What to give a fuck about,while writing your first draft!
I`ve posted a list about things you don´t need to give a fuck about while writing your first draft. Here are things you NEED TO CARE about! (in my opinion)
Your Authentic Voice: Don't let the fear of judgment or comparison stifle your unique voice. I know it´s hard,but try to write from your heart, and don't worry about perfection in the first draft. Let your authenticity shine through your words.
Your Story, Your Way: It's your narrative, your world, and your characters. Don't let external expectations or trends dictate how your story should unfold. Write the story you want to tell.
Progress Over Perfection: Your first draft is not the final product; it's the raw material for your masterpiece. Give a fuck about making progress, not achieving perfection. Embrace imperfections and understand that editing comes later.
Consistency and Routine: Discipline matters. Make a commitment to your writing routine and stick to it.
Feedback and Growth: While it's essential to protect your creative space during the first draft, be open to constructive feedback later on. Giving a f*ck about growth means you're willing to learn from others and improve your work.
Self-Compassion: Mistakes, writer's block, and self-doubt are all part of the process. Give a f*ck about being kind to yourself. Don't beat yourself up if the words don't flow perfectly every time. Keep pushing forward and remember that writing is a journey.
Remember, the first draft is your canvas, your playground. Don't bog yourself down with unnecessary worries.
4K notes
·
View notes
Hey uh apparently some ppl don't know how fun character writing can be soooo here are the amazing and enjoyable character writing things I do
- make playlists that oc would listen to
- make playlists that describe oc
- make a Pinterest board for oc (section ideas: home/lock screen, tattoos, memes oc likes, looks, etc)
- make memes from ocs p.o.v about things oc would make memes about
- draw oc on various days and in various moods (idc if you think you suck at art, it helps create oc)
- make lists of ocs favorite drinks, foods, colors, outfits, etc
- make mood boards for oc (not on Pinterest, create an actual like 6 square mood board)
- do person asks from ocs pov
- look through all the emojis and decide which one oc likes best (also decide if ocs really passionate abt this)
- create Amazon wishlists of things oc has and things oc really wants
- do those weird insta story game things from ocs pov
There are so many more but these are the only ones I can think of rn. Remember that writing is supposed to be Fun™ and if you're not enjoying it then you probably don't have to actually do it (or at least not rn).
849 notes
·
View notes
Practical Benefits of Creative Writing if You Need Some Motivation
Writing stories isn't just a hobby. It's a practice that sharpens so many skills. You'll use these skills all your life, so write that silly idea and let's start refining these talents that come from our work:
(Psst—this is where you should open that copy of your resume if you're also applying for jobs!)
Communication: You know how to use words to convey complex and simple ideas.
Emotional identification (for personal benefit, not so much standard careers): You'd be surprised how many people can't name or describe their emotions, much less make them something others can feel.
Thematic analyzation: You can find or create a common thread between wildly different people.
Community building: You can bring people together by making them feel things deeply.
Perspective shaping: You make others try on new perspectives through your characters and their challenge, which also points back to your communication skills.
Encouragement: You know how to make other people dream through your work.
Empathy: You remind readers they aren't alone in their experiences—we are all going through different versions of pain together.
Typing: Let's be real, every boss will think you're amazing if you can type with more than two fingers at a time (or with two fingers really fast!).
Time management: You're always finding ways to fit your writing into your schedule, even if it's only once a month.
Commitment: because that 100,000-word fanfic won't just appear on paper because you daydreamed about it.
Self-reliance: When you set a goal to write a story, you (mostly) finish it. All on your own!
A willingness to learn: Your editing and revising work keeps you open to growth opportunities, which is essential to being a good person/team member/employee.
Organization: Those folders with all your story ideas, character outlines, and plot arcs? That's a skill, my friend.
Creativity: You're in touch with your creative instincts, which brings vision to projects and team efforts that produce better results
1K notes
·
View notes
Notes from a 5-day creative writing course:
Motivation
Make it a habit. That way, each time that familiar voice of self-doubt makes its appearance, it’ll be easier to ignore it, because writing will become something that you do-your thing-and you’ll gain confidence in it.
Visit your novel every single day. It doesn’t necessarily mean that you have to write something every day. You could outline the plot, or write character portraits, or draw a special part of your world. Your subconscious will work on your story even when you don’t. So, each time you visit the story consciously, you’ll find that things have developed in the story.
Manage the time of writing in a way that it is manageable for you. (It can be that one hour between classes or your lunch break or the morning before you go to work or at night before you sleep - Schedule it in a way that suits you and then, be serious about it.
Set a goal. For example, 100 or 500 words a day.
Character Development, Word Choice & Description
At first, characters incarnate ideas. A poor man who wins the lottery, a young boy who travels to a magical land. As we develop the story, they become people - real people with backgrounds and unique choices.
Ways we perceive character: through actions, thoughts (conflict), dialogue, interactions with others.
Bring intentionality to the representation of a character. Don't give arbitrary information.
How a character reacts is a question of how you want to represent them through all those multiplicities that are dialogue, actions, interactions, etc.
Characters always want something. They are never static. With wants come obstacles and transformation.
Create tension between what a characters thinks, feels and says. For example, set external confidence and internal fear and then change that as the story develops. Characters can also be comfortable or scared depending on the situation.
Explore complexity. How a character talks to their lover is different from how they talk to their friends and family.
Give secondary characters a characteristic beyond their function to make them more prominent.
Make a hierarchy out of characters.
Exercise: Write the portrait of a character, how you would introduce them in the story and a description of them from a character that a) likes them and b) dislikes them.
Word Choice. When it starts sounding like writing, cut it out - Kill your darlings. Example: The car was spotted with rust - shows the car. As opposed to: The car was acned with rust - shows the writing. Sometimes a more refined word works against the object/image.
Description: Don’t just put in details. The details need to be significant for the image you want the reader to see.
Don’t use metaphors and lyricism in the expense of clarity. Be precise. Metaphors and similes should fit the narrative and not distract the reader. For example, saying “He barked like a dog” sounds fine, but if there are no dogs in your world, it is out of place and breaks the narrative. Be specific. Name things. Don’t be vague. Precision grounds your fiction.
Determine if you need static or lively description. Lively description is when you describe things through actions. Like “She passed her fingers through her blond hair”, instead of “Her hair was blond”.
Sense of authenticity. When you describe a place precisely, you gain your reader’s trust. A column is different from a golden column. That kind of attention gives a sense of authority and makes the narrative convincing.
Parts of description: smell, sound, sight, taste, touch, temperature, pressure.
Dialogue & POVs
Dialogue a) informs the character, b) moves the story forward, c) develops relationships between characters.
Dialogue isn’t just about how people talk.
What’s said can suggest what isn’t being said.
Use dialogue interspersed with description and visuals.
Choose the POV that suits your story.
(From David Lodge, ‘The Art of Fiction’.) A fictional story is unlikely to engage our interest unless we know whose story it is. Even with an “omniscient” narrative method, the writer should privilege one or two “points of view”. An objective approach may be a worthy aim in journalism, but not in fiction.
Pros and cons of 1st person POV. Pros: personal and direct, immediacy, intimacy, immediate credibility, easier to build character. Cons: limited, biased, unreliable, writing can become simplistic. When writing in 1st person, keep in mind that characters change, hence their perception changes. That has to be obvious in the narrative.
Pros and cons of 3rd person limited POV. Pros: thoughts can still be on the page, flexibility, wider view of the world, more complex language can be used (usually we think in simple words, so complex writing might sound pretentious and out of place in 1st person POV). Cons: distance (he/she).
GOD MODE. Or, commonly, 3rd person omniscient. You can jump in and out of characters’ minds, but there’s a danger when writing with such freedom. Be aware of structural harmony. Don’t write 10 pages in Sally’s POV and then jump into omniscient.
Use free indirect speech (1st person thoughts in italicized form, eg. No!) to eliminate the distance in 3rd person POVs.
Change POV with reason. Don’t suddenly jump to another POV just because it is interesting. Plan it. Make the change of the POV deliberate and make the reason clear.
Give equal weight to all POVs.
Setting
The setting of a story is mediated through a character’s experience. It amplifies the theme. It shouldn’t be an arbitrary decision. The setting can make achievements more difficult for characters.
For children, places have magical properties, they are places of significance. The place of someone’s childhood can transform later in the novel, because the character has transformed. There’s a fluidity of meaning attached to places. But keep in mind that, places don’t change. Characters do.
How a character views a place is stated through the language we use.
When writing about a place that exists, have fidelity at the facts.
Editing
Be open to ideas changing.
If it’s not working after 3-4 rewrites, cut it out!
Make sentences active. Things don’t happen to characters. They do things.
Pay attention to rhythm.
Every sentence needs to have a reason to be there.
Usually, we overwrite in dialogue. Use context. Dialogue should be suggestive, rather than explicit.
Edit backwards, because perfectionism kicks in at the beginning.
Isolate. Edit single parts of the story. A chapter, a scene.
Read aloud. It will help find long sentences, pretentious words and unreadable language.
When words become over-familiar, put it down, give it to someone else to read.
What to look out for: a) Character confusion. Make sure minor characters are introduced properly and find subtle ways to remind your readers who they are. b) Too much exposition. c) Plot holes, inconsistencies - there must rational reasons for coincidences, you must be able to provide logical and credible reasons behind the actions of a character. d) Over-written description.
What to do when editing: cut things out, put new things in, change sentence order and structure, look for repeated words, strengthen verbs (or prune), expand, trim, look for continuity errors, change order of events, introduce a delay in the reveals, rewrite using another POV or tense, determine if each sentence is pulling its weight.
Techniques: a) Prune. Delete text you don’t need. b) Isolate repetitions and delete or substitute with synonyms (look out for pretentious words). c) Cut and paste paragraphs to change order and rearrange. d) write a whole new draft, only looking to the previous one for factual material. e) Use a reader.
Bibliography
Hills Like White Elephants, by Ernest Hemingway (suggestive dialogue)
Concrete Island., by J.J. Ballot (how setting makes goals harder to achieve)
Driving Through Sawmill Towns, by Les Murray (lyricism, setting)
The Art of Fiction, by David Lodge (POV)
The Great Gatsby, by F. Scott Fitzgerald
On Writing, by Stephen King
2K notes
·
View notes