Writing Food - Tumblr Posts
Personae
@the-wip-project Day 11
How do you create your characters? Do you make a profile of them? Do you know your character before you start writing the story?
I've tried several tools, from the basic bullet list of characteristics on the first loose paper I could lay my hand on, to an intricate mind map of the story cast with pictures, places, dates, etc.
Since a lot of the creative process goes through an insanely vast amount of daydreaming time, my characters are quite happy with budding and growing in my imagination. Their features existing already, only some details become more precise over time. But overall, I like to respect canon in that regard.
But it's the writing that really gives them the consistency I'd like their personalities to have. And this is when the magic happens because I'd be at a loss to say with precision what they're like before I actually start writing. As the letters, words and sentences flow on the blank document, their profiles take shape; the traits which are meant to be set, revealing de facto those that are going to follow the arc of development and evolve along with the plot.
@the-wip-project Days 12 & 13
Prompt:
Unfortunately, things never go according to plan around here.
Indeed they don't.... I NEVER INTENDED TO WRITE THE FIRST CHAPTER OF A NEW WIP IN THREE DAYS!!! I'M SHOUTING BECAUSE I'M SUPER EXCITED!!!
Look at your characters, maybe even the one you created yesterday, and be honest. Do you have a type?
I've been scratching my head about this question. I don't know if I have a type of character. I certainly have a recurrent type of plot though lol.
What I could say is that my main characters are meant to complete each other one way or another and to meet half-way on their individual paths. My stories revolve a lot around building bridges, facing trauma, sweeping unpleasant truths from under the rug, starting personal inner journeys. So my characters are flawed from the start, aware or not of their own missing pieces and weaknesses (but soon to be) and I guess this is the type of personae I enjoy staging and following along the relative unknown of the plot, the encounters it brings about, self-discovery and retrieving some balance after their life being more or less disrupted.
I realise it may sound super heavy đ , but it's not necessarily the case. It matches fluff as angst equally.
Folklore & Fanlore
@the-wip-project Day 14
Do you have figures/creatures of folklore in your WIP? If not, can you think of something that would fit?
So, which WIP are we talking about here exactly? đWIP 1 or WIP 2?
WIP 1 has no figure of folklore in particular, but is ingrained in a specific country's recent history. The context is actually central to the plot so it required some research at understanding of traditions, mentalities, ways of living. It was never my intention to tackle this aspect as an expert (far from it) and it still isn't. However, I love learning new stuff and I hate half-assing tasks, even for leisure. So it was important, and fun, to me to get those details accurate whenever they needed to be.
WIP 2 doesn't hold any figures of folklore per se, but figures of fanlore more like. The Alpha/Beta/Omega trope offers a very intricate and fascinating universe, and whenever you thought you had read every possible variations of it, someone surprises you with more inventiveness (your humble servant yearns to that privilege).
Writing was a healing process when I started it. Now it is part of a learning process, where I give as much as I gain. It requires effort, time and dedication, but the nourishment I get in return is amazing. I grow as a person, just as my characters grow. Add to that kudos and comments, and I'm on cloud nine.
@vividly-creative
I read you and I feel you *hugs*
I've had similar thoughts about all the stories I've created (I'm having them right now for my 18-month old wip and the one I started... 3 days ago), a feeling that getting to the end is going to be so worthwhile because what I have in mind is so amazing, and at the same time so daunting that it actually stops me in my tracks, because what if I ruin this beautiful thing I have in my mind? What if it never reaches my expectations, and above all others'? And this is the one moment when the poisonous temptation to compare our work to others' pulls out its claws and drooling fangs.
From one thought to another, one day, I eventually considered things from a different point of view and came to a certain conclusion that I'd like to share with you. Maybe it'll ring something inside you, or maybe not.
Recently I've said in a post that I was a planner, and I am. This is the only way for me to beat this whimsical habit of mine: procrastination. I'd procrastinate for almost everything, and while I wouldn't mind postponing work-related stuff, it'd suck more to see myself postpone hobbies that are supposed to make me feel good. Writing falls into that category. Except that procrastination is not just postponing (and it certainly isn't idleness, we know that) Procrastination is also when you decide to do/create/start/continue/review another task instead of the one you "were supposed to do" (please, note the quotation marks), for reasons ranging from subjective importance to objective inclination.
It's not a flaw, it's not even a bad habit, but it certainly is exhausting in the long run.
But procrastination tells us something about us, creators.
Procrastinating is dreading the moment when the project, our project, will reach its term. When we'll have to part from it, when this project will live on with a life of its own, where it's meant to be, exposed to other people's scrutiny and comprehension. When it's no longer ours, and we have no control over it anymore. And yet, our parenthood over this piece of work is intact. We've been its source of life, its legal guardian.
We're responsible for its existence, as well towards its outcome, by making sure it's prepared for what's to come, autonomous, viable, acceptable, defendable. Perfect.
The fear of separation and the quest for perfection go hand in hand with procrastination.
Setting up a deadline, a date, a goal to finish a wip is like scheduling this separation and the grief that'll come with it, because it feels like a part of us will leave too, and there'll be nothing we can do about it. So, we hope it'll go in the best of ways, with flying colours. When the moment comes, we hope we'll be up to it, that the void that'll come after will be tolerable (but if we have other wips on the backburner, it'll hurt less, won't it?)
So, yeah, this is how I feel when I write my stories. I love to see them grow, develop, gain confidence. I'm always eager to write them down, to read the words and sentences flow and discover what I wanted to write (honestly sometimes I don't even know what I write...) And I'm so looking forward to knowing the end (LOL!!) while dreading that moment when I'll have to say goodbye.
Nobody likes to say goodbye to something/someone we love. I said goodbye too many times, without knowing that things were actually over, without making sure that I was happy with the way things were between them and me, that this part of me could go without any reason for future concern or regret.
I guess what I'm trying to say is that your wips might go when you finish them, but you can be sure they'll meet amazing people (readers, publishers, you name it) and make them happy. Don't be afraid to finish them and let them go (at your own pace).
Your creativity will never let you down. Take care đ¤
Doubting Myself
Lately Iâve been creating a lot of stuff, back to back.
Iâve been writing a lot and bringing characters to life. Iâve been working so much on my novel, my word count is getting up, my word document is getting longer and Iâve been receiving positive feedback from my friends.
Still, I feel likeIâm barely making any progress.
I have brought so many ideas to life and Iâm proud of myself and of what I created⌠but it feels like it doesnât mean anything.
My portfolio could and should have much more work in it. It feels like Iâm behind and I always will be.
No matter how much I create, I constantly feel like I couldâve made more and I need to make more.
I want to have this inhumane amount of art made within a couple of hours.Â
The moment I start writing a scene Iâm picturing how I want it to sound at the end and I start asking myself if Iâll be able to even finish it. The second I start a new sketch I begin ruminating how it should look and I want to skip the process to finally see the end result.
I have to keep reminding myself that a successful piece of art is the one that makes you proud and allows you to grow as an artist; but that does not mean it will always be satisfying and I get that.
I love to create.
I want to create.
I chose to create.
But itâs hard to enjoy the process sometimes, when you keep telling yourself âThis is the time I will finish this novel.â
âThis is the piece that I will finally send to publishers.âÂ
âThis is the work that I will have hundreds of rejection slips and just that one approved, because it only takes one publisher to say yes.âÂ
âToday Iâll make the photograph that gets into a calendar.â
âThis is the art project that will make people take me seriously.â
âThis is the one that will make me an artist.â
It âs exhausting.
@the-wip-project Days 16 to 19 (Gosh, I'm so so late đĽ)
Do you have prophecies and superstitions as part of the worldbuilding in your WIP? Could you add some?
In WIP2, the A/B/O fic, there's this trope about the bond mates create when they claim each other (which is one of my favourite parts of the ABO universe to be honest) that I decided to use as a prerequisite superstition from the point of view of one of the secondary characters; a secondary character who'll only appear at the beginning and vanish shortly after, but whose impact on the protagonist will be powerful enough to ingrain this belief quite deep.
Only to be debunked later by the other main character đ
Think about an interview question for your main character/s and then write down what they donât say. What secrets do they keep? What do they lie about?
Right, so I've decided to present this as an interview between my protagonist and his psyche:
Protagonist: Alphas are a plague. They suck, stink and can go to Hell. I don't need one in my life. I can totally live without them. I'm independent and strong and in love with myself. Who needs alphas anyway?
Superego: Right, I understand where you come from. Your reaction is logical and the emotional charge of your thoughts is legitimate. I'm sure though that, when you calm down, you'll be able to see things in a more composed and lucid way, and consider your words as a bit extreme.
Ego: SHUT UP! I.GOT. HURT! NOT THEM, I! So yeah, alphas are the scum of the earth. Just watch me live my life like I don't care, and learn!
Id: lol.
What ideas came to you recently from daydreaming?
Too many. Like....
I've trying to figure out how a toddler speaks in English and how adults would react. I've also been thinking about future scenes, which should normally happen a few chapters later, and I'm always debating with myself whether I should write them down while they're vivid in my mind or focus on where I'm at, now. I've also made some research on Hawaii for my other wip, so my head is also full of palm trees, paradise beaches, luxuriant vegetation in the volcanic outback (very pleasant part of the daydreaming here) and the serious talk that must take place in such an idyllic environment (pretty ironic)
How do you decide which WIP to work on?
I've been asking myself this question since I started the second wip *scratches head* (my writing involves as much daydreaming as head-scratching, I'm realizing) and I've come to the idea to write a bit of both at the same time. And it's quite satisfying, since I have the feeling of overlooking neither, even if I don't produce a lot. Besides, as they're very different, one really allows me to take a step back from the other and take the time to consider what I've just written (if it makes sense, what I forgot, didn't phrase accurately etc...).
CHARACTER FACIAL EXPRESSIONS (WRITING REFERENCE)
EYES/BROWS
his eyes widened
her eyes went round
her eyelids drooped
his eyes narrowed
his eyes lit up
his eyes darted
he squinted
she blinked
her eyes twinkled
his eyes gleamed
her eyes sparkled
his eyes flashed
his eyes glinted
his eyes burned withâŚ
her eyes blazed withâŚ
her eyes sparked withâŚ
her eyes flickered withâŚ
_____ glowed in his eyes
the corners of his eyes crinkled
she rolled her eyes
he looked heavenward
she glanced up to the ceiling
she winked
tears filled her eyes
his eyes welled up
her eyes swam with tears
his eyes flooded with tears
her eyes were wet
his eyes glistened
tears shimmered in her eyes
tears shone in his eyes
her eyes were glossy
he was fighting back tears
tears ran down her cheeks
his eyes closed
she squeezed her eyes shut
he shut his eyes
his lashes fluttered
she batted her lashes
his brows knitted
her forehead creased
his forehead furrowed
her forehead puckered
a line appeared between her brows
his brows drew together
her brows snapped together
his eyebrows rose
she raised a brow
he lifted an eyebrow
his eyebrows waggled
she gave him a once-over
he sized her up
her eyes bored into him
she took in the sight ofâŚ
he glared
she peered
he gazed
she glanced
he stared
she scrutinized
he studied
she gaped
he observed
she surveyed
he gawked
he leered
his pupils (were) dilated
her pupils were huge
his pupils flared
NOSE
her nose crinkled
his nose wrinkled
she sneered
his nostrils flared
she stuck her nose in the air
he sniffed
she sniffled
MOUTH
she smiled
he smirked
she grinned
he simpered
she beamed
her mouth curved into a smile
the corners of his mouth turned up
the corner of her mouth quirked up
a corner of his mouth lifted
his mouth twitched
he gave a half-smile
she gave a lopsided grin
his mouth twisted
he plastered a smile on his face
she forced a smile
he faked a smile
her smile faded
his smile slipped
he pursed his lips
she pouted
his mouth snapped shut
her mouth set in a hard line
he pressed his lips together
she bit her lip
he drew his lower lip between his teeth
she nibbled on her bottom lip
he chewed on his bottom lip
his jaw set
her jaw clenched
his jaw tightened
a muscle in her jaw twitched
he ground his jaw
he snarled/his lips drew back in a snarl
her mouth fell open
his jaw dropped
her jaw went slack
he gritted his teeth
she gnashed her teeth
her lower lip trembled
his lower lip quivered
SKIN
she paled
he blanched
she went white
the color drained out of his face
his face reddened
her cheeks turned pink
his face flushed
she blushed
he turned red
she turned scarlet
he turned crimson
a flush crept up her face
WHOLE FACE, ETC.
he screwed up his face
she scrunched up her face
he grimaced
she winced
she gave him a dirty look
he frowned
she scowled
he glowered
her whole face lit up
she brightened
his face went blank
her face contorted
his face twisted
her expression closed up
his expression dulled
her expression hardened
she went poker-faced
a vein popped out in his neck
awe transformed his face
fear crossed her face
sadness clouded his features
terror overtook his face
recognition dawned on her face
SOURCE
How to write about Grief:
There is no right or wrong way to experience grief. Just as there is no right or wrong way to write it. Everyone is different, each set of circumstances are different.Â
The point of this post is to show you how different people react in different ways, and give points on how you might write that, depending on your character and story.
Reactions to Grief
Numbness: Your character may go into auto-pilot and be unable to process the events that have unfolded.
Anger: This can be aimed at other people, at a Higher Being, or at nothing in particular.
Unsteady: Your characters may be unsteady. For example, unable to stop their voice from shaking or they may find it difficult to stand.
Focusing on Others: Your character may disregard their own feelings because they are so overwhelmed and instead concentrate on someone elseâs well-being.Â
Seek out routines: Amid upheavals, your character may seek comfort in tasks that are familiar and âsafe,â such as working, cleaning, making their bed, making absurd amounts of tea or taking a morning walk.
Pretending that Everything Is Okay: Grief is viewed as an emotion that should cease or be concealed once the funeral is over. So people mention the news in an offhand comment, then talk and laugh as if all is right with the world.
Denial: Some people deny the reality of death and convince themselves that the news is a joke or canât be true.
Reactions from people surrounding your character:
People may avoid your character as they do not know what to say or simply canât find the right words.
Some may even go as far as to cross the street when they notice your character approaching.
Even people that the character has known for years may act strange or standoff-ish, simply because they donât know what to say.
On the other side of that, some people may be overly helpful and friendly.
It is not uncommon for estranged friends, family or others to suddenly reappear in a personâs life after they have experienced grief.Â
Either because those people want to offer their support and love or because theyâre being nosy and they want to be kept up to date on the âdramaâ.
Most people will move on from the event fairly quickly if they werenât emotionally invested.Â
Some people may even get annoyed at your character for still being upset weeks or months later.
When talking about the person they have lost:
Your character may recall a memory or tell a story about their loved one, these are possible reactions. (I have encountered all of them.)
Your character may being to cry or get upset at the thought of the person they have lost.Â
The person they are talking to may become awkward and avert eye contact when your character brings up the person they have lost.Â
Others may ask or tell your character to stop talking about the person they have lost. They may roll their eyes, cough awkwardly, or cut off your character mid sentences so that they can change the subject.
Some people may ask inappropriate questions about the circumstances in which the characterâs loved one passed away. Depending on the personality of your character then may react differently.Â
Other things to note:
Grief is not constrained by time.Â
One of the main problems with grief in fiction is that a character is typically heartbroken for a couple scenes and then happy again. But grief does not evaporate because the world needs saving.Â
Allow your character to wrestle with their grief.Â
Your character may feel guilty. Your character may feel a twinge of guilt when they laugh or have a good time with someone else; when they do something to remind them that theyâre alive, and their loved one isnât.Â
Grief is a game changer. A previously outgoing character may withdraw and isolate themselves. Some people may take grief and/or bereavement as a sign that life is too short; they may make big decisions in an attempt to make themselves feel better and grow away from their pain.
Sometimes grief can help you find your purpose.
At first grief can be all consuming. It hurts and you canât really control it. It may seem unrelenting. Eventually the grief will become easier to deal with, your character may find the days to be better, but that doesnât mean that when the grief hits it doesnât hurt any less.
For most people, grief never really goes away. âSometimes you have to accept the fact that certain things will never go back to how they used to be.â
It is rare that a person will ever give a long speech about their feelings, a lot of people struggle to even find the words. But thatâs okay. Show the reader how your character feels, rather than just telling them.
Donât pause the plot to deal with the aspect of grief. This could overwhelm the readers and drag the pace down. In reality, life doesnât just stop due to grief, the world keeps spinning and things still need to be done. Use the characterâs grief as a backdrop for the storyâs events. Â
Yes, grief affects the characterâs day-to-day life, goals, and relationships. But it shouldnât drive readers away or stagnate the story. Instead, should engage readers and produce empathy that keeps them turning pages.
You donât need to tell your readers that everything will be fine. You donât need to provide all of the answers.
âSkirting grief and treating it lightly is easy. But by realistically portraying it through a variety of responses and its lasting effects on the characterâs life, readers will form a connection with your characters.â
Resources for Writing Injuries
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Head Injuries
General Information | More
Hematoma
Hemorrhage
Concussion
Edema
Skull Fracture
Diffuse Axonal Injury
Neck
General Information
Neck sprain
Herniated Disk
Pinched Nerve
Cervical Fracture
Broken Neck
Chest (Thoracic)
General Information
Aortic disruption
Blunt cardiac injury
Cardiac tamponade
Flail chest
Hemothorax
Pneumothorax (traumatic pneumothorax, open pneumothorax, and tension pneumothorax)
Pulmonary contusion
Broken Ribs
Broken Collarbone
Keep reading
Day 29/90
Hello writerly friends!
In our journey along the Three Act Structure, we are now at the point that Jessica Brody calls Break Into Two. She points out that something really different has to happen here. The world has to be new and different for our characters. If the world is just the same old same old, there would be no reason for the characters to even go into the second act. Act One is the âstatus quoâ, Act Two is the âupside downâ world.
This is where the characters learn their life lessons. Jessica Brody says that these life lessons are the theme. Iâm not quite sure I agree but nevertheless, this section is a good moment to check what your theme is. When you discovery write, sometimes you can surprise yourself and your theme may be a different one now than the one you started out with. Go with the flow, and lean into your theme.
Write on friends!
physical intimacy prompts
holding hands during a stressful situation
smiling in-between kisses
touching foreheads
cheek kisses
slow dancing
intertwining fingers
comparing hand sizes
resting your head on your partner's lap
piggy back rides
standing on your tip toes to reach your partner's lips
kissing your partner's wounds
forehead kisses
falling asleep on your partner's shoulder
bridal carries
spooning
rolling over in bed, switching positions during a kiss
embracing your partner
intertwining fingers when making love
pulling away from a kiss, deeply looking into each other's eyes, appreciating being here with each other before diving back in
nudging into the crook of your partner's neck
being carried/tucked into bed, after having fallen asleep on the couch waiting for your partner to come home
saying ''i love you'' in-between kisses
nose boops
back rubs
tracing fingers down your partner's chest
hand on chest during a casual conversation
bumping into each other
hugs that last longer than they should
showering together
hands around the waist
straddling your partner's thighs
helping your partner undress
playing with your partner's hair
falling asleep to your partner's heartbeat
resting a hand on your partner's back
squeezing each other's hands
sitting in your partner's lap
cupping your partner's face
tickling
linking arms with each other
exploring each other's lips
caressing your partner's face
brushing your lips together, lingering for a moment
jumping into your partner's arms
wrapping legs around your partner
tucking a strand of hair behind your partner's ear
pulling your partner into your lap
hugging from behind
lifting your partner off the ground
holding hands across the table
holding hands under the table
bear hugs
caressing your partner's hand
laying a hand on your partner's thigh
literally sharing a sweater
slapping your partner's butt
tummy kisses
feeling each other's pulse
glancing at each other's lips
falling asleep while cuddling on the couch
climbing back into bed, onto your partner's body to wake them up
How to write a kiss scene
requested by: anon request: How do I write a good kiss scene? As how do I describe it? What details or words would make it good?
What goes into the writing of a kiss scene?
details to incorporate:
the sensations in their stomach, their chest, and their knees
the way their breathing changes shortly before the kiss
the feeling of the other's hands
the texture of the other's clothing
the moment they realise they've reached the point of no return
the feeling they're left with after the kiss
words to use...
... to describe the kiss:
tentative
tender
hesitant
quick
soft
gentle
delicate
languid
feathery
familiar
exploring
hungry
heated
fiery
frantic
impatient
sloppy
messy
aggressive
... to describe how they feel about the kiss:
nervous
excited
giddy
anxious
apprehensive
ambiguous
surprised
reassured
certain
confident
relieved
eager
greedy
... to show what the lips do:
exploring each other
brushing over each other
locking
devouring
touching
sealing
pressing against each other
capturing
lapping
tasting
crushing together
travelling (the other's body)
trailing (down to the other's chin)
grinning into the kiss
caressing
lingering
... to show how their body reacts:
feeling warm all over
buzzing
humming
pumping/palpitating heart
clenching lungs
joy bubbling up
tingly stomach
warm chest
burning cheeks
sweaty palms
blood rushing through their veins
... to describe what their hands are doing:
tangling in their lover's hair
wrapping their arms around their lover's neck
intertwining their fingers with their lover
resting on their lover's hips
pressing into their lover's shoulder blades
cupping their lover's cheeks
touching their lover's chin
curling their arm around their lover's waist
resting on their lover's shoulders
grabbing their lover's collar
sneaking up under their lover's shirt
brushing over their lover's bare skin
lightly squeezing their lover's butt
focus on:
the sensations instead of what's physically happening. (the protagonists might very well not know themselves what is happening exactly, but they feel very precisely)
I hope this helps <3
show, donât tell:
anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking
frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping
sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps
happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking
boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails
fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands
disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm
tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile
confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions
WEBSITES FOR WRITERS {masterpost}
E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
I hope this is helpful for you!
(Also, check my blog if you want to!)
Saying I'm sorry...
... as an apology
... as a confession
... as a manipulation
... as a truce
... as a last attempt
... as an ask for forgiveness
... as a sign of respect
... as a duty
... as a goodbye
Saying I'm sorryâŚ
angrily
desperately
anxiously
quietly
insolent
guiltily
unapologetic
passionately
honestly
*I'm sorry* - Apology Starters
If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! đĽ°
How to Pick a Point of View for Stories
Figuring out the point of view (POV) for your next story can seem daunting. It changes how you convey your plot and the emotional themes driving it. These are a few ways to narrow your options.
1. Consider the Pros and Cons of Each POV
There are absolutely pros and cons for different points of view. They accomplish different things for each story even if they feel vaguely the same at first. When youâve got a story in mind, think of these factors to potentially pick a POV.
First-Person Pros and Cons
Pros
Your reader will have an intimate connection with your protagonist because theyâll read the protagonistâs thoughts and feelings in âreal time.â
A specific emotional tension is possible the protagonist is narrating everything through their personal lens/biases and the reader doesnât get inside any other characterâs head to learn their actual motivations/emotions.
A super distinct narrative voice can pick up the pace for readers in the first 100 pages of a novel
Cons
You donât get to jump between characters, which isnât helpful if youâve got a well-developed cast of characters you want to spend time with.
Itâs easy to have a repetitive sentence structure due to phrasing like, âI said,â âI though,â âI want,â etc.
Readers donât get to emotionally connect with other characters on the same intimate level, which may limit the themes you want to write about.
Third-Person Pros and Cons
3rd Person Omniscient POV Pros
The reader gets into each characterâs mind, so thereâs no bias in the narration.
You can jump between characters in a single scene, allowing a multi-dimensional view of the main plotâs journey or lesson.
You can switch characters to reveal more of your world to your reader, which is perfect for writers who do deep worldbuilding before they start writing.
3rd Person Omniscient POV Cons
Readers may struggle to form an allegiance to a character because thereâs so many giving their points of view.
The hook for a story may come much later than normal if multiple characters need to be introduced through narration before the inciting incident.
If youâre writing a longer story, youâll have to chart the primary plot line, then each characterâs individual arcs to understand how they intersect and where youâll jump POVs.
3rd Person Limited POV Pros
You get quality time with multiple characters.
You can create an unreliable narrator within a cast of characters that your reader gets equal time with.
The quality time with each character can make it more emotional when a character faces a challenge.
3rd Person Limited POV Cons
Youâre forced to follow only one characterâs perspective at a time. Thereâs no jumping between minds in a scene.
Each character will have a personal bias regarding whatever situation theyâre in, so theyâll need individual goals and opinions too. Youâll need more character building before or during writing your story.
Youâll still need to chart each characterâs arc to understand how it pushes the primary plot forward, what role each character plays, why theyâre essential for the reader to spend time with, and how theyâll grow individually.
2. Think About What Matters Most For Your Story
What is the purpose of your story? What do you want to achieve with it or how do you want to practice your craft with it?
You could want to try out a story with multiple narrators. That boils your options down to 3rd person omniscient or limited. Easy!
Do you want to write a protagonist that your readers feel bonded with? That could mean your story happens in first-person POV. It could also work with 3rd person limited, depending on which character recurs most often.
Maybe you have a few characters in mind for a story but only one of them seems interesting enough to vocalize the story. Pick that character for your first-person POV. The other characters may be important, but if their voices arenât distinct, your reader will just be bored when theyâre narrating.Â
3. Go With Your Gut
Ultimately, you have to go with your gut. Pick the POV that makes the most sense and write the story. You can always go back and rewrite it in another POV if it feels like the current one isnât working for whatever reason.
Yes, itâs a pain to do that kind of rewriting, but itâs such a relief to know your themes/message/plot will come across the right way. Itâs always possible to make that change, even if you finished a novel-length manuscript.
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The more practice you give yourself with the various points of view, the more comfortable you'll feel when picking one for your future stories. Even practicing with flash fiction will flex your creative muscles enough to help you learn when each POV is most useful for your work.
Writing Tips
Punctuating Dialogue
â§
⸠âThis is a sentence.â
⸠âThis is a sentence with a dialogue tag at the end,â she said.
⸠âThis,â he said, âis a sentence split by a dialogue tag.â
⸠âThis is a sentence,â she said. âThis is a new sentence. New sentences are capitalized.â
⸠âThis is a sentence followed by an action.â He stood. âThey are separate sentences because he did not speak by standing.â
⸠She said, âUse a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.â
⸠âUse a comma when a dialogue tag follows a quote,â he said.
âUnless there is a question mark?â she asked.
âOr an exclamation point!â he answered. âThe dialogue tag still remains uncapitalized because itâs not truly the end of the sentence.â
⸠âPeriods and commas should be inside closing quotations.â
⸠âHey!â she shouted, âSometimes exclamation points are inside quotations.â
However, if itâs not dialogue exclamation points can also be âoutsideâ!
⸠âDoes this apply to question marks too?â he asked.
If itâs not dialogue, can question marks be âoutsideâ? (Yes, they can.)
⸠âThis applies to dashes too. Inside quotations dashes typically expressââ
âInterruptionâ â but there are situations dashes may be outside.
⸠âYouâll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses donât have a comma after them eitherâŚâ she said.
⸠âMy teacher said, âUse single quotation marks when quoting within dialogue.ââ
⸠âUse paragraph breaks to indicate a new speaker,â he said.
âThe readers will know itâs someone else speaking.â
⸠âIf itâs the same speaker but different paragraph, keep the closing quotation off.
âThis shows itâs the same character continuing to speak.â
some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, âwhatâs the word for non-sunlight lighting? Like, fake lighting?â and for ten minutes, all our brain will supply is âunofficialâ, and we know thatâs not the right word, but itâs the only word we can come up withâŚuntil finally itâs like our face got smashed into a brick wall and we remember the word we want is âartificialâ.
âShow Donât Tellâ? Not Always. Hereâs When to Use Summary.
I was inspired to write this post after getting a great anonymous question in my Ask: âWhatâs your opinion on the whole âshow donât tellâ advice? Do you have any tips for when to show and when to tell?â
Hereâs my response:
I honestly think that âshow donât tellâ is one of the most over-quoted and least-understood pieces of writing advice out there.
For those of you who arenât familiar, âshow donât tellâ means that instead of explaining or telling something to your reader (âSheila was reckless and impulsiveâ), you should show Sheilaâs impulsiveness through action or dialogue. For example, âEven though her rent was overdue, after she got her paycheck Sheila spent $400 on an antique toilet.â This would allow the reader to draw the conclusion that Sheila was impulsive for themselves, rather than being told.
Theoretically, this is great advice for new fiction writers, who, left to their own devices, tend to write their stories entirely in âtellingâ mode.
But summary (telling) has a place in fiction as well, and itâs an important one.
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