Writing Advice - Blog Posts

I’ve been publishing some stories on AO3 for like a year now, and I’m having trouble updating them. Not updating them gives me pressure because there are many people who like it and I feel bad for not updating for so long. I’m going through school and it’s consuming all my time. Also, I have trouble writing because of my perfectionism and belief that I’m not a good enough writer. I constantly compare myself to others, such as how long my story is and how many likes there are. It’s annoying and unhealthy.

I want to stop these habits and have a healthier mindset. Can I have some advice on how to do that please?

Can I also have advice on:

-What to do when you have writer’s block

-How to write the beginning of chapters

-How to stop striving so hard for perfection

Thank you to anyone who answers or likes! 😁💕

1st VS 3rd person POV in different genres

So I saw a post about this recently ( i will track it down eventually), but i wanted to illustrate my point (literally).

For Horror, romance etc. I generally use 1st person, because it helps me portray emotion better. As in the illustration, it helps with suspense. You aren't the all-knowing 3rd person and can be surprised. You feel the emotion of the characters!

For anything that isn't emotion-based and relies heavily on description and being able to see further than one person can (sci-fi, for example) 3rd person is the standard.

tl;dr: for emotion, you use 1st person, for description, you use 3rd person.

Writing Advice

If you want to include dark subjects and/or difficult topics in your writing (character death, addiction, mental health, SA, abuse, etc.) then you have to dive into the consequences of the topic - never shove it into the story just for the sake of drama, stakes, audience retention, or whatever other reason that doesn't have to do with the story itself.

To use one of the "lighter" examples here, let's so you decide to kill of a character - for the sake of simplicity let's call this character A. Now that they're dead, how does A's absence affect the story? How do other characters feel and cope with A's death? Who's grieves and morons A? Who's denying that A is even gone? Who's numbed and confused about A's death? Who's happy about A being gone? How long does it take for everyone to settle into a new normal without A? What does this new normal look like for them? What makes A's death actually important instead of a background character that no one would notice is gone?

These are all very important questions to ask if you're going to kill of a character, with each piece making the characters feel more alive and making A's death have actual weight behind it. To ignore these questions, leads to a flat world with characters who feel inhuman for how they can move on form the ultimate end and A's death feeling unimportant and something you'd only remember when looking over a wiki. This also means having characters die at the end of the story a half-assed choice. Don't get me wrong, it can still work if handled well - one way to handle this well is focusing completely on character reaction instead of the long running consequences. It's just that many times I've seen characters dying at the end of the story is just to ramp up the stakes, so their death isn't lingered on for long enough for it to feel like it has any importance other than being recognizable characters being the ones dying.

This advice runs true for all examples of dark subjects and difficult topics. You can't just have traumatizing things happen to characters and then not bother to look into the permeant ramifications of that trauma, along with just saying a character has a mental illness, not bothering to research the mental illness, and instead show only a stereotype of a mentally ill person. Not properly showing the consequences makes the world feel flat, the audience feel bored or annoyed, and worst-case scenario cause legitimate harm to those engaging with your work.

This is a rather common mistakes for first time writers to make, they tend not to fully think about the consequences of certain scenes and how it will permanently affect the story. If you've made this mistake before then that's absolutely okay, just remember to ask these impotent questions in the future.

Okay, fair warning, this last paragraph as less to do with actual advice and more me complaining about this mistake happening on a professional level even though if you've been in this creative field long enough to make it into a career you should know better by then. Okay? Okay.

But, and this is what led to me thinking over all this stuff and wanting to give out this advice to the world, this is also a common mistake made by middle aged or older men who are professionals in their creative field to make towards female characters and the topic of SA. I think this mistake stems from these producers/writers viewing SA as a "female trauma" (incorrect but you can't expect much of these dudes), so if they have a female character that they need to give trauma they'll just go with SA and not care about the long terms ramifications. Meanwhile male characters get family death, commonly his wife and/or child[ren], as their main trauma and it's still not treated with much respect - it's mostly just treated as the motive for why the male character is doing what he's doing and the dead wife and/or child[ren] are never shown having a life or personality of their own that would really make their death feel like a tragedy outside of the relationship with the male character, which is a disservice to the character(s). If you're going to make a character, or multiple characters, someone's whole motive then you should at least try and get us to care about the character on their own.

Why Haven’t You Killed Your Character yet?

A couple of years ago, I wrote a post during NaNoWriMo titled “Make Your Deaths Mean Something.” It’s the most popular post I’ve ever written (on this blog or any of my other blogs) and I was looking at it the other day and decided it was time to look at the other side of the discussion. You need to get your act together and kill your character.

I’m probably the worst person to write about killing off characters since it’s not something I do often in my own writing, but I think my perspective can help you and maybe help my own writing as well. So let’s talk about the benefits of a good death in your narrative.

Killing a  character can start a story

This is a bit of a cheat, but I can’t resist using it. In the Princess Bride, we meet Inigo Montoya. (I know this isn’t a story about Inigo alone, but stick with me here.)

When he is a small child, Inigo’s father is killed by a mysterious man with six fingers on his right hand. Inigo swears vengeance and dedicates his life to learning the art of sword fighting. If the Princess Bride were just about Inigo, then this would be the start of the book/movie.

A better example might be found in The Graveyard Book by Neil Gaiman. (Hope you don’t mind the reference @neil-gaiman.) In that story, a shadowy figure enters a house to kill everyone inside. His quest is successful, except for the youngest member of the family. This small child manages to crawl out of the house and finds his way to the cemetery where is adopted by the ghosts that live there. This is also the beginning of his quest for vengeance.

Killing your character can advance the story

Were you one of the people that were upset when Dumbledore died? I don’t get that. Dumbledore’s death made the story that much better. Until that moment in the series, Harry treated the head of Hogwarts like a crutch. Dumbledore had all the answers and explained every important plot point. (And stole Harry’s candy, but only that one time that we know of for sure.)

It was the death of Dumbledore that made Harry realize that he needed to strike out on his own and take an active approach to fighting Voldemort instead of just hiding out in “safe houses.” (Remember those Dementors? Feels quite safe doesn’t it?)

Another good example is Luke Skywalker in A New Hope. If his aunt and uncle hadn’t been wiped out, in the search for R2D2 and C2PO, he might not have left his home planet with Obi Wan. Where would Star Wars be then?

Remind people that your story is similar to reality (even if it isn’t completely true)

Even in the most unusual of tales, we need to have a way to connect to the reality around us. Without some form of connection, your readers won’t be able to get into the story. 

Consider Alice in Wonderland and Through the Looking Glass by Lewis Carrol. (Keep in mind that they are very different stories and worlds.) Carrol manages to create bizarre worlds with a narrative flow that can be confusing to many readers. So why is this story embraced by so many readers, writers, directors, and producers?

It’s because there’s something in these books that people can connect to. We all know someone like the Red Queen, full of bluster and shouting. We’ve dealt with an overly educated egghead like Humpty Dumpty. Regardless of the bizarre natures of the characters, they are familiar to us.

Oh yeah, death- so the point I’m trying to make is that death is a thing that happens and having a death in your story can bring your narrative back to reality, at least for a moment or two.

Change the character dynamics

Let’s say you have a group of characters you have been working with. There is a group dynamic that they share. What happens when one of those characters is gone from the group? That changes who the group is and how they relate to each other.

This happens frequently with television shows. Let’s consider Buffy the Vampire Slayer. How many romantic interests does Miss Summers have that die to create a change in the story. (and it’s not just Buffy that has this happen-not Tara!) When not overused, this can be an important way to address issues tht are often associated with dying. (brevity of life, mortality, unfairness, injustice, etc)

Give your story some extra meaning

Be careful with this one. You can’t just kill a character and then expect it to mean something. Death is a thing that happens and it is meaningful, but it doesn’t mean as much if you don’t know the person. Consider the difference between the following scenes.

Rebecca looked at her watch and then looked up the tunnel. She was going to be late. Where was her train? The familiar change in pressure signaled the arrival of another train. She heard a shout and turned towards the sound in time to see a tall lanky many dressed in an baggy suit step off the platform in fall in front of the train.

now this one

Kelly looked at her watch and looked up the tunnel. He was going to miss the train. She’d been waiting here for ten minutes now and her brother still hadn’t shown up. She heard a shout and turned to see what was happening. It was her brother running towards her. She ran to meet him, but the crowd was moving forward as the train approached. Brian was pushed forward by the crowd until he was at the edge of the platform. she watched as he lost his footing and fell in front of the train.

Now this was a bit of a cheat since we really don’t know much about either Kelly or Rebecca, but hopefully you get the point. The first death is a complete stranger to the character and so there is less meaning to it, but we can attach some meaning to the death of Kelly’s brother right away.

Add a sense of immediacy

Your character(s) have a goal to accomplish, or they had better have one. Even in the most dire of situations, you might get complacent and get distracted by non essential concerns. Sometimes the death of an important character in the story can motivate the remaining characters to get back on track.

Consider the graphic novel, Watchmen, (or the movie if you missed out on the GN) Almost all of the vigilantes have given up on their quest to fight crime after all the complications of the politics of vigilantism. It is the death of the Comedian that causes them to don their masks anew and search for the answers they have been ignoring. There is a sense of need that was missing from their lives before now.

Show they mean business

So far we have only talked about deaths that impact the story line because they are a point against your main character, but what about your character trying to prove a point? We haven’t thought about that have we? There’s no reason your character has to be such a goody two shoes that they can’t use death to make a point of their own, right?

Let’s look to comic books again for this one. Consider some of comic’s most popular antiheroes (I’m thinking the likes of Wolverine, the Punisher, and Deadpool to name a few.) They take the initiative to make their point and intentions clear with the use of a death or two if they have to, and sometimes even if they don’t.

Wrap up

We could go on forever with this topic, but I think that’s enough for now. Hopefuly this will give you some motivation to go out there and kills some characters. As always, let us know if you have any other questions.

Any tips you’d give to other pantsers/discovery writers?

hi anon!

so without much ornamentation, let me tell you this: being a pantser/discovery writer doesn't make you any less of a writer. it doesn't make you less passionate, serious, or committed to writing. you are a writer if you're writing; you are one even if you're only brainstorming or carrying a few characters in your head. you are a writer if somewhere in your heart you feel like you are one. don't let anyone tell you otherwise!

now for a few tips to help you feel less confused and alone in the process of writing your book –

it is okay to not know where you're going. the journey you're embarking on will be beautiful beyond your expectations, so try to loosen up a little and let go of your anxieties.

if you're still anxious, try to take it one step at a time. you don't have to constantly be thinking about the ending/destination. try to figure out what lies right in front of you. what's the next scene? what's a character relationship that you want to explore? what dialogue would you like to include? take small steps that will eventually lead you to the end and be mindful of them.

expect to be blank. sometimes, you can be completely out of tune with your book and it doesn't mean it's going to be like that forever. writing your book is important but it's equally important to take breaks, listen to music or watch shows that remind you of your book, stay hydrated, eat that meal, reward yourself for the things you've done, and do nothing.

when things aren't working out, let it rest for some time. a fresh brain is essential for a pantser because you need so much headspace (or bandwidth as i like to call it) to be able to daydream your own book into existence.

do not laze around too much. if you're a pantser, you might fall into the trap of just waiting for the muse to hit you, but the truth is, it won't. get started on the book, sit down to work on it, immerse yourself in the world as much as you can. make an effort to bring your story to life.

allow yourself the time it needs to write your book. it is okay if you can't write a book in thirty days. or months. or years. every story needs its space and every writer takes their time. don't rush it.

being a pantser means you're testing out the waters as you go, so here's a little pat on the back for being brave and strong and unapologetically you!

– ann.

Some advice as a discovery writer is to outline.

I update my outline after every scene because I make everything up as I go and change everything, but I need to know where I'm going in order to know how to start a scene.

Only do the major plot beats if you really can't outline, but try it. Some benefits may include:

Strong pacing

Confidence in scenes

Knowing your subplots

Foreshadowing

Less editing

Less writer's block/easier to overcome

It can also take a bit of practice and finding what works best for you, writing doesn't have rules.

One of the best writing advice I have gotten in all the months I have been writing is "if you can't go anywhere from a sentence, the problem isn't in you, it's in the last sentence." and I'm mad because it works so well and barely anyone talks about it. If you're stuck at a line, go back. Backspace those last two lines and write it from another angle or take it to some other route. You're stuck because you thought up to that exact sentence and nothing after that. Well, delete that sentence, make your brain think because the dead end is gone. It has worked wonders for me for so long it's unreal

Reign's Writing Tips

Pt 1 - General advice

I just want to say first, as a disclaimer, that I don't regard myself as the authority on 'good' writing, I've just gotten quite a few people asking for help and people expressing curiosity for my creative process.

Please don't consider this as a checklist and feel like you're doing things wrong, this is just a way for you to get a sense of where to begin and conceptualise where you'd like to be. We're all on different paths and those paths are not more or less valid than others.

This guide will include examples from my own works and hypothetical ones, using only written fics (smaus have their own guide, please find it in my navigation). This also doesn't tackle how to write fanfiction specifically, just general fictional writing.

These are formatted based on the questions I received in my messages and inbox.

Content:

༯ How to show and not tell ༯ How to write dialogue ༯ How to increase word count and why you might want to ༯ Other advice ༯ Paragraph structuring ༯ Punctuations ༯ How to fix up typos ༯ How to get better generally ༯ Final disclaimers

How to show and not tell!

༯ Beginner writers, and indeed, established ones too, often forget the very important rule of showing and not telling. This rule, of course, refers to the idea of building up descriptions or hinting to a certain thought so that the readers may reach that conclusions themselves.

༯ It's important you trust your readers to be able to follow along on their own. Sometimes if you tell them what to think it can cause a disconnect between your writing and them.

༯ This is also a good way of varying your sentences and not coming off as repetitive.

Emotions

༯ Let's go through some examples via the art of expressing emotions.

Example: Pathetic piner!Gojo

Pathetic piner!Gojo asks, voice rough and distorted, “Did you sleep with him? Do you love him?”

༯ Here, we can see that there is no definitive emotion asserted. I didn't write 'Gojo asks, upset' or 'Angry, Gojo asks'

༯ Instead, I am describing his voice. Using the adjectives 'rough' and distorted' allows the readers to figure out for themselves how he's feeling without being too simplistic.

༯ Often, expressing emotion in this way is better than simply saying he's sad or confused because those words can't capture the complexity of his feelings.

༯ Now, let it be known that it can be just as good to be direct about a character's feelings. It is simply all about intention. What are you trying to convey here?

༯ Another important thing to note is that if your work is written in a certain narrative voice, i.e. first person, you should limit information to what that character could only know realistically.

༯ In the context of the above example, it is 'y/n' who is perceiving Gojo, thus it would only make sense that they'd have a limited understanding of how exactly Gojo is feeling. So, instead of them catching on immediately that he's upset, they instead can only note down these things that are out of the ordinary.

༯ Use body language to describe their emotional state.

More examples:

The corner of his mouth curved up = smiling, finding humour in something

His brows furrowed = confusion, concentration, tension

Her lips pursed = dissatisfaction, barely restrained anger

Hand flexed, jaw ticked, teeth bared = anger, thoughts of violence

Sniffled, bottom lip trembled = about to cry, sad, trying not to be

How to write dialogue!

༯ Vary your sentence structures

Example: Homecoming

“Sorry, Si.” He swings his arm around the back of your thighs, encouraging you to straddle him. “You just look so good.” He hums, letting you get settled in his lap whilst he rubs his thumb over the skin of your hip almost as if he can’t help himself. “Can look as much as y’ want, lovie. ‘m all y’rs.” 

༯ You can have speech at the beginning and at the end of a paragraph. Not in the middle though — it's messy and confusing if written in the middle because the dialogue gets lost in the paragraph (but note that you can do as you please. It's just one of those 'rules' that aren't really 'rules')

༯ You also don't need to use say/said and other variations of that. It's enough to simply have the speech enclosed.

༯ A good rule of thumb when using say/said/other variations is if there's something significant about the way in which it was said.

Example: A Cursed Forest

His amber eyes cut through yours, and with disdain, he orders, “Finish your food, and do not question me anymore.”

༯ Here, I introduce the speech with 'orders' to show that Sukuna (the character referred to as 'he') is not speaking kindly or like they are equals. It reasserts the power imbalance between the two characters. I also say that it is being said 'with disdain' to emphasise the tension between them, to give some kind of understanding as to his feelings towards the other character.

༯ It is also a way for me, as the writer, to add depth to the other character: she is able to recognise disdain because she has faced it her entire life.

༯ Another thing to be aware of when making dialogue is restrict one paragraph to one character's speech. Please don't do multiple people speaking in one section. It's very messy, confusing and not 'proper.' Again, if that is how you like things, perfectly fine! It's your style, but if you care about doing things 'right' then yeah, one person's speech per paragraph please.

How to increase the word count!

༯ I didn't actually know to phrase this so I'll just yap about what I mean

༯ There are going to be instances where you'd like to space out dialogue so it's not coming off like a script.

Example:

He said, "You need to do your homework." "I don't want to." "You must, young lady." "Says who?" "Go to your room!"

༯ Try to avoid, as much as possible, having lots of clusters of these one sentence conversations.

༯ Once in a while is fine and can be effective in expressing something like the speed at which these words are being exchanged, exploring their tense dynamic.

༯ But if snappiness isn't what you're going for and you find that you're having lots of these clusters then fill the spaces between dialogue with details and descriptions.

Example:

Tired yet insistent, he said, "You need to do your homework." "I don't want to." "You must, young lady." Clare's father was always nagging at her. She thought it unfair, considering she had just turned sixteen and ought to be treated like the young lady that she was. Capable and intelligent, she could decide for herself how she was to spend her evenings. "Says who?" "Go to your room!" He roared. Her legs took her upstairs faster than she could process the fright he had given her. Never in all of her life had her father ever raised his voice like that; she knew not what to do. He was a mild-mannered man, not timid or passive, but rather, calm and rational. To see him in a fit of rage so volatile, shook Clare's constitution to no end that night.

༯ Use body language descriptors, describe the weather, the room they're in etc.

༯ What are the characters seeing and experiencing?

༯ Don't write it as if you're a fly on the wall if you've taken on a specific pov. Embody the character. See what they see, hear what they hear, feel for them. They aren't 2D characters, bring them to life with anecdotes, with thought processes, anxieties and fears.

༯ Another instance where you'd like to fill up the word count might be if you're trying to give the sense of time passing.

Example: In Sheep's Clothing

“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts.  Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. And if he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs.  “Is it good?” You ponder. Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping.

༯ This example is actually not the final product. It was my first draft where wolf hybrid!toji is eating and conversing with a woman/y/n he has found himself stuck with during a snow storm.

༯ I thought it awkward in showing that he's eating. Sure, it could seem like he's eating really fast but it felt unrealistically fast, even given the context so I knew I wanted to fill in the space.

༯ Instead of talking on and on about how he's eating, I chose to dedicate this section with y/n's thoughts.

༯ One, descriptions of someone eating gets boring very fast

༯ Two, it would be extremely unrealistic for reader to just accept that this man will be staying with her with just one paragraph of thinking.

༯ Three, the concept of being hybrid needed to consistently matter in the story. So I chose to fill the details with exposition on that aspect of the story

Here is the final product:

“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts.  Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. Though, that really shouldn’t be your responsibility and there is still, of course, the glaring concern of his ability to kill you. One sweep of his figure and you know this towering man, tall and muscular, could snap your neck with one hand.  Or worse. Not to mention, he’s a hybrid. You can tell by the twitching of his ears and his nose, like he’s hearing and smelling things inscrutable by the human senses. You wonder what he is. He has no triangular ears or fluffy tail like a dog, he doesn’t have eyes like a cat, no scales that you can see, but his teeth, when he scrapes them along the spoon, you know they’re much sharper than you’d like to ever find out.  If he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs.  Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping, enjoying the meat more than the potatoes and carrots in there but that’s expected of a man. It does mean, though, that he’s not a herbivore hybrid. You wonder if he likes the taste of a woman’s flesh.  “Is it good?” You ponder. 

༯ Hopefully, in this example you can get a sense of how 'rambling' can be useful in delivering specific effects.

༯ Note: too much dialogue can be bad. We need description and details to fill up the mind. Don't be afraid to give the details you'd like to give if you think it's important.

༯ Alternatively, not enough dialogue can also be bad. Too many thick paragraphs can disengage a reader and many people look forward to dialogue because it's much easier to process than chunks of information.

Other advice!

Paragraph structure

༯ Vary your paragraphs with one sentences and longer sections. Having too many thick paragraphs can be quite boring. Apart from aesthetics, these different length sections can provide a function.

Example: Lying To Himself

The guys at work know better than to open their fat mouths around him when he turns up with an extra wrinkle and a ticking in his jaw. Toji is somehow even more sadistic and violent and eager for blood. Even finally accepts their invitation to go out for drinks and drowns himself in the extra strong shit. Assuming he just woke up on the wrong side of the bed, they don’t question his sour mood.  But what they don’t know is that you texted, just a day before you’re set to come back, to let him know you’re staying another week.  Fucking texted.  Didn’t even get to hear it from your own voice. 

༯ Longer paragraphs can cluster all these actions, detailing the things Toji has gotten up to and summarising how an unspecified time has passed. By condensing his days into one decently sized paragraph, a reader can gain the sense that his days have been monotonous and repetitive without even needing to read every part of it.

༯ The short, two word line is impactful and has been separated from the paragraph before it to deliver the punchiness. Here, Toji is angry. You can get this a) from the swear word but also from b) the fact that it's a two word sentence.

༯ It mimics the way one would grit out as they repeat information they dislike. Readers can very easily picture his face and his mental/emotional state just from two words.

༯ Another thing is to vary your paragraph openings.

A bad example:

He walked up to me, upset and clearly with choice words to deliver. No one else in the diner spared him a second glance. But I have no choice. I'm shaking with fear. He looks ready to punch me. The way his hand is balled into a fist is damn near pushing me to piss my pants. Surely, he wouldn't hit me here, right? There are witnesses. It would be stupid.

A better variation of this:

Walking up to me, upset and clearly with choice words to deliver, no one else in the diner spares him a second glance. But I have no choice. Fear shakes me from within. He looks ready to punch me. Hand balled into a fist, I'm damn near pushed to the edge of pissing my pants. Surely, he wouldn't hit me here, right? Witnesses are around us. Stupid. It would be stupid. Right?

༯ Words like he/she/they/the/it/then are overused sentence openers. They are perfectly fine to use, of course. I am not saying avoid them altogether.

༯ What I am saying, however, is change it up to make it interesting.

༯ Begin a sentence with an action verb like walking rather than simply 'he walked.'

Punctuations

༯ Try to use semi-colons, colons and dashes but read up on how to use them correctly. It's easily Googled. It's not a major issue, it's just a way of varying your writing and making it more interesting.

༯ When using quotation marks, commas and full-stops go before the quotation.

Like so:

"Pick me. Choose me. Love me."

"I love you," she confessed.

Quivering, he asks, "Do you hate me?"

༯ Again, not major issues, but just for cleanliness.

How to fix up these typos and messiness

༯ I write in my Notes app first and then I paste my work in Word just to see the blue and red underlines. It allows me to visualise where there are mistakes so that I don't have to read every word with great focus, I can just skim as I proofread

༯ You can also use things like Grammarly, though I generally wouldn't want to encourage you to use AI to edit your work for you. It's just an option if you need it.

༯ The best trick is to just learn how to follow these rules to do with syntax and language. Watch tutorials online and when reading works online or books, think critically about how things are formatted.

༯ This leads me to my next and final advice in this part

How get better generally

༯ Read more!

༯ But don't just absentmindedly consume media, engage critically.

༯ Ask yourself these questions:

What is it about this piece of work that you like?

What's the style of writing the author has chosen? Is that their general style or have they chosen something specific for this work?

Why is this work more popular than another?

How do their sentences begin?

Is the writing full of prose?

Is it too much prose for my liking?

Oh, there's a particular bit that made me feel scared and uncomfortable, how did they do that? Is it their sentence structure? The adjectives they chose? Is it the build up of tension? If it's the tension, how did they achieve that in the previous paragraphs?

That made me giggle, how did they manage to be so funny?

Is that how I would have written it? If I had done it my way, would the impact still have been the same?

What if I try writing in their style?

Final disclaimers!

༯ You don't have to follow all of this or even any of this. Just having read this and reflected on your writing is a great place to start. If you know who you are as a writer, then you'll be much better placed to express your ideas

༯ Writing is a journey. Most people will look back on their beginning and think damn I was so bad at writing. But that's just a great way of knowing you've come far.

༯ There is no wrong or right way to write, no matter what people say. Even if you write unconventionally and make lots of typos and errors, there might still be many people who enjoy your works.

༯ Don't try to be someone else. It sounds cheesy to say be yourself, but it's true. We need more diversity in writing. My favourite works, the ones who left a mark on me, who shaped me, are all so different from each other.

༯ Don't be afraid to experiment and try something new. Find yourself however it takes.

༯ If you're writing on here or a similar platform, you'll be opening yourself to being perceived. Establish your boundaries from the start. Are you open to feedback? It's completely fine if you are not. Some people aren't here to 'get better,' they're just here to have fun.

༯ And if you are open to feedback, it's absolutely okay to feel upset by what you hear/read. Just remember that a lot of these critiques are founded on preferences and some critics might have just misunderstood your works. There is no supreme authority on right and wrong here. No one knows everything. No one is perfect.

If you have any questions, things you'd like covered in a next part, please share them. Thank you to everyone who contributed to this by asking questions and being candid about their struggles.

I hope this helped and I wish everyone the very best in their writing journey

Happy writing!

5 Tips to Avoid Burnout as a Neurodivergent Writer

When taking on a project as big as writing a novel, you may run into the risk of burnout. NaNo Participant Joana Hill gives some tips on avoiding burnout as a neurodivergent writer.

Burnout.  As writers, we all know it. For neurodivergent writers, burnout can be even more damaging than usual. We can be much more sensitive, both mentally and emotionally, than our neurotypical friends and family.

This means avoiding burnout, and taking care of it when it does happen, can be even more important for us.  I’m here today to provide some tips for my fellow neurodivergent writers to tackle just that.

1. Write What Interests You

Write what interests you rather than what you think you ‘should’ be writing.  Many of us get caught-up in pleasing others.  For neurodivergent people who’ve spent much of their life masking, or hiding their true personality and needs because of fear of rejection, it can be a hard habit to break.

If you want to write a 50k slow burn coffee shop AU of your favorite fandom, an epic space opera starring ants, or a main character with ADHD, autism, dyslexia, or any other disorder or condition you have, go for it.

2. Get A Support Network

For neurodivergent people, we’ve often lived our lives with special interests no one wants to hear us talk about.  It often results in us not talking about them at all before someone can tell us they don’t want to hear about it.

Whether it’s offline with friends and family, or online here at NaNoWriMo or other sites, having people who are actively interested in listening to you and helping you plot and write can be a game-changer.

3. Celebrate As Many Victories As You Want

Many years, my personal goal is that I can get the new Pokemon game, which always comes out around the middle of November now, once I hit 50k.  But you don’t need just one grand goal.

Get a bag of your favorite candy and say you can have a piece every so many words.  Find something on Amazon you want (and can afford to get!) and say you’ll get it once you hit the halfway point.  Whatever motivates you to keep going, set it into motion.

4. Plan For Flexibility

That may sound like an oxymoron, but hear me out.  Neurodivergent people often love to have a plan.  I know I can get frustrated and upset when I’m expecting something to happen and something different does.  For a big goal like writing a novel in a month, a lot of things can end up going wrong.

Carry a notebook and pen or tablet with a keyboard case in case an errand takes longer than expected.  Back your writing up to several places in case your main writing device crashes.  Make sure at least one of those is a cloud service in case you end up writing on a device that isn’t yours.  The more contingency plans you have, the better prepared you are when life happens.

5. Be Kind To Yourself

Some days you may not get the minimum goal, or you might not write at all.  You may feel like you just can’t do it because you’re behind on your word count, or you decide you don’t like what you’ve written.

I get it.  But don’t beat yourself up about it.  Take a break.  Play your favorite game or read your favorite book.  Go for a walk.  And remember that you’re awesome.  No one can write this story like you can.

Joana Hill is a writer of young adult stories, as well as novellas inspired by Japanese light novels and anime. You can find her books, social media, and anything else you could imagine wanting to know about her on her LinkTree. Photo by Andrea Piacquadio

4 Tips for Autistic Writers

Autistic writers can face unique challenges when it comes to writing. NaNo Participant Auden Halligan has tips to handle some of those challenges!

So, you’ve just sat down at your desk, all ready to work on your next chapter, but you just can’t seem to start. Something is itching at your brain, and no matter how hard you think, you can’t figure it out. For autistic writers, that itch might be even harder to get around when compounded with autistic inertia, introspection issues, and sensory processing disorder — even if we were super excited to get started, sometimes the stumbling blocks are enough to keep us from going anywhere at all.

Here are four tips to identify your struggles and work around them rather than against them as an autistic writer!

Keep reading

Some advice as a discovery writer is to outline.

I update my outline after every scene because I make everything up as I go and change everything, but I need to know where I'm going in order to know how to start a scene.

Only do the major plot beats if you really can't outline, but try it. Some benefits may include:

Strong pacing

Confidence in scenes

Knowing your subplots

Foreshadowing

Less editing

Less writer's block/easier to overcome

It can also take a bit of practice and finding what works best for you, writing doesn't have rules.

✨ Writing Fanfics for all Fandoms: Fanfic Writing Tips 🖋️

Hey friends! I hope you all are having a wonderful day so far. Fanfiction isn’t just storytelling; it’s love for the characters, worlds, and fandoms we all hold dear. Whether you’re writing your first one-shot or working on a multi-chapter epic, here are some tips to make your fanfic even better <3

. • ☆ . ° .• °:. *₊ ° . ☆ . • ☆ . ° .• °:. *₊ ° . ☆. • ☆ . ° .• °:. *₊ ° . .　 . •

💡 1. Stay True to the Characters

Their canon gives you the blueprint, but your job is to bring the characters to life in new situations. Ask yourself:

How would they react to this scenario?

What’s going on emotionally that wasn’t explored in canon? You can add depth or explore alternate versions of them, but keeping their core personality intact makes your story feel authentic and lifelike.

✍️ 2. Play With Tropes

Fanfic is a space to have fun, so lean into the tropes we all love! From slow burn to enemies-to-lovers, from hurt/comfort to time travel AUs—write the kind of story you want to read.

🖤 3. Balance Canon and Creativity

Canon is the foundation, but fanfic shines when you expand on it. Fill in the gaps, write missing scenes, or twist the story into an alternate universe. The best fanfics respect the source material while boldly reimagining it.

📖 4. Use the Fandom’s Language

Fan communities thrive on shared knowledge. Using terms, references, or memes specific to the fandom can help readers connect with your story. Just make sure it enhances the story and doesn’t feel random.

💡 5. Use Tags Like a Pro

Good tags help readers find your work. Include:

Pairings or relationships (e.g., #Destiel, #Reylo)

Tropes (#SlowBurn, #EnemiesToLovers)

Genres (#Angst, #Fluff, #AU) And don’t forget to add warnings if needed (e.g., #MajorCharacterDeath).

You must stay drunk on writing so reality cannot destroy you.

Ray Bradbury, Zen in the Art of Writing

Been thinking about this a lot lately... It's especially good advice for those of us that are terrible plotters. Just take it one step at a time.

Being creative isn’t always fun

I think this is one of the most difficult things to realize. Be it writing or drawing or making music or crafting – it’s not fun. Not always.

I think we all expect it to be, I mean, why do it if it isn’t fun? It looks so easy when others do it. And then we get discouraged when things inevitably turn out to be more difficult than we thought. And then we blame ourselves!

It should be easy! This should be fun! I’m such a hack, I’m doing this wrong, I will never be good at this because it isn’t fun and it’s supposed to be fun, else it’s just a stupid waste of time. 

We all feel this way sometimes. 

Allow yourself to accept this. It isn’t always fun, sometimes it’s really difficult and you have to push through to get to the other part that is more fun.

It’s not easy, it’s not always fun but that doesn’t mean that it’s wrong to do it. You’re not wrong, you’re not stupid, you’re not a hack. Keep doing your thing.

I wanted to write today… but my brain said, “Nope.” Not sure if it’s a motivation issue or just good old-fashioned writer’s block, but either way—progress needed to happen.

So, I cheated (but like, in a totally productive way). I followed my plot outline and wrote just the dialogue. No fancy descriptions, no deep internal monologues—just vibes and conversation. And you know what? It worked.

I once said that the only job of the first draft is to exist. A skeletal scene with dialogue and the barest hint of description? Totally fine. That’s what the second draft is for. Future Me can deal with the details—Current Me just needs to keep the story moving.

If you're a writer you're supposed to write a lot of bullshit. It's part of the gig. You have to write a lot of absolute garbage in order to get to the good bits. Every once in a while you'll be like "Oh, I wish I hadn't wasted all that time writing bullshit," but that's dumb. That's exactly the same as an Olympic runner being like "Oh, I wish I hadn't wasted all that time running all those practice laps"

Difficulty with plotting and staying consistent.

I don't know if anyone else has this problem, but I've struggled with it since starting to plot out my stories.

It doesn't matter if i have a prompt, or an idea, i always go off track. I have a hard time sticking to that prompt, plot point, or idea, and it drives me absolutely bonkers.

Recently, though. I have found a cool little trick that has helped me stay on track, and meet my word goals;

Whether you're writing a short story, a blurb, or a whole novel. Try to split it up into three parts; Beginning, Middle, and End.

Instead of the convoluted, and sometimes overstimulating plot line;

Splitting your plot into its three most important parts; Exposition, Climax, and Resolution. Is supposed to help you plan out your story easier, or in my case, lazier.

Beginning = Exposition | Middle = Climax | End = Resolution

Point of View

Next, think about what point of view you're going to write your story in. If you've already decided on what your pov, conflict, and genre are going to be, you can skip down to Plot Points, where i pick back up as splitting your plot.

1st person = from a characters perspective.

In first person, you're going to be using a lot of sensory words from the characters perspective; "I feel" - "I see" - "I hear" - "I taste" - "I smell" This point of view also means restricting a lot of information to your character.

For instance, if you're writing from the pov of a child. This child wouldn't know the cookie jar is on top of the fridge, because they're not tall enough to see what's up there. So, they would have to get this information in a different way. You could make them accidentally see the cookie jar, but then you have to consider; Do they know it's a cookie jar? Does it stand out enough for it to grab their attention? If no, you could introduce a secondary character, like a parent, who gets a cookie for the child. Now the child knows it's a cookie jar.

2nd person = Telling a story to the reader, and directly involving them in it.

In the second person, you're writing from the narrator's perspective, but you're also addressing the reader, or talking directly to them. In this pov, you're telling the reader how they should be experiencing the story, by using sensory words like; "You feel" - "You see" - "You hear" - "You taste" - "You smell"

Pov's from the second person perspective goes great with unreliable narrators. You get to choose what information you tell the reader, and what information the reader has to find for themselves.

3rd person = Telling a story about someone or thing.

In the 3rd person, you have a lot more creative control. You get to pick which character's you're observing, and sort of play with them like dolls in a doll house. I think this is the most popular point of view and is incredibly versatile, using sensory language like; "She feels" - "He saw" - "They hear" - "It tasted" - "She's smelling"

Genre and Subgenre

Now. Deciding your pov is as simple as deciding what you're going to be writing, and for this, i like to decide what my conflict and genre are going to be. Sometimes it's as simple as picking horror, then deciding you like the slasher trope, because you want to write about a killer on the loose. Now you already have your conflict; There's a killer on the loose, and so and so need to escape.

I like to do this by drawing inspiration from other creators; From that book i read yesterday, or that movie i saw, or i just really like this genre.

Once you have your genre, look into its subgenre's. In horror, you have; Slasher, Supernatural, Monster, or Zombie. The conflicts in those are pretty easy to discern, Slasher = Killer on the loose - Supernatural = There's a spooky ghost in here - Monster = There's a spooky monster trying to kill me - Zombie = It's an apocalypse and i need to survive.

Draw Inspiration from other Creators

But it's always okay to draw inspiration from other creators; Junji Ito, for example, has a book called Gyo. Its a horror story about fish growing legs and crawling on land. You can take that concept and create your own horror story about fish growing legs.

Once you have your conflict; There's fish growing legs, coming on land, and eating people. Try to ask yourself; What do i want to tell the reader? What do i want to say in my story?

For example, if i wanted to write a short horror story about fish growing legs, and coming on land, and i decided i wanted to make the reader be more conscious about throwing away plastic. I would probably have a better time writing in the 2nd perspective, because my short story is meant to address the reader, and make them uncomfortable about throwing plastic in the ocean.

Plot Points

Finally, after we've figured out our genre, conflict, and pov. It's time to go back to our plot columns.

I know that when it comes time for me to decide plot points, I'm always at my wits end. I HATE figuring out what i want my plot points to be. I'm awful at figuring out the big changes in my plot, and sadly, i don't really have a solution for that yet. But, all this stuff I'm telling you has made it a lot easier for me to work on this.

First, how do you want to start your story? No, not what scene you want to start on, HOW are you going to start your story? Are you going to start with a monologue? Are you going to start with a description? How about some dialogue? Or a flashback? A departure? A character description?

This can be one of the first things you can write in your beginning section.

For example;

Then, think about what you want to happen next. Write as many plot points in each section as you want, use prompts, or random scenes you've discarded in the past. Fill it up with as many prompts as you're happy with;

When you start writing, start from your first plot point, make a word goal for that specific scene, and write it. When you're finished with that scene, move onto the next plot point, until you've written all of them.

Once you're done writing your major scenes, go back and edit everything so they puzzle together. If you want to add more stuff in between scenes, now you have guidelines on where and how your new scenes should start and end, so you're technically just filling in the blanks.

For the last goddamn time...

"Kill your darlings" means "if something is holding you back, get rid of it, even if it sounds pretty."

That's it! That's all it means! It means if you're stuck and stalled out on your story and you could fix the whole block by removing something but you're avoiding removing that thing because it's good, you remove that thing. That's the darling.

It does NOT mean

That you have to get rid of your self-indulgent writing

That you should delete something just because you like it (?wtf?)

That you need to kill off characters (??? what)

That you have to pare your story down to the absolute bare bones

That you have to delete anything whatsoever if you don't want to

The POINT is that you STOP FEELING GUILTY for throwing out good writing that isn't SERVING THE STORY.

The POINT is that you don't get so HUNG UP on the details that you lose sight of the BIG PICTURE.

Good grief....

The Neurodivergent Writer’s Guide to Fun and Productivity

(Even when life beats you down)

Look, I’m a mom, I have ADHD, I’m a spoonie. To say that I don’t have heaps of energy to spare and I struggle with consistency is an understatement. For years, I tried to write consistently, but I couldn’t manage to keep up with habits I built and deadlines I set.

So fuck neurodivergent guides on building habits, fuck “eat the frog first”, fuck “it’s all in the grind”, and fuck “you just need time management”—here is how I manage to write often and a lot.

Focus on having fun, not on the outcome

This was the groundwork I had to lay before I could even start my streak. At an online writing conference, someone said: “If you push yourself and meet your goals, and you publish your book, but you haven’t enjoyed the process… What’s the point?” and hoo boy, that question hit me like a truck.

I was so caught up in the narrative of “You’ve got to show up for what’s important” and “Push through if you really want to get it done”. For a few years, I used to read all these productivity books about grinding your way to success, and along the way I started using the same language as they did. And I notice a lot of you do so, too.

But your brain doesn’t like to grind. No-one’s brain does, and especially no neurodivergent brain. If having to write gives you stress or if you put pressure on yourself for not writing (enough), your brain’s going to say: “Huh. Writing gives us stress, we’re going to try to avoid it in the future.”

So before I could even try to write regularly, I needed to teach my brain once again that writing is fun. I switched from countable goals like words or time to non-countable goals like “fun” and “flow”.

Rewire my brain: writing is fun and I’m good at it

I used everything I knew about neuroscience, psychology, and social sciences. These are some of the things I did before and during a writing session. Usually not all at once, and after a while I didn’t need these strategies anymore, although I sometimes go back to them when necessary.

I journalled all the negative thoughts I had around writing and try to reason them away, using arguments I knew in my heart were true. (The last part is the crux.) Imagine being supportive to a writer friend with crippling insecurities, only the friend is you.

Not setting any goals didn’t work for me—I still nurtured unwanted expectations. So I did set goals, but made them non-countable, like “have fun”, “get in the flow”, or “write”. Did I write? Yes. Success! Your brain doesn’t actually care about how high the goal is, it cares about meeting whatever goal you set.

I didn’t even track how many words I wrote. Not relevant.

I set an alarm for a short time (like 10 minutes) and forbade myself to exceed that time. The idea was that if I write until I run out of mojo, my brain learns that writing drains the mojo. If I write for 10 minutes and have fun, my brain learns that writing is fun and wants to do it again.

Reinforce the fact that writing makes you happy by rewarding your brain immediately afterwards. You know what works best for you: a walk, a golden sticker, chocolate, cuddle your dog, whatever makes you happy.

I conditioned myself to associate writing with specific stimuli: that album, that smell, that tea, that place. Any stimulus can work, so pick one you like. I consciously chose several stimuli so I could switch them up, and the conditioning stays active as long as I don’t muddle it with other associations.

Use a ritual to signal to your brain that Writing Time is about to begin to get into the zone easier and faster. I guess this is a kind of conditioning as well? Meditation, music, lighting a candle… Pick your stimulus and stick with it.

Specifically for rewiring my brain, I started a new WIP that had no emotional connotations attached to it, nor any pressure to get finished or, heaven forbid, meet quality norms. I don’t think these techniques above would have worked as well if I had applied them on writing my novel.

It wasn’t until I could confidently say I enjoyed writing again, that I could start building up a consistent habit. No more pushing myself.

I lowered my definition for success

When I say that nowadays I write every day, that’s literally it. I don’t set out to write 1,000 or 500 or 10 words every day (tried it, failed to keep up with it every time)—the only marker for success when it comes to my streak is to write at least one word, even on the days when my brain goes “naaahhh”. On those days, it suffices to send myself a text with a few keywords or a snippet. It’s not “success on a technicality (derogatory)”, because most of those snippets and ideas get used in actual stories later. And if they don’t, they don’t. It’s still writing. No writing is ever wasted.

A side note on high expectations, imposter syndrome, and perfectionism

Obviously, “Setting a ridiculously low goal” isn’t something I invented. I actually got it from those productivity books, only I never got it to work. I used to tell myself: “It’s okay if I don’t write for an hour, because my goal is to write for 20 minutes and if I happen to keep going for, say, an hour, that’s a bonus.” Right? So I set the goal for 20 minutes, wrote for 35 minutes, and instead of feeling like I exceeded my goal, I felt disappointed because apparently I was still hoping for the bonus scenario to happen. I didn’t know how to set a goal so low and believe it.

I think the trick to making it work this time lies more in the groundwork of training my brain to enjoy writing again than in the fact that my daily goal is ridiculously low. I believe I’m a writer, because I prove it to myself every day. Every success I hit reinforces the idea that I’m a writer. It’s an extra ward against imposter syndrome.

Knowing that I can still come up with a few lines of dialogue on the Really Bad Days—days when I struggle to brush my teeth, the day when I had a panic attack in the supermarket, or the day my kid got hit by a car—teaches me that I can write on the mere Bad-ish Days.

The more I do it, the more I do it

The irony is that setting a ridiculously low goal almost immediately led to writing more and more often. The most difficult step is to start a new habit. After just a few weeks, I noticed that I needed less time and energy to get into the zone. I no longer needed all the strategies I listed above.

Another perk I noticed, was an increased writing speed. After just a few months of writing every day, my average speed went from 600 words per hour to 1,500 wph, regularly exceeding 2,000 wph without any loss of quality.

Talking about quality: I could see myself becoming a better writer with every passing month. Writing better dialogue, interiority, chemistry, humour, descriptions, whatever: they all improved noticeably, and I wasn’t a bad writer to begin with.

The increased speed means I get more done with the same amount of energy spent. I used to write around 2,000-5,000 words per month, some months none at all. Nowadays I effortlessly write 30,000 words per month. I didn’t set out to write more, it’s just a nice perk.

Look, I’m not saying you should write every day if it doesn’t work for you. My point is: the more often you write, the easier it will be.

No pressure

Yes, I’m still working on my novel, but I’m not racing through it. I produce two or three chapters per month, and the rest of my time goes to short stories my brain keeps projecting on the inside of my eyelids when I’m trying to sleep. I might as well write them down, right?

These short stories started out as self-indulgence, and even now that I take them more seriously, they are still just for me. I don’t intend to ever publish them, no-one will ever read them, they can suck if they suck. The unintended consequence was that my short stories are some of my best writing, because there’s no pressure, it’s pure fun.

Does it make sense to spend, say, 90% of my output on stories no-one else will ever read? Wouldn’t it be better to spend all that creative energy and time on my novel? Well, yes. If you find the magic trick, let me know, because I haven’t found it yet. The short stories don’t cannibalize on the novel, because they require different mindsets. If I stopped writing the short stories, I wouldn’t produce more chapters. (I tried. Maybe in the future? Fingers crossed.)

Don’t wait for inspiration to hit

There’s a quote by Picasso: “Inspiration hits, but it has to find you working.” I strongly agree. Writing is not some mystical, muse-y gift, it’s a skill and inspiration does exist, but usually it’s brought on by doing the work. So just get started and inspiration will come to you.

Accountability and community

Having social factors in your toolbox is invaluable. I have an offline writing friend I take long walks with, I host a monthly writing club on Discord, and I have another group on Discord that holds me accountable every day. They all motivate me in different ways and it’s such a nice thing to share my successes with people who truly understand how hard it can be.

The productivity books taught me that if you want to make a big change in your life or attitude, surrounding yourself with people who already embody your ideal or your goal huuuugely helps. The fact that I have these productive people around me who also prioritize writing, makes it easier for me to stick to my own priorities.

Your toolbox

The idea is to have several techniques at your disposal to help you stay consistent. Don’t put all your eggs in one basket by focussing on just one technique. Keep all of them close, and if one stops working or doesn’t inspire you today, pivot and pick another one.

After a while, most “tools” run in the background once they are established. Things like surrounding myself with my writing friends, keeping up with my daily streak, and listening to the album I conditioned myself with don’t require any energy, and they still remain hugely beneficial.

Do you have any other techniques? I’d love to hear about them!

I hope this was useful. Happy writing!

the WORLD needs your writing

have *you* ever seen writing "advice" that mistakes harshness for honesty and punches in the gut for powerful points, and then tells you if you are not constantly, every day, scorching the earth on which you walk with your fiery passion for words - then you are not a writer?

I have! And it really gets to me when I see someone tear other people down rather than build them up, extinguish their lights for being more candles in the dark than nuclear bombs dropped from the sky, who would risk there being more misery rather than cultivate the joy of creating and sharing emotions, ideas, worlds...

So I wrote a post on why YOUR (whoever is reading this right now) writing is needed by the world, as long as it is in that spirit of deep connection and creativity that stretches beyond time and space and can outlive you by several orders of magnitude

I actually strongly take issue with "No one needs your writing". It's not just extremely discouraging and depressing, and turning away a lot of people for not burning with passion at temperatures of the sun, but very likely also just wrong.

Someone out there is missing out on a smile in a torrent of misery, a feeling of connection in a sea of loneliness, a moment of peace in what feels like an eternity of hurt. They won't have that moment of bliss, maybe their day saved, or even entire life changed for the better.

People sometimes think this is reserved to some small group of particularly good writers, that everyone else is foolish to think that anyone can have a big influence on anyone. And it's impossible to predict.

It can be in the most unexpected ways: a random fanfic touching someone's heart because they happen to address a very particular grief or longing that is unlikely to ever be published with characters that feel like family, a small poem providing strength at the hardest moments because it used language that resonated with a reader on a niche subject, an autobiographical story inspiring someone to a new, ethical life... there are so many possibilities.

And I know this *because I am talking from experience*. So many fanfics have let me imagine other lives that could be my own, made me see from new perspectives, awakened hidden feelings or mollified pain, formed the basis of years of friendships and self-discovery, or just opened me up to so many new genres of writing. So many random stories of people, imagined or of this Earth, that bring a light to the darkness of apathy, aloneness, and angst that threaten to engulf so many in the world.

And vice versa, I have been told that my writing (not published, not even getting 10 likes on Tumblr or Ao3!) has inspired some people, been "exactly the right amount of humorous" or even that one line I wrote was the best one they had ever read.

PLEASE, WRITE YOUR THING! FOR everyone whose life might be saved by it, even if just a bit.

Tips for writing dream sequences (from someone who has really vivid, weird dreams on a frequent basis)

My biggest pet peeve with fictional dream sequences is that they make too much sense!! They're too relevant! There's not enough random crazy stuff! That's not always unrealistic per se, but you are missing out on some of the fun ways you can reveal information about your character's mindset, fears, struggles, and future.

Most of my dreams have a goal or objective driving the plot, and it's usually urgent. Ex. "escape the huge storm on the horizon", "find a place to sleep for the night in an unfamiliar town", "find a bathroom". This is especially true of stress dreams.

Everything going on in the dream makes perfect sense to you during the dream. It doesn't feel like reality per se, but you think it is. You're living in a house full of vampires that could eat you at any moment? Seems legit.

Emotions and situations from the dreamer's life can/will find their way into dreams, with varying levels of subtlety. The dream could be about the stressful event itself, or it could be some sort of exaggerated metaphor. Ex. I was worried about whether I was a competent CS major while I was still trying to find a summer job/internship, and I was worried about what my professors must think of me. Such a good student on paper, still without summer plans. I dreamed that I ran into my professors all having lunch together at a restaurant (during a dream with a completely different storyline), and I was wearing my pajamas. They judged me.

Certain things are very hard to do in dreams. This could vary from person to person. For me, it's always driving (the brakes never work right), flying (I can't stay off the ground for very long), and running (it's like trying to run through waist-deep water).

People with PTSD may dream about the traumatic event happening differently than it actually happened. (Take this one with a grain of salt - I don't suffer from PTSD, I just research it sometimes so my blorbos can suffer accurately).

You can have a string of loosely connected or disconnected dream sequences back to back, each with an entirely different plot, setting, etc.

People can have reoccurring themes or plotlines in their dreams, which are often connected to their lives/psyche somehow. I frequently dream about running away from tornadoes and being in situations where there's some catastrophe coming but I'm the only one who understands that there's a problem and nobody will listen to me.

It's common for me to have a dream setting that I KNOW is someplace I'm familiar with, but it doesn't actually look like that place at all. Ex. "I dreamed that we were at my house, but it didn't look like my house..."

Dreams can end in cliffhangers. Sometimes I wake up right before I'm about to eat something delicious.

Sometimes people have dreams about doing things that they would never, ever do in real life, and they wake up feeling disgusted. This is Not a manifestation of their secret desires (*glares at Freud*).

Images are the most memorable parts of dreams. I forget the specific plot points, but I can still picture dozens of liminal spaces my brain has created, even years after I dreamed about it.

Dreams will fade from memory very quickly unless the dream had a strong impression on you, you write details about it down or you tell someone about it before you forget.

If you realize you're dreaming during your dream, sometimes you can control the dream going forward. This is called lucid dreaming. I've done it accidentally a couple times, and it's really hard to "hold on" to the dream and control it. I usually wake up soon after starting. With practice, you can get better at it.

Sometimes a normal/good dream can turn into a nightmare, and vice versa. Most of my dreams aren't really good or bad, they're something in between.

Your subconscious brain is CRAZY intuitive. We can argue over the existence of prophetic dreams (I've heard so many crazy stories), but at the end of the day, your subconscious brain knows things that you don't consciously know. If your character is in love with someone, their subconscious brain will know even if the character doesn't. Relationship problems? Deepest darkest fears and insecurities? Your brain knows. A dream predicted the downfall of my first relationship eight months before it happened, down to the reason why we failed. You can absolutely foreshadow this way. A character might subconsciously know what the consequences of their or other people's actions will be, understand things about the situation they're in, know things about the people they're interacting with, and more, despite their conscious realizations.

There are plenty of ways to make a dream sequence relevant to your story, but don't forget to add in some fun, random details. Character A is secretly in love with Character B? Have Character A dream about Character B confessing feelings to them while in a Vine Nostalgia themed restaurant over a plate of mac-n-cheese. The details are the fun part, and you can get as weird as you want. I once ran into my aunt in a dream, and she was wearing a backpack with a bunch of (fake?) hands sticking out of it, making a fan that rose above her back behind her head like some sort of peacock feather costume piece. I was so freaked out that I woke up. I dare you to get weirder than that.

Not everyone's brain works the same way. I have vivid, random, detailed, memorable dreams on a frequent basis. When I describe them to people they often ask "what were you on?". My roommate only remembers her dreams when they're nightmares. I have some friends who say they don't dream. Other friends have really boring, mundane dreams about their normal lives. Some people have weird dreams but only once in a blue moon. It's a good idea to decide off the bat what kinds of dreams your character has, and how often they remember them.

That's it for now, but I might make a part two if I think of more things to add. Feel free to reblog with your own personal dream expertise!

Tips for ADHD Writers

(From an ADHD Writer & Spoonie)

As an ADHD author, and a spoonie (migraines) I know that a lot of typical writing "guidelines" can feel overwhelming and often don't work. I taught myself to write (results may vary) and after several decades of this; here's some of what I've learned to keep the dopamine and words going.

Throw out Genre Conventions & Boxes; Discover what stories you enjoy & write those.

There's nothing more restricting as an ADHD writer being told "this genre has to be this way." See those boxes. Break them. Find what type of stories and tropes and archetypes you enjoy writing in the types of worlds you find fun and exciting and write those. This should be fun. Writing may be hard, so give your brain the things it craves to snack on.

For example, I love writing romantic comedy with action. I love scifi and I love fantasy. I love shoving the two together. So, if I told you I feel my style is a blend of Jim Butcher action and Anne Bishop family dynamics, you might not get it. But if I said, I love the Mummy/Van Helsing, the Adam's Family, The Ocean's Series/St. Trinian's, and the Expendables, you might be getting closer. Oh, and Star Wars. Particularly the Wraith Squadron EU stuff of Star Wars. Han Solo and Bounty Hunter Wars.

2. Tackle Writing Craft Issues One Thing at a Time

All the writing guidelines and 'how to write' can be overwhelming. Turn off the noise, and choose one thing you want to work on in your story. Dialog. Description. Character Interactions. Conflict. Pacing. Whatever it is you want to work on, focus on it and only it. If you're working on dialog, then don't worry about description. If you're working on character interactions and group dynamics, don't worry about conflict.

The first "Craft" thing I remember trying to tackle was dialog. I wanted to write fun, snappy, dialog and not do question and answer responses like you see on sitcoms. It was the era of Buffy the Vampire Slayer and hopefully I made it my own later. Then I was like "I love characters, let's have fun characters." Plot and description came last for me. But I wouldn't be where I am today if I'd tried to do it all at once.

Go ahead and tackle this post bit by bit if you need to! I get it!

3. Write down all your Ideas into a paragraph synopsis outline.

Hyper fixation is great when you first get an idea. The juices are flowing, the dopamine is high and everything is all coming together. Or so you think. However, from painful experience, I know hyper fixation may not last between the 360K to 495K words of a trilogy, it might not even last past the first 80K. That's when having this synopsis paragraph outline filled with summaries and dialog snippets will be your savior. It will be able to rekindle your focus and make connections in your brain on what you were trying to do. And yes, it's okay if it's messy. You're the only one who is going to see it, and part of the dopamine thing can be making it less messy.

For example, I'm working on a vamp romcom trilogy right now. I got through the first two books and like the first 20K of the third book before my brain went "we need a break, write something else, PLEASE." then refused to focus on it for seven months. (I wrote a 'proto first draft for something else that I've been poking at for at least 10 years.) Sometimes, your brain won't want to focus on a story for years after you started it. Paragraph summary notes are your friend. And might be more important to do while you have this hyper fixation than the actual story itself. (Do what you can.)

4. Ditch word counts

There's nothing more depressing then trying to set a daily word count goal and not meeting it. Or seeing other people posting their daily word counts. Especially when you might write 50 words one day and 6000 another. Ditch this whole idea you have to write every day, because it's not feasible, and won't make your dopamine go up if you feel you 'failed' the goal or 'failed' in comparison to other people.

Writing is not about your word count all the time. It's about research. It's about idea gathering. It's about making that lore book. It's about getting all those pictures into a folder, and then sorting that folder. It's about day dreaming, and shower thoughts and the story you tell yourself before you go to bed. Or that music playlist you need to trigger your writing. Or buying the perfect candle. Making a map. It can even be scrolling tumblr b/c you might not be able to advance that story until you see something that triggers 'oh, that's what I want.' (I had this happen to a third book in a trilogy of a fairy tale sword and sorcery fantasy I was writing, it was a bit frustrating. But it's written and pubbed now.)

5. Copy and Paste what you might think is Half Assed Description

You've described something like a room or a person in your story, and you need to go back to that room (these are called key places) or person later or in the next book and you don't want to rewrite the description b/c that's not making you happy (unless description writing does that, then go you) go ahead and copy and paste it. It will save you time, and headaches trying to keep details straight.

Because as someone who doesn't see things when I close my eyes and I must define everything into words, people who can see things when they close their eyes probably think you have too much description. (Don't listen to them.) And it's okay to repeat yourself, because you are describing for you, and others like you, who need the description and reminder every once in a while what color hair and eyes and possibly skin, all these characters have and what the room looks like.

And don't be too hard on yourself. Go read Brian Jacques. If you can create a description even a third as well as Brian Jacques, you are winning. Okay, Brian Jacques wrote his books for blind children and thus described everything three times as he tried to include as many senses as possible. (Very important.) If you can hit one third of it, you are golden. (Also, he's fun. Long, as description eats up words, but fun. Err... formative years reading. Oops.)

6. Embrace writing the multiple stories/fanfics/short stories before figuring out what story you really want to tell.

Sometimes, it's not straight forward. Oh, how I wish it was. Sometimes, you end up writing what feels like thousands and thousands of words before you find in those stories kernels and ideas of the story you really want to write that you hope will make your brain shut up about that particular set of characters for a while. (Or not. Or not is okay too.) And this isn't wasted writing. There's no such thing as wasted writing. This can be part of the process.

So, the thing I wrote the proto first draft of, yeah, well, it's probably the third proto first draft and half a dozen other short stories where I figure things out. We are talking about 100s of thousands of words, at least two or three different change ups of where I want it to take place and genre types, but I would not get to the story I want to write without those other stories. And that is honestly, the most important bit, finding the story you want to tell in these bits of other stories you're writing, even if those stories never make it off your disk drive or no further than your closest beta reader.

The upside of this is, you get to know your setting and your characters really well. And so when you get to the story you want to tell, you can write that dynamic really well! On the other hand, you know them really well, and you might forget to show that dynamic in your story because you've forgotten other people haven't read the 300K words you've written over the years and don't know them very well. (This is when you need fresh eyes who have never read any of these other stories.)

7. Remember your readers are not in your head with you, and sometimes your future self isn't either.

It's okay to spell shit out. Especially if you're going for that YA audience or using a limited POV like first or 3rd limited. You can hit people over the head with the hammer. It's not 'show, don't tell,' it's show AND tell. You want to say the characters are good friends. Great! Now, go ahead and write out those fun character chewing the scenery scenes where they interact with each other and show me. If your character doesn't like interacting with other people, then you got to show me that. (Good read for this: Murderbot Diaries.) Tell emotions, write feelings. (How is their body reacting?)

This is good for you too, because you might not touch this story for months, have to go back and reread and are going "who are these people and why is the main character interacting with them?" And it might take a few paragraphs to go "Oh." So, go ahead and write it out for your future self too. (Been there. Done that. Expounded on it.)

I have had convos with my editor as I'm writing and giving her chapters, where she's like reacting emotionally and we're talking about this or that and some of it, I can't put in b/c it's limited third (and sometimes this happens with my 3rd omni stuff too,) but other stuff we end up saying, I go back to the scene and am like "okay, I should spell this out b/c obviously, I wasn't clear enough." And that's okay. I have a good relationship with my editor and really trust her, so this happens.

8. Don't worry about making it coherent for other people, unless you're going to publish (in any way shape or form.)

Look, if you are writing for yourself firstly, don't worry about structure, or pacing, or "Why do we care" stakes type of thing. Get the story out you want to tell and have fun with it.

However, if you want to publish, suddenly, all of this matters. Your story has to have some type of structure, some arc to it, a 'why do we care' type of stakes for the readers to latch onto very early on and it needs to be coherent for other readers who are again, not in your head with you. (This is why paragraph outlining can help. It can reveal the lack of this stuff before you get writing.) This is when I recommend strongly getting a development editor to help you find the beginning of your story and what the stakes/conflicts are for your characters and keep the story within your vision. (If they don't ask what your vision is, run.) And your structure just needs to exist, it doesn't have to be any 'defined' structure out of guidebooks.

9. When you get stuck have your handy 3 questions ready. What could reasonably happen next, aka what are the characters going to do? What could go wrong? And Does this Work for the Tone of my Story?

If you have trouble coming up with plots and you have no idea how to do conflicts, murphy's law is your friend. What can go wrong, will go wrong. You might come up with multiple ways things they can do and the ways they can go wrong and be like "but does this fit the outcome I want for my story, the ending I have in mind?" You might need to write them out. You might have to sit there and go "is this feasible or do I have to turn the story into pretzels to get it to work?"

Sincerely, watch the Emperor's New Groove. It didn't go through the Disney Process and every turn is "What can go wrong?" For both the protags, and the villains. At some point, generally in the third act, your characters will no longer feel as compelling if things keep going wrong for them. But in the first and second acts things can go wrong or appear to go wrong for the reader. (And then you get the dramatic reveal such as an Ocean's movie or Lucky Number Slevin.)

10. If you find it boring to write, your reader is probably going to find it boring to read. Summarize. Time Skip. It's okay!

This one is hard for me. Your story doesn't have to tell every minute of every day. Time skipping is your friend. Summarizing something that happens that isn't really plot important, they're doing this but you really don't need to show it, go ahead and summarize it. They were busy doing this, but we're at plot now!

Sometimes, that character interaction or fun going to a festival bit, or going on a date is the plot! This is called character development and your readers need to see it! Remember the type of story you're writing and figure out what the plot means for that type of story. (Hey, a romance without dates, is it really a romance?)

There's going to be times where you are going to be info dumping something you went and learned to write the book. And maybe on your third read through you realize, it's dull. And it's okay to summarize or take it out. Or sometimes, given you've read it six times, you might need to ask a beta reader "Was this boring, do I need to break this up?" Just to be sure. Because you know, yes, you will start to skim your own description and exposition. You are the one reading this book 10 times before publishing. Ack!

Or, maybe you've got the entire layout of the city/country in your head and why it is the way it is and all the politics, look, it might be relevant information, is it relevant right this second? No. Keep the story moving and put that information in context when it's important where it belongs! (See making plot paragraph summaries and writing lore books.)

Ten is a good number. In general, I also strongly recommend reading in your genres, and um, if you're writing a trilogy or a series, finish the trilogy, and write as many in the series as feasibly possible (more if they're say 50K words or so) before publishing them. This way if you find you've written yourself into a corner, or you need to make a call back but the call back you want isn't really there, you can go in and add those details or fix an ending without reader confusion issues. It can be something as simple as a plane going by overhead, or setting up foreshadowing for a later book. And you might not come up with that detail until 3 books in or know you need it and be like "crap" if you've already published. So, before you learn the hard way.

Most importantly, one spoonie to another. REST. If you need to rest, take it.

Bless and Happy writing ~ Ginny O.

Ways to un-stick a stuck story

Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.

Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.

Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.

Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.

Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.

Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.

Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.

Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.

Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.

Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.

Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.

Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.

Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.

Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.

Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.

Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).

Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.

What if? What if the hero kills the antagonist now, gets captured, or goes insane? When you write down different questions like these, the answer to how to continue the story will present itself.

Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.

the WORLD needs your writing

have *you* ever seen writing "advice" that mistakes harshness for honesty and punches in the gut for powerful points, and then tells you if you are not constantly, every day, scorching the earth on which you walk with your fiery passion for words - then you are not a writer?

I have! And it really gets to me when I see someone tear other people down rather than build them up, extinguish their lights for being more candles in the dark than nuclear bombs dropped from the sky, who would risk there being more misery rather than cultivate the joy of creating and sharing emotions, ideas, worlds...

So I wrote a post on why YOUR (whoever is reading this right now) writing is needed by the world, as long as it is in that spirit of deep connection and creativity that stretches beyond time and space and can outlive you by several orders of magnitude

I actually strongly take issue with "No one needs your writing". It's not just extremely discouraging and depressing, and turning away a lot of people for not burning with passion at temperatures of the sun, but very likely also just wrong.

Someone out there is missing out on a smile in a torrent of misery, a feeling of connection in a sea of loneliness, a moment of peace in what feels like an eternity of hurt. They won't have that moment of bliss, maybe their day saved, or even entire life changed for the better.

People sometimes think this is reserved to some small group of particularly good writers, that everyone else is foolish to think that anyone can have a big influence on anyone. And it's impossible to predict.

It can be in the most unexpected ways: a random fanfic touching someone's heart because they happen to address a very particular grief or longing that is unlikely to ever be published with characters that feel like family, a small poem providing strength at the hardest moments because it used language that resonated with a reader on a niche subject, an autobiographical story inspiring someone to a new, ethical life... there are so many possibilities.

And I know this *because I am talking from experience*. So many fanfics have let me imagine other lives that could be my own, made me see from new perspectives, awakened hidden feelings or mollified pain, formed the basis of years of friendships and self-discovery, or just opened me up to so many new genres of writing. So many random stories of people, imagined or of this Earth, that bring a light to the darkness of apathy, aloneness, and angst that threaten to engulf so many in the world.

And vice versa, I have been told that my writing (not published, not even getting 10 likes on Tumblr or Ao3!) has inspired some people, been "exactly the right amount of humorous" or even that one line I wrote was the best one they had ever read.

PLEASE, WRITE YOUR THING! FOR everyone whose life might be saved by it, even if just a bit.

Let writing empower you

Writing is a form of empowerment. The act of creating a world in which you have ultimate control can be an incredibly cathartic and joyful experience.

If you get overwhelmed or blocked, just remember that you have the power. You get to mould the world and its characters into whatever shape brings you the greatest satisfaction.

If there’s a piece of writing you love, that makes you wish you had the ability to do what it does, the tools you're looking for are inside the story itself. Fiction is rarely mysterious in how it works. All you have to do is pay attention with the right mindset.

What you’re looking for is cause and effect, set-up and pay off. What does that piece of dialogue set up a) within the scene and b) later in the narrative? What purpose does this moment serve for the story as a whole? Can you identify the turning points within the scene and the turning points in the larger narrative? How do they fit together? You’ll find these things tend to fall into general patterns. Don’t get distracted by focusing on character details, analysis, or speculation! Fandom tends to overemphasize character to the exclusion of everything else. You probably already know how to analyze characters, but how much time do you spend thinking about the mechanics of the narrative? If you can figure out what makes the stories you love work, you can teach yourself to do any kind of storytelling you want to.

What to give a fuck about,while writing your first draft!

I`ve posted a list about things you don´t need to give a fuck about while writing your first draft. Here are things you NEED TO CARE about! (in my opinion)

Your Authentic Voice: Don't let the fear of judgment or comparison stifle your unique voice. I know it´s hard,but try to write from your heart, and don't worry about perfection in the first draft. Let your authenticity shine through your words.

Your Story, Your Way: It's your narrative, your world, and your characters. Don't let external expectations or trends dictate how your story should unfold. Write the story you want to tell.

Progress Over Perfection: Your first draft is not the final product; it's the raw material for your masterpiece. Give a fuck about making progress, not achieving perfection. Embrace imperfections and understand that editing comes later.

Consistency and Routine: Discipline matters. Make a commitment to your writing routine and stick to it.

Feedback and Growth: While it's essential to protect your creative space during the first draft, be open to constructive feedback later on. Giving a f*ck about growth means you're willing to learn from others and improve your work.

Self-Compassion: Mistakes, writer's block, and self-doubt are all part of the process. Give a f*ck about being kind to yourself. Don't beat yourself up if the words don't flow perfectly every time. Keep pushing forward and remember that writing is a journey.

Remember, the first draft is your canvas, your playground. Don't bog yourself down with unnecessary worries.

Once more for the fanfic writers...

There is no wrong or right way of doing this fanfic-writing thing. Free yourself in 2025 by embracing whatever sort of writer you are.

If you can only post a story once a year or you want to post everyday, it's okay.

Whether you can only write drabbles or 100k stuff, it's okay.

Maybe your strength lies in writing fantasy, or romance or adventure, or non graphic smut, or omergaverse, or whatever kinky stuff there is out there, or comedy, or musical, medieval stuff, etc., it's okay.

Whether you're in a large or a tiny fandom, it's okay.

There is an audience for everything and everyone. It's not possible to dip one's toes in everything. Things can be learned and you can diversify if you really want to do more things with your writing. There is no gun to your head though. Even our favorite artists aren't good at everything.

It seems like recently there is so much pressure on fanfic writers to write certain stuff, in a certain way and for certain fandoms.

Let's not forget that from the get-go fanfic-writing is a FUN HOBBY and hence the secret is for you to write what you want to write, how you want to write it, when you want to write it and for whatever fandom you love.

How can I become a writer?

Write.

But I don't know where to start.

Write.

But I'm worried.

WRITE.

What if nobody likes it?

W R I T E

What if it's not very good?

Write. Write. WRITE. WRITE.

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W R I T E

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