Writing - Blog Posts
Lmao imagine being drawn to angst unconsciously so every piece of media you consume ends sadly and horribly and angsty.
Also like balling your fucking eyes out over fictional characters deaths or sadness or whatever
And then turning around and messing up your own characters lives so much that everyone they love dies horribly.
It’s almost like happiness is scarier than being sad
Can’t say I don’t do the same with my life either 🥲
My memories exaggerated you, your greatness.
@sixwordssayitall (via sixwordssayitall)
Cynicism fits me, mirrors my darkness.
@sixwordssayitall (via sixwordssayitall)
I’m stitching myself back together again.
@sixwordssayitall (via sixwordssayitall)
Good deeds. Good karma. Good life.
@sixwordssayitall (via sixwordssayitall)
We began as soft eyes and fiery souls, but now the roles seem to be reversed.
we have seen too much, and have not been driven enough to continue (via doubtful-and-curious)
Hello! So I just finished reading "The Marquis’s Obsession" and would like to read more of your work cause it really was very well written and it give me the damn zoo in the stomach. Do you happen to have a master list or a tag for all your wonderful works?
Hii, thank you for taking the time to read my work! I don't have a masterlist because i tend to struggle creating that so I would just hashtag my work to make it easier. <3
Hello there. May I ask what books/games/movies/etc. you write fanfics on, so that I and the other users can get an idea on what to expect to see on this blog?
Hi, I usually write fanfics on resident evil 4 and 2 including 6(I didn't watch that much but I know half of the plot), Jojo's bizarre adventure, dc marvel, My hero academia, and happy tree friends. Although my updates are really slow because I write slowly and have school including exams so that means less time on fanfic. I only try to write when I get the chance. so ya um, have a nice day <3
Speechless Girls
Genre: Contemporary dark fairy tale
Words: 4.1k
Summary: Girls who speak diamonds, girls who speak toads. A young girl finds herself in the woods and is given a task to complete to earn a boon from a strange fae creature.
Keep reading
Wish
Wish
It truly was a wish come true. But you should always be careful what you wish for.
"Do you have any last wishes?" "Now you truly sound like a villain, after telling me their big plan to take over the world."
"If you had three wishes - anything possible - what would you wish for?"
"You have to make a wish!"
"I wish you would have talked to me."
Last wishes should almost always be granted.
"I wish for you to be quiet. For one second."
"Just wishful thinking, I'd say."
"Your wish is my command."
"I wish we could just go back to how things were."
"My first wish would always be to get infinite wishes. Duh."
"Don't tell me about your wish or it won't come true!"
"It's my last wish." "It's just a scratch. You're not dying, stop being dramatic."
How to make a wish:
throw a coin in a fountain
watch out for shooting stars
blow out birthday candles
wait for November 11th at 11:11
blow away an eyelash
Pining!
Pining
Mutual pining
One-sided pining
staring dreamily in their direction
believing they're the only one pining after the other
believing no one will notice
not being subtle at all
both being pining idiots who don't get it
actual heart-eyes
blushing
swiftly looking away
They had to intervene. As their friends it was their duty to play wingman.
If pining would become a sport, they would make the perfect Olympian.
They always thought how embarrassing it was to have a crush. But it's not that embarrassing when they finally figure out, they are not the only one.
For the 1 hour, 1 word prompts game: Don’t
Thanks! I love your prompts work btw - they’ve helped me so much in getting started with writing. Thank you so much for sharing them with us all ♥️♥️
So happy you enjoy them and that they inspire you! 🥰
Don't
"Don't say that."
"Don't even think about it."
"Don't play with me."
"Don't listen to them."
"Don't worry about it."
"Don't do this alone."
"Don't act like you don't know."
"Don't you listen to anything I tell you?"
"Don't stop doing what you love."
"Don't joke about this."
"Don't you love me?"
"Don't fall for it."
"Don't ever stop smiling like this."
"Don't laugh at me."
"Don't... please!"
"Don't lie to me."
"Don't even bother."
"Don't you hear me?"
"Don't... just don't."
"Don't ever change."
"Don't you see that we love you?"
endearments
Endearments
Liebling (beloved/favourite)
Baby
Habibi حبيبي (my love)
Schatz (treasure)
Dear
Mon amour (my love)
Sunshine
Cariño (darling)
Aşkım (my loved one)
Babe
Kleines (little one)
Sweetheart
Ya hayati يا حياتي (my life)
Canım (my love)
Pet
Schatje (treasure)
Hayatım (my life)
Sweet cheeks
My love
Iubi (Sweet heart/darling)
Corazón (heart)
Prince/Princess
Mi amor (my love)
Darling
Tesoro (treasure)
Iubirea mea (my love)
Maus (mouse)
Honey
Mon cœur (my heart)
Draga mea (f) / Dragul meu (m) (my darling)
Everything he said sounded like an endearment.
ᴄʜᴀʀᴀᴄᴛᴇʀ ᴘᴇʀꜱᴏɴᴀʟɪᴛɪᴇꜱ (ᴍʏᴇʀꜱ-ʙʀɪɢɢꜱ)
tag yourself!
➼ recap: the Myers-briggs test is a personality test that helps you understand your personality. at the end of the test, you earn a four-letter acronym that helps you understand how you think and see [Extraversion / Introversion; Sensing / Intuition; Thinking / Feeling; Judging / Perceiving]. (see more)
➼ matching and understand these to your characters can help you understand what they would do in certain situations, and develop their personality via a vast trove of information online.
FAVORITE WORLD: Do you prefer to focus on the outer world or on your own inner world? This is called Extraversion (E) or Introversion (I).
INFORMATION: Do you prefer to focus on the basic information you take in or do you prefer to interpret and add meaning? This is called Sensing (S) or Intuition (N).
DECISIONS: When making decisions, do you prefer to first look at logic and consistency or first look at the people and special circumstances? This is called Thinking (T) or Feeling (F).
STRUCTURE: In dealing with the outside world, do you prefer to get things decided or do you prefer to stay open to new information and options? This is called Judging (J) or Perceiving (P).
~
ISTJ ➼ most reliable; organized, compulsive, trustworthy, follows rules and regulations, practical
ISFJ ➼ most loyal; easy to collaborate with, works behind the scenes, sacrifices readily, accountable
ISFP ➼ most artistic; warm, sensitive, unassuming, team player, in touch with self and nature
ISTP ➼ most pragmatic; observant, often seen as cold and aloof, practical, unpretentious, ready for anything
INTJ ➼ most independent; theoretical, skeptical, needs to be competent, sees world as chessboard, see things "my way"
INFP ➼ most idealistic; has strong personal values, seeks inner order and peace, creative, non directive, reserved with people
INTP ➼ most conceptual; challenges others to think, high need for competency, socially cautious, independent
INFJ ➼ most imaginative; thoughtful, intuitive, able to see the potential in people, strong sense of justice, private
ENFP ➼ most optimistic; people-oriented, creative, seeks harmony with others, life of the party, better at starting than finishing
ENTP ➼ most inventive; given to brinksmanship, tests limits, enthusiastic, innovative, enjoys arguing both sides, likes challenges
ENFJ ➼ most persuasive; charismatic, idealistic, ignores unpleasantness, sees the potential in others, compassionate
ENTJ ➼ most commanding; visionary, gregarious, argumentative, planner, leader, impatient with incompetence
ESFJ ➼ most harmonious; gracious, thoughtful, lives to please, has strong interpersonal skills, accomplished host/hostess
~
sources: via ; via ; via
Ways I develop character relationships in my writing
This is just a small list of things I do to add a little bit of coziness into my writing through my characters! Relationships (both platonic and romantic) are notoriously hard to write, so here are some of my tips!
Characters picking up on each other’s mannerisms
Characters finishing each other’s sentences
When one character trips/falls/slips and their friend(s) make fun of them before helping them up
Inside jokes
When a group is laughing together, characters who immediately look at each other to see if they found it funny also
Friends who can’t keep it together in serious situations when they’re together
Platonic touching (hugging, hand holding, high fives, etc.)
Characters discussing future plans
Intentionally making fun of each other in front of their crush/partner
Writing character arcs/character development
Guide to character arcs
Writing character development
Character arc ideas
Why character arcs don’t have to last forever or be linear
kisses prompts to give the readers butterflies:
(feel free to use! yk what to do babies, tag me when u writee !! importantly the 2nd, 6th and 10th prompt >\\<)
hands around your waist as they pull you closer, goosebumps swarming every part of your body that they touch
kisses where they peck you a thousand times and you just sit there giggling with your face squished in their palms while they kiss
the kiss that breaks apart for a second, a smile stretching and they kiss you back again, fingers gently sliding down the side of your face to your neck
"i like the taste of your lips on mine"
kisses where they push you against the cold wall, their hands tracing your curves as they nibble on your lower lip, hands teasing every edge as you moan into the kiss
gently tugging at their collar, out of breath, they ask, "do you want me to stop?" you hurriedly say, "just the opposite, please"
kisses where they pin their hand on either side of your head, body pressing down on yours, places touching on where it shouldn't
neck grabbing during kisses >\\<
meeting each other after a long time and running into each other's arms, hugs tighter than ever as they place a kiss on your head, relieved that it finally feels like home
kisses that turns into love bites, and you slightly moan, "you like that, princess?"
intimate back hugs where they slowly trail kisses from your collarbone to your jaw, making you shiver, and they mumble, "god you smell fucking good."
for more:
'angsty romance prompts'
Tips for writing flawed but lovable characters.
Flawed characters are the ones we root for, cry over, and remember long after the story ends. But creating a character who’s both imperfect and likable can feel like a tightrope walk.
1. Flaws That Stem From Their Strengths
When a character’s greatest strength is also their Achilles' heel, it creates depth.
Strength: Fiercely loyal.
Flaw: Blind to betrayal or willing to go to dangerous extremes for loved ones.
“She’d burn the whole world down to save her sister—even if it killed her.”
2. Let Their Flaws Cause Problems
Flaws should have consequences—messy, believable ones.
Flaw: Impatience.
Result: They rush into action, ruining carefully laid plans.
“I thought I could handle it myself,” he muttered, staring at the smoking wreckage. “Guess not.”
3. Show Self-Awareness—or Lack Thereof
Characters who know they’re flawed (but struggle to change) are relatable. Characters who don’t realize their flaws can create dramatic tension.
A self-aware flaw: “I know I talk too much. It’s just… silence makes me feel like I’m disappearing.” A blind spot: “What do you mean I always have to be right? I’m just better at solving problems than most people!”
4. Give Them Redeeming Traits
A mix of good and bad keeps characters balanced.
Flaw: They’re manipulative.
Redeeming Trait: They use it to protect vulnerable people.
“Yes, I lied to get him to trust me. But he would’ve died otherwise.”
Readers are more forgiving of flaws when they see the bigger picture.
5. Let Them Grow—But Slowly
Instant redemption feels cheap. Characters should stumble, fail, and backslide before they change.
Early in the story: “I don’t need anyone. I’ve got this.”
Midpoint: “Okay, fine. Maybe I could use some help. But don’t get used to it.”
End: “Thank you. For everything.”
The gradual arc makes their growth feel earned.
6. Make Them Relatable, Not Perfect
Readers connect with characters who feel human—messy emotions, bad decisions, and all.
A bad decision: Skipping their best friend’s wedding because they’re jealous of their happiness.
A messy emotion: Feeling guilty afterward but doubling down to justify their actions.
A vulnerable moment: Finally apologizing, unsure if they’ll be forgiven.
7. Use Humor as a Balancing Act
Humor softens even the most prickly characters.
Flaw: Cynicism.
Humorous side: Making snarky, self-deprecating remarks that reveal their softer side.
“Love? No thanks. I’m allergic to heartbreak—and flowers.”
8. Avoid Overdoing the Flaws
Too many flaws can make a character feel unlikable or overburdened.
Instead of: A character who’s selfish, cruel, cowardly, and rude.
Try: A character who’s selfish but occasionally shows surprising generosity.
“Don’t tell anyone I helped you. I have a reputation to maintain.”
9. Let Them Be Vulnerable
Vulnerability adds layers and makes flaws understandable.
Flaw: They’re cold and distant.
Vulnerability: They’ve been hurt before and are terrified of getting close to anyone again.
“It’s easier this way. If I don’t care about you, then you can’t leave me.”
10. Make Their Flaws Integral to the Plot
When flaws directly impact the story, they feel purposeful rather than tacked on.
Flaw: Their arrogance alienates the people they need.
Plot Impact: When their plan fails, they’re left scrambling because no one will help them.
Flawed but lovable characters are the backbone of compelling stories. They remind us that imperfection is human—and that growth is possible.
free resources to write a novel in 2024
hello hello! it's me, rach!
as the new year approaches, many of us set goals and resolutions - myself included. one of my goals for 2024 is to write a novel (I've been procrastinating on this for quite a long time now). i assume that some of you might have the same goal, that's why I'm writing this post today.
over 2023 i've been releasing some freebies for authors just like me, so I thought I could compile my favorites in this post. hope you find this useful :)
1) the writer's workbook
this workbook has over 60 exercises to help you develop characters, scenarios, etc. if you're ever stuck, I'm pretty sure this workbook will be your best friend.
2) author's corner (notion template)
this is the most downloaded freebie in my shop! it is a notion dashboard with everything you need to organize your writing and has some templates included (like scrivener)!!
3) another notion template
this one has two themes you can choose from: cottage-core and dark academia. they're very similar to the previous template, but this one is more recent and I added some new features. feel free to explore both and pick the one you like the most.
4) the author's journal
this is a cute printable with 20 pages that will help you stay on track and manage your social media accounts as a writer who shares their work online. you can also register what you're currently writing and your personal research and resources.
5) plan your book printable
this is a 6-page printable for you to fill out and plan your book easily and effectively.
6) excel sheet to organize tasks & word-count
this is a simple excel sheet, but it is very effective for keeping track of your tasks & word-count of your novels. also, it is 100% customizable to your liking!
that's all for now! feel free to explore my gumroad shop where I have plenty of freebies to grab! also, don't forget to subscribe so that you never miss any opportunity to get a goodie for free :)
hope this post was useful!
have a nice day,
rach
How to Make Readers Care About Your Plot
It's a funny little trick, really. Because the truth is readers don’t care about your plot.
They care about how your plot affects your characters. (Ah ha!)
You can have as many betrayals, breakups, fights, CIA conspiracies, evil warlords, double-crossings, sudden bouts of amnesia, comas, and flaming meteors racing directly toward Manhattan as you want.
But if readers don’t understand how those events will impact:
A character they care about
That character’s goal
The consequences of the event, whether positive or devastating
…then you may as well be shooting off firecrackers in an empty gymnasium.
Why Plot Without Character Falls Flat
Here’s an example:
A school burns down. Oh my god, the flames! The carnage! The dead and injured children! There are police everywhere—total chaos!
And your main character? Standing on the sidewalk, watching and crying.
Dramatic? Sure. But does the reader care? Not really. There’s no emotional connection, so it's basically a meaningless plot point.
Plot + Character Impact = Reader Investment
Now, let’s take the same event but give it stakes.
Meet Mary Ann. Mary Ann has been a middle school teacher for 25 years. This year, she gets a new student—Indigo. An unusual girl with clear troubles at home and a habit of burning things.
Mary Ann defends Indigo when the school administration wants to expel her, citing safety concerns. Mary Ann sees something familiar in Indigo—something that reminds her of her own sister, who was institutionalized as a child.
One day, Indigo explodes in rage, screaming, “Burn it down! I’ll burn this whole place down!”
Mary Ann is shaken. This isn’t just defiance—this is a real threat. She nearly sides with the administration but, haunted by her sister’s fate, fights for Indigo’s second chance.
Indigo is placed in counseling. A compromise that will hopefully solve the problem.
That night, Mary Ann sleeps soundly. She did the right thing. Didn’t she? But the next morning, on her drive to school, the radio blares an emergency bulletin. There's a fire at the school.
Mary Ann speeds through red lights. Her stomach twists. When she arrives… it’s too late.
Oh my god, the flames! The carnage! The dead and injured children!
The exact same plot point—but now it matters.
How to Make Your Plot Matter to Readers
The secret? Before you set something on fire (literally or figuratively), give your character—and thus your reader—a stake in the outcome.
1. Tie Events to Character Desires and Fears.
Why does this event matter to this character?
How does it challenge their values, beliefs, or personal history?
2. Make the Conflict Personal.
The fire isn’t just a disaster—it’s a gut-punch because Mary Ann fought for Indigo.
The outcome isn’t just tragic—it’s haunted by Mary Ann’s past regrets.
3. Show Consequences.
Readers need to feel what’s at stake before, during, and after the event.
The weight of the aftermath makes the plot stick in the reader’s mind.
The result? Higher engagement, deeper emotional connection, and a plot that actually matters.
Summary: It’s Not About the Events—It’s About the Impact on Your Characters
I used a fire in this example, but this applies to any plot development.
Even something subtle—a whispered secret, an unread letter, a missed train—can have devastating emotional weight if it affects your character in a meaningful way.
Make your readers care about your plot by making your character care about it first.
Hope this helps!
/ / / / /
@theliteraryarchitect is a writing advice blog run by me, Bucket Siler, a writer and developmental editor. For more writing help, download my Free Resource Library for Fiction Writers, join my email list, or check out my book The Complete Guide to Self-Editing for Fiction Writers.
So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.
I'm going to try it.
WEIRDLY SPECIFIC BUT HELPFUL CHARACTER BUILDING QUESTIONS
What’s the lie your character says most often?
How loosely or strictly do they use the word ‘friend’?
How often do they show their genuine emotions to others versus just the audience knowing?
What’s a hobby they used to have that they miss?
Can they cry on command? If so, what do they think about to make it happen?
What’s their favorite [insert anything] that they’ve never recommended to anyone before?
What would you (mun) yell in the middle of a crowd to find them? What would their best friend and/or romantic partner yell?
How loose is their use of the phrase ‘I love you’?
Do they give tough love or gentle love most often? Which do they prefer to receive?
What fact do they excitedly tell everyone about at every opportunity?
If someone was impersonating them, what would friends / family ask or do to tell the difference?
What’s something that makes them laugh every single time? Be specific!
When do they fake a smile? How often?
How do they put out a candle?
What’s the most obvious difference between their behavior at home, at work, at school, with friends, and when they’re alone?
What kinds of people do they have arguments with in their head?
What do they notice first in the mirror versus what most people first notice looking at them?
Who do they love truly, 100% unconditionally (if anyone)?
What would they do if stuck in a room with the person they’ve been avoiding?
Who do they like as a person but hate their work? Vice versa, whose work do they like but don’t like the person?
What common etiquette do they disagree with? Do they still follow it?
What simple activity that most people do / can do scares your character?
What do they feel guilty for that the other person(s) doesn’t / don’t even remember?
Did they take a cookie from the cookie jar? What kind of cookie was it?
What subject / topic do they know a lot about that’s completely useless to the direct plot?
How would they respond to being fired by a good boss?
What’s the worst gift they ever received? How did they respond?
What do they tell people they want? What do they actually want?
How do they respond when someone doesn’t believe them?
When they make a mistake and feel bad, does the guilt differ when it’s personal versus when it’s professional?
When do they feel the most guilt? How do they respond to it?
If they committed one petty crime / misdemeanor, what would it be? Why?
How do they greet someone they dislike / hate?
How do they greet someone they like / love?
What is the smallest, morally questionable choice they’ve made?
Who do they keep in their life for professional gain? Is it for malicious intent?
What’s a secret they haven’t told serious romantic partners and don’t plan to tell?
What hobby are they good at in private, but bad at in front of others? Why?
Would they rather be invited to an event to feel included or be excluded from an event if they were not genuinely wanted there?
How do they respond to a loose handshake? What goes through their head?
What phrases, pronunciations, or mannerisms did they pick up from someone / somewhere else?
If invited to a TED Talk, what topic would they present on? What would the title of their presentation be?
What do they commonly misinterpret because of their own upbringing / environment / biases? How do they respond when realizing the misunderstanding?
What language would be easiest for them to learn? Why?
What’s something unimportant / frivolous that they hate passionately?
Are they a listener or a talker? If they’re a listener, what makes them talk? If they’re a talker, what makes them listen?
Who have they forgotten about that remembers them very well?
Who would they say ‘yes’ to if invited to do something they abhorred / strongly didn’t want to do?
Would they eat something they find gross to be polite?
What belief / moral / personality trait do they stand by that you (mun) personally don’t agree with?
What’s a phrase they say a lot?
Do they act on their immediate emotions, or do they wait for the facts before acting?
Who would / do they believe without question?
What’s their instinct in a fight / flight / freeze / fawn situation?
What’s something they’re expected to enjoy based on their hobbies / profession that they actually dislike / hate?
If they’re scared, who do they want comfort from? Does this answer change depending on the type of fear?
What’s a simple daily activity / motion that they mess up often?
How many hobbies have they attempted to have over their lifetime? Is there a common theme?
How to Improve Your Dialogue
As an editor, one of the biggest problems I see in beginning fiction writers’ dialogue is a lack of conflict.
(Come to think of it, one of the biggest problems I see in general is a lack of conflict, but that’s another post.)
Good dialogue, like a good story, should be rich with conflict. There are exceptions – most notably in a story’s ending or in brief, interspersed moments when you want to slow down the pace. But as a general guideline, dialogue without conflict gets boring very quickly. Here’s a classic example:
“Hi,” Lisa said. “Hey,” José said. “How are you?” “Fine. You?” “Doing all right.” Lisa handed José a turkey sandwich. “Would you like a sandwich? I made two.” “Sure, thanks.”
Okay, that’s enough. I won’t continue to torture you. Not only is there no conflict between the two characters who are speaking, but there’s no conflict anywhere to be seen.
The bad news is that if you write something like this you will bore your reader to tears.
The good news is that there are lots of ways to add conflict to dialogue. Once you know how to do it, you can make just about any scene pop with tension.
Of course, you don’t want to add conflict just for the sake of conflict. Whatever conflict you choose should be relevant to the story as a whole, to the scene, and to the characters.
Here’s my first tip: Have your characters say “No” to each other
One of the easiest ways to give conflict to a scene like this is to have your characters say No to each other, metaphorically speaking. In other words, to push back against the first character instead of just agreeing with them and refuse to have the conversation on the terms that the other character is proposing.
This is sometimes called giving characters different scripts.
Doing this creates an immediate power struggle that not only creates a more interesting story but can be really fun to play with. Here’s an example of how this idea could improve the scene between Lisa, Jose, and the sandwich:
“Hi,” Lisa said. “You forgot the mustard,” José said. Lisa thrust the turkey sandwich across the counter. “I’m fine, thanks. How are you?” “I don’t want it.” “I already made two. You should’ve said something earlier.”
Did you catch all the “No”s in that dialogue? Here it is again with my notes:
“Hi,” Lisa said. [Lisa is offering a friendly exchange.] “You forgot the mustard,” José said. [José refuses the offer and changes the subject.] Lisa thrust the turkey sandwich across the counter. “I’m fine, thanks. How are you?” [Lisa refuses to change the subject to the mustard, offers the sandwich as-is, and – bonus points – answers a question that hasn’t been asked.] “I don’t want it.” [José refuses to take the sandwich that’s been offered. Interestingly, though, he doesn’t try to take the power back in the situation by offering a new proposal, so he opens himself to a power grab from Lisa.] “I already made two. You should’ve said something earlier.” [Lisa acknowledges what José has said, but refuses to give into him by, for example, offering to make him another sandwich, add the mustard, etc.]
A big improvement, right? Dialogue like this makes us lean in and ask: What’s happening? Why are Lisa and José so testy with each other? What’s going to happen next? Will they make up? Will they come to blows?
If a scene like this comes midway through a story, we might already know that José is mad at Lisa because she didn’t come to the opening of his play last Saturday, and that Lisa, let’s say, has a bad temper and a history of throwing punches at José, in which case the dialogue becomes a great example of subtext.
Instead of having Lisa and José talk directly about the issue at hand (also called on-the-nose dialogue), we watch how the tension surfaces in their everyday interactions.
We get to become observers – flies on the wall – to their dramatic experience. In classic terminology, we are shown and not told the story.
Another thing to notice about this example is the use of gesture to enhance the dialogue’s conflict. Notice how when Lisa thrusts the turkey sandwich across the counter, it gives us information about her emotional state and implies a tone for the rest of her lines that we can hear without having to resort to clunky devices like “Lisa said sarcastically,” “Lisa said bitterly,” etc.
I have a few more tips about how to add conflict to your dialogue, but I will save it for another post. Hope this helps!
/ / / / / / /
@theliteraryarchitect is a writing advice blog run by me, Bucket Siler, a writer and developmental editor. For more writing help, download my Free Resource Library for Fiction Writers, join my email list, or check out my book The Complete Guide to Self-Editing for Fiction Writers.
Co-workers: you're so anti-social, always in your little world.
Me: *sitting in the corner, disassociating while writing my book in my head*
7 Tips to Build an Audience for Your Writing
I got a great Ask about this a little bit ago about how to establish an audience for your writing. Here’s my answer!
#1 Start small… with people you already know
When you’re just starting out, many of your fans or supporters will be the people who already know you. Your friends, family, co-workers, peers, acquaintances, etc. Share and talk about your writing with these people, and pluck up the courage to ask for their support! At least a few of them will genuinely like your writing, and you never know who might have a connection that can help get you more exposure.
#2 Don’t feel try to “sell” or “promote” yourself to these folks. Instead, make authentic, person-to-person connections
Sometimes writers fail to create an audience because they have a perception of what it means to “self promote” which leads them to plaster their social media with desperate pleas to buy their book, or feel pressured to “sell themselves” to new friends and contacts. It seems counter-intuitive, but the best thing you can do is to make genuine, authentic connections with people and be open about your writing with them.
That way, when your friend who works at a bookstore needs someone to open for a touring reader… they think of you. Or when you have a release party to celebrate your release, your co-worker will come (and maybe bring their friend who happens to be a newspaper writer… see where I’m going with this?). When you have authentic relationships with people, they will help you grow your base without having to beg or sell to them.
#3 Make friends with readers, other writers, editors, bookstore clerks… basically anyone in the literary world
Truth: There’s a lot of networking, nepotism, and hobnobbing going on in the literary world. Of course, we all know this stuff happens at the super-famous level. People network their way into recognition all the time. Celebrities get book deals. Keanu Reeves is allowed to be an actor. You might not be lucky enough to be bumping elbows with the elite, but your connections can help you no matter how small they are.
#4 Write your social media posts like you’re talking to your friends, not the anonymous masses
This ties into #2. When you use social media to share about your writing, make it personal. A lot of writers feel like they have to sell themselves on social media, so they end up making promotional posts that are basically like “buy my book!” or “read my writing!”
But if you share something real, much like you would if you were talking to a friend, people are much more likely to respond. I know this from personal experience. My highest-performing posts about my writing are always the ones that make a connection and share something personal with my followers.
Additionally, if you’re using certain platforms (Facebook and Instagram for sure do this), your post will get buried by the algorithm if it’s overtly “promotional.” So in certain instances this becomes not just wise but absolutely necessary so that your posts get seen.
#4 Consider trying to get a story traditionally published
This can help in a few ways. First, you’ll have made a connection with the editor of that magazine. (Connections!) Second, your work will be seen by a new audience of readers. Third, it can give you credibility that makes people (editors, readers, etc.) more likely to give your work a second look further down the line.
#5 Get off the internet
My biggest base of supporters are the folks in my town. That’s because they see me and interact with me regularly. It’s way easier to keep the attention of people IRL than it is online, in my experience. Here are some ideas of how to make friends in the real world who can be supporters of your writing:
Attend or give a public reading
Start or join a writing group
Hang out at the bookstore
Go to any and all literary events in your town
Make friends with other creative people: musicians, artists, photographers.
Seek out collaborative projects with other writers and creatives
#6 Accept that, yes, it takes time
Building an audience doesn’t happen overnight. But there can be a cumulative, exponential effect over the long run. Take Tumblr for example. Most people who have a blog can probably remember how it took forever to get those first 10 followers. But once you have the first 10, it’s a little easier to get the second 10, and so on. It’s the same with an audience.
There may be huge surges in your popularity that leave you feeling awesome, then after that you may find your growth starts to lag a bit. That’s totally normal. Which leads me to my last tip:
#7 Remember that it’s quality, not quantity, that counts
Especially in the age of social media, we can get totally hooked on numbers. How many followers, how many email subscribers, how many patrons, etc. But in my experience it’s the quality of your audience, not the quantity, that counts. Focus on building real relationships and delivering something great to just a few loyal readers rather than trying to please everyone. Those people will be the ones to help promote you and have your back when it’s really important.
Ok, that’s all I’ve got for now. I hope this helped!
Editing Tips: Watch Out for Tautology
When you say the same thing twice with different words, it's a "tautology". They make manuscripts wordy.
Examples:
He shrugged his shoulders. -> He shrugged.
She clapped her hands. -> She clapped.
Her feet stepped back. -> She stepped back.
He hand picked up the knife. -> He picked up the knife.
If a movement is necessary for an action, the movement is included in the action and doesn't need to be spelled out separately.
He reached out his arm and took the book from her -> He took the book from her.
She lifted the glass to her lips and drained it. -> She drained her glass.
─── ･ ｡ﾟ☆: *.☽ .* . ───
💎If you like my blog, buy me a coffee☕ and find me on instagram!
💎Before you ask, check out my masterpost part 1 and part 2
💎For early access to my content, become a Writing Wizard
i was reading my writing so far and noticed that it's kind of hasty? it feels like the scenes pass too quickly and characters act and make decisions too fast. i'm kind of a pantser and still on my first draft so there's definitely gonna be a lot of revisions but i was wondering if you'd have any advise on how to make the time in my story pass more naturally as opposed to stuff happening kind of rapid-fire. my story is high fantasy if that's relevant. i hope i worded this in a way that is understandable.
(also thanks so much for running this blog, it's very helpful)
Scenes Feel Rushed (Scene Elements/Structure)
The thing about scene pacing is it has nothing to do with time. It isn't about how long it takes the reader to read the scene, the amount of time that elapses in the story during the scene, or how fast/slow these events play out. Here's why:
-- readers read at different speeds -- scenes can occur over a period of minutes or days in your story -- scenes can be fast-paced or slow-paced depending on need
So, if your scenes are feeling rushed, it's not because you need figure out how to make the time pass more naturally. It's because not enough is happening in your scene. In other words, you don't have a good grasp on what scenes are supposed to accomplish and how to structure them.
Scene Elements
Your scene should include the following elements:
1 - A Writer Understood Purpose - First and foremost, as the writer, you should understand the purpose (aka "goal") of the scene in terms of what it accomplishes in the bigger story. Does it advance the plot in some way? Does it develop the protagonist and/or other main characters in a way that is crucial to the plot? Does it develop the setting, back story, or otherwise give the reader information they need in order to understand the story?
2 - Clearly Established Setting - Imagine if you went to see a play, but the stage had no backdrop, no scenery, no props. It was just a big empty stage with actors on it. Imagine how much you would lose without understanding where this scene was taking place. It works the same way in fiction, which is why it's important to start a scene by giving the reader some idea of where it's taking place. Using sensory and emotional description, you can give the reader a good image of the scenery and what it means to the POV character/s and the scene that's about to unfold.
3 - Relevant Characters - A scene can't play out without its requisite characters, but "requisite" is the keyword there: only characters who are relevant to the purpose of the scene--as well as "background extras" who are there to fill small-but-necessary roles and lend to an authentic setting... such as the teacher and other students in a classroom scene, or other patrons and servers in a restaurant scene. However, don't include main or secondary characters just to include them. They should be there because they need to be or because it makes sense for them to be there.
4 - Scene Conflict - Just as every story needs a conflict (an over-arching problem that must be resolved), so does every scene. Scene conflict can be internal (within the character's heart and mind) or external (in the character's environment). The purpose of the scene is to either resolve the scene conflict or propel it toward a future scene.
5 - Clarified Motivation and Goal - Because you understand the purpose of the scene (what you're trying to accomplish in the scene as the writer) and because you know the conflict/problem that must be resolved, it's important to clarify your character's scene goal (what they're trying to do in order to resolve the scene's problem, or their attempt to resolve it) and what is motivating them to resolve this conflict. Why is it important to them?
6 - Relative Balance of Exposition, Action, and Dialogue - Most scenes should have a relative balance of exposition (narrator explaining things), action (things happening), and dialogue (characters talking.) However, there are sometimes scenes that will lean toward more exposition, more action, or more dialogue. It just depends on the needs of the scene, but generally-speaking, you want a reasonably good balance. If there's no story-centric reason 90% of the scene needs to be dialogue, you need to make sure you balance things out a little more between dialogue, action, and exposition.
7 - Exploration of Emotion - Even in stories that are fully plot-driven, there needs to be an exploration of the emotions being felt by the characters in the scene, and an attempt by the writer to translate those emotions to the reader. The movie Jurassic Park, for example, was pretty fully plot-driven... it wasn't really about exploring internal conflicts or character arcs... but the emotion felt by the characters at throughout the story went a long way in making the reader feel things alongside them. Who can forget Dr. Grant seeing the dinosaurs for the first time:
Or Lex trembling when she saw the raptor in the visitor's center:
By illustrating character emotion using external cues (body language, facial expressions, gestures) and internal cues (sensations like heart pounding, processing what emotions are being felt and what it means), and by exploring how these emotions relate to the plot (and character arc, if there is one), we can create a much deeper sense of what's happening in the scene and why it matters.
Scene Structure
Scenes, like plot, have their own structure. Just as with plot structure, you can vary your scene's structure according to the needs of your scene, but generally speaking it will look like this:
Beginning - hook and setting establishment
Conflict Development - introduce or reiterate the scene conflict; clarify character motivation, goal, and what's at stake. Introduce the obstacles or challenges that raise the stakes or make it more difficult for the character to achieve their scene goal
Climax - The conflict reaches its peak... the character attempts to resolve the scene conflict for good, or at least temporarily. Or, at the very least, something significant occurs
Resolution/Denouement - The scene conflict is either resolved or it's set aside to be dealt with later. The character reflects on what happened, what it means, and what's next
Transition to Next Scene - We usually want to end a scene with some hint of what the next scene will be to create a smooth transition to the next scene. This could be a statement of time, like, "In another week, Roland would return from Bruges and she could finally talk to him about what was going on." Or, it can be a cliffhanger, like, "But it wasn't Bernard and Cleo who got out of the taxi... it was Roland and Cleo. But Roland was supposed to be two-thousand miles away in Bruges..." Or, it can be an establishment of what comes next. "Whatever Roland was up to, she'd have to wait until tomorrow to snoop around and find out more."
By making sure your scene includes the proper elements and generally follows a basic scene structure, you can ensure that there's enough happening in the scene to keep it from playing out too quickly.
•••••••••••••••••••••••••••••••••
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!
♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here