you've read good fics, and you've read great fics. fics that make you squeal and kick your feet and ache for the next installment. and it's not always because his dick is ten inches long. (sorry)

(this also applies to reg stories)

how do authors do that??? it's fanfiction, how is it so good???

well, first of all, there are some amazing writers (love you guys) but also, there's nuance.

the little things.

give your characters a 'thing'. a running joke, a piece of symbolism, a secret handshake, something like that. give a character a recognizeable 'ism' (like a habit or a tell) that someone relentlessly teases them for. nicknames! adorable. these things add little bits of color to the relationship and to the character arcs. don't force it, but if it happens, let it!

2. dialogue!!! omfg dialogue.

good dialogue is the shit. seriously. dialogue is so fucking important for literally everything. 'but pygmi, i suck at dialogue!' get over it. just kidding, practice! bookmark your favorite pieces of dialogue and try to identify what makes it so good. my favorite tip: don't edit the dialogue. no filter. just have the characters go off and say what they want. later, when you've found the gems, edit the gunk out but seriously! use character ai for inspiration if you need. no shame.

3. relatability.

for some reason, people have equated relatability to cynicism. that's not accurate. relatability means your character doesn't always have witty comebacks. sometimes they deepthroat the boot, it you catch my drift. if your MC always has a retort or a snapback, the bickering gets old. add some stumbles. it's ok! ur character is still a badass xox

relatability can also mean being humble. not pitiful, humble. your character can be good at something, but maybe not the best. everyone has a 'thing', something they're good at, but we still have moments of insecurity. I'm tired of reading 'they were the best mechanic in the galaxy blah blah blah' can you tell i read mando and poe fics or what give it some spice! don't make them a useless mess tho. gross.

you know what being a person is like. you are one, and if you're not you are surrounded by them. guess what - the characters in your fandom are people too (maybe?). my point is, even though it seems like they are superhuman or unreal...they are. write them as such. you can do it.

4. personal touches.

your writing has a voice. use it!!!!!! you can tell the difference between different writers because of their little touches. as a reader, i love those! it makes me feel closer to the story, if you add funny commentary or whatever.

5. staying with the story.

not with canon necessarily, but keeping the plot steady and the characters consistent. it's hard, because comments on your story can influence your story, but stick to the script. stories change, but if you throw it every direction, your readers will be like 'this person needs to figure it tf out bye.' keep a little checklist, stay organized. organization is key for continuity.

(from a writer of ten years)

So you’re back in the writing trenches. You’re staring at your computer, or your phone, or your tablet, or your journal, and trying not to lose your mind. Because what comes after the first quotation mark? Nothing feels good.

Don’t worry, friend. I’m your friendly tumblr writing guide and I’m here to help you climb out of the pit of writing despair.

I’ve created a character specifically for this exercise. His name is Amos Alejandro III, but for now we’ll just call him Amos. He’s a thirty-something construction worker with a cat who hates him, and he’s just found out he has to go on a quest across the world to save his mother’s diner.

1.) Consider the Attitude and Characteristics of Your Character

One of the biggest struggles writers face when writing dialogue is keeping characters’ dialogue “in-character”.

You’re probably thinking, “but Sparrow, I’m the creator! None of the dialogue I write can be out of character because they’re my original characters!”

WRONG. (I’m hitting the very loud ‘incorrect’ buzzer in your head right now).

Yes, you created your characters. But you created them with specific characteristics and attitudes. For example, Amos lives alone, doesn’t enjoy talking too much, and isn’t a very scholarly person. So he’s probably not going to say something like “I suggest that we pursue the path of least resistance for this upcoming quest.” He’d most likely say, “I mean, I think the easiest route is pretty self-explanatory.”

Another example is a six-year-old girl saying, “Hi, Mr. Ice Cream Man, do you have chocolate sundaes?” instead of “Hewwo, Ice Cweam Man— Chocowate Sundaes?”

Please don’t put ‘w’s in the middle of your dialogue unless you have a very good and very specific reason. I will cry.

Yes, the girl is young, but she’s not going to talk like that. Most children know how to ask questions correctly, and the ‘w’ sound, while sometimes found in a young child’s speech, does not need to be written out. Children are human.

So, consider the attitude, characteristics, and age of your character when writing dialogue!

2.) Break Up Dialogue Length

If I’m reading a novel and I see an entire page of dialogue without any breaks, I’m sobbing. You’re not a 17th century author with endless punctuation. You’re in the 21st century and people don’t read in the same way they used to.

Break up your dialogue. Use long sentences. Use one word. Use commas, use paragraph breaks. Show a character throwing a chair out a window in between sentences.

For example:

“So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret receipt card, and bring it back before she goes out of business? She didn’t have any other copies? Do I have to leave my cat behind?”

vs.

Amos ran a hand over his face. “So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret recipe card, and bring it back before she goes out of business?”

He couldn’t believe his luck. That was sarcastic, of course. This was ironically horrible.

“She didn’t have any other copies?” He leaned forward over the table and frowned. “Do I have to leave my cat behind?”

The second version is easier to digest, and I got to add some fun description of thought and action into the scene! Readers get a taste of Amos’ character in the second scene, whereas in the first scene they only got what felt like a million words of dialogue.

3.) Don’t Overuse Dialogue Tags.

DON’T OVERUSE DIALOGUE TAGS. DON’T. DON’T DON’T DON’T.

If you don’t know what a dialogue tag is, it’s a word after a sentence of dialogue that attributes that dialogue to a specific character.

For example:

“Orange juice and chicken ramen are good,” he said.

‘Said’ functions as the dialogue tag in this sentence.

Dialogue tags are good. You don’t want to completely avoid them. (I used to pride myself on how I could write stories without any dialogue tags. Don’t do that.) Readers need to know who’s speaking. But overusing them, or overusing weird or unique tags, should be avoided.

Examples:

“I’m gonna have to close my diner,” Amos’ mother said.

“Why?” Amos growled. “It’s been in the family forever.”

“I’ve lost the secret recipe card, and I can’t keep the diner open without it!” she cried.

“The Bacon Burger Extreme recipe card?” Amos questioned.

“Yes!” Amos’ mother screamed.

“Well, that’s not good,” Amos complained.

vs.

“I’m gonna have to close my diner,” Amos’ mother said, taking her son’s hand and leading him over to one of the old, grease-stained tabletops with the ripped-fabric booths.

Amos simply stared at her as they moved. “Why? It’s been in the family forever.”

“I’ve—” she looked away for a moment, then took in a breath. “I’ve lost the secret recipe card. And I can’t keep the diner open without it.”

“The Bacon Burger Extreme recipe card?”

“Yes!” She still wouldn’t meet his eyes, and her shoulders were shaking. “Yes.”

Amos sat down heavily in the booth. “Well, that’s not good.”

The first scene only gives character names and dialogue tags. There are no actions and no descriptions. The second scene, however, gives these things. It gives the reader descriptions of the diner, the characters’ actions, and attitudes. Overusing dialogue tags gets boring fast, so add interest into your writing!

So! When you’re writing, consider the attitude of your character, vary dialogue length, and don’t overuse dialogue tags.

Now climb out of the pit of writing despair. Pick up your pen or computer. And write some good dialogue!

Best,

“Oh!” They gasped, hands to their mouth in horror.

“Oh,” they whined, gripping their hair in frustration.

“Oh,” they breathed, head back and lashes fluttering.

“Oh,” they mumbled, shifting awkwardly.

“Oh,” they deadpanned, arms crossed.

“Oh?” they asked, brow arched and smile bitter.

“Oh,” they chided with a smirk.

“Oh?” they asked, head tilted curiously.

“Oh!” they hissed, scrambling away.

“Oh,” they mumbled, rubbing their neck.

“Oh,” they uttered, eyes wide in awe.

“Oh,” they muttered with an ill-impressed frown.

“Oh!” They cried, throwing their arms around them.

“Oh,” they goaded, smiling mischievously.

“Oh,” they taunted, skipping backwards.

“Oh,” they snarked, hands on their hips.

“Oh,” they breathed, putting it all together.

“Oh,” they said softly, hugging themselves.

“Oh,” they whispered, holding back tears.

“Oh!” they gasped, ducking out of the way.

“Oh,” they uttered, and smacked their forehead.

“Oh,” they laughed, brows wiggling.

“Oh,” they tittered, batting their lashes.

“Oh,” they hissed, gritting their teeth.

"Oh."

“Oh,” they said softly, hugging themselves.

“Oh,” they whispered, holding back tears. You notice how between the modifier and the "oh" is a comma. "Oh," they said... That is because the dialogue tag directly modifies how the word is being spoken, ergo is part of the same sentence. The punctuation changes when followed only by an action.

“Oh.” They hug themselves.

“Oh.” They are holding back tears. The statement and then the action following are connected but are separate clauses and sentences. One time my class and my copyediting professor got in a small battle about the tag 'giggles' and 'laughs'. He is thinks that should always follow a period in dialogue, as (his words) you can't speak and laugh at the same time. (This is false)

Because: “Oh,” They giggled, cheeks pink.

and “Oh.” They giggled, cheeks pink. Read very differently. I would reckon, most of the times tags are not necessary, unless you really need to show how they speak. Again:

👑 The Royal Hierarchy:

High King/High Queen: The ultimate ruler of all the lands. Addressed as “Your Majesty.” They oversee multiple kingdoms and have the final say in all matters.

King/Queen: The rulers of individual kingdoms. Addressed as “Your Majesty.” They manage their own territories, make laws, and lead their armies into epic battles.

Prince/Princess: The children of the king and queen. Addressed as “Your Highness.” They’re next in line for the throne and often have their own mini-kingdoms to practice ruling.

Duke/Duchess: High-ranking nobles who control large regions within the kingdom. Addressed as “Your Grace.” They’re like the regional managers, handling local governance and military affairs.

Marquess/Marchioness: Nobles who oversee border territories. Addressed as “Lord” or “Lady.” They’re responsible for defending the kingdom’s edges and often have a mix of military and administrative duties.

Earl/Countess: Nobles who manage smaller regions within the kingdom. Addressed as “Lord” or “Lady.” They’re like the middle managers, ensuring everything runs smoothly in their areas.

Viscount/Viscountess: Nobles who assist earls and countesses. Addressed as “Lord” or “Lady.” They’re like the assistant managers, helping with local governance and administration.

Baron/Baroness: The lowest rank of nobility. Addressed as “Lord” or “Lady.” They control small areas of land and are responsible for local justice and order.

Lord/Lady: A general title for nobility. Addressed as “Lord” or “Lady.” Lords and ladies can hold various ranks and responsibilities within the kingdom.

Government Structure:

🏛️ The Council: A group of high-ranking nobles and advisors who help the king or queen make important decisions. Think of them as the board of directors.

🧙 The Wizard: The royal advisor with magical powers. They provide wisdom, cast spells, and sometimes meddle in politics.

⚔️ The Knight Commander: The head of the royal army. They lead the knights and soldiers into battle and ensure the kingdom’s defense.

📜 The Chancellor: The head of the kingdom’s finances and administration. They manage the treasury, collect taxes, and oversee the kingdom’s bureaucracy.

🎭 The Bard: The kingdom’s storyteller and historian. They spread news, sing songs of heroism, and keep the royal family’s image sparkling.

Other Classes:

🌳 Elves: Graceful and wise, elves often serve as advisors, scholars, or elite warriors. They have a deep connection to nature and magic, making them invaluable in both court and battlefield.

🌾 Peasants: The backbone of the kingdom. They work the land, pay taxes, and sometimes get caught up in the schemes of the nobility. Despite their humble status, they can be heroes in their own right.

💀 Necromancers: Masters of death magic. They can raise the dead, drain life energy, and command undead minions. Often feared and misunderstood, they can be powerful allies or dangerous enemies.

📚 Scholars: Also known as sages, librarians, or loremasters. Scholars are the kingdom’s intellectuals, possessing encyclopedic knowledge. They study ancient texts, advise on matters of history and magic, and often uncover secrets that can turn the tide of events.

⚔️ Heroes: Brave individuals who embark on epic quests. They can come from any class—knights, peasants, elves, or even necromancers. Heroes are defined by their courage, skill, and willingness to face danger for the greater good.

🙏 Priests/Priestesses: Spiritual leaders who serve the gods and goddesses of the realm. They perform rituals, offer guidance, and sometimes wield divine magic. Addressed as “Father,” “Mother,” or “Your Holiness”.

🐉 Dragons: Sometimes pets, sometimes pests. Always epic. They can be guardians of treasure, wise advisors, or terrifying foes.

Servants and Other Castle Inhabitants:

Steward: Manages the household and estate. Addressed as “Master Steward.”

Chamberlain: Oversees the private chambers and personal needs of the lord or lady. Addressed as “Master Chamberlain.”

Marshal: In charge of the stables and the training of knights. Addressed as “Master Marshal.”

Cook: Prepares meals for the household. Addressed as “Master/Mistress Cook.”

Maid: Responsible for cleaning and maintaining the castle. Addressed as “Mistress Maid.”

Squire: A young noble training to become a knight. Addressed as “Squire.”

Falconer: Takes care of the hunting birds. Addressed as “Master Falconer.”

Gardener: Maintains the castle gardens. Addressed as “Master/Mistress Gardener.”

Where They Dwell:

🏰 Castle: A fortified structure built for defense and residence. It includes towers, walls, a keep, and often a moat. The castle is the main residence of the king or queen and their court.

🏛️ Court: The royal household and the place where the king or queen holds court. It includes the throne room, great hall, and various chambers for the nobles and advisors.

🏡 Manor: The residence of a noble, usually a lord or lady. It’s less fortified than a castle and focuses more on comfort and domestic life.

Pro Tips:

Royal Drama: Expect lots of intrigue, secret plots, and power struggles. It’s like a medieval reality show.

Magic: Always a wildcard. It can solve problems or create new ones.

Quests: Royals love sending heroes on epic quests. It’s their way of handling problems without getting their hands dirty.

---

Oh hey, you made it to the end! 🎉 I see you’re still here because you’re passionate about your book and maybe a bit stuck with worldbuilding. Don’t let that WIP sit around for another 5 YEARS! 🚀

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What's the scene about? Write it down

Guy goes to bar and meets Girl

2. Okay, but what do the characters do? Maybe something super basic about their feelings if it matters to the scene

Guy enters bar. He's sad about work. He sits at the bar and orders a drink. Girl walks up to him and introduces herself.

3. If there's dialogue, write it in dialogue format. If you can't think of something, put in a filler and move on; that's a problem for Editor!You

Guys enters bar. He's sad about work. He sits at the bar. "One [insert drink name] please." Girl walks up to him. "Hi," Girl says. "My name is Girl."

4. OPTIONAL Now that you have the basic scene, is there anything new you've thought of?

Guys enters bar. He's sad about work. He sits at the bar. "One [insert drink name] please." The bartender starts to prepare his drink. Girl walks up to him. "Hi," Girl says. "My name is Girl."

5. Add some adjectives/adverbs. Don't go crazy, just what makes sense

Bonus! If you already have some, feel free to change them to something more interesting

Guy enters an almost empty bar. He's upset about work. He sits at the bar. "One [insert drink name] please." The bartender quickly starts to prepare his drink. A pretty girl walks up to him. "Hi," Girl says. "My name is Girl."

6. Vary sentence length (aka smush sentences together)

You can just use "and", but a "because" will do a lot

Guy enters an almost empty bar because he's upset about work. He sits at the bar. "One [insert drink name] please." The bartender quickly starts to prepare his drink as a pretty girl walks up to him. "Hi," Girl says. "My name is Girl."

7. Honestly at this point you're probably not following the directions anymore because your brain is in writing mode. If not, go into editing mode. Take the writing you just tricked your brain into doing and smooth it out

Guy enters an almost empty bar, thinking about his problem at work. He sits at the bar, upset. "One gin and tonic please." The bartender quickly starts to prepare his drink as a pretty girl walks up to him. "Hi," Girl says, leaning on the bartop. "My name is Girl."

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

Hey there!📚✨

As writers, we all know that feeling when we read a sentence so beautifully crafted that it takes our breath away. We pause, reread it, and marvel at how the author managed to string those words together in such a captivating way. Well, today I'm going to unpack a few secrets to creating that same magic in your own writing. These same tips I use in my writing.

But before I begin, please remember that writing is an art form, and like any art, it's subjective. What sounds beautiful to one person might not resonate with another. The tips I'm about to share are meant to be tools in your writer's toolkit, not rigid rules. Feel free to experiment, play around, and find what works best for your unique voice and style.

Power of Rhythm 🎵

One of the most overlooked aspects of beautiful prose is rhythm. Just like music, writing has a flow and cadence that can make it pleasing to the ear (or mind's ear, in this case). Here are some ways to incorporate rhythm into your writing:

a) Vary your sentence length: Mix short, punchy sentences with longer, flowing ones. This creates a natural ebb and flow that keeps your reader engaged.

Example: "The sun set. Darkness crept in, wrapping the world in its velvet embrace. Stars winked to life, one by one, until the sky was a glittering tapestry of light."

b) Use repetition strategically: Repeating words or phrases can create a hypnotic effect and emphasize important points.

Example: "She walked through the forest, through the shadows, through the whispers of ancient trees. Through it all, she walked with purpose."

c) Pay attention to the stressed syllables: In English, we naturally stress certain syllables in words. Try to end important sentences with stressed syllables for a stronger impact.

Example: "Her heart raced as she approached the door." (Stronger ending) vs. "She approached the door as her heart raced." (Weaker ending)

Paint with Words 🎨

Updated 30th May 2024 More writing tips, review tips & writing description notes

Facial Expressions

Masking Emotions

Smiles/Smirks/Grins

Eye Contact/Eye Movements

Blushing

Voice/Tone

Body Language/Idle Movement

Thoughts/Thinking/Focusing/Distracted

Silence

Memories

Happy/Content/Comforted

Love/Romance

Sadness/Crying/Hurt

Confidence/Determination/Hopeful

Surprised/Shocked

Guilt/Regret

Disgusted/Jealous

Uncertain/Doubtful/Worried

Anger/Rage

Laughter

Confused

Speechless/Tongue Tied

Do‘s:

Make your writing come alive by describing things that appeal to the senses. Instead of saying "It was a beautiful garden," you could say "The garden was filled with the scent of fresh roses, the sound of buzzing bees, and the vibrant colors of blooming flowers."

Instead of just saying what something is like, show it through your words. For instance, instead of saying "She was sad," you could describe her actions and surroundings to show her sadness: "Tears welled up in her eyes as she stared out the rain-streaked window, clutching a crumpled tissue in her hand."

Instead of using general words, get specific. Instead of saying "He drove a car," you could say "He drove a sleek, black convertible, the wind tousling his hair as he sped down the open highway."

Keep your writing interesting by mixing up short and long sentences. Don't always write in the same way. For example, "The sky was dark. The trees swayed in the wind. It felt eerie," could be improved by adding variety: "Dark clouds gathered overhead, causing the trees to sway ominously in the gusting wind, casting an eerie feeling over the landscape."

Use your descriptions to set the mood of your story. Instead of just saying "It was a scary place," describe the setting to evoke fear in your readers: "The abandoned house loomed in the moonlight, its broken windows and creaking doors whispering of unseen terrors lurking within."

Don't just drop descriptions randomly into your writing. Make sure they fit naturally into the flow of your story. Instead of stopping the action to describe something, weave it into the narrative: "As she ran through the forest, the branches clawed at her skin, leaving scratches like whispers of the dangers lurking in the shadows."

While descriptions are important, don't forget to keep your story moving forward. Don't spend too much time describing things at the expense of the action. Find a balance between describing the scene and keeping the plot moving.

Don't:

Using too many adjectives can make your writing sound cluttered and overwhelming. Stick to the essentials and choose your words carefully.

Don't forget that dialogue and interactions between characters are key parts of your story. Use them to reveal personality and move the plot forward.

Don't repeat yourself. Once you've described something, trust your readers to remember it. Don't keep saying the same thing over and over again.

Sometimes, what you don't say can be just as important as what you do say. Let your readers read between the lines and draw their own conclusions.

Avoid using tired old phrases that everyone has heard before. Try to come up with fresh, original descriptions that will grab your readers' attention.

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

Writing Armour

Types of Armour

All types of clothing provide some protection.

For street fights where you have a couple of teenagers brawling, it would be appropriate to dress them in jeans and a jacket. For more protection, a quilted winter coat or a morotbiker's thick leather jacket, perhaps.

Leather, especially when treated and straightened, offers good protection against arrows, swords, and spears.

The historical armour will include glued-together layers of fabric, thin wooden or bone platelets sewn onto cloth. For wealthier and more advanced societies, metal would be used.

An armour has many parts, and you'll want to describe them with varying levels of detail. However, here are the basics:

A cuirass is a breastplate, protecting the heart and abdomen.

Greaves are shin guards, usually strapped on, protecting the front fo teh lower legs.

Arm guards (bracers)

Helmets

Modern armour will involve a bulletproof vest (which may also be knife-proof). It can be stiff and heavy, and the wearer will sweat under them.

The body armour can lose its effectiveness after a few years.

Disadvantages of Armour

The typical armour (made of steel) is heavy and clunky. In a few hours, your hero is likely to be sweaty, hot and stinky on the inside.

Armour restricts mobility.

Every armour have gaps (the wearer needs to breathe!), and a clever fighter will aim for the chinks.

Shields

Shields are held by the hand rather than worn, so larger shields will be cumbersome and heavey to move, while smaller ones will offer only partial protection.

Shield often consise of wooden frames with leather, hides or metal. They may be painted with heraldic emblems, scary faces, or with magical pentagons.

A shield can also be used as a weapon, like ramming it under the opponent's chin or slamming it down his feet.

The smaller fighter can use a shield well to their advantage, since a shield of the same size will have fuller coverage of their body. However, they will need a strong arm.

Units of githers may use shield formations, such as the tortoise of the Roman legions, the shield wall of the Vikings, and the Greek hoplites shielding not only themselves but the man next to them.

This post is for writers who are trying to bluff their way through a fight scene with minimal knowledge! For full-fledged scenes, I recommend more research.

Part V

How to show grief

a vacant look

slack facial expressions

shaky hands

trembling lips

swallowing

struggling to breathe

tears rolling down their cheeks

How to show fondness

smiling with their mouth and their eyes

softening their features

cannot keep their eyes off of the object of their fondness

sometimes pouting the lips a bit

reaching out, wanting to touch them

How to show envy

narrowing their eyes

rolling their eyes

raising their eyebrows

grinding their teeth

tightening jaw

chin poking out

pouting their lips

forced smiling

crossing arms

shifting their gaze

clenching their fists

tensing their muscles

then becoming restless/fidgeting

swallowing hard

stiffening

holding their breath

blinking rapidly

exhaling sharply

How to show regret

scrubbing a hand over the face

sighing heavily

downturned mouth

slightly bending over

shoulders hanging low

hands falling to the sides

a pained expression

heavy eyes

staring down at their feet

Part I + Part II + Part III + Part IV

Character Movements #1

Punctuating Dialogue

50 WORDS TO USE INSTEAD OF “SAID”

traits turned sour

DESCRIBING THE PHYSICAL ATTRIBUTES OF CHARACTERS:

Vary your language with synonyms to use instead of "said"

WEBSITES FOR WRITERS

Descriptions in Between Dialogue

switch up your verbs (part one) ~

words to use when writing

writing resources - smut

Writing Resources: References

Writing Resources: Advice and Motivation

Writing Resources: Basics

Writing Resources: Characters

Writing References: Narratives

words to use when writing

writing perfect betrayal

toxic traits

words to use instead of...

fight scene

how to create a supermarket setting

Peace and blessings upon everyone!

I hope life's treating you well. I’m Esmeray and I welcome you to this post on my blog Dear Esmeray.

Ever wondered what makes your OC truly unforgettable? I believe it is the character traits. Character traits are what bring a character to life, or else you just have a flat, one-dimensional everyman as your OC. So today I'll be sharing with you a list of character traits that I compiled to help you develop better OCs.

Positive Traits:

Agreeable

Brave

Caring

Cheerful

Confident

Cooperative

Creative

Dedicated

Devotion

Diligent

Disciplined

Dutiful

Easygoing

Efficient

Fairness

Forgiveness

Friendly

Funny

Generous

Hard-Working

Honest

Honorable

Humble

Kind

Leadership

Love of learning

Loyal

Passionate

Persuasive

Prudent

Principled

Punctual

Reasonable

Reliable

Respectful

Responsible

Self-regulation

Social Intelligence

Supportive

Trust-worthy

Well-mannered

Witty

Wise

Neutral Traits & Quirks:

Raises Eyebrows

Blinks rapidly

Avoids eye contact

Maintains eye contact

Blinks rapidly

Slouches

Stares off into the distance

Shrugs often

Touches their scars or wounds often

Chews lips

Paces around

Smiles a lot

Rarely smiles

Gestures with hands while speaking

Often is distracted

Hums

Negative Traits:

Absentminded

Abusive

Acts superior

Alcoholic

Aggressive

Always plays the victim

Aimless

Apathetic

Arrogant

Argumentive

Avoids their problems

Bossy

Blunt

Boring

Careless

Can't take criticism

Can't take a joke

Clumsy

Conceited

Controlling

Cunning

Childish

Cruel

Deceptive

Defiant

Demanding

Disloyal

Dishonest

Dramatic

Dependent

Disorganized

Disrespectful

Distracted easy

Extravagant

Envious

Forgetful

Greedy

Holds grudges

Makes up excuses for everything

Has a reason for why nothing is ever their fault

No accountability

Hostile

Hypopocrite

Immature

Impatient

Impractical

Impressionable

Impulsive

Insensitive

Irresponsible

Not a team player

Incompetent

Irritable

Inconsiderate

Indulgent

Insecure

Jealous

Know-It-All

Lazy

Liar

Loud

Manipulative

Makes everything about them

Makes everything a joke

Their way or the highway

Mean

Meddlesome

Messy

Naive

Nosy

Obnoxious

Obbssesive

Offended easily

Overdramatic

Overreacts

Patronizing

Power-hungry

Pretentious

Rebellious

Reckless

Rude

Sarcastic

Selfish

Sensitive

Stingy

Sexist

Spoiled

Stubborn

Superstitious

Talks over others/interrupts

Too loyal

Too forgiving

Undependable

Unreliable

Unsympathetic

Unorganized

Unreasonable

Violent

Weak

Remember, there are no one-dimensional characters in real life, and there shouldn't be in your stories either. The possibilities for your characters are endless – so get creative and have fun writing!

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.