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SloMo WriNo: Instantly Improve Your Writing With One Simple Trick

Want to make your writing instantly better?

Don’t we all?

Promising instant improvement is an easy way to hook eyes, (I’m sort of sorry for click-baiting you— but not too much.) so a lot of writing advice is framed that way.

But is it actually possible?

Generally the advice on those types of posts isn’t anything revolutionary. You’re told to eliminate adverbs/filter words/telling. Or perhaps the advice is additive. You should start using all 5 (or even 6?) senses in every description, do or don’t use certain tenses or povs, change up sentence lengths, use more paragraph breaks, and so it goes.

It’s (usually) all useful advice, especially when applied in moderation. (No one will come and shoot you for occasionally using suddenly or summarizing a scene instead of showing every detail.)

The issues is that a lot of writers (especially beginner writers) are seeking some sort of magic bullet. That one trick that will change everything and magically make you good. (never mind that ‘good’ is far more nebulous and subjective than anyone wants to admit.)

Sadly, once you get beyond learning things like punctuation and when to insert paragraph breaks, there’s not really any single technique that you can quickly apply and immediately lift the quality of your writing.

For the rest, it really takes time. Even if the advice is good, you need to learn when and how to apply it.

As such, there’s only one technique that will definitely make your writing better.

Practice.

Yeah. So boring. The least sexy piece of writing advice. Write more.

But it’s also the simplest. (Not always the easiest, but definitely the simplest!) Writing is not mystic or singular. It’s just like any other art or craft. The only way you get good is by spending time at it. And just like anything else, you’re going to be bad before you can start to get good.

You would never expect to become an accomplished guitarist by spending lots of time listening to and thinking about music, while almost never picking up your instrument to practice. And you will not become a good writer without practicing the action of writing.

It’s a comforting idea that gets bandied around at times, that writing isn’t just fingers on the keys or pen on paper. That it’s thinking and daydreaming and making mood boards etc. While those writing adjacent things are fun and undoubtedly can help you write, they are not writing. They are not practice.

Spending your time doing those things instead of writing do not make you a better writer, and obviously they don’t finish your novel or writing project.

Which is my goal here. To help you finish your project. As such I spend very little time on dispensing advice on plot or prose, and focus mostly on the process of writing.

That’s not to say that I don’t think you should spend time on learning how to write better prose, or how to create compelling characters and plot, those things are important! But if attempting to learn that stuff gets in the way of practice, then it’s counterproductive.

So don’t let the writing advice become the focus of your writing. Apply advice slowly, and don’t overwhelm yourself with trying to fix all your perceived faults at once. (I still have a difficult relationship with punctuation, but I’m learning. Slowly.) If you can, focus on techniques that interest you. Keep things low pressure— fun even?

Yes you want your work to be as good as possible, but also, you’re doing this writing thing because you enjoy it, right? So don’t allow the pressure to be good to stop you from having fun. If trying to apply a certain piece of writing advice is making you miserable, toss it aside. It’s either bad advice, or it’s not the right time for you to worry about it. Above all, avoid anything that kills your joy and makes writing a miserable chore.

So I guess this is my one piece of advice that will improve your writing (process) instantly.

Enjoy yourself, and ditch anything that ruins that joy. You’ll get better at your own pace, as long as you keep writing.

—Maree

Subscribe to my substack to make sure you don't miss a post, chat with me on the WIP Project discord, and tag any posts you make about the challenge with #slomowrino if you want me to see them!

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I forgot how lonely it is to write original fiction.

Where are the kudos? The subscriptions? The comments? The people cheerleading me chapter to chapter? Where are the kind words and compliments and reassurances that what I'm writing isn't complete crap? Where are the unhinged emojis? The asks on Tumblr? Where are my mutuals in my dms apologizing for not reading the latest chapter right away (side note, you know you don't have to apologize at all, right??). Where is the fanart? Where are the recs?

Where is my motivation to keep going?

It's something I've been thinking about a lot, actually, lately. How the experience of writing fanfic is so unique. How you already have an audience, willing and waiting and captive. And that's really it, isn't it? You have an audience. It's almost performative, writing fanfic. It's being on a stage, a one-person show (or two, if you do it with a friend); it's getting live reactions to your performance, it's feeding off the energy of the crowd and informing it back in a feedback loop; it's improvised, sometimes, in almost-real-time. It's building something that you couldn't have built by yourself. A thing that takes on a life of its own.

It's an experience you can't get writing original fiction, and, honestly, not having it is making it hard to write something original at all.

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Prose.

#prose

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Things That May Be Causing Your Writer's Block- and How to Beat Them

I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.

In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:

(note that any case of writer's block is usually a mix of two or more)

Perfectionism (most common)

What it looks like:

You write one sentence and spend the next hour googling "synonyms for ___"

Write. Erase. Write. Rewrite. Erase.

Should I even start writing this scene when I haven't figured out this one specific detail yet?

I hate everything I write

Cringing while writing

My first draft must be perfect, or else I'm a terrible writer

Things that can help:

Give yourself permission to suck

Keep in mind that nothing you write is going to be perfect, especially your first draft

Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later

People write multiple drafts for a reason: write now, edit later

Stop googling synonyms and save that for editing

Write with a pen to reduce temptation to erase

Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail

It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page

Lack of inspiration (easiest to fix)

What it looks like:

Head empty, no ideas

What do I even write about???

I don't have a plot, I just have an image

Want to write but no story to write

Things that can help:

Google writing prompts

If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out

Instead of thinking about the story you would like to write, think about the story you would like to read, and write that

It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing

Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them

If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later

Boredom/Understimulation (lost the flow)

What it looks like:

I know I should be writing but uugggghhhh I just can'tttttt

Writing words feels like pulling teeth

I started writing, but then I got bored/distracted

I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window

Things that can help:

Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.

Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or text-to-speech

Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score

Find a writing buddy or join a writer's group

Give yourself a reward for every writing milestone, even if it's just writing a paragraph

Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer

Intimidation/Procrastination (often related to perfectionism, but not always)

What it looks like:

I was feeling really motivated to write, but then I opened my laptop

I don't even know where to start

I love writing, but I can never seem to get started

I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)

Can't find the time or energy

Unreasonable expectations (I should be able to write 10,000 words a day, right????)

Feeling discouraged and wondering why I'm even trying

Things that can help:

Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started

Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)

Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person

Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement

The Problem's Not You, It's Your Story (or Outline (or Process))

What it looks like:

I have no problems writing other scenes, it's just this scene

I started writing, but now I have no idea where I'm going

I don't think I'm doing this right

What's an outline?

Drowning in documents

This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)

Things That Can Help:

Go back to the drawing board. Really try to get at the root of why a scene or story isn't working

A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go

If you don't have an outline, write one

If you have an outline and it isn't working, rewrite it, or look up different ways to structure it

You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural

Study story structures, starting with the three act structure. Even if you don't use them, you should know them

Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers

Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough

Executive Dysfunction, Usually From ADHD/Autism

What it looks like:

Everything in boredom/understimulation

Everything in intimidation/procrastination

You have been diagnosed with and/or have symptoms of ADHD/Autism

Things that can help:

If you haven't already, seek a diagnosis or professional treatment

Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)

Seek out neurodiverse and neurodiverse writing communities for advice and support

Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch

Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)

And Lastly, Burnout, Depression, or Other Mental Illness

What it looks like:

You have symptoms of burnout or depression

Struggling with all things, not just writing

It's more than a lack of motivation- the spark is just dead

Things that can help:

Forget writing for now. Focus on healing first.

Seek professional help

If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic

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Tips to increase tension:

1. Establish Clear Goals: Establish clear, compelling goals that are relatable to readers. The more readers care about whether the character succeeds or fails, the higher the tension.

2. Time Pressure: Introduce time constraints or deadlines. This creates a sense of urgency and raises the stakes.

3. Obstacles: Place obstacles and conflicts in the path of your characters, both internal and external. These challenges should grow progressively more difficult, making the reader wonder if and how the characters will overcome them.

4. Unpredictability: Surprise your readers with unexpected twists or developments. Subvert their expectations, but ensure that these surprises are rooted in the story's internal logic.

5. Character Flaws and Growth: Give your characters flaws and weaknesses that they must confront and overcome. As they evolve, readers become more interested in their journeys and outcomes.

6. Foreshadowing: Skillful foreshadowing can build anticipation. Drop subtle hints or clues about future events or conflicts to keep readers guessing.

7. Moral Dilemmas: Present characters with challenging moral choices. Preferably, all choices have high prices, making the reader unsure of which choice to root for.

8. Show, Don't Tell: Instead of telling readers about the tension, show it through the characters' actions, thoughts, and emotions. Let readers experience the tension alongside the characters.

9. Dialogue and Conflict Resolution: Use dialogue to create conflicts between characters. Tense conversations can reveal hidden motivations and escalate the overall tension.

10. Setting and Atmosphere: Craft the setting and atmosphere to complement the mood you want to convey. Dark, foreboding settings enhance danger and tension, while serene settings provide a contrast.

11. Cliffhangers: End chapters or sections on cliffhangers, leaving readers eager to know what happens next. However, use this sparingly to maintain its impact.

12. Relatable Characters: Ensure that readers can relate to and care about your characters. This emotional connection amplifies the tension as readers become invested in their fates.

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every time i start to feel cringe for being too deep in the hyperfixation i remember the intense depression i have waded through and have to remind myself that enjoyment is fleeting (so grab it with both hands), and life is for loving (so hold that love close), and if anyone thinks i’m cringe they must not be having a very good time (and i hope they can find a good time soon).

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in which i recommend books like the netflix algorithm

you wanted it, you got it, babes! caveat: this list is long (seriously, sorry about the length) and i can’t write blurbs for everything, but i highly recommend going and looking at anything that sounds interesting. some books will fall under multiple headings, so i’m listing them twice. i am linking to their purchase pages on bookshop.org, because amazon sucks and bookshop helps support indie booksellers, but if your local indie bookstore offers delivery or curbside pickup, buy it there. and i’m trying to keep this list confined to pretty recent titles, so even though a few older ones might slip in there, it’s definitely centered on releases from the past few years. okay let’s do this.

if you want a book that feels like a primal scream:

godshot by chelsea bieker

the book of joan by lidia yuknavitch

girl, woman, other by bernadine evaristo

her body and other parties by carmen maria machado (short stories)

trust exercise by susan choi

my dark vanessa by kate elizabeth russell

the rehearsal by eleanor catton

indelicacy by amina cain

the answers by catherine lacey

the mars room by rachel kushner

the love affairs of nathaniel p. by adelle waldman

if you want clever social commentary and/or hilarious female protagonists:

you too can have a body like mine by alexandra kleeman

the new me by halle butler

queenie by candice carty-williams

prep by curtis sittenfeld

the idiot by elif batumen

my year of rest and relaxation by ottessa moshfegh

oksana, behave! by maria kuznetsova

where’d you go, bernadette by maria semple

convenience store woman by sayaka murata

nothing to see here by kevin wilson

made for love by alissa nutting

the pisces by melissa broder

the herd by andrea bartz

if you want to start reading the unhinged women canon (not all recent):

mrs. dalloway by virginia woolf

the awakening by kate chopin

we have always lived in the castle by shirley jackson

gone girl by gillian flynn

rebecca by daphne du maurier

white oleander by janet fitch

cousin bette by honore de balzac

wide sargasso sea by jean rhys

play it as it lays by joan didion

the piano teacher by elfriede jelinek

valley of the dolls by jacqueline susann

postcards from the edge by carrie fisher

if you liked the secret history:

if we were villains by m.l. rio

social creature by tara isabelle burton

the basic eight by daniel handler

the incendiaries by r.o. kwon

bunny by mona awad

hex by rebecca dinerstein knight

if you like speculative/dystopian fiction:

the dreamers by karen thompson walker

the book of joan by lidia yuknavitch

severance by lin ma

gold fame citrus by claire vaye watkins

the farm by joanne ramos

followers by megan angelo

the power by naomi alderman

the glass hotel by emily st. john mandel

if you want a book that reads like a good fanfic:

normal people by sally rooney

fame adjacent by sarah skilton

stay up with hugo best by erin somers

the seven husbands of evelyn hugo by taylor jenkins reid

circe by madeline miller

the nobodies by liza palmer

evvie drake starts over by linda holmes

if you like dark stories about complex relationships between women:

my sister, the serial killer by oyinkan braithwaite

baby teeth by zoje stage

dare me by megan abbott

eileen by ottessa moshfegh

social creature by tara isabelle burton

the worst kind of want by liska jacobs

the girls by emma cline

oligarchy by scarlett thomas

devotion by madeline stevens

baby by annaleese jochems

marlena by julie buntin

bunny by mona awad

necessary people by anna pitoniak

if you like stories about complicated families:

red at the bone by jacqueline woodson

the care and feeding of ravenously hungry girls by anissa grey

mostly dead things by kristen arnett

bee season by myla goldberg

bowlaway by elizabeth mccracken

everything i never told you by celeste ng

the nest by cynthia d’aprix sweeney

the grammarians by cathleen schine

ask again, yes by mary beth keane

if you like smart and thoughtful books about relationships between women:

my brilliant friend and the neapolitan novels by elena ferrante

such a fun age by kiley reid

gingerbread by helen oyeyimi

the female persuasion by meg wolitzer

the burning girl by claire messud

expectation by anna hope

the animators by kayla rae whitaker

if you want something queer that isn’t YA:

my education by susan choi

permission by saskia vogel

mostly dead things by kristen arnett

real life by brandon taylor

after dolores by sarah schulman

patsy by nicole dennis-benn

wilder girls by rory power

enter the aardvark by jessica anthony

less by andrew sean greer

exciting times by naiose dolan

you just want something good and are willing to take a chance on one of these books i love (these are not all recent, i just like them a lot):

dept. of speculation by jenny offill

the interestings by meg wolitzer

godshot by chelsea bieker

play it as it lays by joan didion

the bonfire of the vanities by tom wolfe

wolf in white van by john darnielle

things you would know if you grew up around here by nancy wayson dinan

sex and rage by eve babitz

wise blood by flannery o’connor

leading men by christopher castellani

saint x by alexis schaitkin

the cosmopolitans by sarah schulman

lake success by gary shteyngart

odds against tomorrow by nathaniel rich

the great believers by rebecca makkai

good citizens need not fear by maria reva (short stories)

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Common character motivations

Revenge - seeking to get even with someone who has wronged them

Love - driven by romantic feelings for another character

Greed - motivated by a desire for material possessions or wealth

Power - seeking to gain control or influence over others

Justice - motivated by a sense of fairness and a desire to see justice served

Redemption - seeking to make up for past mistakes or wrongdoings

Curiosity - driven by a desire to learn or discover something new

Duty - motivated by a sense of responsibility or obligation to others or a cause

Ambition - driven by a desire to achieve a specific goal or succeed in a particular endeavor

Fear - motivated by a desire to avoid danger or harm

Guilt - driven by a sense of remorse for past actions or decisions

Jealousy - motivated by envy or a desire to possess what another character has

Betrayal - motivated by a sense of betrayal or desire for revenge against someone who has betrayed them.

Ambivalence - a character who is conflicted or uncertain about their goals or desires

Freedom - a character who seeks to escape from a restrictive situation or society

Fame - motivated by a desire for public recognition or notoriety

Identity - driven by a need to understand or define who they are

Family - motivated by a sense of loyalty or obligation to their family or loved ones

Discovery - driven by a desire to explore or uncover hidden knowledge

Patriotism - motivated by a love for their country or a desire to protect it

Rebellion - driven by a desire to challenge authority or the status quo

Artistic expression - motivated by a need to create or express oneself through art, music, or other creative endeavors

Religion or spirituality - driven by a desire to connect with a higher power or to live according to certain beliefs or values

Altruism - motivated by a desire to help others or make the world a better place

Atonement - driven by a need to make amends or seek forgiveness for past actions

Nostalgia - motivated by a desire to return to a simpler time or relive past experiences

Status - driven by a desire for social or professional standing or recognition.

Insecurity - driven by a need to prove their worth or gain acceptance from others

Legacy - motivated by a desire to leave a lasting impact or to be remembered in a certain way after they're gone

Survival - driven by the need to survive in extreme circumstances, such as a natural disaster, war, or an apocalyptic event

Belonging - motivated by a desire to fit in with a certain group or community

Love of knowledge - driven by a passion for learning and acquiring new information

Addiction - motivated by a compulsion to engage in a particular behavior or activity, such as drug use or gambling

Inciting incident - motivation driven by a specific event that triggers or sets the character on their journey

Fear of death - driven by a fear of their own mortality or the mortality of others

Intimidation - motivated by a fear of others or a desire to intimidate others for personal gain

Envy - driven by a desire to possess what others have or to be like someone else

Manipulation - motivated by a desire to control or manipulate others for their own benefit

Protecting others - driven by a desire to protect loved ones or innocent people from harm

Sense of duty - motivated by a sense of responsibility to fulfill a particular role or obligation.

If you want to read more posts about writing, please click here and give me a follow!

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The single most important piece of writing advice I would give to a lot of amateur writers is to write less beautifully - or at least to write beautifully less.

I rarely find a piece of writing I can't read because it's too simple, or too concise and to-the-point - not memorable, perhaps, but also not a headache on a page. On the other hand, I see loads of pieces which are effectively unreadable because they're far too rich to swallow, and badly in need of watering down a bit.

The absolute worst culprit is the dialogue tags. I'm a big fan of letting people write in their own style, but I would love it if a lot of writers could please cool it with letting me know every time a character blinks or licks their lips. I don't need to know that, especially if it happens every time they speak.

So many dialogue excerpts look like this:

"So this is how we talk?" he queried quietly, his eyebrows furrowed into knots. "Apparently," she replied with a puzzled grin, bouncing on the balls of her feet with restless energy. "Isn't that... exhausting?" he questioned, a lop-sided smile snaking its way across his lips. "The bouncing?" she asked shyly, her eyelids fluttering in shame. "No, of course not," he told her, his lean arms reached out to pull her closer. He buried his face into the mess of her hair, taking a deep breath of her perfume. "I just feel a little nauseated by all of these actions." "I don't know what you mean," she giggled, brushing the hair back out of her eyes as her cheeks flushed red. "Don't worry," he sighed, rolling his eyes up towards the ceiling.

I'm assuming this is a convention that comes from somewhere, given its ubiquity - perhaps somewhere in the world of fanfiction, where there will be short, intimate pieces entirely focused on the ways in which characters interact with each other. But to me, in an original work, it's so exhausting that I can't make it down the rest of the page.

Dialogue tags may be the worst, or most obvious offenders, but the same principle extends pretty much everywhere else. Each line doesn't have to be some great quote you can hang on your wall, and it's hard to read a whole story written like that.

There's been some recent backlash on here against modern films where every line of dialogue is a quip, at the expense of building an authentic conversation, but that's how a lot of people start out writing - thinking that each sentence should be made as flowery as possible, when too many flowers in the same pot will crowd each other out.

You need to leave some gaps to let the sunlight in, and illuminate the beauty of the occasional flourish you do include. Think of it like vanilla extract, to make a reference that was topical when I started writing this post: you need to add a little for flavour, without which the writing will be too dull, but tip the bottle and I will actually be sick. Write beautifully less. Learn to embrace the prosaic.

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“young adult dystopian novels are so unrealistic lmao like they always have some random teenage girl rising up to inspire the world to make change.”

a hero emerges 

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I feel cheated. no one on Reddit told me that tumblr is a serotonin factory. Keep liking and reblogging my posts please thanks

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Donald Duck Goes To Group Therapy For His Debilitating Executive Dysfunction And It’s Just Played Completely Straight For Like Four Pages Like What

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Just a reminder my blog is trans inclusive. It’s bi inclusive. It is pan inclusive. It is intersex inclusive. It is ace/asexual inclusive. It is aro/aromantic inclusive. It is queer inclusive.

I don’t support terfs or exclusionists.

If you came here looking for an ally in your bigotry you came to the wrong blog. Go away. You are not welcome here.

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List of Vocal Sounds for Smut

I present to you a - probably quite incomplete, I’m sure I’m missing a lot of speech sounds - reference list and a bit of a guideline for the different ways one can describe the sounds your characters make whilst writing smut. I’ll definitely be referring to it, because I sometimes get stuck on exactly how to describe a particular noise. (aka, “he can’t groan again, he just groaned last paragraph”)

Sounds (noun, both independently and describing speech): breath/breathe, gasp, moan, groan, pant, whimper, whine, shout, yelp, hiss, grunt, cry, scream, shriek, sob, growl, curse, sound, sigh, hum, noise, squeak, snarl, howl, roar, mewl, wail, choke, keen, purr

Sounds (noun, describing speech): rasp, husk, drawl, plea, murmur, whisper, beg

Descriptors (adjective): loud, hushed, quiet, low, high, high-pitched, little, tiny, soft, deep, unrestrained, restrained, strained, breathy, rough, sudden, short, drawn-out, sharp, harsh, hard, thick, smooth, thin, heavy, impassioned, insistent, hungry, passionate, repeated, filthy, debauched, sweet, slow, deliberate, guttural, languid, surprised, husky, distracted, happy, pleased, satisfied, wordless, cut-off, bitten-off, contented, hoarse, extended, long, depraved, aching, choked, strangled, broken, helpless, shuddering, shaky, trembling, urgent, needy, desperate, wanton, shattered, pained, eager

Combine a descriptor and a sound for best effect - for example, “needy moan,” “pleased hum,” or “sudden scream.” You can even use two: “low, rough grunt,” “sweet little cry,” “desperate, filthy noise,” as long as you don’t repeat a word that means the same thing, unless you really want to emphasize it. Avoiding repetition is pretty key here. You don’t usually want to say “hushed, quiet gasp” except on rare occasions when it’s very important how soft the sound was.

Use your own common sense, as well; some sounds and descriptors don’t generally work well together. “Deliberate shriek” probably wouldn’t work well, and neither would “languid grunt,” but again, this is all very situational - play around! Have fun.

Feel free to add to my lists, use for your reference or pass them around. It would be fun to see a randomized generator made, too, I’m just too lazy to do it myself. ;)

[omg-elledubs-writes-things]

Story Structure Explained: Pinch Points, Midpoints, Plot Points, and Middles (Warrior Phase)

Some writers find the middle of a story very difficult to write. They know the beginning. They know the end. But they don’t know what comes in between. After this article, you should have the information you need to finish filling in that middle! And filling it in, in interesting ways.

This post focuses on the second part of the middle, aka, the “active” or “warrior” phase of the story, and will take you from the midpoint up to the climax.

For the beginning part of story structure–the prologue, hooks, setup, and “orphan” phase–visit this page.

For the first part of the middle, between the inciting incident and the midpoint, or the “reactive” or “wanderer” phase, visit this page.

Midpoint

At the midpoint, new information enters the story that changes the context. It moves the protagonist from reaction to action. He stops being a wanderer and turns into a warrior, trying to fight back and attack, usually with a clearer goal or a more refined strategy. In other words, he is now more empowered than before.

Midpoints can be mind-blowing. Or they can be subtle. In the film Interstellar, the midpoint also serves as a twist. The context shifts and the audience and protagonists realize that there never ever really was a plan to save the humans on Earth. It was all a ruse to provide people hope. Once Cooper learns this, he changes into warrior mode, determined to do whatever it takes to return to Earth and/or save the people there.

Other midpoints aren’t as drastic. It might be the protagonist sitting down to eat and suddenly having a profound realization that changes the perspective of everything she’s been reacting to.

In Spider-verse

The midpoint in Spider-verse happens at the very end of the scene where Miles and Peter B. Parker steal the computer from Alchemax, and it goes into the very beginning of the next scene, the bus ride with Gwen Stacy.

Prior to this, even if Miles and Peter have a plan, they’ve largely been responding. And the only reason they need to go to Alchemax in the first place is because Miles himself broke the override key.

However, by the end of this scene, a few things have changed that steer us into the next phase:

1. Miles learns how to unstick intentionally 2. And how to use his web, intentionally 3. By this point, he’s learned how to listen to his spider senses. 4. Peter and Miles begin working together as a team

In other words, things they were reacting to are starting to get under control. Sure, Miles still doesn’t have control over all his powers, and maybe that’s a variation, but it works because he has control over the iconic, main Spider-man powers.

On the bus ride afterward, Gwen Stacy reveals she knows where they can go to make another override key, promising they’ll make sure the new one doesn’t break, and thus giving Peter and Miles a clear plan and a clearer path to defeating the antagonist.

Warrior State (and Character Arc)

From the midpoint to the climax, the protagonist is in a stronger proactive or “warrior” state. Armed with what they’ve learned as a wanderer (which may include having mentors, friends, and helpers), the protagonist is ready to make more proactive efforts or actual attacks on the antagonistic force.  According to Larry Brooks, they may literally fight back, hatch a plan, enlist assistance, demonstrate courage, or show initiative.

They may not always be successful (after all, the story isn’t over), but they are brave and intentional. And not only will they be fighting the antagonistic force, but their inner demons as well (which relates to character arc and theme).

Keep reading