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TOPIC | Writing tips needed
I write a lot, and I've been working hard on being better. Any good tips from fellow writers?
I write a lot, and I've been working hard on being better. Any good tips from fellow writers?
Vary your sentence structure and use lots of sensory details mixed with the occassional metaphor/simile!
Vary your sentence structure and use lots of sensory details mixed with the occassional metaphor/simile!
Use words you wouldn't normally use. A thesaurus can be your best friend!
Use words you wouldn't normally use. A thesaurus can be your best friend!
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I have my own website for things I've made!
SquishyPanda
This applies to any hobby honestly: practice, practice, practice!

Whenever you start to use an adverb, stop and ask yourself if there's a more precise word you can use instead. E.g. Walked softly = tiptoed

Be careful when using a thesaurus; some words have specific connotations that aren't brought up in the examples. Off the top of my head, would you use odour to describe flowers? Scent to describe trash? Bad example but you get the idea; don't be too eager to use a fancy word just because.

Speaking of fancy words, if there's a simpler word that conveys the same meaning a longer one can, pick the simpler word.

Write what you know, but don't be afraid to try something you've never experienced (with adequate research, of course).

Sight isn't the only sense we have. Make use of sound, smell, touch, and taste to really bring a scene to life.

When someone talks, take note of their sentence structure and word choice. This will help you in writing varied dialogue.

"So if two or more characters are having a conversation..."

"There's no need to say 'he said' 'she said' at the end of every line of dialogue."

"'Cause if their voices are distinct, you can tell them apart easy."

On the same note, don't feel compelled to use a synonym of 'said'. Readers tend to skim over 'said', so any other word breaks the flow far more than 'said' ever will.

All stories have a beginning, middle, and end. Anything without these three things will meander and turn into a ramble.

If a scene doesn't establish a plot point or provide character development, cut it.

If you hit a block, just write what comes to mind and don't think too much about it. It's a lot easier to edit a bad page than an empty one.

If you can't seem to start your story, don't be afraid to begin in the middle, at the end, or the most exciting chapter.

Honestly I could go on forever, but every writer's style is unique, so I can't speak for your personal strengths and weaknesses. These are just how I write my own pieces.
This applies to any hobby honestly: practice, practice, practice!

Whenever you start to use an adverb, stop and ask yourself if there's a more precise word you can use instead. E.g. Walked softly = tiptoed

Be careful when using a thesaurus; some words have specific connotations that aren't brought up in the examples. Off the top of my head, would you use odour to describe flowers? Scent to describe trash? Bad example but you get the idea; don't be too eager to use a fancy word just because.

Speaking of fancy words, if there's a simpler word that conveys the same meaning a longer one can, pick the simpler word.

Write what you know, but don't be afraid to try something you've never experienced (with adequate research, of course).

Sight isn't the only sense we have. Make use of sound, smell, touch, and taste to really bring a scene to life.

When someone talks, take note of their sentence structure and word choice. This will help you in writing varied dialogue.

"So if two or more characters are having a conversation..."

"There's no need to say 'he said' 'she said' at the end of every line of dialogue."

"'Cause if their voices are distinct, you can tell them apart easy."

On the same note, don't feel compelled to use a synonym of 'said'. Readers tend to skim over 'said', so any other word breaks the flow far more than 'said' ever will.

All stories have a beginning, middle, and end. Anything without these three things will meander and turn into a ramble.

If a scene doesn't establish a plot point or provide character development, cut it.

If you hit a block, just write what comes to mind and don't think too much about it. It's a lot easier to edit a bad page than an empty one.

If you can't seem to start your story, don't be afraid to begin in the middle, at the end, or the most exciting chapter.

Honestly I could go on forever, but every writer's style is unique, so I can't speak for your personal strengths and weaknesses. These are just how I write my own pieces.
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It can be good practice to write the same scene over and over again, but changing it according to what you want to convey - sadness, excitement, suspense, a new perspective (such as an observer's perspective, or as told by a side character, etc.) and so on.

Also, when you have writer's block or don't have inspiration for what you're currently working on, try writing something else with new scenery, new characters, new objectives. You'll either end up with something you can use later on, or you'll just help yourself move past a roadblock by clearing your mind.
It can be good practice to write the same scene over and over again, but changing it according to what you want to convey - sadness, excitement, suspense, a new perspective (such as an observer's perspective, or as told by a side character, etc.) and so on.

Also, when you have writer's block or don't have inspiration for what you're currently working on, try writing something else with new scenery, new characters, new objectives. You'll either end up with something you can use later on, or you'll just help yourself move past a roadblock by clearing your mind.
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The Elements of Style (Strunk & White) is probably one of the best books on writing, and is applicable to everything, formal essays to fictional stories and everything in between. Even though I'm not sure what you are writing, I'm sure this can help. It is a short little guide, but very practical.

It spends a lot of time on how to use and active voice as opposed to passive, which I think is indispensable. For some reason, a lot of writers think passive voice sounds more "educated" or "formal", but it comes off as muddled and confusing. It also addresses, as said above, cutting needless or overly "intelligent", "big" or "fancy" words, which has basically the same roots and problems as passive voice.

The book also addresses common grammatical and spelling errors, so I'd recommend you keep it around when writing to causally check your mistakes. It explains how to keep cohesive and logical form and organization throughout the piece, and how to keep your message (which, again, not sure what you write, but everything has a message) clear and understandable.
The Elements of Style (Strunk & White) is probably one of the best books on writing, and is applicable to everything, formal essays to fictional stories and everything in between. Even though I'm not sure what you are writing, I'm sure this can help. It is a short little guide, but very practical.

It spends a lot of time on how to use and active voice as opposed to passive, which I think is indispensable. For some reason, a lot of writers think passive voice sounds more "educated" or "formal", but it comes off as muddled and confusing. It also addresses, as said above, cutting needless or overly "intelligent", "big" or "fancy" words, which has basically the same roots and problems as passive voice.

The book also addresses common grammatical and spelling errors, so I'd recommend you keep it around when writing to causally check your mistakes. It explains how to keep cohesive and logical form and organization throughout the piece, and how to keep your message (which, again, not sure what you write, but everything has a message) clear and understandable.
There's a podcast called "Writing Excuses" that has been going on for some time. Each episode is only 15 minutes long ("Because you're in a hurry, and we're not that smart"). I'd recommend them over any advice I could give since they actually make money off their books and I'm still stuck on the first draft of my own writing.

As for things I try to keep in mind or have noticed from the books I read or shows I watch:

- Foreshadowing is your friend. Mostly this applies if you're going to have some kind of twist/revelation at some point, or you want the danger to feel "real." Saying someone is smart or dangerous doesn't give the same feeling as seeing them do something truly dangerous or outsmart some other folks.
- Have the characters have varied personalities that play off of one another. Some of my favorite humor is when the super serious character cracks a smile upon talking with the goofy mostly-in-the-background character, or when one character tries to imitate another with a different personality.
- If you're doing 3rd person narration from multiple points of view, have the narrator's voice reflect the character being described. Does the character dismiss other points of view, see everything as a battlefield, or study the faces of the people around him?
There's a podcast called "Writing Excuses" that has been going on for some time. Each episode is only 15 minutes long ("Because you're in a hurry, and we're not that smart"). I'd recommend them over any advice I could give since they actually make money off their books and I'm still stuck on the first draft of my own writing.

As for things I try to keep in mind or have noticed from the books I read or shows I watch:

- Foreshadowing is your friend. Mostly this applies if you're going to have some kind of twist/revelation at some point, or you want the danger to feel "real." Saying someone is smart or dangerous doesn't give the same feeling as seeing them do something truly dangerous or outsmart some other folks.
- Have the characters have varied personalities that play off of one another. Some of my favorite humor is when the super serious character cracks a smile upon talking with the goofy mostly-in-the-background character, or when one character tries to imitate another with a different personality.
- If you're doing 3rd person narration from multiple points of view, have the narrator's voice reflect the character being described. Does the character dismiss other points of view, see everything as a battlefield, or study the faces of the people around him?
Don't add a character just because they are a love interest. Create chemistry between people who are relevant to the plot.
Also, cliches aren't always bad, seriously, sometimes if they are used right they are gold.
Don't add a character just because they are a love interest. Create chemistry between people who are relevant to the plot.
Also, cliches aren't always bad, seriously, sometimes if they are used right they are gold.
Don't add a character just because they are a love interest. Create chemistry between people who are relevant to the plot.
Also, cliches aren't always bad, seriously, sometimes if they are used right they are gold.
Don't add a character just because they are a love interest. Create chemistry between people who are relevant to the plot.
Also, cliches aren't always bad, seriously, sometimes if they are used right they are gold.