How To Avoid White Room Syndrome

This is important, also might help avoid procrastination as leaving a project unfinished does not equal abandoning it, you can always come back to it

Friendly reminder to all the writers on here:

You don’t owe anyone good writing.

You don’t owe anyone a complete storyline written in order.

You can jump around. You can abandon projects. You can write really shitty stories! Writing is about telling stories and creating worlds. Not about what makes your followers happy.

I have to remind myself of this a lot, because in most of my stories I’ve gotten stuck and don’t know where to go. But you can jump around. You can skip parts. It doesn’t matter.

Write what makes you happy.

Types Of Writer’s Block (And How To Fix Them)

1. High inspiration, low motivation. You have so many ideas to write, but you just don’t have the motivation to actually get them down, and even if you can make yourself start writing it you’ll often find yourself getting distracted or disengaged in favour of imagining everything playing out

Try just bullet pointing the ideas you have instead of writing them properly, especially if you won’t remember it afterwards if you don’t. At least you’ll have the ideas ready to use when you have the motivation later on

2. Low inspiration, high motivation. You’re all prepared, you’re so pumped to write, you open your document aaaaand… three hours later, that cursor is still blinking at the top of a blank page

RIP pantsers but this is where plotting wins out; refer back to your plans and figure out where to go from here. You can also use your bullet points from the last point if this is applicable

3. No inspiration, no motivation. You don’t have any ideas, you don’t feel like writing, all in all everything is just sucky when you think about it

Make a deal with yourself; usually when I’m feeling this way I can tell myself “Okay, just write anyway for ten minutes and after that, if you really want to stop, you can stop” and then once my ten minutes is up I’ve often found my flow. Just remember that, if you still don’t want to keep writing after your ten minutes is up, don’t keep writing anyway and break your deal - it’ll be harder to make deals with yourself in future if your brain knows you don’t honour them

4. Can’t bridge the gap. When you’re stuck on this one sentence/paragraph that you just don’t know how to progress through. Until you figure it out, productivity has slowed to a halt

Mark it up, bullet point what you want to happen here, then move on. A lot of people don’t know how to keep writing after skipping a part because they don’t know exactly what happened to lead up to this moment - but you have a general idea just like you do for everything else you’re writing, and that’s enough. Just keep it generic and know you can go back to edit later, at the same time as when you’re filling in the blank. It’ll give editing you a clear purpose, if nothing else

5. Perfectionism and self-doubt. You don’t think your writing is perfect first time, so you struggle to accept that it’s anything better than a total failure. Whether or not you’re aware of the fact that this is an unrealistic standard makes no difference

Perfection is stagnant. If you write the perfect story, which would require you to turn a good story into something objective rather than subjective, then after that you’d never write again, because nothing will ever meet that standard again. That or you would only ever write the same kind of stories over and over, never growing or developing as a writer. If you’re looking back on your writing and saying “This is so bad, I hate it”, that’s generally a good thing; it means you’ve grown and improved. Maybe your current writing isn’t bad, if just matched your skill level at the time, and since then you’re able to maintain a higher standard since you’ve learned more about your craft as time went on

my dad–also a writer–came to visit, and i mentioned that the best thing to come out of the layoff is that i’m writing again. he asked what i was writing about, and i said what i always do: “oh, just fanfic,” which is code for “let’s not look at this too deeply because i’m basically just making action figures kiss in text form” and “this awkward follow-up question is exactly why i don’t call myself a writer in public.”

he said, “you have to stop doing that.”

“i know, i know,” because it’s even more embarrassing to be embarrassed about writing fanfic, considering how many posts i’ve reblogged in its defense.

but i misunderstood his original question: “fanfic is just the genre. i asked what you’re writing about.” 

i did the conversational equivalent of a spinning wheel cursor for at least a minute. i started peeling back the setting and the characters, the fic challenge and the specific episode the story jumps off from, and it was one of those slow-dawning light bulb moments. “i’m writing about loneliness, and who we are in the absence of purpose.”

as, i imagine, are a lot of people right now, who probably also don’t realize they’re writing an existential diary in the guise of getting television characters to fuck. 

“that’s what you’re writing. the rest is just how you get there, and how you get it out into the world. was richard iii really about richard the third? would shakespeare have gotten as many people to see it if it wasn’t a story they knew?”

so, my friends: what are you writing about?

“Writing is perhaps the greatest of human inventions, binding together people, citizens of distant epochs, who never knew one another. Books break the shackles of time ― proof that humans can work magic.”

— Carl Sagan

Hi Neil, as someone who wants to write and can't bring themselves to write, despite loving writing and wanting to write; how do you write? Is there a magical way to make yourself write? Or is the truth more honest and genuine: that writing is the way to write?

I have half a novel, a deep desire to write, and an inability to make my fingers type the words.

How do I circumvent this? Or, as I suspect, is there truly no shortcut?

There's no shortcut. You polish a chair with your bottom, get through the backache and the bad days and you write it, one word at a time.

Tips for Writing a Scene

Whether you’ve been writing for a long time or want to start, everyone begins in the same place—with a scene.

Not an entire chapter.

A scene.

Here’s how you can make it happen on the page.

Step 1: Have Characters In Mind

Scenes can’t happen without characters. Sometimes you might have a place in mind for a scene, but no characters. Sometimes, it’s the opposite. 

Pick at least two characters if you’ll have external conflict (more on that in step 4). One character can carry a scene with internal conflict, but things still have to happen around them to influence their thoughts/emotions.

Step 2: Give Them Goals

Short stories combine mini scenes into one plot with a beginning/middle/end. Longform manuscripts combine chapters to do the same thing, but with more detail and subplots.

You don’t need to know which form you’re writing to get started.

All you need are goals.

What should your scene do? What does your character(s) want? It will either use the moment to advance the plot or present a problem that the character solves in the same scene/short story.

Step 3: Include the Senses

If you’re recounting an experience to someone, you don’t say, “I had the worst day. My shoes got wet and I couldn’t get home for 10 hours.”

You’d probably say, “I had the worst day. I stepped in a puddle so my shoes got soaked, which made my socks and feet wet all day. Then I had to wait 10 hours to get home. It was miserable! And now my feet smell terrible.”

Okay, you might not use all of those descriptors, but you get the picture. The story is much more engaging if you’re talking about the feeling of wet socks, soaked shoes, and the smell of stinky feet. The other person in your conversation would probably go ugh, that’s horrible!

Your scene should accomplish the same thing. Use the five senses to make the moment real for the reader.

As a reminder, those senses are: touch, taste, smell, sight, and hearing.

You don’t need to use all of them at once, but include at least two of them to make your stories shine. You also don’t have to constantly use environmental or sensory descriptors. Once you establish the scene for your reader, they’ll place your characters and want to keep the plot moving.

Step 4: Identify the Conflict

Speaking of plot, scenes and stories can’t move forward without conflict. There are two types:

Internal conflict: happens within a single character (may or may not affect their decisions at any given time; it can also be the reasoning for their goals and dreams)

External conflict: happens outside of a character or between two characters (may or may not have to do with their internal conflict or personal goals; it always advances their character growth, relationship development, or plot development)

A scene could touch on either of these types of conflict or both! It depends on your story/plot/what you want your scene to accomplish.

Step 5: Pick a Point of View (POV)

Sometimes you’ll know you want to write a specific POV because you’ll have a character/plot in mind that requires it. Other times, you might not know.

It’s often easier to pick a POV after thinking through the previous steps. You’ll better understand how much time you want to spend in a character’s head (1st Person) or if you want to touch on multiple characters’ minds through 3rd Person.

Example of Setting a Scene

Step 1, Have Characters in Mind: Two sisters arrive back home from their first fall semester in different colleges.

Step 2, Give Them Goals: Sister A wants to ask for dating advice, but the sisters have never been that close. Sister B knows that Sister A wants a deeper conversation, but is doing anything to avoid it.

Step 3, Include the Senses: They’re in a living room with shag navy carpet and the worn leather couches have butt-shaped shadows on the cushions. The house smells of vanilla bean, the only scent their dads can agree on. Christmas lights hang on a fake tree that sheds plastic fir leaves on the floor. Their family cat purrs from within the metal branches.

Step 4, Identify the Conflict: Sister B will do anything to avoid talking about feelings. That includes trying to get the cat out of the tree (shaking the branches and reaching into them doesn’t work), checking to make sure the windows are closed against the winter air, and faking an obviously unreal phone call. This makes Sister A go from passively hoping for advice to chasing her through the house. 

Step 5, Pick a POV: 3rd Person, so internal thoughts and feelings from both sisters are obvious to the reader and emphasize the scene’s comedy.

-----

These are also useful ways to rethink a scene you’ve already written. If something about it doesn’t seem to be working, consider if it’s missing one or more of these points. You don’t need to include all of them all the time, but weaving more sensory details or conflict into a short story/chapter could solve your problem.

Best of luck with your writing, as always 💛

Monologues And How To Write Them

Monologue is essentially just a long, tedious speech by one person during a conversation.

Good monologues are structured just like good stories: they have a beginning, a middle, and an end. This rhythm—a build up and a resolution—is critical in long stories, because without it, stories can become monotonous and stale.

1. BEGINNING: In real life, people don’t just start monologuing without a reason; they usually start speaking in response to something else that was said or to something that happened. When writing, try transitioning into a monologue smoothly with your first line. Even the opening line “I was thinking about something you said yesterday” is an easy way for a character to start giving a monologue.

2. MIDDLE: The middle of a monologue can be the hardest part to write, because viewers will start to get bored during long speeches; it’s vital to keep your monologues from being predictable. Craft small twists and turns into the storytelling—from interesting plot details to unique ways the character describes them—to keep the monologue fresh and engaging.

3. END: It’s common for monologues—especially ones meant to convince another character to do something—to wrap up with a quick statement of meaning. However, don’t indulge too much in explanation at the end of the monologue; this can make it feel shallow or uninteresting. Instead, trust your readers to derive meaning from it themselves

Monologue writing isn’t a way for writers to let loose and write without limits. In fact, monologue scripts should be written with special care and restraint, otherwise they can quickly bore viewers and fail to contribute anything to the character or plot. There are several key considerations you should keep in mind when writing a monologue:

1. The character’s backstory or importance to the storyline:

Monologues are supposed to reveal important details about a character or the plot—it’s essential that you’ve developed the speaking character and a detailed plot for them to inhabit, even before you start writing. Monologues help inform the audience about the character’s traits and past events.

2. The character’s motivation:

In real life, people don’t monologue unless they have a reason—in the same way, any character giving a monologue in a play or film should have a purpose for it.

3. The character’s voice:

First-time writers can be tempted to use monologues as a way to show off their writing skills; however, doing this will quickly pull viewers out of the story. There are many types of monologues a writer can explore, but monologues should feel natural and invisible in your story, which means they should be told in your character’s voice and point of view. Using language that sounds more authentically like your character is good writing, and it will help create an effective monologue.

4. Keep it concise:

Monologues aren’t something used to fill time in a script—so as you write a monologue, keep it as short as possible. This doesn’t mean that your monologue has to be short; rather, it means you should spend time editing and identifying what is most important. The more focused your monologue, the more powerful and memorable it will be for your viewers.

2. Placement is key:

Monologues are very potent writing tools, and too many of them too close together in a story will quickly tire viewers. Limit yourself to as few monologues as possible, and space them out in your story so that they’re not back to back. This will help each monologue shine and prevent the audience from getting bored.

3. Use detail:

Monologues written entirely in general language are usually forgettable—viewers need concrete details to latch onto and remember. Pepper your monologues with vivid imagery (when in doubt, think of the five senses) to make them memorable.

4. Read and watch more monologues: Great monologues are inspired by other great monologues—when you’re stuck, seek out other examples of monologues to get you back on track. William Shakespeare is always a good place to start (for example, after you’ve read Hamlet, look into A Midsummer Night’s Dream and Romeo and Juliet).

Hope this was helpful to you guys! Take care and thank you for all the love! Like, share and Follow for more!

This is accurate also can help when discussing magic with other fantasy magic doesn't always equal fireballs, and everyone has there own thought on how magic in real life works

Linguistic analysis of "magic" is a shoddy Indiana Jones ass rope bridge over useless semantics-infested waters BUT it's a good place to start for like, what a culture means when they say "magic"

The Emotion Thesaurus: Agitation

Hi everyone and happy Wednesday! Post Two of new series!

This section comes from The Emotional Thesaurus by Ackerman and Puglisi.

Definition: feeling upset or disturbed, a state of unrest

Physical Signs:

reddening of the face

a sheen of sweat on the cheeks, chin, and forehead

hands moving in jerks

rubbing back of the neck

patting pockets or digging in the purse, looking for something lost

clumsiness due to rushing (knocking things over, bumping tables)

a gaze that bounces from place to place

an inability to stay still

jamming or cramming things away without care

abrupt movement (causing a chair to tip or scuff the floor loudly)

flapping hands

becoming accident prone (bashing one's hip on a desk corner)

dragging hands through hair repeatedly

forgetting words, being unable to articulate thoughts

backtracking to try and undo something said in haste

adjusting one's clothing

avoiding eye contact

a wavering voice

not knowing where to look or go

guarding one's personal space

taking too long to answer a question or response

throat clearing

overusing ums, ahs, and other verbal hesitations

turning away from others

a bobbing Adam's apple

pacing

making odd noises in throat

rapid lip movement as one tries to find the right things to say

flinching if touched

minimizing another's compliments

fanning self

unbuttoning a top shirt

tugging at a tie, collar, or scarf

Internal Sensations:

excessive saliva

feeling overheated

stiffening air on the nape of the neck

light-headedness

short, fast breaths

sweating

tingling skin as sweat forms

Mental Responses:

mounting frustration that causes thoughts to blank

compounding mistakes

a tendency to lie to cover up or excuse

anger at oneself for freezing up

trying to pinpoint the source of discomfort

mentally ordering oneself to calm down, relax

Cues of Acute or Long-Term Agitation:

flight response (looking for an escape of fleeing room)

snapping at others, or adopting a defensive tone

scattering papers and files in a frantic search

May Escalate To :

Annoyance

Frustration

Anxiety

Anger

Cues of Suppressed Agitation:

changing the subject

making excuses

joking to lighten the mood

staying busy with tasks to avoid dealing with the source of emotion

shifting attention to others, putting them in the spotlight

Like, follow and reblog for more!

Another List of "Beautiful" Words

to include in your next poem

Avidulous - somewhat greedy.

Breviloquent - marked by brevity of speech.

Compotation - a drinking or tippling together.

Crimpy - of weather; unpleasant; raw and cold.

Desiderium - an ardent desire or longing; especially, a feeling of loss or grief for something lost.

Dyspathy - lack of sympathy.

Ebriosity - habitual intoxication.

Epitasis - the part of a play developing the main action and leading to the catastrophe.

Fantod - a state of irritability and tension.

Graumangere - a great meal.

Grimoire - a magician's manual for invoking demons and the spirits of the dead.

Hiemal - of or relating to winter.

Illaudable - deserving no praise.

Impluvious - wet with rain.

Innominate - having no name; unnamed; also, “anonymous”.

Juberous - doubtful and hesitating.

Noctilucous - shining at night.

Poetaster - an inferior poet.

Psychrophilic - thriving at a relatively low temperature.

Quiddity - the essential nature or ultimate form of something: what makes something to be the type of thing that it is.

Repullulate - to bud or sprout again.

Retrogradation - a backward movement.

Semiustulate - half burnt or consumed by fire.

Tenebrific - causing gloom or darkness.

Unparadiz’d - brought from joy to miserie.

If any of these words make it into your next poem/story, please tag me. Or leave a link in the replies. I'd love to read them!