Writing Tips - Let's help each other not be crap.

This is more for when you already have a solid idea that you want to write out as opposed to spur of the moment scribbles, but fucking rough draft.

The reason I’ve found this so important for myself is because I have two main problems when I want to sit down and focus on writing: the actual sitting down and focusing part, and streamlining what I want to say into anything that would be coherent to the reader.

It works well for procrastination because the standards are so low for your first draft, you don’t end up feeling like you’ve got to buckle down and turn on the creativity switch to 100 at the snap of your fingers. My most basic rough drafts are just a bunch of bullet points with random bits and pieces of thought that would probably look like schizophrenic ramblings to anyone outside of my brain, but they really help me to understand what it is I even want to say before I try to say it. This is particularly helpful for perfectionists, as it can be very stressful for us when we want to word things the exact right way. It gives us a step one to work from, instead of expecting ourselves to shit out perfection the moment our fingers touch the keyboard and exhausting ourselves with that self-expectation too much to even bother.

As for making your piece more cohesive, you can start by jotting down all the essential points you want to hit, then add on from there all the littler things you want to include. After that you can organize the order it would be best to arrange them in, cut out parts you don’t want/need, ornament what you do have to make it interesting to the reader, that sort of thing. For an easy example, if I was writing a scene about meeting a long lost friend at the grocery store, the drafting progress might look like this:

Draft 1:
  • Carts bump
  • B recognizes A
  • B tells A they used to be friends
  • A remembers
  • A is embarrassed because B looks successful and A hasn’t changed
Draft 2:
  • A is buying frozen food at a cheap grocery store
  • A’s cart bumps into B’s
  • A apologizes profusely, nervous
  • confrontation
  • B instead says A’s name, and excitedly tells them they haven’t seen them in years
  • A recalls that they used to be best friends until middle school when A moved away to another state
  • A realizes that B is wearing doctor’s scrubs, and recalls how B always said they wanted to be a doctor
  • A makes mention of this
  • B confirms, looking happy about their current state of life, and asks A what they have been up to
  • A is reluctant to admit that they are unemployed and living alone.
Draft 3:

A looks at a bunch of frozen meals in the frozen food aisle. They sigh and pick up a box of frozen chicken for the third time that week, and continue down the aisle when their cart crashes into someone else’s.

“I’m sorry!” says A, holding up their hands defensively. “I wasn’t looking where I was going.”

“A? Is that you?” asks B. “It’s been so long!”

A looks at the stranger for a long time, and remembers B’s face. They used to be friends, A recalls, and bitterly remembers how they were until A’s stepdad moved their family away to Utah for work.

“Yeah, it has,” A says, a little embarrassed. Then they see that B is wearing scrubs. “You became a doctor after all.”

“Oh, I’m still in residency.” B says, smiling. “What about you? Did you become a teacher?”

A hangs their head. The truth is that they dropped out of school years ago, and they haven’t been employed since.

Draft 4:

Banquet, Hungry Man, Stouffers...A knows these names like their closest friends’. Not too far off from the truth, actually. With a sweet tooth brought on by the bitterness of late night Walmart snack runs, they decide to bring Marie Calendar over for dinner, hoping she won’t mind the third invitation this week. A knows their unwashed hair and basket of chips and candy isn’t going to draw anyone’s attention in a place like this, but like everywhere they go, they feel every single patron’s eyes on them and as such they want out of there ASAP. They make a sharp turn to exit the aisle, and crash into the cart in front of them.

Shit—“ A looks up, instinctively placing one hand over their chest and the other in front of them in defense. “Sorry, sorry, I wasn’t looking...”

“A?”

The stranger’s voice is airy and sweet, and oh so familiar. A stares at them, and slowly pieces together that the stranger is not a stranger, but they’re unmistakably B. Against their manners, A’s jaw drops.

“I thought it was you! I can’t believe it, it’s been so long!

A doesn’t worry about manners anymore as B yanks them into a bear hug and reminds them of their incredible strength for such a stick-thin figure.

for the sake of brevity I’ll leave it there but that’s how the process generally looks for me.
It’s nothing strict, but you can see how the first draft is a much more manageable task than the fourth if you’re sitting down to write a particular idea for the first time. Before I started drafting as a rule, I would try to go straight for the fourth one from a blank document and let me tell you, it was discouraging at best.

So if you’re facing writer’s block/perfectionism, proper rough drafting might be something to consider.
 
Write basic outline using “because of x, y happens; but z” structure.

Then worldbuild if fantasy or scifi. You should understand your setting from top to bottom, so you can add details on a whim later. Avoid exposition.

Then start writing in depth in chunks; going back to the “because x y but z” structure. Reread when each chunk is done. If something doesn’t make sense or flows badly, rewrite as needed.
 
So if you’re facing writer’s block/perfectionism, proper rough drafting might be something to consider.
I'm doing exactly this and it works splendidly... but for "backstory" only (meaning, stuff which involves the lead that will either make into the book or happens concurrently behind the scenes, an about 90% to 10% split, plus a paragraph of "worldbuilding"). So I'm now sitting on, and keep adding to, over 30000 words of stage 2 - stage 3 backstory. What to do if I'm stuck on how to move forward with the actual plot?
 
I'm doing exactly this and it works splendidly... but for "backstory" only (meaning, stuff which involves the lead that will either make into the book or happens concurrently behind the scenes, an about 90% to 10% split, plus a paragraph of "worldbuilding"). So I'm now sitting on, and keep adding to, over 30000 words of stage 2 - stage 3 backstory. What to do if I'm stuck on how to move forward with the actual plot?
...That’s a good question LOL if only I didn’t struggle with the exact same thing.

I guess maybe consider what action from your lead would best progress the plot while tying back to their backstory? You can ask yourself questions like, “how have they changed from their past, and how have they stayed the same? Do they dwell on it, try to forget it, or cherish their memories fondly? What are their current goals, short and long term, and how have those changed? How will their current self progress towards those goals, and who will come with them along the way if anyone? What kinds of things will hinder them? What do they need to learn?”

For a really basic example, maybe my lead was once a happy child with the dream of helping people some day (becoming a doctor, a fireman, that kind of innocent thing). Some devastating event happened to them that takes their happy environment away and results in them having a distrust of people—maybe they were close to their family but they had to be put into the foster system, maybe they got sent to some boarding school that is in reality quite abusive, something that changes their world and isolates them so severely that it shakes the lead’s very foundation.

Now you see my lead in current day. They’re more rugged, more suspicious, more tight-lipped. You don’t know what specific events chiseled away at the nice-nice personality you saw in their earliest memories, but you know the catalyst and you can put the pieces together on how they got to be who they are now.

So one of the things I can ask myself is, “What do they want now?” As a child they wanted to help people, so maybe that hasn’t exactly changed about them, but it’s warped. Now instead of becoming a doctor or fireman, maybe they’ve become a Robin Hood type, stealing from the rich and giving to the poor. Maybe they’ve got friends from their past after the Big Bad Event that they’re sheltering, and it’s their goal to protect them by whatever means necessary, even means their early self wouldn’t agree with.

Here is the part that helps me the most to jump-start a plot, I hope it helps you too: “What will hinder them in their goal?”

By now my lead has a gang of not do-gooders, but not exactly do-baders. They would be content to continue living the way they do for the rest of the story, so we have to interfere with that somehow. For example, their not-so-justifiable means catch up to them and they steal from the wrong person, and now they have to deal with the repercussions. One of the first things I thought of was maybe while carrying out an armed robbery, one of their closest friends is unexpectedly shot and killed by the victim in self-defense, and the rest are arrested, charged and sent to prison.

Now my lead has had something that made them happy taken away from them again, separated from their loved ones again, and they’ve been put into yet another dangerous, joyless environment. Not only is the plot moving now, but it’s moving in a way that’s strongly tied to their past and as the reader you can see how they’ve changed for better and for worse as they re-enter the arena, and you’re excited to see not only how they’ll handle this radical event, but how it’s going to compare and contrast to the way they would have handled it earlier on. Maybe the lead’s new long-term goal is to avenge the friend that was killed, and as the author I’ll decide they need to learn that they’re partly responsible for that murder and what events will help them come to terms with that along the way.

Tbh I got carried away writing this and now I think I have a new story idea (whoops) but uh, y’know. Something like that. The main theme is that IMO, when you have a lot of backstory, you should have a lot of comparing and contrasting to tie it to what’s happening your current-day. I hope any of that helps.

And remember, when all else fails, it’s as @Medical Hawaii said: write with your heart (which is in the ass.)
 
I'm back and all @Snufkin kin wrote is a must.

I wrote a .txt months ago about reformulate the novel that I'm writing now and the basic ideas are there. The lazy part is the details but i'm fun with that, because the main action in that is fighting hand-to-hand with a elemental system.

The novel had much more things, even complex ones (or at least in my thoughts). I probably can explain at least the general setting (without powerleveling of course, i'm too mature to understand that) but now typing in English tires me.

And don't worry about how the novel is written because is wrote with my mother language
 
I'm curious about how one would go about writing in a "dead horse" genre if you're self-publishing?

Like, let's say I wanted to write a Western or a zombie novel, both are examples of dead genres that I personally like regardless of their popularity. How can I get people to give a chance and read genres like that?

Even if it's not a big success (and I'm not aiming for something that big), how could I get it to sell at all?

I've always been a fan of Westerns despite their long-dead status and I liked zombies years before they were a popular fad and I still like them even after the zombie genre was killed by The Walking Dead and the fad going bust.
 
  1. The greatest American short story writer of my generation was Flannery O'Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.
To break the rules, you have to KNOW the rules.

Can starting a story in the middle or end of a critical event (deux ex) work?

Character development in writing is something I struggle with. How do you do that without walls of text?
 
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I'm doing an outline of my story BEFORE actually writing the meat of it.

See if I could see how structured it could be.

Maybe use that outline and write details of how the story could go in paragraphs.
 
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Character development in writing is something I struggle with. How do you do that without walls of text?
Put the character in challenges, and make them grow. They can still develop and become in-depth characters if you let them grow with the story. Character development has it's points, but you have to make the character go through a journey in order for them to develop. There's two way of executing character development.

Intermediate Execution
A character arc where the journey of the characters point of x to y openly coincides with the conflict or theme of an overarching narrative.

Notes: Exteremly common in media; Blatant
Intro -> Conflict -> Resolution

Complex Execution
A character arc that coincides with the theme of the narrative, but is done so that the audience does not notice until the completion of the arc. (Multiple layers.)
There are three acts for characters.

First Act; Introduction

1: Introduce the character
2: Define the Fatal Flaw that will undergo change
3: Introduce minor details about the character

Notes:
- Introduces minor details
- Details that will be expanded and explored later
-Introduces who they are on a surface level

Second Act; Specification

1: Present the character with challenges
2: Provide additional information on characters details
3: Show the character at their lowest point.

Notes:
-Introduces challenges that relates to their flaw that leads them to grow or fail
-Explores genuine nature on how they act, react, and what to expect of them going forward
-Reveal backstory or new info on characters
-Evolve smaller traits
-Moves understanding from surface to intimate

Third Act; Destination
1. Presents Character with greatest struggle
2. Show the characters living with their newly established traits or personality.

Notes:
-The journey
 
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How do you introduce a character? Have them be the focus for a couple pages?
 
How do you introduce a character? Have them be the focus for a couple pages?
How would you introduce someone that you're going to talk about? Of course there should be focus, but depending on what kind of character you're introducing, when, and why all determines how, and where.

When introducing a character you should make their goal and conflict clear and then explore on their defining character traits. False goals can occur if the character is meant to be unpredictable. Establish relationships, who they are, what they want.
 
How do you introduce a character? Have them be the focus for a couple pages?
If you don't want to do an actual POV, I find that mentioning them in other character's dialogue (as one does in real life "I have a colleague/friend/acquaintance who" or "I recall a bloke in my teens who") long before they appear can be a great way to introduce them to an attentive reader.
If you write it well, and you drop a detail in the dialogue ("That one must've left a nasty scar on his shoulder") you can then simply refer to it a few chapters down the line when they make an appearance in the scenery (He scratched his shoulder. The scar had long faded, but the memory of the cut hadn't - and that knife on the butcher's block looked mighty sharp) and the reader will already know something about the character's traits and relationship to the protagonist(s).

--------------------------
General writing tip

When you get stuck, when you can't seem to continue the plot but feel the urge to write in a productive manner, consider either

A) picking any location that has some relevance to the plot (current, past or future), visualizing it and writing it out in great detail, including not just visual aspects but things like smell, flooring, mood etc.

B) writing a (brief or long) biography of any of your more insignificant characters - their teenage years, their young aspirations, their minor quibbles in life.

C) If writing fiction, consider creating a wiki-ish article of any fictional location, landmark or figure in your world, akin to what you'd read in the wikis dedicated to LOTR or GoT.

All of these are productive writing exercises that do not require you to advance the plot in any way - but they will flesh out your characters and locations for yourself. And I find that does show, when writing about them.
 
Regarding Lily’s thread, it’s a good idea to reference works to give an example of good or bad writing. Don’t assume people will just take your word for it as some authority figure (Lul)

Do not write your story like it’s a script for a movie/tv show.

Your opinion isn’t writing advice.

dont heavily base fiction on tv shows or movies.

also, her writing tips thread shows how little she’s interested in literature but kids shows. No examples, just “assume you know what I’m talking about.”
 
How do you introduce a character? Have them be the focus for a couple pages?
Actually no. @Pompeii Grammy Awards & @Bloitzhole gave you nice information but you can actually approach of a more simple setting and develop a introductory arc before the main spread over your writing.
In a group of 3 people (with a main action before who strengthened their relationship bonds) a new character appears introducing himself for what happened a few days ago and offering himself up for the adventure, although this had a real background that develops and ends in the same part.
Another main character (and the focus of attention besides of the protagonist in a second phase of the second part) appeared appyling the same thing as before with a foreshadow before (she's spying on them for a bit).

The others fluctuate between writing introductory scenes that would reach the clash with the protagonist and then developing them to the point that he wanted, finishing them (giving the possibility of using them later). One of the main characters that is not within the group of the protagonist receives various writings about the other side of the plot. This has no signs that who is doing the right thing and not, they are just sides of the same coin (or at least that's my goal).
Well, than can be my input.
 
I'm working on a little cryberpunk project and I'm stuck trying to figure how to start the story. So far, about 90% of the cyberpunk media I've, for lack of a better term, researched always seems to start as follows: You botched the job and in order to get the charges lifted, you have to help a megacorporation do some illegal shit. I'm not looking for anything too mold breaking, just don't want it being trite.
 
I'm working on a little cryberpunk project and I'm stuck trying to figure how to start the story. So far, about 90% of the cyberpunk media I've, for lack of a better term, researched always seems to start as follows: You botched the job and in order to get the charges lifted, you have to help a megacorporation do some illegal shit. I'm not looking for anything too mold breaking, just don't want it being trite.
Just write what you have, connect the dots later.
 
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