Actually Useful Writing Advice - Blog Posts
Different sentence structures and the vibes they can achieve
1. Short, choppy sentences
Excellent for creating tension, urgency, or drama because they speed up the pacing and convey intense emotion.
She said no. I didn’t listen. I should have.
2. Long, flowing sentences
These are great for descriptions, adding detail, and explanations. They can create an intellectual or reflective vibe—or even a dreamy one. You can also use them to evoke a sense of being overwhelmed. They slow the pacing, add complexity, and help build tension. But once you're in the thick of a tense moment, it's often better to switch back to short sentences to keep the energy up.
As the sun dipped behind the horizon, casting a golden sheen across the cracked pavement, she stood there, unsure of what she was waiting for—only that something, anything, had to change.
3. Fragmented sentences
These give off a casual, stylized, and emotional tone. They're perfect for internal monologue and mimicking the way we actually think or speak.
Not the way I planned. Not even close. But here we are.
4. Repetitive structure
They add drama, rhythm, and emotional intensity. It's a powerful stylistic tool that can drive a point home.
She wanted peace. She wanted quiet. She wanted to forget.
5. Inverted or unusual word order
If you're aiming for a formal, archaic, or poetic tone, this structure will get you there.
Gone was the light from his eyes.
6. Interruptions (em dashes or parentheses)
If you're going for a conversational, conflicted, or stream-of-consciousness vibe—even something humorous if used right—interruptions are your friend. They mimic how we speak and think in real time.
I was going to tell her—God, I really was—but I couldn’t.
7. Questions
Questions are fantastic for showing uncertainty, anxiety, or inner conflict. They can also give off a philosophical tone and invite reflection from both the character and the reader.
What if I never make it out? What if this is it?
Writing Grief Without Romanticizing It
Grief is raw, messy, and deeply personal. It doesn’t follow a neat arc or fit into tidy narrative beats. While stories often use grief as a dramatic device, romanticizing it can cheapen the emotional reality. Writing grief authentically means embracing its discomfort and unpredictability, not sanitizing or idealizing it.
What Romanticizing Grief Looks Like
Characters who seem emotionally wrecked but always manage to look graceful in their suffering.
Overly articulate monologues that sound more like a eulogy than a real moment of loss.
Depictions of grief as a singular, cathartic event instead of a long, jagged process.
Romanticized Grief:
“Every day without you is like a piece of me fading away into a tragic, beautiful void. I’ll carry this pain forever, for it’s all I have left of you.”
This might be poetic, but it lacks the authenticity of how most people actually process grief.
Realistic Grief:
“I forgot your birthday. I didn’t mean to, but when I remembered, it was already too late. And then I hated myself because forgetting felt like erasing you.”
Writing Grief Authentically
1. Show the Physical Toll
Grief isn’t just emotional—it’s physical. Insomnia, headaches, exhaustion, or even the inability to move can be part of the experience.
“She woke up in the middle of the night again, choking on the air. Her chest felt like a cinderblock had been wedged inside, heavy and unmoving. It was three days since the funeral, and she still hadn’t slept longer than an hour.”
2. Let Grief Be Messy
Grief isn’t a perfectly linear journey. There’s no logical progression from denial to acceptance—there are setbacks, breakdowns, and even moments of denial long after healing has started.
“He yelled at his mother for throwing out the cereal box. ‘It was his favorite,’ he said. She didn’t remind him that it had been expired for months. She just handed him the trash bag and walked away.”
3. Avoid Glossy Sentimentality
Sometimes grief isn’t poetic; it’s ugly, blunt, and devoid of grandeur. Characters might lash out, shut down, or isolate themselves.
Romanticized: “I’ll cry every day, but I’ll keep going because you’d want me to.”
Realistic: “They said time would heal it. But it didn’t. Time just put more space between me and the life I knew before.”
4. Let Grief Manifest in Small, Unexpected Ways
Grief isn’t always about sobbing—it can show up in mundane moments: hesitating to delete a voicemail, holding onto an old sweater, or instinctively setting the table for someone who’s gone.
“She turned to tell him the joke, the one about the broken lamp, and stopped halfway through. The silence hit harder than the punchline ever would.”
5. Highlight the Absurdity of It
Grief can be absurd and disorienting. Characters might laugh inappropriately, obsess over trivial details, or feel disconnected from reality.
“At the funeral, all she could focus on was how crooked the flowers were arranged. She kept wanting to fix them. If she didn’t, she thought, none of this would feel real.”
6. Explore How Grief Changes Relationships
Grief doesn’t happen in isolation—it affects relationships, often in unexpected ways. Some people pull closer, others drift apart.
“Her friends stopped asking how she was doing after the first few weeks. She didn’t blame them; she didn’t have an answer. ‘Fine’ wasn’t a lie—it was just easier than saying, ‘I still can’t breathe when I see his empty chair.’”
7. Show the Longevity of Grief
Grief doesn’t end when the funeral does. Let it linger in your story, showing how it ebbs and flows over time.
“It had been five years, but she still called his number when something exciting happened. She didn’t know why. Maybe it was just habit. Or maybe it was hope.”
8. Allow for Moments of Respite
Grief isn’t constant agony. People still laugh, find joy, and go about their lives—sometimes feeling guilty for it.
“She smiled for the first time in weeks, and then immediately hated herself for it. It felt like betrayal, like forgetting.”
Avoiding therapy speak in writing
I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.
Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.
But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.
Listen to real arguments/conversations
I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.
Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.
I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.
Consider the character's own hangups
Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.
Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.
A spoiled child will grow up to be a demanding adult who refuses to give any quarter.
Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.
Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.
Individuals whose parents didn't teach them emotional regulation will lash out and get loud.
Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.
Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.
People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.
Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.
Others may get quiet or crack a joke to ease the tension, but it doesn't really help.
Keep each confrontation short
IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).
Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.
Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.
For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.
Show incongruencies
Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.
Address physical complaints instead of emotional ones
In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.
You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.
For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.
As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.
Let characters advance and retreat
A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.
Leave emotions partially unaddressed
Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.
They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.
If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.
Have Character B point out the feelings
Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.
I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.
Have Character A address it with a third character
Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.
Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.
Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.
Have one confrontation be a stand-in for a larger one
I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.
This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.
Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.
Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.
Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.
There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.
Use "reaffirmation" gestures
I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.
Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.
Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.
As always, I can't tell you what to do with your writing.
You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.
Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.
People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!
We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.
If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!
I've already said that my number one piece of writing advice is to read.
But my number two piece of advice is this: be deliberate.
Honestly this would fix so many pieces of bad writing advice. Don't forbid people from doing something, tell them to be conscious and deliberate about it. This could help stop people from falling into common mistakes without limiting their creativity. Black and white imperatives may stop a few annoying beginner habits, but ultimately they will restrict artistic expression.
Instead of "don't use epithets": "Know the effect epithets have and be deliberate about using them." Because yes, beginners often misuse them, but they can be useful when a character's name isn't known or when you want to reduce them to a particular trait they have.
Instead of "don't use 'said'" or "just use 'said'": "Be deliberate about your use of dialogue tags." Because sometimes you'll want "said" which fades into the background nicely, but sometimes you will need a more descriptive alternative to convey what a character is doing.
Instead of "don't use passive voice": "Be deliberate about when you use passive voice." Because using it when it's not needed can detract from your writing, but sometimes it can be useful to change the emphasis of a sentence or to portray a particular state of mind.
Instead of blindly following or ignorantly neglecting the rules of writing, familiarize yourself with them and their consequences so you can choose when and if breaking them would serve what you're trying to get across.
Your writing is yours. Take control of it.
It probably sounds like I'm preaching to the choir here because most of my mutuals are already great writers. But I'm hoping this will make it to the right people.
Write Believable Intelligent Characters
╰ Let their intelligence show in how they notice things
Smart people aren’t always the ones talking, they’re the ones observing the tiny detail that everyone else misses. They connect dots faster. They clock micro-expressions. They’re already ten moves ahead while everyone’s still arguing about step one.
╰ Don’t make them know everything
The smartest characters have gaps. A genius hacker who can’t do small talk. A professor who’s never seen Shrek. An expert in ancient languages who has zero street smarts. Give them blind spots, and suddenly they feel real—not robotic.
╰ Let their intelligence shape how they argue
A clever character doesn’t always win by yelling louder. Sometimes they cut deep with one sentence. Sometimes they bait someone into proving their point for them. Or smile while delivering verbal chess moves that leave everyone stunned two scenes later.
╰ Smart doesn’t mean wordy
Sometimes the smartest thing your character can say is nothing. Sometimes it’s “Huh.” Or one line that lands like a hammer. Intelligence isn’t just about complexity, it’s about clarity. Bonus points if they say the thing everyone else was dancing around.
╰ Show them solving problems, not just explaining them
Whether it’s picking a lock or defusing a political standoff, let them act. Watching them think on their feet, adapt, and surprise people is way more compelling than giving them long-winded monologues about the history of poison.
╰ Let them struggle with being misunderstood
A smart character might say something that’s totally logical but lands like a slap. Or they assume people see the obvious when they don’t. Intelligence can be isolating. That tension makes them human.
╰ Don’t make them the author’s mouthpiece
If your “smart” character exists to deliver the moral of the story, they’ll feel like a soapbox in a trench coat. Let them be flawed, biased, wrong sometimes. Let them learn. Otherwise, they stop being a character and start being an essay in disguise.
╰ Make their intelligence emotional, too
Book smart is one thing. Emotional intelligence hits differently. Maybe they’re intuitive. Maybe they know how to read a room. Maybe they see through someone’s bravado in five seconds flat. Brains plus empathy? Lethal combo.
╰ Smart doesn’t mean nice
Intelligence can be cruel. Calculated. Detached. Don’t be afraid to let your clever character weaponize their smarts if that’s who they are. Sometimes the coldest characters are the ones who know exactly how to hurt you—and choose not to. Or do.
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.
Can't be sincerely dark without being called edgy, can't be sincerely emotional without being called melodramatic, can't be sincerely silly without being called stupid. They're gonna hate every emotion you put in your art no matter what so make it anyway and be as sincere as you can be
Excellent tips and habits for writers
The advice I've given before is to write every scene you think of, no matter if it gets used or not. Its always a great idea to go back every once and a while and edit these scenes, or revise them.
Never force inspiration or a scene. If it isn't coming naturally, take a break and come back later or the next day. it's important to give yourself time to think. use your break to day dream about your story and what could come next. if your brain is happy, this should be relatively simple. If your brain isn't happy, then you need to take a longer break, stop writing for the day all together, or write something else.
if you're a pantser, like me, and it's hard to plot. You can practice reverse plotting, and plot your story as you go. make notes of things that happen in your story, changes in a character, changes in the plot, changes in the setting, dates for events, timelines, important information that's been revealed, anything you deem important to your story.
always reread what you've already written. don't try to edit it. turn off your editor brain and reread your story so far before you resume writing, so you can get into the voice and tone that you've already established.
if you're finding it difficult to start writing or keep writing. try turning off your internal editor and free write. it's good practice to be able to write down your unfiltered thoughts or daydreams without having to stop and edit while you're writing. it helps with your writing flow, getting the scene down onto the page, and increases your writing intuition.
before you write, always take time to daydream or think about your story beforehand. it helps things go much smoother in the long run.
if you've been working on something for a long time, don't pressure yourself into confinement. if you want to work on something new but you're worried about what you've been working on, don't. stop worrying and write what you want. forcing yourself to keep writing something when you don't want to is just going to make you burn out faster.
don't be afraid to create visuals or playlists that help you with what you're writing. It's an enviable talent to be able to write something off a photo you saw on pinterest, or a song you really like.
if you find yourself in a mood where you want to write really badly, but you have no idea what you want to write, and none of the prompts you find are appealing enough. find an activity you use to destress, whether its listening to music, listening to asmr, doom scrolling on social media, or browsing pinterest. go do that. chances are, you'll find something that will inspire you what to write when you're not looking for it.
Character Tips: Pre-existing Relationships
When I read, I personally favor relationships that have pre-existing history to them and background. I love the drama so here are some times on writing established relationships (platonic, enemies, rivals, and romantic):
6 Tips on Writing Pre-Existing Relationships:
1. Background
You should know how these characters met and how they interacted. Based on how they interacted and how their relationship has developed you need to know that. Not necessarily the reader but you should know as the writer.
2. Length of History
How long have they had this relationship? If the characters have known each other since they were little kids and they’re best friends, they should know a lot about each other. That could be a conflict when one of them holds a big secret. If they’ve known each other for a week, then they shouldn’t know much about each other.
3. What perceptions do they have of each other?
What do they think of the other person? We all have separate ideas of how a person acts so your character should too. Are they friends but the one feels like the other is annoying. That defines a part of the characters relationship. Show this to create more complexity in the relationship
4. Show how they act physically around each other
How do they act around each other. Is character a very unaffectionate to most but only affectionate to character b? By showing how they express themselves and if it’s any different from how they normally do you can highlight the relationship better.
5. What do they like and dislike about each other?
What things does the other person do that irritates them. What do they do that they like? Are their problems that they have on the small to more complex level? How does it make each person feel. How do their personalities clash and work with each other. What do they admire and hate about each other?
6. Think about what needs work?
Think about if you want the relationship to develop and how it develops throughout the plot. If the characters are going through a tough time or if they’ve spent time apart and are reuniting, they’re going to have different interactions. This can help drive the characters to develop different perceptions about the other character involved.
These are just some tips to help get started or to think about. These tips are also broad and for most relationships. If people want more specific types of relationships written please tell me 🙏
25 Prose Tips For Writers 🖋️✨ Part 1
Hey there!📚✨
As writers, we all know that feeling when we read a sentence so beautifully crafted that it takes our breath away. We pause, reread it, and marvel at how the author managed to string those words together in such a captivating way. Well, today I'm going to unpack a few secrets to creating that same magic in your own writing. These same tips I use in my writing.
But before I begin, please remember that writing is an art form, and like any art, it's subjective. What sounds beautiful to one person might not resonate with another. The tips I'm about to share are meant to be tools in your writer's toolkit, not rigid rules. Feel free to experiment, play around, and find what works best for your unique voice and style.
Power of Rhythm 🎵
One of the most overlooked aspects of beautiful prose is rhythm. Just like music, writing has a flow and cadence that can make it pleasing to the ear (or mind's ear, in this case). Here are some ways to incorporate rhythm into your writing:
a) Vary your sentence length: Mix short, punchy sentences with longer, flowing ones. This creates a natural ebb and flow that keeps your reader engaged.
Example: "The sun set. Darkness crept in, wrapping the world in its velvet embrace. Stars winked to life, one by one, until the sky was a glittering tapestry of light."
b) Use repetition strategically: Repeating words or phrases can create a hypnotic effect and emphasize important points.
Example: "She walked through the forest, through the shadows, through the whispers of ancient trees. Through it all, she walked with purpose."
c) Pay attention to the stressed syllables: In English, we naturally stress certain syllables in words. Try to end important sentences with stressed syllables for a stronger impact.
Example: "Her heart raced as she approached the door." (Stronger ending) vs. "She approached the door as her heart raced." (Weaker ending)
Paint with Words 🎨
Beautiful prose often creates vivid imagery in the reader's mind. Here are some techniques to help you paint with words:
a) Use specific, concrete details: Instead of general descriptions, zoom in on particular details that bring a scene to life.
Example: Instead of: "The room was messy." Try: "Crumpled papers overflowed from the waste bin, books lay spine-up on every surface, and a half-eaten sandwich peeked out from under a stack of wrinkled clothes."
b) Appeal to all five senses: Don't just describe what things look like. Include smells, sounds, textures, and tastes to create a fully immersive experience.
Example: "The market bustled with life. Colorful fruits glistened in the morning sun, their sweet aroma mingling with the earthy scent of fresh herbs. Vendors called out their wares in sing-song voices, while customers haggled in animated tones. Sarah's fingers brushed against the rough burlap sacks of grain as she passed, and she could almost taste the tang of ripe oranges on her tongue."
c) Use unexpected comparisons: Fresh similes and metaphors can breathe new life into descriptions.
Example: Instead of: "The old man was very thin." Try: "The old man was a whisper of his former self, as if life had slowly erased him, leaving behind only the faintest outline."
Choose Your Words Wisely 📚
Every word in your prose should earn its place. Here are some tips for selecting the right words:
a) Embrace strong verbs: Replace weak verb + adverb combinations with single, powerful verbs.
Example: Instead of: "She walked quickly to the store." Try: "She hurried to the store." or "She dashed to the store."
b) Be specific: Use precise nouns instead of general ones.
Example: Instead of: "She picked up the flower." Try: "She plucked the daisy."
c) Avoid clichés: Clichés can make your writing feel stale. Try to find fresh ways to express common ideas.
Example: Instead of: "It was raining cats and dogs." Try: "The rain fell in sheets, transforming the streets into rushing rivers."
Play with Sound 🎶
The sound of words can contribute greatly to the beauty of your prose. Here are some techniques to make your writing more musical:
a) Alliteration: Repeating initial consonant sounds can create a pleasing effect.
Example: "She sells seashells by the seashore."
b) Assonance: Repeating vowel sounds can add a subtle musicality to your prose.
Example: "The light of the bright sky might ignite a fight."
c) Onomatopoeia: Using words that sound like what they describe can make your writing more immersive.
Example: "The bees buzzed and hummed as they flitted from flower to flower."
Art of Sentence Structure 🏗️
How you structure your sentences can greatly affect the flow and impact of your prose. Here are some tips:
a) Use parallel structure: When listing items or actions, keep the grammatical structure consistent.
Example: "She came, she saw, she conquered."
b) Try periodic sentences: Build suspense by putting the main clause at the end of the sentence.
Example: "Through storm and strife, across oceans and continents, despite all odds and obstacles, they persevered."
c) Experiment with sentence fragments: While not grammatically correct, sentence fragments can be powerful when used intentionally for emphasis or style.
Example: "She stood at the edge of the cliff. Heart racing. Palms sweating. Ready to jump."
Power of White Space ⬜
Sometimes, what you don't say is just as important as what you do. Use paragraph breaks and short sentences to create pauses and emphasize important moments.
Example: "He opened the letter with trembling hands.
Inside, a single word.
'Yes.'"
Read Your Work Aloud 🗣️
One of the best ways to polish your prose is to read it aloud. This helps you catch awkward phrasing, repetitive words, and rhythm issues that you might miss when reading silently.
Edit Ruthlessly ✂️
Beautiful prose often comes from rigorous editing. Don't be afraid to cut words, sentences, or even entire paragraphs if they don't serve the overall beauty and effectiveness of your writing.
Study the Masters 📖
Please! Read widely and pay attention to how your favorite authors craft their prose. Analyze sentences you find particularly beautiful and try to understand what makes them work.
Practice, Practice, Practice 💪
Like any skill, writing beautiful prose takes practice. Set aside time to experiment with different techniques and styles. Try writing exercises focused on specific aspects of prose, like describing a scene using only sound words, or rewriting a simple sentence in ten different ways.
Remember, that developing your prose style is a journey, not a destination. It's okay if your first draft isn't perfect – that's what editing is for! The most important thing is to keep writing, keep experimenting, and keep finding joy in the process.
Here are a few more unique tips to help you on your prose-perfecting journey:
Create a Word Bank 🏦
Keep a notebook or digital file where you collect beautiful words, phrases, or sentences you come across in your reading. This can be a great resource when you're looking for inspiration or the perfect word to complete a sentence.
Use the "Rule of Three" 3️⃣
There's something inherently satisfying about groups of three. Use this to your advantage in your writing, whether it's in listing items, repeating phrases, or structuring your paragraphs.
Example: "The old house groaned, creaked, and whispered its secrets to the night."
Power of Silence 🤫
Sometimes, the most powerful prose comes from what's left unsaid. Use implication and subtext to add depth to your writing.
Example: Instead of: "She was heartbroken when he left." Try: "She stared at his empty chair across the breakfast table, the untouched coffee growing cold."
Play with Perspective 👁️
Experiment with different points of view to find the most impactful way to tell your story. Sometimes, an unexpected perspective can make your prose truly memorable.
Example: Instead of describing a bustling city from a human perspective, try describing it from the point of view of a bird soaring overhead, or a coin passed from hand to hand.
Use Punctuation Creatively 🖋️
While it's important to use punctuation correctly, don't be afraid to bend the rules a little for stylistic effect. Em dashes, ellipses, and even unconventional use of periods can add rhythm and emphasis to your prose.
Example: "She hesitated—heart pounding, palms sweating—then knocked on the door."
Create Contrast 🌓
Juxtapose different elements in your writing to create interest and emphasis. This can be in terms of tone, pacing, or even the literal elements you're describing.
Example: "The delicate butterfly alighted on the rusted barrel of the abandoned tank."
Use Synesthesia 🌈
Synesthesia is a condition where one sensory experience triggers another. While not everyone experiences this, using synesthetic descriptions in your writing can create vivid and unique imagery.
Example: "The violin's melody tasted like honey on her tongue."
Experiment with Sentence Diagrams 📊
Remember those sentence diagrams from school? Try diagramming some of your favorite sentences from literature. This can give you insight into how complex sentences are structured and help you craft your own.
Create a Sensory Tour 🚶♀️
When describing a setting, try taking your reader on a sensory tour. Move from one sense to another, creating a full, immersive experience.
Example: "The old bookstore welcomed her with the musty scent of aging paper. Dust motes danced in the shafts of sunlight piercing the high windows. Her fingers trailed over the cracked leather spines as she moved deeper into the stacks, the floorboards creaking a greeting beneath her feet. In the distance, she could hear the soft ticking of an ancient clock and taste the faint bitterness of old coffee in the air."
Use Active Voice (Most of the Time) 🏃♂️
While passive voice has its place, active voice generally creates more dynamic and engaging prose. Compare these two sentences:
Passive: "The ball was thrown by the boy." Active: "The boy threw the ball."
Magic of Ordinary Moments ✨
Sometimes, the most beautiful prose comes from describing everyday occurrences in a new light. Challenge yourself to find beauty and meaning in the mundane.
Example: "The kettle's whistle pierced the quiet morning, a clarion call heralding the day's first cup of possibility."
Play with Time ⏳
Experiment with how you present the passage of time in your prose. You can stretch a moment out over several paragraphs or compress years into a single sentence.
Example: "In that heartbeat between his question and her answer, universes were born and died, civilizations rose and fell, and their entire future hung in the balance."
Use Anaphora for Emphasis 🔁
Anaphora is the repetition of a word or phrase at the beginning of successive clauses or sentences. It can create a powerful rhythm and emphasize key points.
Example: "She was the sunrise after the longest night. She was the first bloom of spring after a harsh winter. She was the cool breeze on a sweltering summer day. She was hope personified, walking among us."
Create Word Pictures 🖼️
Try to create images that linger in the reader's mind long after they've finished reading. These don't have to be elaborate – sometimes a simple, unexpected combination of words can be incredibly powerful.
Example: "Her laughter was a flock of birds taking flight."
Use Rhetorical Devices 🎭
Familiarize yourself with rhetorical devices like chiasmus, antithesis, and oxymoron. These can add depth and interest to your prose.
Example of chiasmus: "Ask not what your country can do for you – ask what you can do for your country." - John F. Kennedy
Even the most accomplished authors continue to hone their craft with each new piece they write. Don't be discouraged if your first attempts don't sound exactly like you imagined – keep practicing, keep experimenting, and most importantly, keep writing.
Your unique voice and perspective are what will ultimately make your prose beautiful. These techniques are simply tools to help you express that voice more effectively. Use them, adapt them, or discard them as you see fit. The most important thing is to write in a way that feels authentic to you and brings you joy.
Happy writing, everyone! 🖋️💖📚 - Rin T
Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!
It’s great for doing a lot of writing and losing touch with reality tho. 10/10 would recommend
Currently doing an Insomniac's Gambit. For those of you who don't know, this is when you mess up your sleep schedule badly enough that you attempt to fix it by skipping an entire night of sleep then going to bed at a reasonable hour the next day. Crucially, it does not work
People who tell you not to write in bed are liars. They also should try writing on their phone.
Don’t let creativity slip through your fingers.
If you have an idea, write it down. And don’t be afraid to explore the weird, the obscure, or the downright silly.
Even the most outlandish ideas can lead to something truly great and amazingly creative, so don’t hesitate to play around in the sandbox of your mind. You never know when a random idea will be the seed of something great.
How to Make Your Characters Almost Cry
Tears are powerful, but do you know what's more impactful? The struggle to hold them back. This post is for all your hard-hearted stoic characters who'd never shed a tear before another, and aims to help you make them breakdown realistically.
The Physical Signs of Holding Back Tears
Heavy Eyelids, Heavy Heart Your character's eyelids feel weighted, as if the tears themselves are dragging them down. Their vision blurs—not quite enough to spill over, but enough to remind them of the dam threatening to break.
The Involuntary Sniffle They sniffle, not because their nose is running, but because their body is desperately trying to regulate itself, to suppress the wave of emotion threatening to take over.
Burning Eyes Their eyes sting from the effort of restraint, from the battle between pride and vulnerability. If they try too hard to hold back, the whites of their eyes start turning red, a telltale sign of the tears they've refused to let go.
The Trembling Lips Like a child struggling not to cry, their lips quiver. The shame of it fuels their determination to stay composed, leading them to clench their fists, grip their sleeves, or dig their nails into the nearest surface—anything to regain control.
The Fear of Blinking Closing their eyes means surrender. The second their lashes meet, the memories, the pain, the heartbreak will surge forward, and the tears will follow. So they force themselves to keep staring—at the floor, at a blank wall, at anything that won’t remind them of why they’re breaking.
The Coping Mechanisms: Pretending It’s Fine
A Steady Gaze & A Deep Breath To mask the turmoil, they focus on a neutral object, inhale slowly, and steel themselves. If they can get through this one breath, they can get through the next.
Turning Away to Swipe at Their Eyes When they do need to wipe their eyes, they do it quickly, casually, as if brushing off a speck of dust rather than wiping away the proof of their emotions.
Masking the Pain with a Different Emotion Anger, sarcasm, even laughter—any strong emotion can serve as a shield. A snappy response, a bitter chuckle, a sharp inhale—each is a carefully chosen defence against vulnerability.
Why This Matters
Letting your character fight their tears instead of immediately breaking down makes the scene hit harder. It shows their internal struggle, their resistance, and their need to stay composed even when they’re crumbling.
This is written based off of personal experience as someone who goes through this cycle a lot (emotional vulnerability who?) and some inspo from other books/articles
Your Protagonist is a Liar. If your story follows only the main character, we see things how they see them. A main character is an unreliable storyteller, if they mean it or not. We, just like the MC, aren't in other characters' minds. So, moments are misinterpreted. Your main character sees the world through their own biases. We only know the main character's impressions of the side characters, and the villains. We read only their perception of these characters.
That doesn't make them a villain, its normal. It's realistic and purely understandable. They can't fill gaps of information simply because they weren't there. So, they make assumptions, they make judgements, they remember things incorrectly. Memory isn't perfect, details are changed or forgotten. It's only natural.
Let your protagonist lie. Maybe they don’t even realize they’re doing it. Maybe they do. See what happens.
Let's delve into...
Look, I know you don't like to fail. I KNOW. Neither do I. But do you know who will—and should—fail a lot? YES, your characters! Failure does all the nifty things writing teachers promise us will keep the story interesting: raise the stakes, bring emotions to a boil, and keep things from stagnating and/or getting predictable. Triumphs have their place, and should be present (unless you enjoy metaphorically kicking your readers in the shins, which, hey, more power to you!) but your characters can't always win. That's boring, and unfortunately, boring is the biggest noncriminal sin in entertainment. The good news is that, when your character does win, their previous failure is going to make it all the more satisfying. Doesn't that make you want to nail that failure for maximum improvability? (Hey I HEARD YOU rolling your eyes just now. Rhetorical questions are NOT cringe. Rude.)
So, what do I mean by a "good failure"?
Basically, when they mess up naturally, because of their own choices, in a way that reflects their flaws. "But wait," I hear you say, "does that exclude the possibility of an external circumstance making for a good catalysts for failure?" Nope! There are no hard and fast rules in writing, and shit does, indeed, just happen sometimes. Happen poignantly, even. But your character can't be entirely blameless in every scenario because then things get *taps on chalkboard* BORING. Seriously, consequences are so cool, I promise.
Okay then, why do I want a good failure?
Emotional resonance: do you remember that time you studied hard and still failed the test? Betcha that felt real bad. Yeah, it's that, but magnified by however many people died (or were sad about it! The stakes don't always need to be cataclysmic).
Catalyst for organic growth: do you remember how failing that test made you decide never to pull an all-nighter cramming again? Perhaps even reassess your relationship with God, your identity, and your place in the universe? Yep. And it felt earned, too. Huh.
Narrative depth: how mad were your parents about that test? And how much did it suck getting your Nintendo taken away because of it? That was compelling, realistic tension, baby! It put you right on the—unfun, but necessary—path to making that eventual success feel meaningful. Yay.
Relatability: you know, I felt kinda bad writing all that stuff about how failing that test wrecked you. Because I have empathy, certainly, but also because I've been there too! Mistakes are human, and few things are more effective at humanizing someone than making them an honorary cringefail loser. (This holds especially true if they're usually the god king of being hot and correct, btw.)
Fine, so how do I go about writing that?
Foreshadowing: why, yes, everything DOES always come back to foreshadowing. Good catch! See, foreshadowing marks the difference between a failure being contrived and awkward, and landing because it was tragically inevitable. The character has been making bad decisions that will come back to bite them all book, and the time for gleaning lessons from the teeth marks on their ass is now.
Make the failure specific and personal: sure, failing a test is a universal experience, but failing the most important test ever conceived in the history of mankind and if you fail your mom will hate you and your girlfriend will leave you and you'll go bald isn't. Make 'em feel it where it hurts!
Consequences: internal or external, they better be tailormade to catalyze change. Be it damaged interpersonal relationships or crippling self-doubt, they better not walk away from their mess-up willing to do it again. (NOTE: exceptions may apply in negative character arcs, but even then, the next time they make that mistake, it shouldn't be the exact same one again. It should be so, so much worse.)
Redemption: following on from the last point—make it a turning point! Show me how things are fifty kinds of broken now and how your character plans on rebuilding the mess using the tools they just got from chucking the toolbox full-tilt at their lives.
Examples be upon ye:
Simba in The Lion King: hopefully we can all agree that thinking you caused your father's death is a valid reason to crash out. However, the important thing here is that the crash-out was not eternal. It allowed for an emotional development cooldown period, and when it did end, empowered Simba to make his triumphant return all the more triumphant. Do you think smacking his geriatric uncle off a mountain would've been half as hot if his emotional arc and subsequent redemption had been underbaked? No. Literally. C'mon, lock in.
Zuko in Avatar: The Last Airbender: ahh yes, the king of redemption arcs, which kinda also makes him the king of cringefailing (both externally and internally! Very illustrative, thank you, Zuko). But I bet you don't just remember his struggle with capturing Aang. In fact, I'd bet quite a few buckaroos what you most remember is his struggle with honor. Could it be because you're grateful for what each setback did to help him find his? What about how they taught him that true honor was internally cultivated rather than externally conferred? And the fact that he chose to help the person whom he'd vowed to destroy in order to get it, for which he used the tools he painstakingly won throughout his arc? Hmm. Perchance. See what I mean? It just feels right when things come full circle, and boy is a good failure shaped like zero!
Ultimately, I hope you found something useful here and that, the next time you're down in the trenches of narrative predictability and character stagnation, you consider pissing in their metaphorical coffees. Thank you!
Happy writing!
Writing Tips: Character Interactions (First)
Not all characters are going to get along and some are going to get along really well. What’s important is working out their interactions.
Things to think about
1. Where do they first initially meet?
Depending on how they meet it can really alter the characters perception of the other. Between a bar, school, workplace, battlefield, or traveling someplace together. It will impact how they interact. If it’s a casual party then there is a more friendly vibe. If it’s a battlefield, friendliness isn’t exactly the thing to think about.
2. What do the characters first notice about another person?
Do they look at clothes first? Hair? Eyes? And do they acknowledge what they like or dislike in there head? Do they compliment the person on what they find attractive or unique?
3. How do they perceive the other person initially?
Depending on how they interact it can lead someone to have a bad impression or good impression. This is where it can be fun. If character A is pretending to be amiable and kind, does character B fall for it or are they able to see through it. Further more, if character a says something off putting does character b think they’re weird or just awkward.
4. Use internal thoughts or description to show the perceptions they have
Use the description or thoughts to make the first interaction more memorable. If character a is more of a scrutinizing or judgmental type then have them often being far too harsh or vivid in how they describe someone. Juxtapose that different description types too. Imagine if character b then describes the same person in much kinder light. It creates an array of perceptions about a singular person.
5. Attraction
Think about how your character acts when they are attracted to another person. Are they very upfront and honest? Flirtatious? Or are they shy and freeze up when in the face of someone their attracted to? Do they pick on them?
6. What have they heard about the other character before they interact?
Think about what have they heard about them before. If character a is known to be a chauvinist and character b meets them how would that skew their interactions. Would they be more on guard with them or more annoyed with them when they possibly solidify the rumors. Or if character a goes against that thought would character b feel guilty for thinking of them that way.
7. Biases
Everyone has biases whether we want to admit it or not and your characters should have biases as well. This can push your characters to deepen their relationships and also have them grow as characters as well.
8. Have they met prior?
If they’ve met prior how did that go. What all history do they share. This is more for the first on screen interaction. If they are meeting again has the other person changed? Personality wise and physically wise. What was their relationship like before this meeting. If so try to show the distance in time and then trying to re familiarize themselves with each other.
9. What is the purpose of their meeting?
Are they being introduced through a mutual friend or is this a fight? Are they in a bar and they just were dancing with each other. Whatever the context is let that shape how the characters act with each other. The environment and purpose of the meeting is going to greatly alter how they act.
10. Have fun
Just have fun with it. The characters should be written in how they would interact with the person. I’m how they would present themselves and in how they would go about it. They should do it uniquely to. Have their nervous ticks shown.
There are plenty more tips to give but these are things I think about when writing first meetings in stories.
If you’re shrouded in writers block and desperately want to shoo it away to keep going with your WIP, it sometimes helps to delete the last few sentences/paragraph/scene and rewrite it. Sometimes you accidentally build dams in your creative stream and the only way around is to go back and break it down
my 10 holy grail pieces of writing advice for beginners
from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)
show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."
no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.
if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.
never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.
every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.
every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.
arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)
epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.
your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.
plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.
happy writing :)