#back writing advice

[icy-writes]

Bad writing hack:

If you scream at the cursor on your word doc, it will get scared and magically make the story appear.

[heywriters]

If you want to write a dumb little story with a dumb little plot and ridiculously silly characters. No one's stopping you. Genuinely, no one should be allowed to stop you. Write that dumb story with your whole heart and don't hold back.

[coyote-nebula]

To everyone who has lush fields ripe with story ideas but is struggling to go out and actually harvest them with your writer’s scythe: that’s alright. There’s a reason.

I see writers despairing or making self-deprecating jokes about how many wips they have, as if the ability to come up with the idea is equal to the ability to finish it out into an end product.

It isn’t.

A lot of our ideas come about, not because we were determined to be productive writers, but because daydreaming is an internal escape from life’s demands.

Writing is a demand, too.

Resting and relaxing are basic needs, unlike the high level, abstract satisfaction of being creatively productive. That’s why you might daydream (which is a mild and normal form of dissociation) ideas that you feel good about, and then struggle to research, write the words, fill plotholes, check grammar, revise— all the critical thinking and executive function things involved in creation. Your basic needs must be satisfied before your higher needs can be met effectively.

So, if you’re daydreaming about your stories extensively to mitigate stress, it’s expecting a lot of your stressed self to return from fantasy land, sit down in the cold hard real world and do the hard work to write masterpieces of literature. Those operations are at opposite ends of the spectrum.

Writing is hard. Making yourself feel guilty is only going to make it harder. You don’t have to atone for entertaining or distracting your mind by making that available to other people. Daydreaming is a valid end in itself.

Don’t feel bad about having ideas but not being able to write them. Scribble some notes if you can, if you want, but above all enjoy the escapism and take care of yourself first. The words will come after.

[maelancoli]

i cannot stress enough how important it is to write at your own pace. to give your mind and spirit room to breathe, to process your creativity and allow it to come organically to you. goals and discipline are a good and necessary part of any hobby, especially writing, but so is rest. rest prevents burn out. and if you push yourself until you burn out you will wind up taking even longer to complete projects or meet goals. even if you are already burnt out that's okay. this is your sign to give yourself the grace to take breaks. your story, your muses, your brilliant ideas will be waiting for you to pick them up with proper enthusiasm when you're ready.

[aidaronan]

PSA: That thing you're writing that doesn't fit someone else's headcanons? Write it anyway.

That thing you wrote and, oh no, someone made a tumblr post that says that characterizations like yours are incorrect, and now you feel like you wrote something "wrong." You didn't. You had a different opinion, consciously or not. You're allowed.

That random word someone says no one should ever use in a story but you kind of want to use it? Use it. (Like sometimes "chuckle" really is the best word for the specific laugh you're describing. Specific words exist to do specific jobs. If the best word for the job is "moist," use fucking "moist.")

I spent a lot of time being concerned about random rules that aren't even real rules, and it's not worth it. You aren't writing something wrong because you have a different opinion on a character or because you like a trope someone else doesn't like.

And most writing rules (yep! even grammar!) can and should be broken if it's effective in the situation. Yes, stories should be reader-friendly, and rules broken for emphasis should be used sparingly, but you HAVE to experiment to get a feel for where the sweet spot is. And! That sweet spot is going to vary based on what you write and who you are writing it for.

Let yourself write the thing you want to write the way you want to write it. Let yourself get a little weird in a lot of ways. Most importantly, do what is FUN for you or what's the fucking point?

[novella-november]

Media Preservation Monday

Yeah, yeah, as of this original post it's actually only Wednesday but hey, take this as a sign to take some initiative, and keep to it each Monday at minimum if you're actively writing!

What's Media Preservation Monday, you may ask?

MPM is your reminder to back up your writing at least three ways at least once a week or whenever you make major changes to your document(s).

Here's some incredibly easy ways to back up your writing:

One your Master Document(s), put a date on the file name, and every day you make changes, "Save As" the Document and change the date. Do this every time or day you make major changes.

Example: You start writing your Novella November Story on November 1st.

You name your master document "Novnov Project 11-01-2024"

The next day, you write some more, and at the end of your writing session, you go to save your document, and instead of simply hitting "Save" you choose "Save As" and save the new copy of the Document as "Novnov Project 11-02-2024".

You now have two copies of your project, and if you keep this up throughout the whole month, you will have a live snapshot of your writing progress.

Each day or after each major writing session, open up the folder containing your document, and back it up. The Easiest and simplest way to do this is to simply email it to yourself, but you can also create multiple backups by:

Save a copy of your dated Master Document(s) to different locations on your Hard-drive, to an external hard-drive, to a thumbdrive, etc.

If you're writing offline on a writing program like Libreoffice, upload a copy of your Master Document(s) to your preffered Cloud-based Writing Program of your choice.

Vice Versa: if you write on a Cloud-based writing program, download it to various offline-based locations.

Download the base document as well as download it as various ebook formats and send them to your ebook library on your phone or kindle or nook or reading app.

Make a personal discord server and upload the document/epub form of your Master Document(s) there [this is also a good way of making a kind of personal journal / diary etc]

Whatever you do, do not be complacent and assume nothing can happen to your writing. Back it up. Preserve it.

Don't have all of your hard work go down the drain because of one tiny unforeseen accident.

When it comes time to clean up your hardrive, always assume you don't have it backed up. Before deleting anything always take the time to copy it over to another physical drive or a cloud drive.

[glorious-destruction]

no one talks about the fear that you forgot how to write after taking a break from your wip

[writingwithfolklore]

Surviving Death

                I am a sucker for revival after character death—as long as it’s done well. Maybe in the future we’ll do a separate post on killing characters, but what I’ll say about it now is that revival can be a fantastic plot twist or narrative turn as long as both it and the death has proper meaning.

                While you may want to revive a character for a happy ending--they wake up and not only is the world saved but everyone made it out alive! This can also sometimes feel a bit cheap. What was the point of suffering the death if they were just to get to come back easy-peasy? Consider, would End Game have been as revered if Tony got to survive his sacrifice?

                So here’s some ways to bring a character back to life without losing the meaning of their death:

They are forever changed from the experience

A classic “came back wrong”, one of my favourite things in fiction. You get to choose to the extent they are wrong. Maybe the ‘wrong’ isn’t some supernatural influence, but rather just a result of the experience of dying.

                They saw something about the afterlife, they’ve lost memories, they’ve gained new memories about a past or a future or alternate timeline, they realize how much they mean to certain people, they discover just how little they meant to others, etc. etc.

                Their death (and subsequent revival) should quite literally change the course of their life. That’s not something one could go through lightly. Whether it gives them trauma, new perspectives, or a complete shift in personality/morals, they definitely didn’t come back how they left.

2. Sacrifice for a Sacrifice

Also a pretty common trope—you don’t get to gain something unless you lose something. To bring them back, someone else has to take their place, or something important is lost. Maybe to trade for their companion back, the main character loses the greatest asset to their quest. Maybe they have to choose between two people, and the two who live have to live with that fact.

                I read a book once where the main character had to choose between his love interest and his brother in a Saw-like trap. He chooses his brother, and the villain kills him anyway. Now he must continue his quest with his love interest, who knows he didn’t choose her. It was tragic, and completely changed their dynamic.

3. They’re only half back

They come back, but only some of the way. Maybe they are cursed to die again in a year. They’re tied to one place and will disappear if they leave it. They’re a ghost, or otherwise not fully present. They exist only in relation to certain objects or people. Their communication is lost, or certain other abilities they used to have.

                They came back, but only some of them—the rest is lost to the beyond.

Most importantly to reviving characters is the permanent consequences. Death is no easy thing to overcome, and whatever the circumstances are--it should remain with them forever.

                What are some other ways to revive characters?

[antisocialxconstruct]

the deep and profound betrayal when you're writing cruising along feeling so inspired and motivated only to suddenly get your knees knocked out from under you by one (1) specific paragraph

[mxxnlightwriting]

reminder that more often than not, it's important to take breaks from writing instead of forcing yourself through it. listen to your body and intuition.

i say this as someone who writes almost every day. sometimes, that isn't sustainable. sometimes, you need to take breaks from your projects because you're tired from working on them. i have to admit that understanding when to stop and take a break is a skill in itself, but with time, you will master it. you've got this. if not today, then tomorrow.

today, you rest. tomorrow, if you feel like writing, great! if not, rest a bit more. you know yourself better than anyone else. so trust yourself to know when to get back into writing. and don't punish yourself for not doing it.

[erinwantstowrite]

how do you find the motivation to write stuff, cus when my alarm to remind myself to write i just stand there like: 🧍‍♀️🫠

trust that i definitely struggle with this too. motivation comes in waves. sometimes i can't figure out if i want to write or not (or certain characters just don't want to be written).

a lot of the time, art block means that you're improving. you're noticing what you want to change about your art. and other times, you just aren't feeling good, or don't know where to start! whatever the reason is, it's not a bad thing, per say, that it's blocking you.

the best way to find motivation is to let your subconscious work on it for a little while and do something fun or creative in another way (like going to go get ice cream with friends, or drawing, or dancing, etc).

and always try to sit down to write. don't put any pressure on yourself. if you manage to get 500 words, that's awesome! if you manage to get 200, that's still awesome!! whether it's 0 or 2000, you're still technically working on your project.

putting yourself to a standard that you can't reach is gonna kill your motivation and your love for what you're doing. you gotta know what you can handle!! if you can write 500 words per day, or if you write 500 words per month, that's still you creating your art.

make sure you've got energy, that you're taking mental breaks, all that. write down what you've got even if you think it's so bad it should be thrown into the Mariana Trench and never see the sun again. you'll be able to come back to it with fresh eyes when you're feeling better!

overall: don't let yourself or anyone else take the fun out of your writing, and take care of yourself :)

[howtofightwrite]

Do you have any advice for writing an intense, overwhelming chase scene?

So, this is a little unusual, in that it's something I haven't really thought a lot about.

For a real world situation, the process is to identify or create an opening, and escape. Usually this advice is more focused for situations for situations where someone's cornered you.

Also, the real world advice is to avoid a chase if at all possible. You don't want to get into a situation where you're directly testing your endurance against your enemy.

As for writing a chase scene. This is one of those times when you want to be efficient with your words, keep things as concise as possible. When you get more verbose it “slows down” the scene because it is literally slowing your reader's progress down.

Chases can be very logistically intensive for you, simply because you need a fairly coherent mental image of how the locations in your story fit together. Maps can be extremely helpful for this, whether you choose to share them or not.

I don't think I've talked about this on the blog, maps can be very helpful for getting a concrete image of how your world is put together, though, they can also, easily, start soaking up more time than the value they offer. That said, even pretty crude maps could be very useful in planning a chase scene. This is one of the times when your world needs to lock together into a unified space, instead of being able to move characters between loosely connected locations.

If you want the reader to have a detailed mental image for the locations, then you should probably have them in those spaces before the chase. Though, this is a situation where some, “stock locations,” could work for you. Liminal spaces can work pretty well for this, because most of your readers are going to have a preexisting basis for understanding what those areas look like. For example: even if their image of an airport causeway is different from yours, you'll both be close enough to the same space that you shouldn't run into many problems where you need to define the entire area.

It's also worth considering that as the chase progresses, it's possible to get gradually more verbose. As mentioned above, this will slow the reader, and as a result the scene, but it can convey the loss of inertia as your character tires or finds themselves having to slow down because they're now in unfamiliar (and possibly unsafe) territory, without being extremely direct about your character's exhaustion. This is an area that can benefit from some pretty careful word selection to hint at fatigue without outright stating it.

I do apologize that this is all pretty high level, concept advice, and a lot of this can be applied in other contexts. And, a lot of the above advice are things to keep in mind for all of your writing, but chases do stress these specific parts of your writing and world building.

Beyond that, it's the normal advice: Remember your world is a living place, so other people would be going about their daily lives while the chase rampages through. Remember persistence consequences, such as prior injuries, or injuries inflicted during the chase. Chases might lead into situations where other kinds of consequences might become unexpectedly relevant, such as your character being forced to run through the territory of a gang they angered earlier in the story. This is an opportunity to bring in unexpected consequences. Even if you don't stick to it, at least have an initial idea for what you want from the chase, then let the sequence play out as you go. (Cleaning this up is what rewrites are for, but it is important to let the chase flow, before you go back and worry about cleaning it up.)

Like I said at the beginning, this is something I don't generally think about, so it's been a bit before I could get back to this question, and I hope this helps.

-Starke

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[amethysts-prompts]

Prompt #239

"You don't understand," Villain seethed, hand pushed tightly against their wound, "how hard I worked. I did..." They took several moments to pant and whimper through the pain. "I did everything I could, but you- you're the real monster here."

Hero was quiet.

"You don't"- they paused to groan. They kept bleeding, and it hurt. "You don't know me, Hero. You only see my actions; you don't- you don't consider their meanings."

******

Main writing blog: @amethystpath-writes

[mcflymemes]

maybe this is controversial but i promise... i promise you. if a certain blog won't write with you, or won't follow you back despite your attempts and your desperation to write with them... there's always another writer, another blog, another section of the community to explore. there are so many deeply passionate writers in this community who would jump at the chance to write with you. you don't have to whine and cry and vague and send anon hate and bully someone because they're selective, singleship, mutuals only, or they just don't want to follow your blog. leave them alone, and go find another person to write with.

[crimeronan]

been thinking about the rabies condition in writing lately, which is a GREAT post about stakes and characterization. basically exploring how if there's a 100% chance a character is doomed, then they can and will do extremely dangerous/damaging/contraindicated things for the slimmest hope of survival. which is one of my Favorite narrative devices

but while we're using health metaphors, i've been thinking about another somewhat complicated means of introducing character stakes, which i'm tentatively calling 'the autoimmune condition' for reasons that are. obvious

the premise itself is simple: the character has Something that they need to survive. they either can't live without this thing or they will lose something vital about themselves if they lose this thing. there is no replacement or alternative for the thing. what's most important are that the consequences for losing it are Extreme, rabies-condition-style

in the real life allegory, this is the immune system. which is great for being alive!

then the problem is introduced when this thing starts killing the character.

the character still needs it to live.

so: there is a 100% chance that you will die if you destroy the thing killing you. if you impair it through other means, there is a 100% chance of consequences, though the severity of those consequences is up to the author. (these are medication side effects in the real life allegory.)

if you do everything you're supposed to then you'll PROBABLY survive, but you're gonna have to play lifelong tug-of-war to balance everything, and you are often going to have to choose between two shitty options. bc there is no alternative.

this is a counterpart to the rabies condition in terms of stakes; with this condition, your character has to make complicated and difficult decisions about what they're sacrificing for their future. it's not the immediate life-and-death stakes of rabies, it's a slow decay instead.

what side effect consequences are they willing to take on?? and what are they NOT willing to take on?? where do their priorities lie in terms of symptom management?? what other solutions are they looking for?? what are they willing to sacrifice??

and perhaps most importantly: what exactly do they need to lose before they'll Accept the side effects / sacrifices that used to terrify them?? how high do the stakes need to be??

at what point is this character going to look back at the choices they've made up to this point, and realize that they no longer recognize themselves??

[jessepinwheel]

my very serious writing advice for people who are trying to write more morally complex characters is to stop caring about their morality and focus instead on their individual motivations

it’s hard to articulate exactly what I mean, but the essence of it is basically: when a character does a murder, not only do I not care about whether they’re justified in doing so, it’s straight-up irrelevant. a character’s moral standing from some nebulous universal standard has no bearing on the plot or their interactions with other characters and has no use in the story for me as a writer. what does matter is why the character thought they were justified and then if it comes up to other characters, what they think about it.

you can obviously think about your characters’ morality but it’s not your job as a writer to interpret your stories for your readers and tell them how to judge your characters. your readers can see the evidence for themselves and draw their own conclusions. your job is just to understand why a character is motivated to act in a certain way and have it make sense

focusing on character motivations is a much more versatile framework than trying to give them specific personality traits or moral alignments, and frankly more useful to understand why a character would do a certain thing instead of just what they do. that way when something fucked up happens and your character starts acting differently, there’s an actual logical reason for it that isn’t you forcing characters to do things because it’s what’s required to make the plot go

when you write your characters with the understanding that people are not static and they act differently under different circumstances, complexity in character and morality follows naturally.