I Can’t Tell Which Idea Is Funnier: 1. That They Actually Got Pictures Of Them And Jeff Way Back When

10 Ways to Avoid Writing Insecurity

by Sean Platt

Face it. There are few things as intimidating as the blinding white of a blank page.

It makes no difference if it’s an empty sheet lying on our desk, or a blank screen, aiming between our eyes. Defeating “nothing” by subjecting it to “something” with our words is what gives a writer breath.

Whether to pay our bills or please our muse, eventually words must spill. Here are ten tips to help plow past writing insecurity.

1. Appreciate your unique perspective.

No one sees the world exactly like you, and no one can articulate it in quite the same way. The oldest stories are told and then retold, not because they invent new things to say, but because inside a timeless message, each storyteller may weave a million individual moments.

2. Writing is conversation.

The more we speak, the more we understand the fundamentals. Writing is no different. Most of the time, our brains operate on the surface, doing only what must be done. We may adopt the push and pull of conversation to push our voice further. Writing, much like a good discussion, can help us dig a little deeper.

3. Allow your influences to shape your voice, not drown it.

Creativity is borrowed. None of us formed our thoughts in a vacuum, and all of us were subject to a myriad of different models. Inspiration lives inside us, and our subconscious never forgets. We need not copy our heroes, their hand is always there to guide us.

4. Believe.

You can do it! Fear is a set of handcuffs, keeping our fingers from flight. If you don’t believe in yourself, then no one else will either.

5. Ignore the rules.

Rules can be intimidating; intimidation a shortcut to insecurity. You may not know precisely when to use a comma and when to use parentheses, but that decision will never equal the importance of a good idea. We first need broad strokes to lend foundation. We wash our world in red, blue, yellow, and green. Chartreuse and vermillion come later.

6. Write for someone specific.

Nothing will crystallize your voice, like scribbling for a single set of eyes. It doesn’t matter who it is, and it doesn’t have to be the same person twice. Write as though you are speaking to them. Design your jokes to make them smile, your words to feel them near.

7. Write without pause, return later.

Alone with our thoughts, it is easy to think the worst, but we should never allow them to slow us down. When our inner whisper begins to shout, we must lower our nose and keep on going. Once drained, leave. Return later, and you’ll likely be surprised at what you’ve written.

8. Take pride.

Our words are simply a more permanent version of our thought. Be proud of who you are, and know that what you write is a reflection of you.

9. Even Stephen King writes with his door closed.

No one gets it right the first time through. Just start. Even if the world will be watching once you are finished, no one is watching you now. Close the door, breathe the silence, and let what’s inside you come out to play.

10. Dip your toe, then jump… the water’s fine.

The first keystroke is always the hardest, but begetting something from nothing is what separates us from the lower species (well, that and opposable thumbs). Pushing past our fear and into uncertainty, is when we’re most likely to find ourselves.

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Exploring the Marvels of Biological Macromolecules: The Molecular Machinery of Life (Part 3)

Proteins and Enzymes: Catalysts of Molecular Reactions

Proteins are the central players in macromolecular interactions. Enzymes, a specialized class of proteins, catalyze biochemical reactions with remarkable specificity. They bind to substrates, facilitate reactions, and release products, ensuring that cellular processes occur with precision.

Protein-Protein Interactions: Orchestrating Cellular Functions

Proteins often interact with other proteins to form dynamic complexes. These interactions are pivotal in processes such as signal transduction, where cascades of protein-protein interactions transmit signals within cells, regulating diverse functions such as growth, metabolism, and immune responses.

Protein-Ligand Interactions: Molecular Recognition

Proteins can also interact with small molecules called ligands. Receptor proteins, for instance, bind to ligands such as hormones, neurotransmitters, or drugs, initiating cellular responses. These interactions rely on specific binding sites and molecular recognition.

Protein-DNA Interactions: Controlling Genetic Information

Transcription factors, a class of proteins, interact with DNA to regulate gene expression. They bind to specific DNA sequences, promoting or inhibiting transcription, thereby controlling RNA and protein synthesis.

Membrane Proteins: Regulating Cellular Transport

Integral membrane proteins participate in macromolecular interactions by regulating the transport of ions and molecules across cell membranes. Transport proteins, ion channels, and pumps interact precisely to maintain cellular homeostasis.

Cooperativity and Allosteric Regulation: Fine-Tuning Cellular Processes

Cooperativity and allosteric regulation are mechanisms that modulate protein function. In cooperativity, binding one ligand to a protein influences the binding of subsequent ligands, often amplifying the response. Allosteric regulation occurs when a molecule binds to a site other than the active site, altering the protein's conformation and activity.

Interactions in Signaling Pathways: Cellular Communication

Signal transduction pathways rely on cascades of macromolecular interactions to transmit extracellular signals into cellular responses. Kinases and phosphatases, enzymes that add or remove phosphate groups, play pivotal roles in these pathways.

Protein Folding and Misfolding: Disease Implications

Proteins must fold into specific three-dimensional shapes to function correctly. Misfolded proteins can lead to Alzheimer's, Parkinson's, and prion diseases. Chaperone proteins assist in proper protein folding and prevent aggregation.

References

Voet, D., Voet, J. G., & Pratt, C. W. (2016). Fundamentals of Biochemistry: Life at the Molecular Level. Wiley.

Lehninger, A. L., Nelson, D. L., & Cox, M. M. (2017). Lehninger Principles of Biochemistry. W. H. Freeman.

Berg, J. M., Tymoczko, J. L., & Stryer, L. (2002). Biochemistry. W. H. Freeman

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How to Make Your Descriptions Less Boring

We’ve all been warned about the dangers of using too much description. Readers don’t want to read three paragraphs about a sunset, we’re told. Description slows down a story; it’s boring and self-indulgent. You should keep your description as short and simple as possible. For those who take a more scientific approach to writing fiction, arbitrary rules abound: One sentence per paragraph. One paragraph per page. And, for god’s sake, “Never open a book with weather” (Elmore Leonard).

But what this conventional wedding wisdom fails to take into account is the difference between static and dynamic description. Static description is usually boring. It exists almost like a painted backdrop to a play. As the name suggests, it doesn’t move, doesn’t interact or get interacted with.

There were clouds in the sky. Her hair was red with hints of orange. The house had brown carpeting and yellow countertops.

In moderation, there’s nothing wrong with static description. Sometimes, facts are facts, and you need to communicate them to the reader in a straightforward manner.

But too much static description, and readers will start to skim forward. They don’t want to read about what the house looks like or the stormy weather or the hair color of each of your protagonist’s seventeen cousins.

Why? Because they can tell it’s not important. They can afford to skip all of your description because their understanding of the story will not be impacted.

That’s where dynamic description comes in. Dynamic description is a living entity. It’s interactive, it’s relevant. It takes on the voices of your narrators and characters. In short, it gives us important information about the story, and it can’t be skimmed over.

So how do you make your description more dynamic so that it engages your readers and adds color and excitement to your story? Here are a few tips.

(I have a TON more tips about setting and description. These are just a few. But I’m trying to keep this short, so if you have any questions or want more advice about this, please feel free to ask me.)

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max tries several unimpressive new tactics

Hello! This is my first time asking but I could I have some advice on how to write a story that starts in the climax of the plot already? The context is my MC woke up and they are not able to remember anything, but suddenly, he just woke up in the wards of his family (a very strong political figure in their world might I add) whom he told what his life was but the narratives they are telling does not match even in the slightest of the flashback that's plaguing him as the time stretches. And they were in the middle of the war, too. I'm having a hard time to achieve that mind-blowing... thrill I suppose? They also got a love interest that is unmistakably not the one his family claimed ‘their-spouse’ to be.

Starting with Inciting Incident

Remember: your story's climax is the moment your character faces off against the antagonist once and for all. While some stories do start at the climax, and then flashback to the beginning of the story to build back up to it, it doesn't mean you start at the climax and move forward from there.

I think there can be a lot of confusion with the concept of "In Media Res" which a lot of people confuse as meaning starting in the literal middle of the story, or at the inciting incident or climax. Instead, "in media res" simply means starting in the middle of the action. That action can be the inciting incident, the climax, or the literal middle, but again, it doesn't mean the story moves forward from there.

If you're starting your story at the point where your character wakes up without their memories, this isn't the climax but rather the inciting incident. This is the moment when their life and world are turned upside down. Starting at this moment in a story about memory loss is a great way to go, because your reader knows as little about the character and their world as the character does. It puts the reader in your character's shoes right from the start, and they'll be learning everything right alongside your character.

So, that's really the key is to make sure you're filling in the gaps left by not having an exposition. You'll need to make sure to fairly quickly illustrate this character's natural personality, the world they've woken up into, and what their life was apparently like before they lost their memories. If they're being lied to, you may want to build in some clues that hint at what their actual life was like--such as feeling a place is familiar to them even if they're told "no, you would never have been to such a place."

As far as creating that thrill in that opening moment, it's really going to come down to emotional and sensory description. In lieu of recognizing who they are, where they are, and what happened to them, they're going to focus on their immediate surroundings. What can they see, hear, smell, taste, feel? What does that sensory input tell them about who they are and where they are? How does that sensory input--and what they can learn from it--make them feel? What emotions are they feeling as they process this unfamiliar environment and realize they have no idea who they are, where they are, or what happened to them?

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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