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This from In Writing, a collection of writers reflecting on practice, really resonated with me.

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Writing Prompt

"You said you always wanted to be an elf."

I glared at the fairy. "I meant like from Lord of the Rings. Not one of Santa's little helpers. Now change me back!"

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Writing Prompt To Get You Unstuck

A monkey kidnapped you and locked you in a room. His friends and relatives are trapped in an experiment—you know, the one where if you put a million monkeys in a room with a million typewriters, one supposedly will eventually write a novel by pure chance? Yeah, that one. And they can’t leave the experiment until one of the monkeys writes something intelligible. It doesn’t even have to be a novel. It could be a nonfiction article, or a short story, or a poem as well.

The monkey kidnapped you because he knows you’re a writer. He believes that you can write something that will satisfy the scientists and finally allow his family to go free. You cannot leave the room until you have written at least 500 words (the minimum that the scientists will accept as evidence of that statistic chance happening).

The problem? You’ve got to go set up for your BFF’s surprise party. You need to get out of here FAST! But you can’t fake it by writing something subpar or repeating the same word over and over. The monkey will know. It doesn’t have to be perfect (after all, it is supposedly written by a monkey) but it does have to make sense and flow coherently.

If you try to escape, the monkey will catch you and take more… drastic measures.

You need to write those 500 words quickly, so it’s a good idea to write about something you care deeply about or comes naturally to you, something you barely even need to think about. You have thirty minutes to get out of here before it's too late to set up for the party anymore.

GO!

(And feel free to share the results when you’re done so that we can see how you escaped the monkey.)

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10 Subtle Ways to Show Love Without Saying “I Love You”

Subtle gestures can convey deep affection and understanding without the need for words. Here are 10 subtle ways to reveal just how much your character cares, without using words:

1. Surprising Them with Their Favorite Snack

Character A notices Character B eyeing their favorite treat at a store/party, and later surprises them with it, showing they're paying attention to the little things.

2. Fixing Something Without Being Asked

When B's favorite [object] breaks, A quietly repairs it and leaves it for them to find. This doesn't have to be about objects, e.g. issues like not having a ride home and A picks them up without B asking.

3. Leaving a Hidden Note

A slips a small note into B's bag or coat pocket, something sweet or funny; could be good after a minor fight, or if B has a dangerous career.

4. Covering Them with a Blanket

B falls asleep on the couch, and A drapes a blanket over them gently. Again, cute if it's after a fight.

5. Warming Their Hands with Theirs

On a chilly day, A takes B’s cold hands into their own without a word, offering warmth and comfort.

6. Offering Their Jacket

As B shivers in the cold, A instinctively hands over their jacket without waiting to be asked. Post-fight cuteness x3

7. Cleaning Up After a Tough Day

B comes home exhausted, and A has already tidied up the space. Great if they're married with kids.

8. Brushing Something Off Their Face

When B has a strand of hair or speck of dust on their face, A gently brushes it away; a classic, intimate action.

9. Waiting Up for Them to Get Home

A stays up late just to make sure B gets home safely, greeting them with a warm smile or a cup of tea when they walk in.

10. Running an Errand They Dislike

Knowing B dreads a particular chore or errand, A does it for them without making a big deal, or when they’re stressed/sad. 

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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A child goes missing late one night after investigating a light emanating from their closet. The Child's teddy bear and the monster that lives under the bed must put aside their differences and form a truce in order to rescue the child.

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An action scene isn’t about writing down every punch, kick, or swing of the sword. You’re not choreographing a fight for your reader, you’re throwing them into the moment, making them feel the intensity, the panic, the adrenaline. Focus on the emotions, the tension, the stakes. Show how the character’s thinking changes in the heat of the moment, how their survival instincts kick in, how their body reacts to the chaos. Make it fast, make it brutal, and don’t drag it out longer than it needs to be. Action is about urgency, not precision.

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My biggest tip for fanfic writers is this: if you get a character's mannerisms and speech pattern down, you can make them do pretty much whatever you want and it'll feel in character.

Logic: Characters, just like real people, are mallable. There is typically very little that's so truly, heinously out of character that you absolutely cannot make it work under any circumstance. In addition, most fans are also willing to accept characterization stretches if it makes the fic work. Yeah, we all know the villain and the hero wouldn't cuddle for warmth in canon. But if they did do that, how would they do it?

What counts is often not so much 'would the character do this?' and more 'if the character did do this, how would they do it?' If you get 'how' part right, your readers will probably be willing to buy the rest, because it will still feel like their favourite character. But if it doesn't feel like the character anymore, why are they even reading the fic?

Worry less about whether a character would do something, and more about how they'd sound while doing it.

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one of my favorite things to do in limited perspective is write sentences about the things someone doesn't do. he doesn't open his eyes. he doesn't reach out. i LOVE sentences like that. if it's describing the narrator, it's a reflection of their desires, something they're holding themselves back from. there's a tension between urge and action. it makes you ask why they wanted or felt compelled to do that, and also why they ultimately didn't. and if it's describing someone else, it tells you about the narrator's expectations. how they perceive that other person or their relationship. what they thought the other person was going to do, or thought the other person should have done, but failed to. negative action sentences are everything.

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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

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Full offense but your writing style is for you and nobody else. Use the words you want to use; play with language, experiment, use said, use adverbs, use “unrealistic” writing patterns, slap words you don’t even know are words on the page. Language is a sandbox and you, as the author, are at liberty to shape it however you wish. Build castles. Build a hovel. Build a mountain on a mountain or make a tiny cottage on a hill. Whatever it is you want to do. Write.

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The reason none of my wips get finished

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HOW TO WRITE A CHARACTER WHO IS IN PAIN

first thing you might want to consider: is the pain mental or physical?

if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc

if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc

because your character will react differently to different types of pain

PHYSICAL PAIN

sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.

acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).

dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).

if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?

neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.

EMOTIONAL PAIN

grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)

heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.

betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.

there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.

hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.

fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.

and I think that’s it for now! feel free to add anything I may have forgotten to mention here!

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crying and sobbing y'all when people said that you only add scenes that advance the plot they didn't JUST mean the overarching plot. they meant the plot of the book... entirely. like a conversation between two friends can advance the plot by characterizing them and grounding them with a meaningful relationship. if your book doesn't have "filler" it's missing emotional beats. which are plot. which are important. fun and whimsy aren't mutually exclusive from what "needs" to happen in your book. the advice isn't bad it's just taken too literally stop come back.

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Questions to ask beta readers

General:

Were you confused at any point of the story?

What genre would you say this book is?

When did you put the story down?

Is the ending satisfying?

If you had to cut 3 scenes what would they be?

When did you feel like the story really began?

What was the last book you read before this story?

Characters:

Do you get any of the characters names confused?

Which character is your favorite?

If you had to remove a character who would you and why? (you don't have to remove the character, just make sure their role is meaningful)

Which character do you relate to the most?

Which character do you relate to the least?

Do the characters feel real?

Are character relationships believable?

Are the goals clear and influence the plot?

Are the characters distinct (voice, motivations, etc)

Setting:

Which setting was clearest to you?

Which setting was the most memorable?

Am including enough/too much detail?

Plot and conflict:

Are the internal and external conflicts well defined for the main characters?

Are the internal conflicts and the external conflicts organic and believable?

Are there enough stakes?

Are the plot twists believable but still unexpected?

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What they don't tell you about storytelling is that it becomes an instinct over time. You learn how to kind of . . . intuitively chain events together over time. That doesn't mean it's a cakewalk, or that you never get stuck on plotbeats, but you have a better time walking yourself out of corners that you as a less experienced writer would have been tempted to abandon your story over. Because you've been stuck in similar corners before; you know how you get out now.

I know its frustrating to keep hitting dead ends, but you got this. You'll learn a little from every roadblock you hit.

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“Mom, there’s someone under the bed.” You bend down and see your son there instead and he whispers “Mom that’s not me up there!” You take a step back when someone tugs your shirt. You turn, your son is in the closet asking “who are they?” You suddenly hear him calling from downstairs “Mommy?”

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For a major reveal, the order of the reveal can matter almost as much as the content of it.

Consider the reveal that the main character previously killed a bad person. That reveal can happen all at once in the story, but consider what happens if you stretch it out throughout the story, giving the reader one piece of information at a time. What information goes first can change the entire dynamic of the story.

Consider these options:

they are dead and I killed them - they were bad

We've started with the knowledge that the person is dead and the main character killed them, and so the tension surrounds the question of why. The reader doesn't know yet that the person was bad, only that the main character killed them, and so this will likely shape their view of the main character.

they are dead - I killed them - they were bad

Breaking up the first component into two parts changes the tension--first, all we know is that the person is dead. This can be broken out even further if you want (they are dead - they were killed - I killed them) but the central tension is the same: how did they die, and by whose hand.

they were bad - they are dead and I killed them

In this case, we start with knowing that they were bad, which removes a lot of the tension--but at the start we don't know they are dad, so they remain a threat. Maybe they're someone the main character still fears, even if they're dead.

they were bad - they are dead - I killed them

Again, breaking out the reveal that the person is dead from who killed them provides an extra level of suspense--but in this case the reveal that the character killed them is likely one that brings more positive reader feelings to the character than in the earlier instances. It may also be the answer to a secret that other characters were trying to find out during the story.

they are dead - they were bad - I killed them

The central arc of this reveal becomes more about the character (no pun intended) of the person who is dead--especially if that first part also reveals that they were killed. The question that the arc of the reveal answer is why are they dead, and also how should the reader feel about their death, a feeling that will likely change once it's revealed that they were bad.

This is just one example of how the order of the reveal matters, but this exercise can work for any major reveal in a story. What are the central components of the reveal? How does the order in which they are shown or told to the reader change the tension and central questions of the story?