Being A Writer Is Wild, Because I’m Really Sitting Here, Contemplating How Much I Should Break This

Things I’ve noticed are essential in plotting and would probably have saved me a lot of time if I had considered it earlier

The START of your story - how fucked up flawed is your premise/character at the start? what do they have to change? why are they HERE?

The END of your story - How do you want your main character/theme/universe to change after your story? Does it get better or worse? THIS SETS UP THE TONE DRASTICALLY.

What you want to happen IN BETWEEN - the MEAT of it. What made you start writing this WIP in the first place. Don't be ashamed to indulge, it's where the BRAIN JUICE comes from. You want a deep dive into worldbuilding and complex systems? Then your start and end should be rooted in some fundamental, unique rule of your universe (what made you obsess over it?). Want to write unabashed ship content? Make sure your start and end are so compelling you'll never run out of smut scenarios to shove in between scenes (what relationship dynamics made you ship it in the first place?).

The ANTE - the GRAVITY of your story. How high are the stakes? Writing a blurb or interaction? start with a small day-in-the-life so you can focus on shorter timelines and hourly minutiae that can easily get overlooked in more complicated epics. Or you can go ham on it and plot out your whole universe's timeline from conception to demise. Remember: the larger the scale, the less attached your story may get. How quickly time flies in your story typically correlates with the ante (not a hard rule, ofc, but most epics span years of time within a few pages, while a romance novel usually charts out the events of a few months over a whole manuscript.)

Everything else follows….?

Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

Nothing frustrates more than the realization that the world behind your eyes will never look back at you like a mirror from the page. But the frustration dissipates when you realize that if you fill the entire page so airtight with your world, then there would be no room for the reader.

personal interpretations and preferences aside, there's no limit to what you can make a character say/do without taking them out of character. everyone has a breaking point that pushes them to do what they normally wouldn't. give me the circumstances and events that pushed the character. tell me what they're thinking/feeling. tell me how they're justifying their words/actions, both to themselves and to others. if you can argue it, it'll still feel authentic.

When I'm trying to write, 80% of the time is used trying to figure out how the hell regular people talk.

Unfortunately I speak this language

What I Say vs. What I Actually Mean When Talking About My Writing

Ah, writers. We’re like caffeinated raccoons with a thesaurus—erratic, dramatic, and perpetually on the verge of either brilliance or a breakdown. We love our craft, we loathe it, we panic about it, and sometimes we have midnight sword fights with it (metaphorically… usually). For my long-suffering friends and family, here’s a guide to decipher the cryptic ramblings of an organism like me.

"I’ll finish this draft by the end of the week."

I will procrastinate for six days and have a meltdown on the seventh.

"This chapter just needs a little tweaking."

This chapter is trash, and I’m about to rewrite the whole book instead.

"I love my characters so much!"

I’m going to emotionally devastate them for fun.

"The plot is solid, I just need to flesh it out."

The plot is six sentences, half of which are question marks.

"I’ve got a new idea for a book!"

I’ve abandoned my current project and am fleeing the guilt.

"This is just a first draft."

Please don’t judge me for this dumpster fire.

"I’m doing research for my story."

I’ve been Googling ‘weird medieval punishments’ for four hours.

"I don’t care about reviews."

I’ve read every review. Twice. And cried over three of them.

"The ending needs a little work."

The ending doesn’t exist yet, but thanks for asking.

"I’m editing today."

I’ll spend 30 minutes on commas and four hours rearranging furniture.

"My characters took over the story."

I have no control over anything anymore. Send help.

"I think this draft is almost done."

There’s a 40% chance I’ll delete it tomorrow.

"I’ll outline my next project properly."

HAHAHAHAHA. Sure, Janet.

"I’m working on character development."

I’m Googling psychological disorders and debating tragic backstories.

"I’ll just jot down a quick idea."

I’ve accidentally written half a novel on a napkin.

"I’m worldbuilding right now."

I’ve spent three hours naming a forest and none on the actual plot.

"I don’t get attached to my characters."

I would die for this fictional idiot and cry over their demise daily.

"I’m starting fresh with this new story idea."

I’ve given up on my last three WIPs but refuse to admit defeat.

"I don’t need a deadline to stay motivated."

Without pressure, I will accomplish absolutely nothing.

"My characters feel so real."

I have arguments with them in my head while washing dishes.

"I just write for fun."

I obsess over every word and feel personally attacked by constructive feedback.

"I’m creating a writing playlist."

I’m avoiding my manuscript by curating vibes for the 30th time.

"I’m a writer!"

I am chaos personified, and I occasionally open Google Docs.

I think that “there are some fanfiction that are on par with or better than some professionally published books” and “you shouldn’t hold fanfiction to the standards you hold professionally published books as they are often only written by one not professional writer with no editor” are two statements that can and should coexist

in writing, if you're stuck on a sentence or paragraph you're supposed to just jusmp to the next part and keep writing. fine-tuning is for the revision phase not the first draft

unfortunately every single fucking letter is a bear trap

How to plant information elegantly

Say, for example, you’re writing a swimming pool scene and you need to plant the fact that Susan is blonde, because in a few chapters, the detective will find a blond hair at the crime scene.

You want the planted information to be memorable, but at the same time not stand out too much. The ideal is to push the information into the reader’s subconscious without a neon light arrow saying, “You might want to remember this, dear reader. This will be relevant!” The planted information needs to feel natural, organic, but memorable enough so when it turns out to be ✨a clue✨, your reader thinks, “I should have seen it!”

Let’s look at some options.

Susan, who is blonde, took a deep breath and dived into the pool.

This feels forced and awkward. The two pieces of information (pool + blonde) are not connected, the fact that she is blonde feels irrelevant and shoved in. If the reader remembers this, it’s because they noticed how the information is forced upon them.

Elegant ⭐

Memorable ⭐⭐

Organic ⭐

The blonde Susan swam across the pool. / The blonde, Susan, swam across the pool.

This feels more natural, but there’s a danger that only the swimming will stick into the reader’s mind because her being blonde is so unnoticeable. There is also a minor danger that the reader will expect an non-blonde Susan to show up in the first variation.

Elegant ⭐⭐

Memorable ⭐

Organic ⭐⭐

Susan was annoyed. She had just washed her hair with that ridiculously expensive Luscious Blonde shampoo and now her friends wanted to go swimming? What a waste of money.

This feels natural and organic, because both elements are conveyed from Susan’s point of view. They are both relevant and connected, and on top of that you get to build Susan’s character.

Elegant ⭐⭐⭐

Memorable ⭐⭐⭐

Organic ⭐⭐⭐

Her friends were already in the pool, but Susan held up her pocket mirror, making absolutely sure that the latex cap wouldn’t let any water in. She just had her hair bleached and after the debacle of 2019, she would never forget what chlorinated water did to bleached hair.

Susan’s POV makes her blond hair relevant to the swimming, as with the example above, but this time you’re presenting a completely different character. It feels organic and personal, and the fact that she is blonde will be lodged into the reader’s mind without screaming “It’s a clue!”.

Elegant ⭐⭐⭐

Memorable ⭐⭐⭐

Organic ⭐⭐⭐

I hope this is helpful! Follow me for more writing tips or browse my entire collection of writing advice now.

Happy writing!

yall one of my characters has the saddest lore, i hate it sm i just wanna hug him😭😭😭 (me acting like i didn’t give him the sad lore in question)