thewritinggrindstone

[thewritinggrindstone]

someone I follow on the bird app just announced they’re starting a very exclusive private fic server because they and a bunch of other people want to talk about how much they love the fics they’re reading, and as an author can I just say that a really great place to talk about a fic you love is in the comments for that fic

I understand that people are trying to create safe spaces, but as the number of comments that I get on my fics dwindles with each passing year, knowing these spaces exist where my fics are being discussed, places that I am excluded from, makes me want to write fic LESS

I mean I guess who cares, right, because if I stop writing, there’s 10,000 other people that will continue…but if you participate in a fic “book club” server and you say nice things there about a fic you loved, maybe copy and paste that into a comment on AO3?

the only thing fanfic writers are asking for in return for hours of hard work is attention. please don’t rob us of the one thing that we hope for when we hit “post”

[thewritinggrindstone]

one thing that’s really apparent to me about people who think you can write something worthwhile using AI is that they clearly have no idea how much goes into crafting a story that is good and engaging. It goes several hundred miles past the technicalities of writing and even the prose

[thewritinggrindstone]

writing tips - banter

I LOVE BANTER WE ALL LOVE BANTER HIP HIP HOORAYYYY!!

Banter is a lovely addition to dialogue between characters. It means a lot of different things - sass, genuine insults, flirting....all sorts of options.

But overusing banter can make conversations sound circular. It's a fun 'fluffy' piece of dialogue, but doesn't do the best job conveying plot.

Pedantry vs teasing

Pedantic speech is basically nit-picking. Somebody who can't bear to let anything slide, no matter how small. This is an interesting character trait and one that adds depth, but if it's unintentional it sounds frustrating. Sassy characters are fun, especially when they go off in an inner monologue.

If a character has a quip for everything, it adds a layer of whiny-ness. Sarcasm is a fun way to tease and complain. Constant complaining gets on a reader's nerves after a while. Soon there becomes so much commentary it's hard to dissect what is actually being described.

Unless your OC has no sense of social boundaries, there's usually a break in between jokes to read the room.

How do I know when enough is enough?

Think about the character. If they have that wonderfully sardonic rapport with their peers, that's great! Why do they act like that? Is it a sense of humor? Is there a running joke? When you incorporate the banter, keep it in the confines of those parameters. It'll still enrich the conversation without overwhelming it.

It's a learning curve!!!!!

I like to do it this way:

write the dialogue as banter-y and indulgent as possible. When the scene is finished, I reread and pick out the really funny bits and discard the rest or move it to a different scene.

Sometimes those indulgent character moments help the really good stuff push to the front of your mind. Go for it! You know your story better than anybody else; if it's telling your story the way you want, that's all that matters.

[thewritinggrindstone]

How the heck do people write short fics??? Any time I try to plan something that I WANT to be small and simple, wHOOPS suddenly there's 50 characters navigating a lengthy plot with many shenanigans in order to save the world and people are dying probably. Not - everything - has - to - be - like - thiiiiiiis ugh. Short fic writers, please share your secrets!

There are a few things I do when I’m writing one shots and short fics:

have a simple, direct plot that doesn’t take a lot of twists and turns

just write one or two scenes with no particular ‘plot’ but an emotional goal

skip the details and descriptions for the most part

spend more time on dialogue and/or moving the plot forward than on giving a full picture of the scenes

Extras / OCs that only serve one purpose don’t get full backstories and descriptions. They don’t need them. They’re lucky if they get more than a name.

When I’m writing short fic (which is most of the time), it’s more of a sketch than a painting. I’m getting the ideas across but I’m not filling in all the bits and pieces that I could. 

Short fic authors: what advice do you have for anon? How do you manage to NOT write 300K? 

[thewritinggrindstone]

alright, as much as every writeblr jokes about never doing work and making memes instead of writing, i think its important to acknowledge that we all do work hard on our WIPs. We write and put in the effort, sow our seeds to see the outcome. You guys all work hard and as much as the jokes are funny yall shouldnt sell yourselves short. 

[thewritinggrindstone]

Writing Descriptions

I was just musing recently about this, so thought I’d share some bits about how I try to build compelling descriptions of scenes/environments. Normally I just post fan art but eh, diversifying lol.

Having an agenda

I found both reading and writing descriptions that if I don’t have an objective for them they end up feeling aimless and sometimes forgettable. I am always trying to build a narrative. It can be as simple as “this building is old/unused” or as complex as ‘contrasting a bright atmosphere with an underlying coldness as an allegory to a character’s crushing isolation in the face of their personal grief/pain’. What does every line and descriptive word contribute to what you’re trying to do? What emotions or vibes are you trying to evoke? How does every part of it tie together into a cohesive picture instead of a bunch of disparate parts?

2. Utilizing descriptions as a tool

descriptions inherently tend to center a story in a specific setting, or serve as our senses to experience the story alongside the characters — but I try to use it as more than that when possible. How you can use it may vary with what person you’re using, but even third person (what I typically use) descriptions can give you a glimpse into the headspace of your character. This can be really helpful when writing a character who isn’t very emotionally self aware, or a character who is stoic. I typically use this one of two ways.

First one is seeing through the eyes of the character. How do they see this other character? How does their emotions, history, etc affect their impressions about different settings? For example, a characters with religious trauma might have a more negative/emotionally loaded perspective when walking into a church which can manifest at different levels of subtlety within the description of the environment.

second one way is just to get the reader on the same page emotionally as a character. If the character is desperate, incorporate that emotions/vibe into your description of the setting or even of them. If they’re lonely invoke that, etc. Note that this can also be used for plot beats and not just character moments.

Also total side note, but I’d reccomend not taking any writing advice too seriously. Explore how people write their stuff, take little tidbits here and there when it speaks to you and your style, and toss aside anything that doesn’t work for you.

[thewritinggrindstone]

nonbreaking spaces are just the start!

Ok, as a writer who ALSO loves using em dashes to denote a sudden cessation of speech, and as an editor, I am BEGGING whoever typesets the files for JLA's physical books:

Use nonbreaking spaces between an em dashes and closing double quotation marks. PLEASE. FOR THE LOVE OF GOD. I cannot handle multiple instances of an em dash at the end of one line and the closing quotation marks at the beginning of the next.

This is torture and I hate it.

[thewritinggrindstone]

Screaming: when we say writers should read we aren’t saying we need to swear off movies, tv, games or that it’s forbidden to take inspiration from those. What it’s important is that you are consuming art in the same format you are making it, whatever that is. The story matters but what also is necessary is how you use the format to its best potential. Watching films and tv isn’t going to tell you how best to utilise written language, which isn’t to say nothing useful or inspiring can be gleaned from them, but they are running on different rules than novels, particularly on the finer details, and it’s those finer details that can’t be overlooked.

[thewritinggrindstone]

“Be curious about what you’re writing about” is not stock Common Writing Advice but it really, really should be. There are a lot of written works that fail due to the authors just being obviously incurious about what they are writing about.

[thewritinggrindstone]

something I think we all know about fanfic, but don’t talk about because it would hurt writers feelings is that some fics are like fast food. I mean this as a compliment. I don’t always want to sit down for a six course meal that will be a flavor experience. Sometimes I just wanna dip some fries in a frosty. Sometimes I want something homecooked and delicious and super niche, but super comforting. Sometimes I want to eat an entire dark chocolate cheesecake in one sitting even though I know Its gonna make me sick. Just. holy crap, y’all. Sometimes I don’t even want fast food, I just want to eat an entire bag of chips. and yeah, I’m ashamed of myself afterwards, but at the time it was exactly what I wanted. So, no, we’re never going to say to our fanfic writers that we consider their writing to be the equivalent of a midnight run to taco bell - and we shouldn’t, feelings would be hurt by that. But writers, please, please, please, remember this. You don’t need to create a six course meal if you don’t want to. You don’t have to make something complex and homemade if you don’t want to. You don’t even have to finish cooking it - because someone will be thrilled that you brought a bowl of cookie dough and a spoon, because they cannot even consider sitting down and having a proper meal right now. It’s okay writers, whatever you decided to make. Someone was happy to have it. You gave them what they needed. You made them happy. You did good.

[thewritinggrindstone]

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

[thewritinggrindstone]

I've had this little idea in my head for a while now, so I decided to sit down and plot it out.

Disclaimer: This isn't meant to be some sort of One-Worksheet-Fits-All situation. This is meant to be a visual representation of some type of story planning you could be doing in order to develop a plot!

Lay down groundwork! (Backstory integral to the beginning of your story.) Build hinges. (Events that hinge on other events and fall down like dominoes) Suspend structures. (Withhold just enough information to make the reader curious, and keep them guessing.)

And hey, is this helps... maybe sit down and write a story! :)

[thewritinggrindstone]

Writing Reference: Editing your Novel

Levels of Editing: Beta Reading, Developmental Editing, Line Editing, Copyediting, Proofreading

Developing your Story: Plot- and Character-Driven Stories

Novel-Editing: Developmental Editing; Line Editing; Copy Editing; Proofreading (with checklist)

Structural Issues: Plot, Character, Setting, Pacing & Others

Chapter Maps: For Plot Holes, Chronology, Lagging Sections

Style Sheet ⚜ Sentence Check ⚜ Structural Edit

Tips/Notes: Editing a Fight Scene ⚜ from Zadie Smith

Revising vs. Editing ⚜ Revision Strategies ⚜ Conscious Language

Self-Editing ⚜ Editing your Own Novel ⚜ Structural Edit

Some Editorial Vocabulary

[thewritinggrindstone]

What To Do About Filler

I am deeply frustrated at the increasing usage of the concept of "filler" in writing, partly because how people are using it is completely separated from what it usually means, and partly because few people explain what they actually mean when a story lacks "filler."

So, in short, when this comes up, what people usually are talking about is:

A lack of subplots. Subplots are essential background to developing your story beyond the main action points. Subplots include romantic storylines, internal journeys (learning to deal with a trauma, for example), plots that are critical for secondary characters, etc.

No room to breathe (aka pacing). Keeping up the tension is a common piece of advice, but if every single scene is filled with tension, you're going to exhaust the reader (and yourself). Quieter moments allow characters to reflect, realize things (like feelings for each other), and give you space to establish worldbuilding and mood.

Rushed or missing character development. Giving your characters space to learn things about themselves, confess or realize feelings, and moments to make decisions and change are essential to a story. Defeating the big bad is important, but usually the inner strength to do so comes from the character changing over the course of the story.

I am losing the battle against using the word filler when you mean a story lacks other things. Other than shaking my fist at the youths, I suggest that if you get feedback about "filler," see if you can get specifics. Is it an issue with pacing? Character developments? Not enough description or worldbuilding? If a romance seemed rushed, at what points does the reader think there should be more interaction? Etc.

A note for fanfic writers: Your goals are often different from someone writing to publish, but hammering down what filler means can still help you as well. Narrowing down the point of your story ("in this drabble, these characters flirt without using words" or "sexy coffeeshop AU") and making sure to ask your beta readers if what you're writing fulfills that goal can help you figure out if your story is making the impact you want.

[thewritinggrindstone]

Another storytelling rule I think people should remember is the law of diminishing returns. If you keep on ramping up the stakes higher and higher and higher, after a point it gets to where the audience can’t really care anymore.

[thewritinggrindstone]

I think that there's a feeling that, if you start writing something and don't finish it, it's a failure.

As someone who has far more unfinished pieces than finished pieces (sorry to anyone who reads my stuff on AO3), here are a few good things about doing this:

First, all writing is practice. Just like there are reasons to sketch and do practice drawings, writing even unfinished pieces builds your skills in drafting sentences, characterization, voice, tone, and even working in a variety of styles. If you start a story in a new style, even if you never finish it, you have some experience in that style now.

It can also tell you what you love or hate about something. Sometimes you don't finish something because you realize you don't like it. That knowledge is also valuable.

Second, you can always go back to unfinished work. The main novel that I'm querying right now is one where I wrote the first couple thousand words and then didn't touch it again for probably at least a year and a half. It's now a finished novel.

Sometimes you need space away from a story to make it work. Sometimes you need to improve your writing skills to be able to accomplish whatever you were trying to accomplish then. Sometimes you need a mental or physical health break or you just need more time in the day before you can finish something.

Third, writing is fun and you shouldn't hold yourself or your sense of success at writing to how many stories you finish. Did you enjoy yourself even for the period of time that you wrote whatever you wrote? Did you end up with something cool, interesting, fun, exciting, weird, or different? Great, that's all a victory.

[thewritinggrindstone]

Please, if you are a self-publishing author an indie author, learn the basics of book formatting.

Please.

The standards are in place for a reason. Margins are the size they are so that your thumb can rest comfortably on the sides of the book without blocking any text, and so you can read the text along the middle without tilting the book back and forth to see around the bend. Bleeds are so your margins don't get cut down too much when the text block is trimmed, you need them even if you don't have images in your book. Spaces between paragraphs are an internet convention and do not belong in books unless you are indicating a scene break.

Please. These rules aren't there to be mean. They are there for FUNCTIONALITY.