The House Sparrow

For Jackass: stop hiking your shoulders up to your ears. This is pretty much a stress thing, it’s human instinct to protect our neck when we’re under stress so that predators can’t get at it. Easiest way to do that is be elevating the shoulders, so. Periodically take not of where your shoulders are at.

Absolute Fuckwaffle: stretch out your chest. The rhomboids on the back work to keep our shoulder blades back, so when we’re hunched forward they are constantly straining to do their job. Unfortunately it’s not as simple as telling you to stand up straight, since our pectorals get chronically tight and prevent us from doing so. Step one: pectoral stretches. Hold for at least 20 seconds.

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

• Those emotional scenes you’ve planned will never be as good on page as they are in your head. To YOU. Your audience, however, is eating it up. Just because you can’t articulate the emotion of a scene to your satisfaction doesn’t mean it’s not impacting the reader. 

• Sometimes a sentence, a paragraph, or even a whole scene will not be salvagable. Either it wasn’t necessary to the story to begin with, or you can put it to the side and re-write it later, but for now it’s gotta go. It doesn’t make you a bad writer to have to trim, it makes you a good writer to know to trim.

• There are several stories just like yours. And that’s okay, there’s no story in existence of completely original concepts. What makes your story “original” is that it’s yours. No one else can write your story the way you can.