself Write and ignore all the things you Think You Should Be Writing and just…write what brings you joy

fanfiction can be very helpful, especially in canon using canon-compliant ships/characterizations - there’s no need to do the heavy lifting. Even if you just write the characters going to a grocery store, or talking about what movie they want to watch, or arguing over take out - something short and sweet that’s just for fun, with no expectations for yourself or anyone else.

alternatively, if you’re the type who writes better for others and you’re feeling down - knock out anything, even something short, and post it, and take joy even in a single like or kudos. Knowing even one person out there loved what you wrote can really help.

Any or all of these may help you, but there’s one final one that I, at least, think is the most important of all - and that’s helped me most.

FORGIVE YOURSELF. You have work in progress up. It’s okay to leave them. You told someone you’d write something for them. It’s okay not to. You have a deadline looming. It’s okay to ask for more time, or to withdraw, or - in the end - it’s even okay to ghost. You think what you’ve made is bad. It’s okay if it’s bad. You’ll never be able to create when you’re raking yourself over the coals. Everyone in fandom has “been there” - has missed deadlines, has left challenges, has abandoned works in progress, have reneged on a promise to a friend to write something. Until you forgive yourself, you’ll never be able to create anything, and isn’t even a single sentence that isn’t on that Big Important Thing better than no sentences on anything?

Forgive yourself, and find that spark, inspiration, muse, whatever you want to call it - and write things that bring you joy.

We believe in you!

YOU CAN DO IT!

[imaginatrixproductions]

“That One Hairstyle? RETIRE IT!” Black Hair is an Art (pt.1)

(This is part one of two lessons, with this one focusing on how our hair itself! The next lesson will encompass how to incorporate its existence into your writing. It'd be a massively long post otherwise.)

So! Black hair. Black hair is a CENTRAL, ESSENTIAL part of our culture and identity. Writing and drawing it means understanding the vulnerability and trust that comes with access to it, and yes, it is racist to suggest that ‘it’s just hair’ when our hair serves such an important role in our history and art. I already wrote a mini-lesson and ask on the topic, but being aware of what our hair looks like, and what means to us, will help you to understand why we care that you put in the effort to get it right.

Hair Textures

We are not a genetic monolith! However, for the sake of this series, we are focusing on 3C-4C, because 1) it's most likely to be seen in life and 2) least likely to be seen in popular art! When you are creating your characters, consider the style and care for THESE textures. I will get more into this next lesson.

Let's get into SOME of the hairstyles!

Afros (36 Afro Hairstyles)

“So, what’s the phenomenon behind the Afro? Well, it’s our hair in its most natural form, but that’s only part of the phenomenon. It’s a way to fight the status quo without saying a word.”

-Ebony Magazine, The History of the Afro

When nonBlack society hears ‘afro’, they think completely picked out, Black power imagery, political statement. And it was, and is! But in actuality, afros are just the natural hair growing out of a Black person's head. The same way your hair grows out of your head. Our texture. Even my hair is not allowed to be ‘hair’, it has to ‘assign’ my Blackness; my distance from whiteness. Imagine, the hair growing out of your head being automatically associated with how you should be perceived. Just by existing, it is making a statement in a Eurocentric society.

Braids (31 Braid Styles)

There are SO MANY TYPES of braids and ways to wear them. If you can imagine a design, I bet there's a Black braider that can do it!

CORNROWS ARE NOT AUTOMATICALLY BRAIDS! Internalize this! They may be used in the same style, but they are NOT INTERCHANGEABLE TERMS!

Braids are considered a protective style; that is, a hairstyle designed to let our hair 'rest' and grow without having to manipulate it. If you have a Black character that's constantly on the go and/or doesn't have time to focus on their hair, and you want an accurate, more true-to-life experience for them, braids can be a crucial part of character design.

Locs

(Yes, while that link has plenty of examples, it was also self-indulgent. Locs are gorgeous, Black men with locs are gorgeous!)

"Locs vs Dreads": As someone in the loc community, there’s been a push to refer to the style as ‘locs’, rather than ‘dreadlocks’. Some people with the style will not care, but others take it very seriously, so it’s something to keep in mind. There’s a societal stigma behind having locs, that they’re ‘dirty’ or ‘unkempt’ or ‘lazy’ and that is NOT true. Locs are beautiful, and they take far more effort than people seem to want to believe lmao.

Locs, though there is currently a positive revival, are still highly discriminated against. Kids have been expelled from school and even have had their hair forcibly cut off to be allowed to participate in sports. Many places won't hire you if they think your hair is 'unprofessional' or 'dirty', especially if you're a Black woman. To consider yet another example of the hair that grows out of my head 'dirty' is extremely racist.

LOCS ARE NOT BRAIDS!!!!

Locs are also a protective style, albeit a much more permanent one, and one that comes with a long history and culture behind it. Many Black people consider the biblical story of Samson to be a man with locs, and that our locs hold power within them. That not just anyone should be allowed to touch your locs. So, if you're interested in mythology and powers, that might be an intriguing way to go, that would be possible if you had a Black character with locs!

In Professional Media

The lack of awareness and concern about our hair isn't just a fan or amateur creator experience. It is ubiquitous in the professional media world. Black actors, actresses, and models have discussed having to do their own hair when working, because no one would properly care for it on set if it wasn't familiarly white. It’s admittedly grown better- however! After decades of not having options other than ‘stereotypical afro’, ‘box cut’, and ‘white people hair’, it is LONG PAST TIME to stop settling for the bare minimum in Black character design. We can tell when "one of us" (with some sense, at least) wasn't in the room to make decisions in popular media.

If you were curious about the lesson title, here's a current example of what I'm talking about in video games. Tell me if you see a pattern:

This style? The Killmonger? We seent it!!!! It has become the “hairstyle to show I understand the exaggerated swagger of a young Black teen” option, the "I know the Black people!" go-to, and frankly, we are all tired of it. Okay it was cute on Ekko. The Black Delegation DEMANDS the professional video game industry pick something else! We have SO MANY DIFFERENT HAIRSTYLES!

I'll give you an example on the other end (not trying at all; refer to Lesson 1) from one of my favorite games, Hades:

This is my blorbo. My favoritest guy. I’ll fight for Patroclus being Black til the day I die. While I begrudgingly settled in my excitement, I can tell you no one Black with any voting power was in the room at Supergiant when they approved this design. Why? His texture! Locs were such an easy option if they wanted long hair! Locs existed BEFORE Ancient Greece! The man did not have a flat iron while fighting in a war! A good Black designer would have considered that!

To give him a more accurate design, some artists (myself included) lean into giving him locs (one of my favorites is @karshmallow 's Pat; a phenomenal example in caring about your Black characters). It’s something Black fans find themselves doing- redesigning Black characters. That's not something we should have to do at all, especially in media we pay for!

But if you REALLY want your Black character to have straight hair, that leads into the last style of this lesson:

Straight Hair

We do have straight hair. But it’s not straight because it grew out that way! It will still look and be thicker! It might be a wig or a sew-in (human or synthetic), it might be flat-ironed (while relaxed? While natural?) It takes effort to get and maintain straight hair.

'I think it looks better good this way!'

If you catch yourself thinking this, this is a racist statement. Whether you’re aware of it our not, there is a bias towards Eurocentric/white features in our society, and that includes in our media. When you think “I only drew [this Eurocentric hair texture and style] because I think it looks good on them!” I want you to PAUSE and think about the WHY. WHY do you think that this Black person’s natural features are unattractive in comparison to the white hair texture you gave them? And how hurt might a Black peer of yours would feel hearing that you find their natural features not worth drawing because they’re “not attractive”. It requires approaching your own internal biases, recognizing them, and then working to unlearn them. And that means practice! Using references to draw our hair and styles, and growing used to using OUR features on US!

Doing it in Art

Me personally, I think if you think drawing thinner hair textures is easy, thicker hair textures should be a BREEZE. I was curious, so I challenged myself and-

(it took me about thirteen minutes total to do ol boy's hair and it's still not right. I'm sick fr y'all don't even know 🤢)

@ackee has a really good art lesson on the how-tos of drawing Black hairstyles. I highly recommend checking it out, as well as following and supporting a fellow Black artist (who is far better than I!)

Hair Brushes

Finally, an option you can use for painting is downloading Black hair brushes! Vegalia has an amazing array of brushes with different types of curls, locs, and braids at her Etsy store! You can also follow her on social media to see how she applies them, and support yet another amazing Black creative!

I know this was a long one, but you made it! Just keep going. Remember, it's the thought that counts, but the action that delivers!

[imaginatrixproductions]

most of y'all probably already know about this website, but if you're a writer and you're looking for names for your characters (especially ones that fit a particular theme) might i recommend magic baby names?

you can enter one (or multiple) names and it'll automatically generate names that are thematically similar to the one(s) you gave them, which can be SO HELPFUL when you're looking for inspiration

[imaginatrixproductions]

The Issue With Conventional Plotting Methods

New discovery!! I have thoughts within me about plotting methods and these are those!!

It seems to me that all the classic/conventional plotting methods make a lot of assumptions that are simply not true, and I think this is the reason I’ve struggled to find a plotting method that is useful for more than just being smart-looking wallpaper while I work on my WIP. If we can acknowledge those wrong assumptions, I think this will help us adapt methods that work better for us in the future.

1. Plotting methods assume that there is, in fact, one single chain of events on one single scale that is the most important to The Story.

Here are some chains of events that are playing into each scene that are not “the plot.”

The internal progression of emotions (emotional arcs) that each character is going through

The causal chain for each and every prop/resource in the scene

The causal chain for each and every social influence that happened prior to the scene

I guess you could think of the plot as being the intersection of all of these things that we are able to reasonably pay attention to during the scene. It’s not a problem that The Plot takes precedence over all those other contributing event chains, but it is a problem if we forget those event chains are what makes up the plot. In doing this, we turn The Plot into its own isolated entity, making it much more inflexible than it should be.

If The Plot is not working, a whole plot point doesn’t necessarily need to change. There may be a causal chain for something inside the scene that needs to change instead. Same with building the plot: only following a few key causal chains could take you farther than tackling the whole Plot at once.

2. Plotting methods often put you in the mindset of building the plot in relative isolation from character and/or setting.

The plot happens because of what each of the characters’ wants and needs are. The characters’ wants and needs are often a result of social factors (the social end of worldbuilding) or practical factors (the physical end of worldbuilding.) Of course it’s harder to come up with the events if you’re trying to do so before you’ve thought through the characters’ arcs or the setting.

It’s not 100% a matter of which order to develop these things in. They can all be developed simultaneously, and I think they should be.

3. A lot of plotting methods ask you to build the plot like it’s a self-contained machine that needs to be propelled by the main character and their motivation.

In actuality, although many think the main character should very much be acting on the plot, the story should actually be driven by causal chains. A boulder fell, causing bears to flee their home, putting one in the path of the characters, causing them to climb a tree, causing the tree to fall, causing the casket that contains the magic to be unearthed, etc etc. And while the protagonist’s motivation dictates how that most important character acts during all of this, that isn’t necessarily the thing that’s forcing the story to move along.

So I guess my tl;dr is this: conventional plotting methods are not as effective as they should be because they don’t incorporate other vital story elements, most notably the characters’ arcs and the chains of events within the setting.

I think the story gives rise from the setting and characters. Any good plotting method should help you translate setting and characters into a story.

[imaginatrixproductions]

The Great Big List of Stories!

My brain is full of tribbles, and this writeblr is not just for original fic. Also AO3 bios are very small so I can't list potential/unwritten fic ideas there.

Original Series:

The Sisterlands Sequence/Ylona Chronicles/Star Forest Universe: My big original baby, where most of my OCs have their origins, or found a place to rest. Very long, and still growing! It has evolved a lot over the years and I have consequently restarted the drafting process a number of times.

Tulatia: My series of original fairy tale retellings, where I come up with my own completely unique spins on my favourite stories from childhood and later. Will include adaptations of The Twelve Dancing Princesses, The Wild Swans, Brother and Sister, Iron John, Snow-White and Rose-Red, Dwarf Longnose (with the antisemitism stripped away and the cool stuff I actually liked left behind), Princess Belle-Etoil, The Singing, Springing Lark and others.

The Big List of Fanfics I Still Intend to Write:

The Maginite Chronicles, which has it's own sideblog specifically for it here: @themaginitechronicles

Shadows of Deltora, a Yu-Gi-Oh/Deltora Quest crossover

Daughters of the Forests of Silence, a Sevenwaters/Deltora Quest crossover

Of Peacekeepers and Pokémon, a Pokémon/Farscape crossover

Tales of Domino and Darthania, including Wild Swans of Domino and its sequels. Yu-Gi-Oh-based fairy tale retellings

Yugi and the Faraway Tree, Yu-Gi-Oh/Faraway Tree series crossover

Of Shells and Wings, Gargoyles/TMNT (2003 continuity) crossover

Of Beasts and Roses, Disney's Beauty and the Beast sequel fic, in which the curse is transferred onto Gaston and he becomes the focus of a Sno-White and Rose-Red retelling

Transing Your Warp, Star Trek: Deep Space Nine AU of the Voyager episode Threshold that got way out-of-hand. Now includes a Voyager branch!

Family Defiant, a series of fairy tale retellings centred around the Deep Space Nine cast, radiating out from Seven for a Secret

The Emissary, the Avatar, and the Children of Fire, a DS9/A:TLA crossover

My Compliments to the Captain, wholesome DS9 fic where Sisko makes food for Odo while he is solid.

Dominion Studies Major, in which I demonstrate how the DS9 writers could have sold us the Kiraodo ship if they hadn't been cowards (also known as the canon-compliant Changeling Kira fic)

Turnabout Is Fair Play, A Sisko-Dukat bodyswap fic.

Dungeons, Dragons and Q, a trilogy of fics in which Q and his son shove my three favourite Trek casts into DND campaigns to play them out from the inside.

A Study In Amaranth, DS9 AU diverting from the Season 2 finale, which Odo is present for and subsequently derails, leading to a considerably gentler encounter with the Founders, and all parties agreeing to an attempt at diplomacy. Born from Dominion Week 2024, heavily influenced by Enbygesserit's Dominion fics, and one of my favourite DS9 AUs that I've published any of so far.

The Saga of Founder Mallow, In which a Changeling infiltrates a moderately important ship, as the pet of the daughter of one of the senior officers. Shenanigans and a lovely enduring friendship ensue.

Star Trek: Galactic Warp, my own idea of a Star Trek series set in the 26th century (from before New Trek took off).

And more stuff is being added all the time. My brain is just like that.

I have also been known to occasionally write for the Infinite Loops project, though its restrictions make things a bit less fun for me. Which is probably why I flung myself so hard into the alternate timelines of the Maginaverse (see that sideblog for more information).

[imaginatrixproductions]

my writing fundamentally changed forever ten years ago when i realized you could use sentence structure to control people’s heart rates. is this still forbidden knowledge or does everyone know it now

[imaginatrixproductions]

Why Writers Don't Finish Writing Their Stories, and How to Fix It

Hello fellow writers and storytellers,

The journey of writing a story is an exhilarating adventure, but it's not without its share of obstacles. Many of us have embarked on a creative endeavor, only to find ourselves mired in the struggle to finish what we started. In this blog post, I'll unravel the common reasons why writers don't finish their stories and explore practical strategies to overcome these hurdles and reignite the flame of creativity.

The Perils of Unfinished Stories

As writers, we often find ourselves in the throes of unfinished tales, grappling with the intricate web of characters, plots, and themes. There are several reasons why the ink dries up and the story remains untold. Let's shine a light on the familiar adversaries that stand between us and the triumphant completion of our narratives:

1. Lack of Planning:

Some of us brazenly dive into our stories without a clear roadmap, resulting in uncertainty about the direction of the plot and the fate of our characters. The lack of a solid plan can lead us astray, leaving our stories wandering in the wilderness of aimlessness.

2. Self-Doubt and Perfectionism:

Ah, the relentless whispers of self-doubt and the siren call of perfectionism! These twin adversaries can cast a shadow over our creative vision, compelling us to endlessly revise and perfect the early chapters, trapping us in a whirlpool of perpetual edits.

3. Time Management:

Balancing the demands of daily life with the ardor of writing can be akin to walking a tightrope. The struggle to find consistent time for our craft often leaves our stories languishing in prolonged periods of inactivity, longing for the touch of our pen.

4. Writer's Block:

The mighty barrier that even the most intrepid writers encounter. Writer's block can be an insurmountable mountain, leaving us stranded in the valleys of creative drought, unable to breathe life into new ideas and narratives.

5. Lack of Motivation:

The flame that once burned brightly can flicker and wane over time, leaving us adrift in the murky waters of disillusionment. The initial excitement for our stories diminishes, making it arduous to stay committed to the crafting process.

6. Fear of Failure or Success:

The twin specters that haunt many writers' dreams. The apprehension of rejection and the unsettling prospect of life-altering success can tether us to the shores of hesitation, preventing us from reaching the shores of completion.

7. Criticism and Feedback Anxiety:

The looming dread of judgment casts a long shadow over our creative endeavors. The mere thought of receiving criticism or feedback, whether from peers or potential readers, can cast a cloud over our storytelling pursuits.

8. Plotting Challenges:

Crafting a cohesive and engaging plot is akin to navigating a labyrinth without a map. Faced with hurdles in connecting story elements, we may find ourselves lost in a maze of plot holes and unresolved threads.

9. Character Development Struggles:

Breathing life into multi-dimensional, relatable characters is a complex art. The intricate process of character development can become a quagmire, ensnaring us in the challenge of creating personas that drive the story forward. (Part one of Character Development Series)

10. Life Events and Distractions:

Unexpected events in our personal lives can cast ripples on our writing routines, interrupting the flow of our creativity and causing a loss of momentum.

Rallying Against the Odds: Strategies for Success

Now that we've confronted the adversaries that threaten to stall our storytelling odysseys, let's arm ourselves with strategies to conquer these barriers and reignite the flames of our creativity.

Embrace the Power of Planning:

A clear roadmap illuminates the path ahead. Arm yourself with outlines, character sketches, and plot maps to pave the way for your story's journey.

Vanquish Self-Doubt with Action:

Silence the voices of doubt with the power of progress. Embrace the imperfect beauty of your early drafts, knowing that every word brings you closer to the finish line.

Mastering the Art of Time:

Carve out sacred writing time in your schedule. Whether it’s ten minutes or two hours, every moment dedicated to your craft is a step forward.

Conquering Writer's Block:

Embrace the freedom of imperfection. Write, even if the words feel like scattered puzzle pieces. The act of writing can unravel the most stubborn knots of writer's block.

Reigniting the Flame of Motivation:

Seek inspiration in the wonders of the world. Reconnect with the heart of your story, rediscovering the passion that set your creative spirit ablaze.

Reshaping Fear into Fuel:

Embrace the uncertainty as an integral part of the creative journey. Embrace the lessons within rejection and prepare for the winds of change that success may bring.

Navigating the Realm of Criticism:

Embrace feedback as a catalyst for growth. Constructive criticism is a powerful ally, shaping your story into a work of art that resonates with readers.

Weaving the Threads of Plot:

Connect the dots with fresh eyes. Step back and survey the tapestry of your plot, seeking innovative solutions to bridge the gaps and untangle the knots.

Breathing Life into Characters:

Engage with your characters as if they were old friends. Dive into their depths, unraveling their quirks, fears, and dreams, and watch as they breathe life into your story.

Navigating Life's Tempests:

Embrace the ebb and flow of life. Every pause in your writing journey is a chance to gather new experiences and perspectives, enriching your storytelling tapestry.

The Ever-Resting Pen: Harnessing the Power Within

Fellow writers, the journey of completing a story is filled with peaks and valleys, each offering us the opportunity to sharpen our resolve and unleash our creative potential. As we stand at the crossroads, staring at the canvas of unfinished tales, let's rally against the odds, armed with the power of purpose, passion, and perseverance.

Let the ink flow once more, breathing life into tales left untold, and watch as your stories triumphantly reach their long-awaited conclusion. You possess the power to conquer the adversaries that stand in your way, and within you lies the essence of untold narratives waiting to unfurl onto the page.

Here's to the journey that lies ahead, the stories waiting to be written, and the unyielding spirit of creativity that thrives within each of us.

Warm regards and unwavering encouragement, Ren T.

[imaginatrixproductions]

20 Victorian-era names for girls

Adelaide: Derived from the Germanic name Adalheidis, meaning "noble" or "of noble birth."

Beatrice: Derived from the Latin name Beatrix, meaning "she who brings happiness" or "blessed."

Charlotte: Of French origin, meaning "free" or "petite."

Clara: Derived from the Latin word clarus, meaning "clear" or "bright."

Edith: Derived from the Old English name Ēadgyð, meaning "prosperous in war" or "blessed."

Eleanor: Derived from the Old French form of the name Aliénor, meaning "bright," "shining," or "light."

Florence: Derived from the Latin name Florentia, meaning "flourishing" or "prosperous."

Genevieve: Derived from the Old Germanic name Genovefa, meaning "woman of the race" or "tribe woman."

Georgiana: Feminine form of George, meaning "farmer" or "earth-worker."

Harriet: Derived from the French name Henriette, meaning "home ruler" or "ruler of the household."

Isabella: Derived from the Hebrew name Elisheba, meaning "God is my oath" or "devoted to God."

Josephine: Feminine form of Joseph, meaning "God will add" or "God increases."

Lillian: Derived from the Latin name Lilium, meaning "lily" or "pure."

Matilda: Derived from the Germanic name Mahthildis, meaning "mighty in battle" or "strength in battle."

Penelope: Of Greek origin, meaning "weaver" or "duck."

Rosalind: Derived from the Germanic elements hros, meaning "horse," and lind, meaning "soft" or "tender."

Victoria: Derived from the Latin word victoria, meaning "victory" or "conqueror."

Winifred: Derived from the Old English name Winefrið, meaning "friend of peace" or "blessed peacemaking."

Prudence: Derived from the Latin word prudentia, meaning "foresight" or "wisdom."

Clementine: Derived from the Latin name Clemens, meaning "merciful" or "gentle."

More names

[imaginatrixproductions]

Idk if this is too broad of a scope for this blog, but if you could answer this, it'd be great.

I've been in a writing rut since I started getting serious about writing, and I've identified the issue in the past month or so: I slant heavily on the gardener end of the writing spectrum and all the advice on writing I've ever seen was for architect-style writing. Not once in the eight years I've been serious about writing did I find any guides on gardener-style writing (and if it says it's gardener-style, it'sreally just architect-style with gardner aspects), and my experience has just been more or less jamming a square peg into a circle hole, getting nothing written and feeling bad about it.

Now I'm unlearning all the architect-style habits that are destructive to me as a writer, but I can't find any resources for gardeners aside from Stephen King's On Writing. If you or any of your followers know how to help a gardener's writing, that would be great. I have so many fic ideas I want to write, but can't since I'm learning to write all over again.

For those who don't know what gardener and architect refer to when it comes to writers, a gardener is a writer who starts with the seed of an idea and lets it grow in whatever direction the light shines. They prune it and weed it as they go but otherwise let the idea lead the way. An architect, on the other hand, plans their stories out first and then writes them. They have a structure and the details all mapped out first and then the writing is just executing on that vision.

As a gardener myself, my biggest piece of advice is to avoid writing advice. Like you've said, the majority of it is aimed at people who do things like plan and plot and worldbuild ahead of time. Because of the structure that that writing style enjoys, providing "one size fits most" writing advice works well for it.

I tend to find a lot of that advice to be counter to what I need to do. Planning a story out ahead just makes me feel like it's already written. Building out the world before I start writing it feels like a hollow exercise - more like writing an encyclopedia than developing a land and culture for my characters to inhabit.

What I find useful is taking an episodic approach to writing. The entire story will be like a season of a television show and each chapter is like one episode. I always have my eventual "season finale" end goal in mind, but any particular chapter can meander closer to or further from that goal. It's alright to take a circuitous route, as long as I get to my destination in the end.

It's also alright if my destination changes as I'm writing. Sometimes those meandering paths take me in a more interesting direction than I was originally going down, and that shifts the story. As long as you're vaguely following a three-act structure (or 5 act or 7 act), the flow of it will feel familiar to your readers and they probably won't really notice it happening.

This advice I'm giving might not ring true to you either. You didn't have a specific problem to address, so I've been wandering a bit in my reply. Really what it comes down to is paying attention to yourself and your needs. Figure out what it is that keeps you writing and what it is that makes you stop. Do more of the former and less of the latter - and don't worry if what you're doing is "weird" to someone else.

I write directly into the AO3 window (which AO3 specifically tells you NOT to do, btw) because drafting first in google docs or something takes the fun out of it for me. I post my chapters without previewing them first. I write in 800 to 1500 word sprints, and I focus on dialogue, and I almost always try to end on a joke or a pun or a cliffhanger. These are all things that make writing an activity that I want to do.

I can't really say anything much more specific given your ask, but I hope something in here was helpful. Let's see if any gardeners out there have some resources or advice that might work for you.

[imaginatrixproductions]

i think one of the reasons i get mildly annoyed about worldbuilding threads that are 200 tweets of why you should care about where blue dye comes from in your world before saying someone is wearing blue is that so few of them go up to the second level of "and that should impact your characters somehow" - i don't care that blue dye comes from pressing berries that only grow in one kingdom a thousand miles away if people are casually wearing blue

[imaginatrixproductions]

I’m curious writing gives me stress even if I enjoy it, but I became an author to enjoy things for me to read. But I don’t enjoy it with the fresh eyes of a reader. I’m curious do authors enjoy reading what they write the same way a reader does?

Writing, Stress, and Enjoying Our Own Writing

I know your question is really about the second thing, but since you mentioned that writing gives you stress, I want to address that, too.

Why is Writing Stressful?

It's not unusual for writers to feel stressed by writing, but it's always worth looking into the individual "why" to see if it's something you can address. If you're writing to meet a deadline, for example, that's going to be a little bit stressful. If you're writing something complex or emotionally taxing, that's probably going to be a bit stressful, too. In those cases, there may not be a lot you can do to totally eliminate the stress (deadlines are deadlines, and complex/taxing stuff is what it is), but you can do things to mitigate the stress--like relaxation techniques, proper time management, and exercising good self-care. But what about the times when you're not up against a deadline, or what you're writing isn't particularly taxing? Why would writing be stressful then? Sometimes it's because of the pressure we put on ourselves to write... arbitrary deadlines, unrealistic word counts, unreasonable expectations given available writing time... and the thing is, when we mentally beat ourselves up for failing to meet arbitrary deadlines, unrealistic word counts, and unreasonable expectations, we're training our brain to see writing as a stressful activity. And our brains are hard-wired to want to avoid things that feel stressful, which is why--if writing feels stressful--we end up stuck in some way. So, it's really, REALLY important to do what you can to de-stress writing for yourself. Use arbitrary guidelines as motivation, but be gentle with yourself if you blow past them. Use time blocking or other time management methods to determine how much writing time you actually have available in a given day, week, or month, and set word count goals accordingly--but give yourself grace if you fall short on a particular day or during a particular week. Use word sprints during free time to try to catch up. Also: practice good self-care and do things before and during your writing sessions to make them more peaceful--take a walk, do yoga, meditate, put on soft music, drink some lemon water, etc.

Do Writers Enjoy Reading Their Work the Same Way Readers Do?

Part of what readers enjoy about stories are the surprises held by the characters, world, and plot. We love seeing how characters grow and change, or do things that surprise us. We love learning things about these new settings and worlds. And we love turning the pages to find out answers to our burning questions. But as writers, there are no surprises and unanswered questions. So, in that way, our experience when reading our own work is fundamentally different than that of a reader who is reading it for the first time.

But, as readers we also love to reread the stories we love. Sometimes we can glean new information from a reread, but often we just love to revisit the characters, world, and story. Even if there are no surprises because we already know everything that's going to happen, there's still something enjoyable--and sometimes even comforting--about returning to familiar stories. So, on that level, writers can enjoy their own writing in a similar way to their readers, especially when revisiting a story months or years after we wrote it.

Having said that, there are some writers who do not enjoy reading their own writing, ever. Sort of like there are some actors who can't watch movies or TV shows they were in. For some of us, once that creative work is finished, we put it behind us and don't want or need to experience it again, and that's okay, too. Everyone is different.

So, if you enjoy reading the stories you wrote, that's great, and you can feel free to embrace that! If you don't enjoy reading the stories you wrote, that's okay, too. ♥

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

LEARN MORE about WQA

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[imaginatrixproductions]

i love your takeaway from the JJ Abrams Mystery Box was "it's because what's in the mystery box is developed/good/exists. you wouldn't get it."

It only works if you set up several conflicting theories as to what is in the mystery box that are all equally plausible. The audience has to feasibly be able to reach the "correct" answer, but they can never be sure. That's intrigue! Otherwise, all you're doing is telling the audience that a really deep and well written story is happening just off screen I promise.

One of the writers of LOST came to speak at my school once. He told the crowd "I could totally tell you guys what the island is but I'm not gonna" And the crowd went nuts. That shit made me so mad. It has been a decade since that show went off the air. If you had an actually narratively satisfying answer for that question, you would have said it by now. Or better, you would have put it in the damn show.

[imaginatrixproductions]

How come I managed to get an outline done for once for the sole purpose of getting me to finish a chapter but I just can't get myself to finish that chapter?

Chapter Outlined, Can't Write Chapter

It happens. Outlines go only so far... you still have to flesh out the scenes as you write them... figure out the dialogue and the blocking. It's sort of like you can plot your trip route on Google Maps, but you still have to actually drive from one point to the other.

So... when you have an outline but are still struggling to actually write:

Problem #1 - You Don't Have a Way In

Having a chapter outline usually just means you know what generally (and importantly) needs to happen in the scene, the general order those things need to happen in, and some things like the scene's purpose, your character's goal, etc. But this is sort of like having a set of instructions that say, "Go to building. Go inside." Okay, great... but how are you specifically getting inside? Are you going through the front door? The back door? Climbing through a window? Landing on the roof in a helicopter? Tunneling in through a basement wall? So, before you can actually start writing, you need to figure out the specific way you're getting your character into the scene. A good way to do this is to go to the first important thing that has to happen in the scene, then rewind from there. What is your character doing in the moments before that? What has to happen in order to put them into that place in that moment? Is there anything unique about the circumstances or location you can focus on? Try opening up some of the books on your shelves and look at the ways different chapters begin. It will start to give you ideas for how you can open your chapter.

Problem #2 - Not Inspired/Excited

Having your chapter outlined doesn’t mean is a good first step, but if you're not feeling motivated to actually write the chapter, it will harder to write it. Try doing some fun exercises to get yourself excited about the chapter. Do a mood board or playlist for the chapter. Save some character and setting inspiration photos on Pinterest. Do an interview with your character that takes place after the scene/chapter to get their take on what happened and what they feel about it.

Problem #3 - Something Isn’t Working

Stories are like a house of cards in that one misplaced “card” can bring the whole thing crashing down. Sometimes you lose interest because an earlier element or event didn’t quite work. You can feel in your gut that something’s not right, so your brain interprets that as losing motivation. It’s not really that you’ve lost interest in the story… it’s that you’ve lost interest in the dead end path it’s on. Go back to the previous chapter or two and look for something that’s not pulling its weight. It could be an unnecessary character dragging the story down, a subplot that is cluttering up the story or drawing attention away from the main plot, or a scene/scenes that don’t add to the story. It could even be a combination of these things. If you can find it and fix it, your motivation may return.

Problem #4 - You’re Distracted by Other Things

If you sit down to write and you’re busy scrolling through facebook, texting with friends, and singing to the radio, you’re probably not going to get much done. Try blocking out thirty minutes (or whatever amount of time you can afford) and dedicate it entirely to writing. Shut down social media and other tempting apps/sites. Turn off the TV. Put your phone on silent. Tell housemates not to bother you. Put on soft music without lyrics, and focus solely on writing. If you find your mind starting to wander toward other things, yank it back and focus on your story.

Problem #5 - You’re Lacking the Physical/Mental Energy to Write

Whether you’re sick, not getting enough sleep, super busy, depressed, or in a bad mood, not having physical or mental energy can make it hard to write. Do what you can to bring your energy up as much as possible, both physically and mentally, and you may have an easier time writing that chapter.

I hope something here will work for you!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

LEARN MORE about WQA

SEE MY ask policies

VISIT MY Master List of Top Posts

COFFEE & COMMISSIONS ko-fi.com/wqa

[imaginatrixproductions]

So I am trying to write this fanfiction involoving a blind character. They suffered essentialy a flash burn to the left side as a child. The difficulty I face now is whether the way I write this character has any resemblance of correctness. I do not know it is a failure on my part if I describe their vision (especially to a blind person) but my analogies to that all kinda fall flat: After suffering the flash burn on the left their vision on the left side was highly impaired. While they still can see out of their left eye, it is reduced to shapes and colors. Somwhat useable in decent lighting but utterly in darker circumstances. Their right eye however is perfectly useable.

Now I would like to know how to do rightby this character and his situation and whether how plausible such a situation is. I have already asked another blind person and was told that these cirumstances are very much plausible.

I will admit that it took some time to rally my courage.

Since I am completely blind, not partially, there's not too much advice I can give for this. The experience of someone with partial vision loss is involves struggles I have never experienced. I do appreciate that you are seeking advice about being respectful to the blind/visually impaired community (I know some folks don't like being called "visually impaired" but it's the widest umbrella term I know), but what I will say is... This person can see. If they turn their head, they'll be able to see what their bad eye can't make out. Their depth perception will be definitely hampered by so severe a visual impairment in one eye as well. That much I know from research and a book I read part of once.

I really can't speak for a part of the community I'm not in, though. I don't know any partially blind people on Tumblr (at least I don't know if anyone I do know is partially blind) but if she's still around, maybe hit up @actuallyblind, who was giving some pretty in-depth writing advice and such to people last time I checked.

(If the tag doesn't work, she either changed her URL or is deactivated, and I hope it's not the latter.)

[imaginatrixproductions]

writing cheats

i know i’ve probably written about these all individually but i’m putting them together in one post. these are writing tricks that are extremely cheap and dirty; when you use them it feels like cheating and honestly by posting them i’m probably exposing all the easy moves in my own work, but more than a writer i am a teacher, so here you go, some writing cheats that have never steered me wrong.

quick character creation

what’s really annoying is when you have two characters sitting at a restaurant or something and the server has to come by. to what degree do you describe the server so that it’s clear they’re just a background character but that they’re not just a faceless form, so that the world has texture without taking up too much space on the page? rule of three, babeyyy: two normal things and a weird one.

she had pale skin and blue eyes but her hair was dyed black like a 2010 emo kid.

he was tall and broad, and he wore a sweatshirt with an embroidered teddy bear on it.

the woman stood there comparing the prices of toilet paper. she had a short angled bob and carried a keychain the length of a trout.

why does it work? it gives the reader something to hang onto, a brief observation that shows the world exists around your narrator. it also works when introducing main characters, but there’s so much action going on that you can’t take time to write a rich long paragraph about them. all you need is a little hook.

quick setting creation

i used to TOIL over descriptive paragraphs. for years i was like, description is my weakness, i must become better at developing imagery. i believed this because a famous writer once projected a paragraph i had written onto a screen and asked my cohort, “count how many images are crafted in this paragraph.” there were none. none! my friends were sitting there like, “we are TRYING” but they couldn’t find any.

i would say that after years of studying imagery development at the sentence level, i am, perhaps, competent at it, but what was more helpful was for me to shrug and tell myself, “i’m just not a writer who does that.”

anyway. my cheat is thus: 

there’s not much you can assume about your audience. the audience is not a homogenous whole. but your ideal audience is something you can guess at, and that means you can play around with their existing knowledge and expectations. 

if you say your characters are in a tacky shit-on-the-walls restaurant, if your ideal reader is an american who went to restaurants during the maximalist era of franchise design, they will conjure their nearest memory of one of those places. and for those readers who aren’t familiar with it, they’ll use other context clues to conjure that space. the point is, you don’t have to list every single stupid license plate nailed to the wall. you can leave it as one detail of one sentence and let your reader extrapolate from there.

if i say the dentist’s office looked like a gutted 90s taco bell, maybe no ideal audience would have ever seen a place like that, but a lot of people can mentally conjure a dentist’s office and a 90s taco bell and overlay them together to create a weird and fun image.

you can go even simpler than that: a bathroom the size of an airplane lavatory. a tiny studio apartment with a hotplate instead of a stove. a mansion with a winding stairwell. the point is that you want to define the size of the space and its general vibes.

in some ways detailed description can be overrated, because your reader conjures images even in absence of them on the page. and for those readers who can’t mentally conjure images, it doesn’t matter anyway; they take you at your word. the trick is to figure out what details are unexpected, relevant to understanding the story and its characters, and those are the things that you add in.

one other note: after working with hundreds of writers on drafting, for *most* of us it’s difficult to develop images and establish setting in a first draft. it’s nearly always something to be saved for a second or later draft. i think it’s because while we’re writing we tend to put character and action first.

nail the landing

there’s a joke i heard once from a writer i really admire: “you know it’s literary fiction if the story ends with a character looking at a body of water.”

and god it’s so painfully sad and true how easy it is to nail the landing of a given story by ending on a totally irrelevant piece of imagery. the final beat of a story followed by your character looking up at the sky and seeing a flock of birds in the shape of a V flying past. or maybe they’re sitting in their car and they count the rings of a nearby church bell. or maybe they watch an elderly couple walk down the sidewalk hand-in-hand. i don’t know!! when in doubt shove an observation, an image, whatever, something neutral at the end and it’ll sound profound. 

(this cheat is the only one that can really bite you in the ass because if the image is too irrelevant you risk tonal incongruity. for use only in the most desperate of times.)

sentence fragments

when writers ask me how to punch up their writing or start developing their own style, my go-to advice is to give up the idea of a complete sentence. fuck noun-verb-object. if you have a series of character actions, knock off the sentence subjects like in script action. if the clause at the end of your sentence is particularly meaningful, don’t separate it with a comma but a period and make it its own thing. if your character is going through something particularly stressful or heinous, that bitch is not thinking in complete thoughts so you don’t have to convey them that way. make punctuation bend to your will!!

rhetorical moves

this one opened a lot of doors for me stylistically. remember that famous writer who called me out on my lack of imagery? i always thought his prose was beautiful, that he’s one of the best living prose writers, etc. once i learned more about rhetoric though, i realized he just employed it a lot. 

usually when we talk about beautiful sentences it means a sentence that uses rhetorical devices. the greeks were like, you know what, when we give speeches there are certain ways to phrase things that make the audience go nuts. let’s identify what those things are and give them names so we can use them intentionally and convince people of our opinions.

i love shakespeare, i really do, but one of the big reasons he’s still a household name today and his plays are still performed is because every sentence of every goddamn play utilizes a rhetorical device. the audience is hard-wired to vibrate at the sound and cadence of his writing, like finding the spot on a dog that makes their foot thump. for five hundred years, william shakespeare has been scritching that spot for us.

i have no idea why, cognitively, rhetorical devices are so effective. i’m no rhetorician. all i know is that well-deployed anaphora makes a reader want to throw their panties on stage. my intro to rhetorical devices was the wonderful book the elements of eloquence by mark forsyth, a surprisingly fun read! hopefully that will open some doors for you the way it did for me. 

the downside to this is that once you know rhetorical devices, it’s like learning how the sausage is made. on one hand, as a writer, you’ll have a lot stronger grasp of style, but as a reader good prose loses some of its magic.  

pacing it out

many writers, myself included, rely on the tried and true “he bit the inside of his cheek” or other some such random action to help pace out dialogue. one time my thesis advisor sat me down and said “you’ve got to take all of those out.”

“all of them?” i said.

“all of them,” she said.

i thought, but that will weaken the text! it didn’t. once i cut what i came to call cheek-biter sentences i never went back. and now when i edit for other people i’m like, look i know where you’re coming from but just cut all these out and see how the scene stands. if it doesn’t feel right you can put some back in. a lot of times when you’re drafting you put those in the way some people say “um.” they’re just sentences you jot while you’re thinking of what the other character says, so from a writing perspective it seems like you’re pacing, but readers don’t read it that way. they just want to get to the next line of dialogue.

but sometimes you really do need to pace out a scene and i think there are other ways to do that that don’t rely on banal physical movements, such as:

interiority: a sentence or paragraph of relevant cognition, bonus points if you weave in background context. good interiority defines the voice of your writing.

observations: i know i just said description is overrated but idk sometimes you just need a character to note the back and forth clacking of one of those desk ball toy things.

character texture: maybe your character notes something about the person they’re talking to. a wilted pocket square. a mole that looks like it needs looked at by a dermatologist. a scar on their forehead. some detail that deepens or complicates our understanding of a character.

narratorial consciousness and access

this one is less a cheat and more a problematic opinion i have that doesn’t win me any popularity in writing circles.

i believe that if you’re writing in first person or close third or any narration which is dedicated to the mind of one character, you are only ever obligated to convey the experience of that character’s consciousness. and nothing else.

by that i mean, if your point of view character is unobservant? then they’re not going to even notice the flight attendant is missing one of their canine teeth. if your pov character is focused and obsessive, they’re going to think lavish, detailed paragraphs about that which they’re obsessed with and have no acknowledgement of the rest of the world. if your pov character has no understanding of time, does your story even need to be linear?

defining the scope of a narrator’s cognition early on can give you parameters in which to work. even if you don’t consciously do this, you still do it. if you write in third person limited present tense without really thinking about it, that’s your scope. i’m just pointing out you can choose to do it differently. you get to define your narrator. 

whenever we talk about narration we also talk about information access and the order of information being revealed/conveyed. writing must always be in order; even if you’re writing multiple concurring things, it still has to be rendered on the page in order one after the next, because the human mind can’t read two sentences over top of one another. 

if we’re restricted to the mind of a character, that means we’re also restricted by their knowledge and experiences, and this can be used to your benefit. i don’t want to take too much space for this but i do talk more about the relationship between narration and reality here.

in short, you the writer get to chose 

what the reader knows,

in what order they know it, and

its relationship to the presumed real events of the story, which develops the (un)reliability of your narrator

okay going to cut this off now before i go on more rants about narrative scope. i hope you found this helpful and go on to put some of these nasty lifehacks in your own writing!!