#and if you want more detailed writing advice

[dollishbabess]

batboys hcs with a architect s/o and how she’s so talented into architecture and critics places they go too for fun?? 😭😭 your writing is so fucking amazing omg (please write more)

‘THIS PLACE COULD USE A EXTRA… SHINE’ ── .✦ DOLLISH

a/n: this made me laugh so hard because I’M MAJORING IN ARCHITECTURE RN in college and it’s so funny receiving this but yeah literally tysmm and I will be like refreshing my ‘page’ if it makes sense so I’ll writing more often from now on so get ready.

Tags: batboys x architect!fem!reader

DICK GRAYSON ── .✦

Dick is amazed by your architectural skills and loves to hear you talk about your designs and the inspiration behind them. He’s always asking you for design tips for his own living space in Blüdhaven asking if you can spice his furniture in his apartment and etc.

When the two of you go on dates or to art exhibits, Dick is the type to listen to your critiques and try to pick up on architectural details, though he’s more likely to focus on the overall vibe of the place than technical elements. He loves hearing how you appreciate places that balance form and function.

One of his favorite things is visiting old, historic buildings or new constructions with you and asking your opinion on how they’ve been designed. He’ll even take notes when you go on architectural tours. (You once joked that the ceiling of a museum looked like it was gonna topple on someone and you swear you saw him tense up so fast moving a few inches from you)

JASON TODD ── .✦

Jason is the most curious about your work, wanting to know every detail about how buildings are designed and what makes them stand out. He’ll often ask about the story behind a particular structure or the challenges faced in a project (he’s just a curious boy🥺🥺)

When you’re out and about, Jason can be pretty critical too, especially about how places are put together. If a building seems impractical or poorly designed (like small stalls for bathrooms and just that shitty nonsense), he’ll express his frustration, and you’ll be right there with him offering insightful critiques. You both tend to agree on bad urban planning and laugh about it.

He’ll enjoy taking you to abandoned warehouses or old buildings in Gotham to test your architectural knowledge. Sometimes, you both challenge each other to design something better or fix up a dilapidated structure together.

TIM DRAKE ── .✦

Tim is very impressed by your intellect and the level of detail you put into your architectural designs. He admires how you view the world through the lens of space, function, and beauty.

Tim loves to dive into deep architectural discussions, analyzing how places are structured. He might even pull out his phone to look up blueprints or information about buildings while you're at a location, appreciating the design choices. He enjoys debating the merits of modern architecture versus classic styles with you.

Tim would likely plan visits to art museums or landmarks that have a rich history of architectural design. He’d love to hear your thoughts on every building and structure, and he’ll probably surprise you by arranging a private tour with an expert in architecture.

BRUCE WAYNE ── .✦

Bruce doesn’t show much outward enthusiasm about your work, but it’s clear that he values your opinion. He appreciates your attention to detail, especially when it comes to Gotham’s urban design. He’s likely to ask for your advice when dealing with the renovations or restoration of the Wayne estate or other properties.

Bruce is very into efficiency and functionality. When you critique a building, he’ll listen intently and agree with your assessments if they make sense, especially when it comes to practicality. He appreciates your ability to separate the aesthetic from the real-world needs of a space.

Bruce might take you to visit some of Gotham’s oldest buildings, showing you around his favorite spots. He values your perspective and loves seeing the city through your eyes, especially when you point out potential improvements. He’s also secretly proud of your talent and often encourages you to push boundaries with your designs.

@dollishbabess made by me, do not translate or copy or put on a different platform.

Second divider @cafekitsune

[everest-is-dead-now]

@ofthemorningstars commented on my q&a post and i wanted to make a general little post for ALL of you aspiring writers.

i’ve talked to people who wanted to start writing many times before, who have said to me “your writing is so good, and i wish i could do it like you”. i always say the same thing to them:

cut bc this is long lol

the number one first thing you need to know when you start writing is that it has to be yours. it is a world entirely your own, of your design, your unique and wonderful imagination, and it must make YOU happy. don’t compare urself to me, dont compare urself to tolstoy, don’t compare urself to shakespeare. the things you make can only be made by you, even if they’re inspired by something else, even if they’re fanfic. every story, movie, song, painting, etc. is derivative of something else, that’s just bc there’s so many talented humans. that doesn’t mean they aren’t unique creations on their own. that doesn’t mean you’re copying someone.

the biggest roadblock to writing—and any art really—is your own mind. you will kill urself with negativity, telling urself that it isn’t good enough, that it is awkward, that it is derivative, that it does not deserve to be read. i struggle with that all the time, but generally that’s to my own standards and not another authors. this is what i mean when u say u can’t compare urself—

YOU HAVE SO MUCH CREATIVITY TO OFFER THE WORLD.

YOU.

you are amazing. everything you create is special. i could never write what you write, and you could never write what i write. we are humans who grow up in vastly different lives, with experiences that shape the way we think and create and inspire. we have different opinions, relationships, and memories that will shine through in our individual works.

when we write, we leave the unique and beautiful pieces of ourselves in the text.

and you need to remember that.

the second thing i tell people to focus on is time.

i’m gonna expose myself on main here and show you a snippet of a fanfic i wrote when i was 13

yeah that’s fucking embarrassing. what an introduction bro. people totally get tattoos when they’re 15.

the point being that you don’t start writing like a wizard day one. this excerpt was about a year into my writing and i was a middle schooler. you look at that and you wouldn’t expect the author of little monster.

so if writing is something you want to do and you’re passionate for, even as a hobby, you need to sit down and do that often. VERY often. serious and even average authors write EVERY DAY. even if it’s just one sentence. writing is an easily accessible hobby that has a HIGH ceiling for “being good” at it and an even tougher path to the professional level. anyone can write, and everyone does. whether those are emails or smutty fanfics, it’s just a fact of life. if it’s something you want to improve at, take it seriously. so many people write a few stories and call it day, saying they suck and they’ll never improve. well, i’ll tell you now, you’ll never feel good about your writing until you take it seriously.

and if it’s casual for u, that’s totally fine! i won’t tell u that u HAVE to write everyday. not even i do that !! (though it is most days). but that doesn’t mean it’s something you don’t have to work on. imagine if you wanted to learn an instrument— if you only learned a few songs, if you only practice once in a blue moon, would you call urself a musician? even if u never wanted to join a band, would you call yourself a guitarist because you learned four chords?

you’ll never be happy with ur art unless u practice. and it will suck, i assure you. but you need to be patient. you have to be bad first to be good.

so, in summation of all these things i’ve learned both on my own and in studying creative writing, i’ll leave you with this (and i know this post is a fucking mess lmao)

you are the most special and unique person in the world, because only you can tell the stories in your head. just give yourself the time and patience to get there.

i believe in you.

[rosenfey]

things that are hard to find: writing advice that isn't condescending.

[good-beanswrites]

Woo hello 🎬!! I kept all of your ask here -- I put it like this for my own easy scrolling, but no way am I cutting any of this, it's so perfect AH

Oughhhhgh Haruka getting more confident from hanging out with everyone and getting such positive feedback… I’d imagine the back to back innocent verdict and night of compliments would do wonders for his psyche ;-; And same for Muu and Amane! Minus the inno verdict, but the sudden influx of explicit compliments and acknowledgement of “hey, that was fucked up what they did to you, okay?” I wonder if there’s any awkwardness since After Pain directly follows Bring it On, but I like to imagine Fuuta and Muu have a deeper talk about things in private (and maybe Muu hesitantly mentions her involvement with Rei in preparation for INMF…)

Damn, who’s going to give the sex talk to the kids after Yuno’s vide-- Shidou. Sidou does. Without hesitation. They have to stop him because no one wants to hear it and everyone there already understands the basics.I love the idea of she, Mahiru, Muu, and designer Mikoto chatting about everyone’s fashion sense (I can imagine them poking fun at Fuuta’s tracksuit and Shidou’s patterned shirts.) And planning shopping trips that include everyone!!! Amane and Kotoko are given no choice in the matter, and a lot of the guys are genuinely interested in coming along.

Awww, I love the thought of Haruka getting into a “boy” interest with Fuuta and Mikoto -- he never knew what it was like to have brothers but he’s really enjoying it <3 (Also I’m cracking up over Fuuta trying desperately to convince them “it’s not cringe!!!”)

ASDFSDF Mappi just straight up sobbing and Mikoto handing her tissues 😂 But yes, she also gets choked up during Magic and Amane can’t figure out why. This begins the adults’ efforts to get her out of whatever situation she’s currently in (which Jackalope was already half-working on, but is definitely spurred on by several angry almost-murderers demanding he get it done now.)

I do like that idea of Red more comfortable with showing skin than Blue. (I know people are very emotional about the stalker theory, but I personally never took it in a harmful way. I always enjoyed how it was a symbol of stripping away everything else until you’re left with your true, whole self.) So I like to think that Blue feels too exposed, but Red/Green are the ones who pitched it in a symbolic sense! 

I’m losing my mind at Kotoko/Kazui/Red talking about sparring. Everyone else is like “hell yeah, let’s see it!” and Shidou just sitting there like “you all are going to be the death of me. You are NOT fighting.” Because I really want to think about it happening, I’ll say they manage to sneak away at least once and nearly break a prop in the process, to which even Jackalope shuts them down.

I think they all manage to get pretty serious again by the time T2 rolls around, but the hiatus is filled with a lot of sweet moments and healing conversations between everyone. Also, making so many plans for the future helps keep them sane when some of the project immersion gets a bit too real. Whenever they start realizing they might be condemned for their actions and worried that they’re too broken/they’re life is ruined, they come back to those plans and relax a bit.

Absolutely no pressure, but I would love to hear your T2 thoughts! 👀👀👀 I’m so incredibly grateful you’ve taken the time to share your ideas -- from the very beginning this au has been a big collaboration, so it’s super fun bouncing ideas around :D

[crossbackpoke-check]

wait you got me so invested in the stammer & heddy tailor au....

this is my standard disclaimer that i have never posted a fic on ao3* and for however much i say “au” i truly mean that it’s a universe that lives in my head & i am absolutely delighted to tell you all about, all the time <3 if it helps i ALSO got me so invested in the heddy & stammer tailor au

ok now that the author’s note is out of the way here’s some notes about the not!fic heddy & stammer tailor au:

stammer as the tailor from gent’s playbook, very reserved, quiet, with an excellent eye for details (honestly the evidence i have for his style sense is just that he’s best friends with pk subban so it has to be there somewhere if only by proxy irl) is hired by victor hedman, star of the tampa bay lightning who is every other tailor’s nightmare to dress (huge, opinionated, fashionable)

heddy is decently well-known throughout the league for being very well-dressed & becomes quietly well known for also being one of his new tailor’s favorite loyal customers [heddy has the nicest fabrics. he has his suits the first day a new collection drops & e v e r y o n e is jealous]

stammer’s business booms after heddy takes a chance on him as his first big client & promotes him, heddy sees him grow in popularity & get more clients

heddy also moonlights as a model for stammer’s suits on instagram, initially to help him grow his business because then he won’t have to pay for a model and then because he’s over there all the time anyway because they’re dating (that’s why the model’s face is never in the pictures)

there’s not really a plot to this besides the vague idea of a plot where stammer makes heddy his lucky suit that he wins the cup in & sews a special little tag into the lining of his jacket that says i love you

because love sometimes is picking out the perfect right color pocket square to match your husband’s beautiful suit that you fitted like a kiss to the curves of his huge body

& also sometimes love is making your beautiful husband who makes you beautiful clothing enjoy nice things for himself once in a while, like the fancy watch you bought him or the nice suit you custom-ordered for him (from him) just so you could take it off of him

[corvidiss]

#smile at people #a majority of the time people will smile back and you win Human Points #learn how to compliment people and do it often #Normalcy is a perspective that changes depending on who is looking but kindness and a positive attitude shows the same view to everyone #basic politeness with a little extra effort is amazingly difficult at times #but it goes MILES

Genuinely good advice from @aroace-get-out-of-my-face

can someone recommend some beginner normal behaviors for someone looking to become normal

[sceneloc8]

Top Restaurant and cafes Location For Shooting in Mumbai

Mumbai, India’s lively city, is not just a great place to eat, it’s also a great place to work on creative projects. SceneLoc8 has compiled a list of the best restaurants and cafes in Mumbai for your pre-wedding shoot, photography session, music video, or vlog. These places have the perfect mix of atmosphere and style to make your vision come true.

Possibilities for creative content:

Pre-Wedding Shoots: To add a touch of class to your pre-wedding photos, take pictures of timeless moments of love and romance in stylish cafes or fancy restaurants.

Photography: Look into the unique interiors and architectural details of Mumbai’s best cafes and restaurants to take pictures that show off both delicious food and artistic skill.

Set the scene for your music video in a trendy café or a cozy bistro. The atmosphere and energy of these busy spots will come through in your images.

Vlogs: Show your viewers your cooking adventures and dining experiences through interesting vlogs shot at Mumbai’s famous restaurants and cafes, giving viewers a taste of the city’s lively food scene.

Filming: To make your scenes seem more real, use famous Mumbai cafes or high-end restaurants. This will immerse viewers in the city’s rich cultural tapestry.

Advice for people who make content:

If you want to shoot in a Mumbai restaurant or cafe, keep these things in mind:

Permission and Cooperation: Make sure you get the right permissions from the business before filming or taking pictures. This will make sure the shoot goes smoothly and without any problems.

Time: Plan your shoot for a time when it’s not busy so that there aren’t too many people around and you can get a good sense of the atmosphere of the place.

Respectful Behavior: When you’re shooting, be aware of other customers and staff and treat them with respect. Stay professional and polite the whole time.

Creative Composition: Use the restaurant or cafe’s unique features and atmosphere to your advantage by experimenting with lighting, angles, and composition to make content that looks stunning.

Showing Off the Experience: In your content, talk about the venue’s atmosphere and tasty treats, giving people a tantalizing look into the dining experience.

Why You Should Write Content in Restaurants and Cafes:

The restaurants and cafes in Mumbai are great for content creators in many ways:

Aesthetic Appeal: These places, from trendy cafes to high-end restaurants, have stylish interiors and interesting decor that make them perfect for posting visually appealing content.

Flexibility: Mumbai’s restaurants and cafes can be used for a variety of creative purposes. They can be used as quiet places for intimate scenes or as busy places for lively visuals.

Cultural Significance: Many famous restaurants and cafes in Mumbai have cultural significance. Showing the city’s culinary history will give your content more depth and authenticity.

Accessibility: These places are in different neighborhoods across the city, so they are easy to get to for your shoot because of logistics and transportation.

Unlock the culinary charm and creative potential of Mumbai’s top restaurants and cafes with SceneLoc8. Whether you’re a photographer, filmmaker, or content creator, these iconic locations offer the perfect setting to bring your vision to life. Explore, create, and capture unforgettable moments amidst the vibrant backdrop of Mumbai’s dining scene.

#RestaurantShoot #CafeLocations #MumbaiPhotography #ContentCreation #SceneLoc8 #PreWeddingShoot #MusicVideos

Follow Our Whatsapp Channel:

@SceneLoc8 India

@SceneLoc8 Mumbai

[isthereintruthnobeauty1968]

anyway i do have in my head an episode style story set somewhere between return to grace and body parts where a handful of bajoran ministers are insistent on further/more intense 'interviews' with ziyal despite kira's response that she's already shared everything relevant through her that escalates to the point of them sending people to the station to more or less arrest her/kira having some tension w shakaar over how much he's willing/able to intervene

[burntoutdaydreamer]

Things That May Be Causing Your Writer's Block- and How to Beat Them

I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.

In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:

(note that any case of writer's block is usually a mix of two or more)

Perfectionism (most common)

What it looks like:

You write one sentence and spend the next hour googling "synonyms for ___"

Write. Erase. Write. Rewrite. Erase.

Should I even start writing this scene when I haven't figured out this one specific detail yet?

I hate everything I write

Cringing while writing

My first draft must be perfect, or else I'm a terrible writer

Things that can help:

Give yourself permission to suck

Keep in mind that nothing you write is going to be perfect, especially your first draft

Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later

People write multiple drafts for a reason: write now, edit later

Stop googling synonyms and save that for editing

Write with a pen to reduce temptation to erase

Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail

It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page

Lack of inspiration (easiest to fix)

What it looks like:

Head empty, no ideas

What do I even write about???

I don't have a plot, I just have an image

Want to write but no story to write

Things that can help:

Google writing prompts

If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out

Instead of thinking about the story you would like to write, think about the story you would like to read, and write that

It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing

Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them

If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later

Boredom/Understimulation (lost the flow)

What it looks like:

I know I should be writing but uugggghhhh I just can'tttttt

Writing words feels like pulling teeth

I started writing, but then I got bored/distracted

I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window

Things that can help:

Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.

Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or speech-to-text

Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score

Find a writing buddy or join a writer's group

Give yourself a reward for every writing milestone, even if it's just writing a paragraph

Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer

Intimidation/Procrastination (often related to perfectionism, but not always)

What it looks like:

I was feeling really motivated to write, but then I opened my laptop

I don't even know where to start

I love writing, but I can never seem to get started

I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)

Can't find the time or energy

Unreasonable expectations (I should be able to write 10,000 words a day, right????)

Feeling discouraged and wondering why I'm even trying

Things that can help:

Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started

Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)

Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person

Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement

The Problem's Not You, It's Your Story (or Outline (or Process))

What it looks like:

I have no problems writing other scenes, it's just this scene

I started writing, but now I have no idea where I'm going

I don't think I'm doing this right

What's an outline?

Drowning in documents

This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)

Things That Can Help:

Go back to the drawing board. Really try to get at the root of why a scene or story isn't working

A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go

If you don't have an outline, write one

If you have an outline and it isn't working, rewrite it, or look up different ways to structure it

You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural

Study story structures, starting with the three act structure. Even if you don't use them, you should know them

Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers

Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough

Executive Dysfunction, Usually From ADHD/Autism

What it looks like:

Everything in boredom/understimulation

Everything in intimidation/procrastination

You have been diagnosed with and/or have symptoms of ADHD/Autism

Things that can help:

If you haven't already, seek a diagnosis or professional treatment

Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)

Seek out neurodiverse communities for advice and support

Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch

Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)

And Lastly, Burnout, Depression, or Other Mental Illness

What it looks like:

You have symptoms of burnout or depression

Struggling with all things, not just writing

It's more than a lack of inspiration- the spark is just dead

Things that can help:

Forget writing for now. Focus on healing first.

Seek professional help

If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic

[physalian]

How to Make Your Writing Less Stiff Part 3

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

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

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

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

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

She was standing /// She stood

He was running /// He ran

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

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

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

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

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

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

2. Putting character descriptors in the wrong place

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

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

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

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

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

3. Lacking flow between sentences

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

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

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

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

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

4. Getting too specific with movement.

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

A ridiculous example:

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

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

Jack shoves on his running shoes.

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

This also happens with multiple movements in succession.

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

Or

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

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

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

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

—

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

[writer-logbook]

How to improve your writing style : a 5-steps guide.

Intro : I love the 5-steps format, don’t mind me. Again, this essay is based on my personal experience.

Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)

Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.

Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).

Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).

Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

That’s all for me today. Since I would be entering my proofreading phase for my writing contest, the next essay would probably about proofreading (with examples from my own novel ?). Unless someone wants me to write on a specific subject first.

Gentle reminder that I’m still French and not a native so please forgive my dubious grammar and outrageous mispellings.

[derinwrites]

Plotting a story -- inductive and deductive plotting

When it comes to plotting habits in writing fiction, there’s a scale. Most people label the ends of this scale ‘gardener’ and ‘architect’, although the terms ‘plotter’ and ‘pantser’ are also in use. If you’re a writer, you probably know this scale, but I’ll briefly explain for those who haven’t and then get into my model.

An architect, or plotter, is a writer who thrives with a lot of planning. Like an architect planning a house, they assess what story they’re telling in advance and what needs to happen to tell it. They assess the materials, plan and measure the acts (if they’re using an act structure), decide on the climax and how the characters will develop and map those onto the plan. Then, with a plan, they write.

A gardener, or pantser, by contrast, writes ‘by the seat of their pants’. Pantsers may or may not know where their story is going in broad terms, but they certainly don’t know in any detail beyond ‘this’ll be a cool scene if I can get it there’. To these people, writing is less like architecture and more like gardening – you can build your beds and plant your seeds, but a whole lot of what’s going to happen next depends on how the plants grow, and all you can do is keep an eye on them and prune or train them as necessary. You can dream about what your garden will look like in the spring, but you won’t know until you get there.

Plotters and pantsers are not two distinct categories of writers, but ends on a scale. The writer who ad libs sentence by sentence with no goal at all is extremely rare, as is the writer who starts from an overall view of the plot and cuts it down and down until they’re planning on the sentence level. Most writers tend towards one end of the scale to a greater or lesser degree, but very few write completely using one method and none of the other.

The plotter/pantser scale is one that many writers find incredibly useful to help them understand their own process. By knowing where you are on this scale, you can better understand how you write and better understand how the habits and advice of other writers may or may not be useful to you. (A pantser trying to meticulously plot their story in advance following some formula they found in a writing advice book is wasting their time.) However, this model has little utility beyond that, which is why I find it more useful to address the phenomenon not as a scale, but as the manifestation of two separate skills, that I like to call deductive and inductive plotting.

In logic, deductive reasoning is when you take broad rules or generalities and apply them to specific circumstances to predict things – you start big and go little. “Things fall when you drop them, therefore if I drop this rock it will fall” is deduction. Inductive reasoning is the opposite – you start with small observations and build them into a pattern to predict something bigger. “I dropped seventeen objects and they all fell; therefore, perhaps when you drop things, they fall” is induction. (There’s also abductive reasoning, but that doesn’t fit into our plotting skill metaphor.)

In my experience, these skills match to the habits of plotters and pantsers. Plotters, or architects, assemble a big picture of the story they want and then deduce their individual scenes and fill in the lines to map to their overall general picture. They are deductive plotters. If you ask a deductive plotter to start writing without an outline, they become lost and their output seems directionless and erratic – how can they know what to write if they don’t have an outline to break things down from? Deductive plotters tend to think of stories in terms of overall structures and themes that can be broken down into characters and events and put on the page.

Pantsers, or gardeners, are the opposite. They’re if-then writers, and build the plot upwards from the individual actions of their characters and create the story from the sum total of those interactions. They are inductive plotters. Brandon Sanderson often describes a pantser’s first draft as just a really thorough outline, and he’s not wrong; a pantser needs the scene-by-scene minutae to know what happens next. How are they supposed to build an outline if they don’t know what happens next? If you ask an inductive plotter to build and follow a thorough outline, their writing often comes out as wooden and arbitrary as they have to force the actions of the characters between the restrictive rails of predetermined plot. Inductive potters tend to think of stories in terms of characters and discrete events that build up into something bigger with a consistent mood or theme. Inductive plotters sometimes complain of their characters having a life of their own and defying the plot – this is the effect of their moment-by-moment if-then reasoning of the character’s next action not matching their initial predictions, and surprising them.

Again, the vast majority of writers have some rudimentary skill in both inductive and deductive plotting. A strong deductive plotter (architect) can usually sit down and infer line-by-line a scene that their outline lists as “the three characters meet in the coffee shop and share evidence, Rosemary sees Harold’s notes and realises where the gun went.” Similarly, a strong inductive plotter (gardener) usually has some idea of where their story is headed next even if they don’t know how long it’ll take to get there or what complications will pop up in the meantime. But I’ve never met a writer who is equally strong in both inductive and deductive plotting; most writers specialise heavily in one, and tend towards one end of the scale. I think this is because there’s such a huge overlap in utility; when we start learning to write, we start plotting in whatever way is easiest for us, and train that specific method over decades. There’s little reason to invest even more decades into getting just as good with the other method when your favoured method already achieves everything you want.

I find that viewing this scale as the result of two skills, inductive and deductive plotting, can be very helpful in understanding specifically how we write. Thinking of myself as a heavily inductive plotter with rudimentary deductive plotting skills has really helped me understand why some methods of writing work for me and others don’t, as well as help nail down specific weaknesses in my writing. I also find it useful to think of writing styles and strategies not as some unchangeable characteristic we were born with (as the plotter/pantser scale is frequently envisioned), but as skills that can be built. You don’t write the way you write because you happen to be a plotter or pantser – you write the way you write because that’s what you learned to do! And it was hard! And you did it! Be proud of your skill!

[museaway]

✨ love your fandom asks ✨ 

Saw the opposite of this floating around and thought the reverse might be fun.

list 3 positive things about your current fandom(s)

a headcanon you weren't sure about at first but have come to like!

a character that fandom has helped you appreciate

say something nice about a ship you don't ship (it can be another ship in your fandom, a mutual's OTP, etc)

something you see in fics a lot and love

something you see in art a lot and love

your favorite tropes to read/write/draw

you hope more people will come to appreciate ___ (a ship, a trope, an episode, etc)

a ship that isn't your OTP but that you enjoy

a blog (mutual or one you follow) that has made your fandom experience brighter

if you're a writer or artist, what fic or piece of art are you proud of making?

compliment someone else in your fandom

your favorite type of fandom event (gift exchange, ship week, secret santa, prompt meme, etc)

the ship that always makes you smile

the character that always makes you smile

a tiny detail in canon that you want more people to appreciate

the thing in canon that everyone loves and that you also love

a fandom tag that you track

your current fandom(s)

your very first fandom!

a fandom you're not active in anymore but that you still really like

the fandom friend you've known the longest

the fandom you're curious about because of a mutual

how has fandom positively impacted your life?

a piece of advice for taking care of yourself in fandom spaces

[aphrodeiities]

ᴘʟᴀɴᴇᴛꜱ ɪɴ ʀᴇᴛʀᴏɢʀᴀᴅᴇ

thank you for the 10,000+ followers! a game with no exchange will be released:)

now that i've written and understand planets in retrograde thoroughly they will be included in chart readings for free.

THE SUN AND THE MOON CANNOT BE IN RX.

MERCURY IN RX

♇ having mercury in rx makes someone think more often, especially over the most pettiest things they think is big. they're very anxious people, and since it is in retrograde it could be implied that they're "wired differently" they think more out of the box, and even speak different, how they speak and write could be very distinct.

♇ mercury in retrograde could give someone inactive relatives, or cousins and siblings they're not close to. and since they're people who doubt themselves a lot, they could stall themselves from the path they're supposed to take, being their own obstacles. they could also be people who take some time to take in/process information.

♇ as i said they're people who hold themselves back a lot, this could link to their childhood, might've had people speak over them and silence them when they were younger.

VENUS IN RX

♇ people who have venus in retrograde might focus on love too much, and they could be people who have a struggling relationship with women. sisters, women who are their cousins and women who are their friends.

♇ they could also be very secretive people, they have a hard time opening up, which could make them be deemed as cold. they have a hard time giving and receiving affection.

♇ they could be bad at handling money, and might think everyone is out to get them. they could find it hard to love themselves, having venus in rx, is the peak of the "tortured poet".

MARS IN RX

♇ those who have mars in retrograde could have a hard time getting along with men, or even with the opposite sex. to have mars in rx could mean you could be considered as someone who i very intense. can a hard time expressing your sexuality and aiming for your goals.

♇ instead of learning life lessons quick, they are normally stubborn people and barely listen to advice given to them by trusted people. could be people who are too hesitant, say and do things at the wrong time and place.

♇ people with mars in retrograde might've gone through sexual trauma, could be scared to be intimate with other people. they're people who hate authority or people trying to have dominance over them. the type of people to not listen to the rules and break them.

JUPITER IN RX

♇ people who have jupiter in rx are the definition of "thinking out of the box", they're people who do have moments that question their faith and some of these people tend to have a God Complex.

♇ sometimes they feel like they're the unluckiest person in the world, might feel like they wont be able to travel the world like they want to. could also have long cycles of depression.

♇ having jupiter in retrograde can mean they're someone who marches to the beat of their own drum, they can be very detail-oriented people, which sometimes mean they feel like they can judge anyone and think of themselves to be flawless. jupiter in rx people are the type of people who want everything in their future to be perfect also, without life's trials and tribulations. can be unrealistic.

SATURN IN RX

♇ as it is told, saturn in retrograde brings a father that wasnt in the person's life, the person who has the saturn in rx can make someone feel like they're being punished by life all the time.

♇ this could also mean they might find it hard to express themselves emotionally, could be due to their childhood. they go through many trials and tribulations, makes them depressive, but in the end they become really wise.

♇ they doubt themselves a lot, could have trouble balancing themselves, and their masculinity, could be too domineering.

URANUS IN RX

♇ people with uranus in rx do not like change, they're likely insecure, [not all are going to be due to different commodities in a chart], but these are usually people who think they are not going to succeed in life.

♇ they sometimes feel like they're in control of nothing which pushes them into their need of controlling everything. they're quick-thinkers but still over-thinkers. they feel like they can never feel nice in a platonic or romantic connection.

♇ it leads them into being paranoid and chaotic. they might also put themselves in a box to make things easier, don't know they're limiting their potential when doing that, they're so much more and need to understand it.

NEPTUNE IN RX

♇ to have neptune in rx could make the kin be very delusional, might find it hard to separate idealistic views with reality. definitely reminds me of alice in wonderland. they're very spiritual people but can over-whelm people by adding their faith into everything.

♇ could be really good at manifesting; trust issues but sometimes are stubborn from learning their mistakes. can be deemed as very dreamy and compassionate.

♇ they could have this feeling of needing to save everyone. their trials and tribulations are a creative outlet for them, another indicator of being the tortured poet. [but the tiring and damaging things they go through are usually expressed through their art, which includes writing, story-telling, writing music, painting etc].

PLUTO IN RX

♇ i do get surprised when i come across these in a natal chart reading, but, pluto in rx folks definitely do hate constraint, they dislike authority and feeling like they're being controlled, which could push them into trying to control other people.

♇ could be escapists through drug and sex, they could also find it hard to accept their dark-self. easily infatuated people, people can get easily obsessed with them as they can get with other people.

♇ good money makers, could manipulate others with materialism, though, they might not be confrontational, could feel easily intimidated. sometimes could never see the potential in themselves can be their own obstacle.

masterlist

pluto

[imbecominggayer]

How To Scare Your Readers

tw: mentions of murder and other horror media, its not specific or gorey but I just wanted to mention it

Today is one my hardest asks as it is a highly individual process to freaking out your audience with @differentnighttale asking: "How do you write horror, and how do you write it good nail biting and very unsettling type of horror."

Specifically, we are focusing on supernatural horror and dark fantasy. Due to the fact that there are numerous ways of scaring an audience, I'm going to focus on more diverse and interesting ways to freak out the readers. There are obvious tricks like "focus on the tactile senses" and stuff like that but let's cover something not as cliche!

Again, there are many ways to instill horror.

One: Combine Beauty And The Macabre

While this is a common trick seen in visual horror such as the works of Junji Ito or Midsommar, it's also an important and useful element in other beloved horror media.

This can be useful for a myriad of reasons.

The ability to combine the fantastical beauty of the scenery with death or the lovingly detailed imagery of a victimized body might be just the thing to elevate the scenery and visuals.

It also works to surprise your readers. If you are reading horror, you expect the murder and terror to appear in dark hospitals and obviously disgusting places. But what if the horror was in a cherry blossom field? In the church? In the character's childhood bedroom during the sunset?

It follows the perversion of the familiar. Most people internalize certain environments are seperated from society which might assist you if you are going for that specific type of horror. BUT! If you have horror in the supermarket, in the coziest little cottage, in the beauty.

TWO: Focus On A Specific Brand Of Horror

This is especially important for horror that is based off of pop culture spooks such as ghosts, ghouls, witches, zombies, and werewolfs.

Doing some research into why these monsters have survived in the public mind and what exactly is frightening abou them can influence your settings, characters, and horror.

There is horror about isolation.

There is horror about losing yourself.

There is horror about the female body.

There is horror about puberty.

There is horror about gender dysphoria.

There is horror about everything.

Decide what is the core fear you are proding at.

THREE: Be Ambiguous

Readers are comforted by linear stories with a beginning, clearly laid out morality, and a clear cut ending which provides either a happy ending or a sad ending.

Messing up any one of these things can lead to your story haunting the minds of your audience for a long time.

Midsommar is constantly debated about over if the ending is happy or sad.

Joker(2019), a thriller but not a horror, is infamous for it's amazing usage of hallucination and delusion to tell a non-linear story with a confusing ending.

Leaving the ending, villain, characters, or plot ambiguous and not clearly detailed might elevate your horror :)

FOUR: Use Your Own Fears

When you write about what scares you, that natural fear tends to radiate into your writing more naturally :)

This fear can be a lot of things from the specific phobia of bugs to the fear of being mistreated by a loved one.

Conclusion:

I hope I gave you some interesting advice that you haven't heard before @differentnighttale

p.s: at what point does something become "Mature"? I did mention "murder" throughout my post somewhat frequently but I never went into specific detail so I can't tell if it's "Mature" or not?

If it is mature and I mislabeled it then I can edit it to be "Mature"

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

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