Xekstrin Arbitrary Writing Rules V2
1) Sentence variety and paragraph variety is important.
Quick and dirty fix: make sure the FIRST WORD of EVERY SENTENCE and EVERY PARAGRAPH doesn’t repeat too much. (Some repetition is inevitable as you will see later.)
“Huh???” I hear you say.
Ex:
Here’s my example text. Here is another sentence. Here once again is another line of text and even though it has a different length (good) it still starts with the same word and it repeats a bit too much.
Here we have a whole new paragraph, a completely new sentence with commas and everything. However it still starts with the same word. Here you might say, “but I’m repeating it on purpose!” Repeating on purpose is usually fine. Repeating unthinkingly means you aren’t diving into your edits deep enough.
Not a hard and fast rule by any means, but it starts you on the path to thinking more closely about your work down to the itty bitty details.
2) Adverbs are fine… depending on what you want to do.
“It’s not like she loved me or anything.” Sally laughed sadly.
This is a fine brief sentence that still tells us a lot! We can move on to other things while still keeping Sally in mind.
But! If you want to linger for whatever reason… give us some physical details. Tell us what things feel like and sound like. Describe what is happening.
“It’s not like she loved me or anything.” Sally choked when she laughed. Tears were streaming down the distraught lines of her face. Every inch of her was pale and cold to the touch.
Both sections can be equally sad, depending on the context. More words does not mean more emotion! It merely is a tool to let the reader sit with something a bit longer than they might otherwise. You can then try to control the speed a reader is introduced to things, and set up a “wham line” by forcing them to linger somewhere else a bit.
Not every line has to be a poem. Unless that’s your thing. Use your best judgment! Every writer is different and will want to write a scene differently.
3) Said is not dead
I see you, trying to replace every other “said” with “exclaimed” “shrieked”“hollered” “hooted” “ejaculated” or otherwise use another verb to replace “said” for no other reason than you are trying to avoid “said”.
At first this rule seems to go against rule number one, not to repeat words. But “said” (or “says”) is a special word.
Why?
“Said” is effectively invisible.
Readers tend to skim or skip it on instinct. When you use any word OTHER than “said”, however, you are forcing them to make a brief pause and absorb this. Are you wasting their time? Is it notable or otherwise important that this character is doing anything other than saying their words? Use your best judgement.
4) Shi shi shi shi shi shi shi… who is “she”?
We’ve all seen that chinese poem about Shi eating the lions, right?
Writing a lesbian threesome feels a lot like this poem. When in doubt, even if you feel like it breaks rule number one, just use a character’s name rather than an epithet (“the long-haired girl” “the shorter girl”.)
This is less of a problem with het romance but still worth mentioning.
Epithets have their place, if you’re doing it with intention. If you want to talk about swift-footed Achilles, you know your story better than I do! Just don’t use epithets as a backup because you’re scared to repeat yourself. Readers can smell your fear.
5) Readers can smell your fear
Don’t force it. Don’t write for an imaginary audience that is out to punish you. Don’t write defensively in case someone misunderstands. We can smell your fear and it distracts from the story. Trust in your story!
6) Words mean things.
Flexing your vocabulary is sexy. Using big words incorrectly is the writing equivalent of slapping yourself in the face and smugly saying “see how strong I am?”
7) No one knows your story but you. This is both good and bad.
When you are writing, you are trying to show off what’s in your head. The reader does not, CANNOT, see what you see. Mind-reading is impossible.
It’s YOUR job to immerse them in your fantasy as completely as possible. Be clear, be vivid, and engage all the senses. They should know how your fantasy feels, how it looks, what emotions are wrapped up inside it, how it smells, and what it sounds like. What it means.
But also you’re not gonna please everybody so you should just do what you like anyway.
Bye!
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When someone asks a followup question to your world building, sometimes they are legitimately confused (“sky whales? As in whales that fly?”) and sometimes they are eagerly on board and want to know more (“so cool! Are they still filter feeders? What do they eat?”) and sometimes they are smugly docking points from your story because cinemasins-style critiques have unquestionably polluted a lot of good faith readings of texts (“so what do they eat? Are they still filter feeders? *ding*)
If you are bad at reading tone, or don’t know the asker very well, it can be very difficult to tell those three apart. This can make a person very guarded, especially if it comes across as unsolicited critique.
I’m not saying “so if someone is rude about your questions, GET OVER IT,” but it might be prudent to check in first beforehand, and clarify what you’re asking and why, or if the creator is open to being prodded. And if they aren’t, maybe respect that. Or people might think you’re being a dick. One out of three odds is pretty significant.
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