1. “Could you all just shut up for a minute?! I can’t hear myself think, and if I can’t think, I can’t breathe.”
2. “There are two ways out of here. The door or the slide, but I don’t know where the slide goes.”
3. She smiled. “You are too much! I ask for some milk. I wasn’t expecting a home-cooked meal.”
4. “Where did you come from?! How did you get into my room?!”
5. “I’ve been thinking to talk to you for some time now. I think it’s time we end our contract.”
6. “You should rethink what you’re about to say.” “How do you know what I’m going to say.”
7. “We’re not even close yet. We still have 10,456 steps to go up this stairway.”
8. “It’s been three years since we’ve seen the sun. We’re not even sure if it’s still there.”
9. “We can’t get a hold of anyone. Is now a time to start panicking?”
10. “I barely escaped with my life. My husband didn’t.”
11. “I’ve never seen anything more beautiful than getting farther and farther from that giant blue orb we can earth.”
12. “If you work hard you will survive. If you fall short, you will die.”
13. Her chains clattered with each grueling step. Could she go on she wondered?
14. “This is the captain’s room! Do you need something?”
15. “We have fourteen plates and fifteen people. Anyone want to split a plate?”
16. “You knew I was in on it?” “Yup.” “Why didn’t you say anything?”
17. “Didn’t we just pass that rock?” “That rock? No, I don’t think so.”
18. “I prefer the torture. This music is just too much.”
19. “Come in! Come in! This next film is an adaptation of the overthrow of America in 2026! You’ll notice the undiscovered motive behind much of their congress at the time!”
20. “Did you hear that?” “Hear what?” “That crunching noise, there it is again!” “Oh, sorry-nachos.”
21. “Should I make a sequel?” “A sequel?” “Yes, I just made a story out of you, should I make one of your sons too?”
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An Uncommon Writing Exercise You Probably Haven’t Heard Much About
For this writing exercise, you are going to need a glass of water, a pan, a pen, a large cooler, some string, 3 coats (of varying size), a kiwi, an average-sized chihuahua, two broken light bulbs, a baseball bat, a swimming pool, 3 linebackers, and a grenade.
Okay, so I’m obviously kidding (unless you actually have all those things available to you…then leave a comment and we can talk. 😂)
This writing exercise is actually a play on words. The writing exercise I’m talking about is two-fold. It has to do with actual exercise and something else parallel to that.
Now before you roll your eyes thinking, “Oh goodness, he’s actually gonna try to tell me that exercise is going to help my writing,” and leave this post, hold tight.
There is actually going to be some interesting insider information here.
His novels are very adult in nature so I can’t recommend them as family-friendly, but Haruki’s writing routine is fascinating. And his mentality towards the exercise of writing itself can be very helpful to us.
To give you an idea, let’s hear one of his quotes, “writing a long novel is like survival training. Physical strength is as necessary as artistic creativity,”
This quote really gives us a view into the way a famous successful author thinks about the physical hardship that comes with choosing to write a novel.
Murakami’s daily writing routine includes running and swimming.
How does one go from working a regular job to being a successful author?
Murakami ran a small Jazz club in Tokyo. He would work until the early hours of the morning before heading home to his real passion of writing.
After some time, he decided to close the club and dedicate his life to writing. He and his wife moved out into the rural areas of Tokyo.
At this point, he completely gave himself over to writing full-time, but also with this change of pace he picked up some unfortunate habits and side effects. “once I was sitting at the desk writing all day I started putting on the pounds. I was also smoking too much-sixty cigarettes a day. My fingers were yellow, and my body reeked of smoke. This couldn’t be good for me, I decided. If I want to have a long life as a novelist, I needed to find a way to stay in shape.”
We can see that at least for this successful author, he had to really dedicate his time to writing in order to find success, but his body seemed to be taking a toll.
What can we do to help our body and not just our mind be better at writing?
Murakami decided to create a new daily writing routine.
He wakes up at 4 am and gets straight to writing. He continues to write for four to six hours on a regular day. Even if it’s not a workday he still believes in routine and waking early, “once I began my life as a novelist, my wife and I decided that we’d go to bed soon after it got dark and wake up with the sun,” for him this meant getting up typically before 5 and going to sleep around 10 pm.
In studying successful people that seemed to be good at “making their own success,” this was a continual pattern in their thinking and lifestyle. Many of them believed in getting up with the sun and working early.
There’s a saying, “Early to bed, early to rise, makes one healthy, wealthy, and wise.” For many wise people this practice turns out to be true.
What is the writing life really like?
You might imagine that the writing life is filled with long stretches of free time with some vigorous moments of sparking writing genius.
For successful writers, this isn’t often the case.
Murakami speaks of the writing grind in this way, “I have to pound away at a rock with a chisel and dig out a deep hole before I can locate the source of my creativity”
If we want to grow in our ability to write and have a chance at becoming a successful author we need to be thinking, working, and writing in this way. Start creating your writing grind today. Don’t wait.
What type of writing exercise does a successful author really do?
For Murakami, it starts around 5 am with four to six hours of writing. He usually finishes writing around 10 or 11 am.
He then moves on to the writing exercise that he feels helps him be a better novelist and helps give him a longer life as a novelist, “In the afternoon, I run for 10km or swim for 1500m (or do both), then I read a bit and listen to some music. I go to bed at 9:00 pm. I keep to this routine every day without variation. The repetition itself becomes the important thing; it’s a form of mesmerism. I mesmerize myself to reach a deeper state of mind. But to hold to such repetition for so long-six months to a year-requires a good amount of mental and physical strength.”
And here I think we really see the point, “to hold such a repetition for so long-six months to a year-requires a good amount of mental and physical strength.”
Does writing require physical strength? Yes, in a way it does. It requires both physical and mental discipline and awareness to be able to start something as huge as a novel, a blog, or a writing career, and actually finish it.
And there is a good amount of evidence that physical exercise is extremely helpful for helping with creativity, a sharp mind, and mind fog.
“…researchers are discovering that exercise can have more immediate benefits. Your lunchtime workout can make you a better thinker at 1 p.m. And that can mean a more productive writing session. Of course, writers have known for years that outdoor exercise is the key to inspiration and overcoming writer’s block.” – Source.
Final Thoughts
As a writer that wrote over 1,000,000 words since 2018 and 8,000 last week I can agree with Murakami’s move away from bad habits to a more disciplined writing life that is coupled with exercise and healthy choices. And that the repetition of daily exercise mingled with daily writing can become very important. (You might be wondering where I got those numbers. Grammarly has this cool feature that records the amount of your work👇.)
They even record your biggest mistakes 😂👇
(Ahhhh. My arch nemesis…the comma…we meet again…😈. Battle me everyday unending and with Grammarly I will SMITE thee!
Oh…you’re still here reading this post? Oh, right. I’m writing. Okay, yes! I am writing! Er-um. *clears throat* *cracks knuckles*)
As a writer, I found Murakami’s lifestyle and exercise routine for a writer inspiring.
It’s easy as a writer to fall into a habit of writing a lot and enjoying the important things in life but without thinking much about it, health and exercise get pushed to the side. I have seen that to be true 100% and have recently been working on remedying it. But it is hard and takes time.
I have also found exercise to be extremely helpful with thinking and writing.
When I found out Murakami believed exercise was a pivotal part of success as a novelist I immediately agreed.
And the other exercise that helps with writing is writing itself. Writing is a type of exercise. It’s very much like using your brain as a muscle. The more you use it the more strength and endurance you build up to use it more, and it becomes easier to do what once was hard.
8,000 words a week used to be difficult for me, but now I’d rather be at 10,000 and 14,000, and hopefully more. But it takes work and exercise to get there.
The more you do the better it will get. And I highly recommend some sort of exercise to go along with your writing.
Take a minute and write something. Then go run around the room for a minute and then come back and write for two minutes.
After this 4 minute exercise, you should already notice a difference in mental clarity between the minute you wrote before physical exercise and the two minutes after physical exercise where your heart was pounding fresh blood into your brain.
The amount of impact physical exercise will have on your everyday writing can be just as impactful as any amount of writing exercises you find to help with your writing skills.
The next time you are looking for a writing exercise to help break your writer’s block, try doing some exercise too. I bet you’ll be pleasantly surprised how much exercise clears up your writing mind.
An Uncommon Writing Exercise You Probably Haven’t Heard Much About
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An Uncommon Writing Exercise You Probably Haven’t Heard Much About
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An Uncommon Writing Exercise You Probably Haven’t Heard Much About
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For an average that is a ridiculously small amount of dialogue, but readers who pick it up seem to love it.
And they say things like, “every character feels like they could reach out of the pages and touch me…”
Most of us rely on dialogue to define our characters and help our reader get to know them. After all, communication is a normal day to day way to get to know someone.
So how does an author do that? How can we do that?
How can we make our characters so life-like, that our readers will feel like they could reach out and touch them?
Let’s dive in.
Actions speak louder than words.
Ouch! It stings! It burns us precious! But it’s so true!
It’s true in life and it’s true in storytelling. I could tell you all day how strong my character is but until I tell you that she can bench 1000 lbs (it’s supposed to be an absurd amount) your not gonna be wowed.
And really though just telling someone that my character can bench that much doesn’t… actually I changed my mind.
Picture this,
“Stacy marches through the halls. She stamps down the stairwell at Dudemer High. She’s determined. No one can stop her. She’s tired of what everyone says about her. She’s not going to hide her powers any longer.
She kicks open the doors to the gym. The gym is filled with students who all turned their heads at the echoing noise.
She doesn’t back down from all the attention she’s just received. She sees the bench press. Kids are looking at each other at her and murmuring. Stacy grabs two 50s and throws them on the bar as if they’re nothing.
Now faces are starting to turn into frowns. It looks unreal the way she grabs two more 50s and throws them on until she has five 50s on each side. She wanted more but the bar couldn’t fit it and for some reason, the cheap school didn’t have 100s.
Stacy got under the bar without a second to lose and threw it up countless times. It was so light to her. By this time the gym was in chaos. Kids were shouting laughing, screaming. Phones were out and streaming. It was out there. Just a fraction of Stacy’s real strength was going viral.
To finish it off she smirked. Grabbed the bar of the bench and threw it 20 or so feet into the bleachers which broke under the weight. Eyes were wide and now they all couldn’t explain it away.
Stacy took a couple of breaths and walked out to head to Geometry, which she was late for.”
Okay, so it’s not pretty and it needs a ton of editing (don’t be afraid to just write something quickly that you can always edit later; get your ideas out of your head and onto a page), but this scene shows a lot of what’s going on with Stacy with zero dialogue.
We can see that she’s angry. We know she’s fed up with people. She has superhuman abilities and she’s extremely sick of hiding them. She just wants to be herself and so she does something about it and shows the world by stomping into a crowded gym and showing everyone her true strength.
This scene could in theory have a little dialogue, but it’s not altogether necessary. Maybe we can show the reader more of what’s going on in our character’s life by saying less in dialogue and giving them more action to follow.
“Stacey stabbed his eye and it burst on her white blouse. He screamed turned around and seared his hand on the stove letting out another scream.”
Or
“The gun went off and the Doctor felt like something pressed against him. It didn’t hurt but he looked down and saw blood starting to spill out his shirt. He went into his back office and grabbed string, iodine, and an iron bar. He set the iron bar in the fire.
He dipped the string in the iodine and then proceeded to push it through the bloody hole all the way through and out his back.”
These descriptions are vivid and shocking, so it helps leave an impression.
If your story can’t naturally bring about shocking things like these it’s okay, just try to be vivid and creative with the tools at your disposal.
We can project what the characters ought to be feeling.
We don’t have to use dialogue to tell what a certain character is truly feeling.
Picture this,
“Stacy slammed the front door.
Her mother nearly fell out of her chair in front of the TV. “Stacy! Is that you! What’re you slamming the door for?!”
Stacy didn’t reply. She just rolled her eyes, grabbed a bottle out of the fridge, and stomped up the stairs where she slammed her bedroom door too.
“Stacy! You better knock it off! You’re gonna give me a heart attack and then you’re really gonna be sor-“
Before she could hear the last words of her mother’s rant she had already hit the power button on the remote to her stereo.”
Stacy is obviously still so filled with rage and her mother could be justified in her words, but maybe we are starting to see that her relationship with her mother is not the best.
This could be on Stacy’s end, her mother’s, or both.
But we can see that both of our characters are feeling negative emotions and we didn’t have to have one character tell another character how they were feeling about any certain situation.
Actions speak volumes. We may have to edit more to make sure it comes across correctly, but that’s okay. Editing is a crucial part of the process.
Practice describing scenes without dialogue, only using vivid description and imagery to express what your characters are thinking and feeling.
Get to a place where it comes across so naturally that it’s second nature to be able to use the skill of writing a scene without dialogue that makes your character jump off the page.
How to Make Characters Come to Life Without Relying on Dialogue
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If You’re Considering Self-Publishing, These Specific Tips Could Help
Self-Publishing is very possible and plenty of writers are using it to get paid to write today.
Hopefully, these specific ideas that self-publishing authors are using will help you make more money as a self-publisher.
Try StoryOrigin and Lulu
Don’t limit yourself and your book to just Amazon. There is more than just one way to self-publish these days and statistically you give yourself and your story more of a chance if you put it out there as much as possible.
Storyorigin is free to use and can help you build up a list of subscribers that will be potential readers primed and ready to read your books when you have them ready for them.
Some authors have also had success with Lulu. It may be the right platform for you as they have different tools and another audience compared to just publishing on Amazon.
Ads help starting writers build traction faster than just waiting on organic results.
They can build revenue and get many more eyes on your book. You could spend 100, reach 1 million impressions, and sell around 40 copies. These are realistic numbers based on a real anonymous author’s testimony.
That won’t be a positive return on your first book, but it will most likely start your review section growing and start some traction that can grow organically.
Think of ads as fuel on a fire. Once you shut them down the fire will subside a little bit you’ll get a real sustaining fire much faster with some ads.
It has worked for some but be careful with the hype in FB ads and Reddit ads.
Facebook groups
Some groups are just a bunch of chatter, but there are some golden gems out there.
Try 20booksto50k and another one mentioned to investigate would be Bryan Cohens AMS ad School.
They have worked with others, so hopefully, they will be a huge benefit to you!
This can be huge for starting your book off on the right foot.
Give away a copy in exchange for a sincere review.
You don’t have much to lose here as it won’t cost you much, but those first 20 reviews can mean the difference between organic buys and nothing, zilch, notta.
People are hesitant to buy things on Amazon with no reviews. It’s a normal part of marketing these days to give free products for reviews because it works and it helps.
Out of all the tips here I would personally recommend this one the most.
Build a loyal beta reading group.
You can pay beta readers. You can also ask friends and family. You can even reach out to a colleague or two. If you’re really bold you can join a FB group and ask if anyone is willing to read your story and provide feedback. (Be careful with copyrights. Wouldn’t want anyone stealing your book.)
But it is so helpful and almost absurd to put out a book without putting some extra eyes and thoughts on it.
Try to get readers that make sense for your target audience. Choose readers that you know will give you real feedback. Not, “yeah, it was great…”
Look for people that enjoy reading in your genre already as they will be more naturally inclined to finish it and have more experience with that genre.
These might work for you, but for this post, they fall into the category of, commonly given advice that doesn’t ALWAYS work out well.
FB ads
Focusing on social media (it can be nice to build a following and get likes and nice comments, but it probably won’t add up to many readers and sales for the amount of time spent building the following)
Reddit ads
Paid promo support on certain sites and cheap promos
Being available on KindleUnlimited (can vary depending on country)
There it is. I hope these specific tips help you with your self-publishing.
Bonus tips:
Self-publishing is realistically a long term success goal.
Having one book out won’t likely get the majority very far, but having 20 books out will most likely make a difference. So don’t expect overnight success. Instead, make a plan. Work hard. And keep making content as if your life depended on it.
Publishing one book a year is probably not enough.
At least not at first. If you decide to be a writer and self-publisher full time you really have to be dedicated. It takes years to build up significant traction. The more books you can put out a year the better.
Think in long terms like, “I want to write 20 books in the next ten years.” That’s a modest goal. For some, it takes 3 years to write their first book, but once you get a feel for the entire process, you will see ways to make it more streamlined.
If you wanted to be really ambitious starting out you can think 4 books a year. But really the best idea is just to focus extremely on the first one and then make more plans from there.
The real point here is in the long term if your goal or dream is to be a self-published author full time, one book just isn’t going to solve that problem for you.
Get paid to be a beta reader. Get paid to do some editing on the side. Start a blog. Get paid to do some freelance writing.
These types of side incomes will not only bring in extra cash they will snowball your writing skills.
If You’re Considering Self-Publishing, These Specific Tips Could Help
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If You’re Considering Self-Publishing, These Specific Tips Could Help
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I was Asked to Be a Beta Reader, But I Hate the Book. Now, What Do I Do?!
As a beta reader, you could be asked by a friend, colleague, or get paid to beta read a book.
You might find that you love this process and can’t wait to get started, but for most of us, the prospect of telling someone their work is not enjoyable is rather uncomfortable.
Especially if we know the person.
Hopefully, this post will help you let them down easy and help them through the process.
For every bad thing you find, try to find three good things to say.
This is a great rule for trying to give anyone positive criticism. When your goal is to help the writer and you want them to do their best but you are doing like what they did you can get away with saying some uncomfortable negative things if you tell them three positive things first.
You might try it like this:
“I loved the opening scene, it really hooked me. I really like your character here. They often make me laugh. Your grammar is really tight. I couldn’t find any glaring errors that brought me out of the story. Your main character seems to be a little overly sexist. Did you mean to do that?”
Now, we aren’t just trying to flatter them. In order to truly help the writer, we want to give them both affirmation and positive critique.
This will let them know where things are going well and they don’t have to change as much and where things could be thought over and looked over again.
As a beta reader, we would Do them a disservice if we didn’t tell them what could be better and what could make more sense.
Positive Criticism doesn’t have to be all pointing fingers and saying this spot is bad and that spot is bad.
Sometimes a good question does wonders and doesn’t make the person feel attacked.
You might be thinking, “this part is awful. I’m so confused. What’s even going on here?”
But you don’t have to say it that way.
You can say, “I don’t know why, but this part is confusing for me. I’m not sure what is going on here or what the point of this scene is. Is this part meant to be confusing?”
Then they can know that they need to rewrite that part so that it’s not so confusing that it brings the reader out of the story.
Be an in-line commenter.
This can be extremely helpful for you and the writer you are beta reading for.
This lets them know very specific places that could use a rework and that is SO much more helpful than, “the book was good, but I didn’t love the main character…”
As a writer you’d be wondering, “what’s wrong with the main character and where do I fix it?!
Instead, leave comments as you go:
“When he said this I literally rolled my eyes.”
“I laughed out loud so hard here. Great job!”
“I got bored here. Wanted to stop reading.”
“This character has so many lines that make me not like them. Did you mean to do that?”
If you can point out specific things this will be really helpful to the writer and they should have no reason to be offended.
Don’t feel bad. This happens. And when it does, you should tell the writer where and why you had to stop reading the book.
This can help them realize that their writing thus far is not ready but general audiences. If they were aiming for more of a niche market they can choose to do so, but at least they’ll have real feedback telling them it’s not ready.
In the book you can leave certain comments:
“I got bored here.”
“This part offended me for this reason.”
“This character continues to be sexist unrealistically and I don’t think I would continue it I wasn’t a beta reader.”
And then the final straw.
“Okay, at this point if I was just a reader I would have quit the book a chapter ago, but even as a beta I can continue to read this character’s story, here’s why…”
And then with those notes, the author can actually follow your journey from enjoyment to not enjoyment which is very helpful.
You can also write them a note explaining what happened and tell them all the good parts you found and liked sincerely but that ultimately, for this reason, I just couldn’t finish the book.
If you are willing you can tell them you’d be happy to give it a look through again if they decide to make any changes towards your concerns but that ultimately you think it has potential towards some readers, just not ones like you.
Just do your best to find some genuine compliments and to be honest about why you quit the book without being mean or attacking them as a person.
Ultimately your feedback even though to you it may seem harsh, is really helpful to a smart writer who is looking for actual feedback.
They want to know where they’ve done well and what needs to be fixed for general audiences.
If they are actually with their salt they want to know if you hated it and where you decided to stop and why. This is so much more valuable than a polite, “it was great. Good luck!”
A biblical saying from Proverbs that could apply slightly here: “Better is the wound of a friend than the kisses of an enemy” and the point is even if you comment stings a little, it’s more valuable, honest, and friendly than someone that says to your face, “it was great!” And then turns to someone else and says, “it was trash. I couldn’t even finish it.”
I was Asked to Be a Beta Reader, But I Hate the Book. Now What Do I Do?!
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I was Asked to Be a Beta Reader, But I Hate the Book. Now What Do I Do?!
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Should we ever say no to an editor? What if it’s our publisher’s editor?
What if we hired them ourselves?
When can we tell that they are no longer giving good advice and feedback but it’s more negative criticism and control than positive? And if we should say no, how on earth do we do that without ruffling unnecessary feathers?
Hopefully, some of these thoughts will help you see when it’s a good idea to say, “No.”
When you’ve worked with many editors.
It’s not always a good idea to feel like the first or second editor you’re working with “doesn’t know what they’re talking about.”
Be careful. Be humble. Be willing to take the time to grow in your craft enough to say maybe this person has a good idea even though I don’t like how much they want me to cut out of my story.
On the flip side, say you’ve worked with many editors and have had great experiences, then one shows up that is a trite awful to work with. This could be a good red flag to fire them or step away from the project.
Trust your gut if you have a lot of experience under your belt.
When the editor appears more controlling than helpful.
This is definitely a red flag. If they try to get you to change just about everything in the story, they don’t actually think your story is good. They think a different story like yours would be better.
On your first publishing job, you might consider this okay, because for most of us we gotta climb the ladder somehow. And mostly everyone has to “put in their dues.” So it’s your choice at the end of the day what you’re willing to put up with.
Majority rules are that most editors you work with won’t be controlling monsters.
If they have an “I am right no matter what” complex.
Some editors you work with will have a demeanor that is more reasonable. You can bounce ideas off each other.
You can work through cuts instead of “it’s my way or the highway.”
When you have many editors telling you a certain scene isn’t working it is very likely that there is something wrong with the scene but when you have someone that is “never wrong.” Watch out.
These types of editors aren’t in it for your best interest or your story’s. They are confused and think that if they ever admit a fault that it’ll look bad on them.
It’s one thing if it’s a beta reader or an editor you hired, but if it’s the editor your publisher set you up with, tread lightly.
Especially if you like your publisher. If the publisher and the editor are hard to work with it might be time to consider stepping in a new direction.
But if it’s just your recent editor then try to politely talk to your publisher about getting a different editor assigned to you.
If you go through a string of editors and they all seem to have problems, more likely you have a “you” problem. Not an editor problem and none of them will ever be good enough.
Writing and editing should be mostly enjoyable.
Authors have to write to put food on the table, but for most writers, the process should be slightly fulfilling.
I personally don’t believe that our work in life should be the only thing that fulfills us, but it does seem okay to enjoy at least most of your work.
I understand that’s not possible for everyone at every season of life.
But if you were able to complete your story and get a publisher into a contract with you. Part of me thinks that you enjoy writing and storytelling. You enjoy the process of being creative and using your imagination to create.
That said, it’s not preposterous to think that working with someone else, an editor, in making your story even better should be a terrible process.
Be careful not to pull the trigger too quickly. Take your time with the editor. Maybe they had a bad day. Ask them directly why they want you to make the changes. If they lose their patience with you, maybe it would be best to work with someone more understanding.
Take time to gain experience working with editors. They are just people. It’s usually hard to let someone else come along and say, “You have to cut this scene out.” That’s almost never easy.
But don’t be afraid to reason with them and make sure it’s the best decision for the book. Because at the end of the day both you and your editor want the story to be its best version of itself.
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If we want to write a really good introverted character, we need to know more about what actually qualifies a person to have this personality trait.
What is an introvert?
“An introvert is a person with qualities of a personality type known as introversion, which means that they feel more comfortable focusing on their inner thoughts and ideas, rather than what’s happening externally. They enjoy spending time with just one or two people, rather than large groups or crowds.
When you hear the word introvert, you might think of someone who’s shy or quiet and prefers to be alone. While that may be true for some introverts, there’s much more to this personality type. Whether you’re an introvert or an extrovert all depends on how you process the world around you.” Source.
Thanks Google!
But is an introvert really? And how can we write one well unless we know what they do on a regular basis?
You might be thinking, “I’m an introvert! I’ll just write about myself!” You are certainly welcome to do just that.
But studies have shown that most people are a little introverted and a little extroverted at times and only a few are one extreme or the other.
So we need to nail down what is strictly introverted and shoo away some myths as well.
So hopefully this will help you write an introvert. 🤓
Fun fact about the psychology of introverts.
A psychologist named Carl Jung coined the phrases introverts and extroverts in the 1920s in order to place people strictly into two personality types. One is an individual that gets energized from their own aloneness (introvert) and the other getting energized from being around others (extrovert).
General signs of introversion.
Enjoys quiet to concentrate
Very reflective
Very self-aware
Take time to ponder decisions
Enjoy being alone
Avoids group work
Prefer to write rather than talk
Feel tired after being in a crowd
Closer to a few people rather than friends with many
They ponder their problems deeply and use their imagination to solve them
They recharge by being alone
It’s science.
Science isn’t positive what causes introversion, but there is some thought that introverts have more blood flow to the frontal lobe.
The frontal lobe is thought to be more responsible for thinking ahead, problem-solving, and memory.
Introvert brains also seem to react differently to dopamine. An extrovert might find it energized but an introvert will be exhausted. Most introverts, therefore do not seek to be adrenaline junkies.
There is some idea that there are different types of introverts and that it is not always an all or nothing scenario. Most psychologists agree that people fall into a sort of scale of more or less introverted.
If a person falls right into the middle of the scale a psychologist would label them an ambivert. Just meaning they are half extrovert and half introvert.
According to recent thought, there are four subtypes for introversion:
Social introverts
Thinking introverts
Anxious introverts
Restrained/inhibited introverts
Social introverts
Social introverts like small groups and quiet settings as opposed to large gatherings and crowds.
Thinking introverts
Thinking introverts spend much of their time in their heads. They are daydreamers and have very vivid imaginations. They get caught “zoning out” often. They may enjoy work that leaves them thinking deeply by themselves.
Anxious introverts
They look for ways to escape large groups. They don’t just seek out alone time because they enjoy it. They also feel very shy and awkward in large groups where there are many strangers to them.
Restrained introverts
Restrained introverts are not quick to take action. They may wait to see what unfolds before thinking they should step in. They desire to think through a problem before taking any steps.
Most introverts have some of these qualities but not all normally. And different settings can change them. Depending on what’s demanded of them they can learn different habits that make them look more extroverted but deep down these are their natural bents.
Introverts dodge social events because of the negative feelings they get thinking about going.
This is largely untrue. If a person feels very anxious to the point of stomachache and sweats thinking about going to a social event this has more to do with fear than introversion.
An introvert is more more likely to skip a large social gathering because they’d enjoy being alone or with a smaller group more. Large group events are not very fun for them as it might be more appealing to others.
Introverts are not friendly. This is usually extremely untrue. Introverts may not have much to say or they may just be shy. They enjoy friendships deeply, but just a few compared to being everyone’s friend.
Introverts will never be leaders or supervise. Also untrue. Introverts can learn leader traits just as well. The thing is they might not seek out a leadership role. If they do they might find it naturally unenjoyable depending on the tasks. Their leadership strengths include listening well, staying focused, they appear less threatening which may make them more acceptable in their leadership role.
Introverts are hard to know. This myth has some truth to it. An introvert might not open up on the first or second meeting but if a person really wants to know them they will eventually trust the person enough to open up. Introverts cherish loyalty, trust, and meaningful friendship. If betrayed they will have a hard time letting go of that betrayal.
So how do we write an introvert?
Let the research you do write them. Use the character traits in this post to create your introverted character.
You could write a scene where they choose to stay at home and watch a movie with one friend instead of going to the all-night lock-in at the local church with 30 people.
You could write a character that works alone all day and loves their work until one day a chatty assistant is hired.
There are millions of ways to take the character traits we now know about introversion and find ways to show our readers that our character is a little introverted.
The next time you are reading a book or watching a show, try to spot the introverted characters and why they are introverted. They aren’t just shy. Try to spot their strengths as well, like deep thinking and problem-solving.
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If You’re a Woman and Your Main Character is a Male, Watch Out for These Stereotypes
Writing the opposite gender is complicated, especially if we grew up not having much interaction or even negative interaction with our opposite gender.
If you’re a woman writing a man specifically though there are certain stereotypes that can be avoided to help both men and women accept your character. But the real secret is to not let these stereotypes scare you into bad writing.
Especially if we are dealing with your main character.
Let’s get started.
Don’t over explain physical description.
If we are trying to write our main character as a male, there may be a temptation to over explain their physical features.
I’m sure there is good intent here. We don’t want our readers to imagine them incorrectly. We want them to see them the way we do.
The problem with giving into this line of reasoning is we can easily go from good writing intentions to bad writing. Especially if our main character is male.
Think of J.K. Rowling. How much time did she spend describing Harry, or for that matter any of her male characters?
And they are some of the most beloved fictional male characters in existence at the moment.
The problem with explaining too much about physical features is that it easily becomes cheesy, bad writing. It’s easier to make jokes out of than it is to read without being distracted.
Really hone in on two things to help with readers truly seeing your main male character.
Be sure to work closely with an illustrator
Introduce important physical features quickly and maybe a few extra ones while you move the plot along.
If we spend too much paragraph space describing the looks of our main male character we get closer to the danger zone of “eye rolls.”
And we absolutely don’t want any of our readers rolling their eyes. Male or female.
Let’s say when we first meet your main character, we notice that he’s average height, brown hair, and rather thin looking.
A chapter later we get close enough to see that his eyes are light brown.
Two more chapters later we see a small scar on his eyebrow we hadn’t noticed.
Another chapter later we hear about the importance of a tattoo he has.
We want to give our readers a good description so they see who we see, but just like a person in real life, our views of other humans happen over time. Usually, we don’t have enough time with a person when we first meet them to see what they really look like.
So avoid this tempting trap when working on how to describe your main male character to your reader.
(Side note: you might have to worry about this less if you’re writing mostly to women, but if you want to appeal to the majority of both genders don’t overdo physical descriptions.)
This section is probably not what you think based on the heading.
What we’re saying here is don’t fall into the stereotype of over explaining the main male character’s every emotion when we first meet him.
This isn’t just bad writing for women writing main male characters. This is bad writing in general, but it can be especially easy to fall into with a main male character.
Sometimes we get afraid of falling into a male stereotype: The emotionless father, brother, husband, or boyfriend.
And since we don’t want to be accused of that stereotype we run in the EXTREME opposite direction.
Our main character male is full of emotions. He laughs at dinner parties. He dances on the weekends. He watches chick flicks and cries.
We want our audience to know 100% that this guy, our main male character is definitely NOT emotionless.
But how do we get them to see that well?
The same way we let them get to know and character: slowly and over time.
In chapter one he seems stuck up.
In chapter three we get stuck doing a lab project with the emotionless jerk. We learn that he’s polite and actually seems a bit shy.
In chapter four we find out he’s really close to his grandma who’s suffering from colon cancer. He can’t go to the movie on Friday. We’re mad. We find out later he plays checkers with his grandma on Friday nights. He’s been doing it for years.
This is how we show our reader how our main male character has emotion, little by little, through the way he lives his life. Through his actions.
This not only helps our reader see who our main male character really is, but it also makes a deeper connection if they see more and more over time of doing the work of reading our story compared to if we just tell them when they trust met him.
We don’t have to worry about making a good first impression for our character. If anything it works well to mislead them at first.
Then they have the fun of finding out for themselves they were wrong about our main male.
Writing an action hero.
This is actually tough. Both men and women like their action heroes for different reasons.
The key to understand writing an action hero male mostly comes down to WHO YOU ARE WRITING TO.
If you are writing to mostly a male audience, they don’t want some hidden “peace on earth” hidden message agenda. “Violence isn’t necessary to defeat your demons,” type of thing is not going to resonate with a majority male audience.
Whereas if you are writing to people that enjoy that kind of message in an action hero, they’ll go for it.
But if you’re wanting to write a main male action hero that a mostly male audience will enjoy you really have to write it as a male would.
It’s about solving problems. It’s about adrenaline. It’s about little boys wishing they had superpowers and could save the world. 😂
It’s funny, but I’m totally serious.
If you want to create an awesome male character that is able to knock heads it goes back to instinctive boyhood and one man being able to take on the world.
This is a stereotype you don’t have to avoid if you are going to appeal to a mostly male readership. Think John Wick. Everything you love or hate about John Wick most men love.
(If you’re not concerned with a mostly male audience than you can write your action hero however you like 🙂 )
I try to keep my writing pg family-friendly so I won’t go into too many details here. Try to read between the lines.
It would be a stereotypical mistake to think that if we are writing a main male character that we have to have innuendos and scantily clad women in our writing to really appeal to males.
If we can create a good strong character that is fun to follow and has an interesting conflict to deal with we don’t have to worry about throwing in cheap tricks to try to gain readership.
There’s enough of that out there. It is not necessary if the story is good and the characters are written well and in a compelling way.
Find a real male you can base your character off of.
This is by far one of the most powerful things you can do in writing. Find real people to base your characters around.
Find a male friend or family member and base your main male off of them.
This way if anyone comes at you with a whiny voice, “that’s not realistic for a male!” You can quickly inform them that they are way off their rocker. You actually based this character on a real male in your life.
Another fun thing you can do is grab character traits from males in real life and ones in fiction.
(Be careful not to copy too much. Also, avoid characters nobody liked unless you strategically don’t want them to be liked of course.)
By combining certain traits from different male characters you can essentially create a completely new character to add to the universe.
Final thoughts
Don’t over explain emotions or physical description. Instead, give what’s necessary and find creative ways to reveal your main male character over time as you move the story forward.
If you’re writing an action hero pay particular attention to the specific audience you’re trying to reach. As different genders it seems that we like our differing action heroes for specific reasons.
Don’t assume that having a main male character means that the story must get un-family friendly somewhere.
Base your main male character on a real male in your life that you can really study. This way you can write off any haters! 🤓
If You’re a Woman and Your Main Character is a Male, Watch Out for These Stereotypes
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If You’re a Woman and Your Main Character is a Male, Watch Out for These Stereotypes
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If You’re Thinking, “I’m a Chronic Overwriter!” These Tips Might Help You
We think most people struggle with not being able to write at all, but there is another struggle that plagues writers that isn’t discussed much: overwriting.
Tell me if this sounds like you:
“I’m like 90,000 words in and I haven’t even made it through the first act yet.”
“Not only am I an overwriter, but I’m an over-planner too!”
“My prologue is like 14 pages, is that too much?”
“I’ve been writing the same story for about 7 years. I keep going over it and changing it and moving stuff around, but when do I stop and call it finished?!”
If you ever found yourself thinking any of these thoughts, you are not alone and hopefully, these tips will help you.
Research is good but if you get daunted by it, it might be time to do something else.
Some overwriters get bogged down by the vast amount of research they feel like they need to put into their story to make it “well-grounded.”
While it’s true that good research does give a novel a good grounding, you’re not writing a history book.
Think about a Dan Brown novel, like the Da Vinci Code. In it, our main character, Langdon is an actual history genius.
And he uses this genius to solve riddles and clues to save the day.
Is his creator, Dan Brown a history genius? No. So how does he convince us that Langdon knows so much?
It’s all about timing and appearance.
All we have to do is display the right facts at the right moment.
For instance, we don’t have to know every detail about WWII in order to impress a reader. We just have to display the right knowledge at the right time.
Our character is suddenly in a bind. He needs to open a locked box, but it has a four-digit number lock on it. The box was owned by Hitler. It was hidden from the world but our main character and her counterpart hunted it down.
Counterpart: “Hmmmm a four-digit number, try Hitler’s birthday.”
MC: “1889, okay. Ugh no good”
Counter: “What about his wife’s birthday?”
Mc: “Good idea. Eva Braun, 1912! Man! Didn’t work either! What did this guy actually care about? What did he think that no one would know?!” Just then she got that look in her eyes. She scrambled to race her fingers across the number lock as fast as she could.
It clicked open.
They both stared at each other in amazement.
Counter: “What was it?”
Mc: “His mother, Alois Hitler, 1860.”
Now, I’m no history buff and I sure don’t know anything about Hitler and the dates that surround his birthday and his family’s birthdays. But if you were reading that in a story you would assume that our MC has studied a lot about the life of Hitler to be able to on the spot recall the birth years of Hitler, his wife, and his mother.
It didn’t take me hours of research, it just took a few moments and a clever method to convince the reader that my MC is a smart person and maybe proficient in the study of Nazi Germany.
If I want to convince my reader that she knows more about WWII I’ll have to find other clever ways to show what she knows.
And that is just the point. You have to show what the characters know, not what you know. And of course, for certain settings there has to be well-done research, but not to the point of confusing yourself.
Look up what you need to and use it strategically. No need to write about every detail of the historical setting.
He once said, “Write down everything that happens in the story, and then in your second draft make it look like you knew what you were doing all along.”
This is a major part of what bogs down overwriters.
Sometimes we just don’t write out what happens in the story first. We try to make sure every little detail and note we think of makes it in before we can say, “done!”
Instead, think of it like the human body. The bones are the structure of the story. What holds it up. You just need to write out the action that happens and what the story is as a whole in what makes it move forward from start, middle, and end.
Then you can go back in and give it meat, fat, and skin.
Give it the details it then needs to be convincing, but not overwhelming.
If it’s overwhelming for you to write ALL the details you want, it might just be overwhelming to read. And we don’t want it to be overwhelming to read.
Get the bones down first. Go all the way through everything that happens all the way through the end. Then and only then, go back and edit and add in some good strategic details that bring the bones to life. Cut out the unnecessary fat. (This is sounding more like a weight-loss plan than writing tips.)
Just write what is purposeful to the plot first.
A major problem with overwriting is just writing any and every little detail that comes to mind or COULD be added in at some point.
If it works for your writing process you can by all means write down a bunch of backstory and details that are interesting notes to your overall idea.
But this cannot be the story.
Your story is anything that is purposeful to the plot and the enjoyment the reader gets from reading what you’re writing.
This could include meaningful:
dialogue
character development
interesting facts
This should exclude your NOTES on researching creative ideas for the story. Your notes about everything and different ideas that come to you randomly should be written down, but in a completely different space than where you are writing down the actual entertaining story you are trying to tell.
Some of the greatest stories ever told can be summarized in three sentences.
I recommend you try this exercise.
Try to summarize your story in one sentence. Then Two, then three, and then make it into a larger paragraph.
Once you’ve done this you have simplified your story.
Do this with your beginning, middle, and end of your story. Now you’ve simplified it into three structured parts. Now you can see it from the big picture.
As an overwriter, sometimes we get so focused on all the tiny details that we have all this material and it gets so confusing. It’s like the room is filling up with words and we can’t breathe.
Don’t get so lost in the details. Take a step back and view the entire story simply. Then it will be easier to see where you need to start and end.
The small details won’t be so overwhelming anymore. They will just be extra material for you to work with.
It’s usually a problem with outlining.
One simple technique that will change an overwriter’s life is outlining.
If we outline the entire story and then go back and fill it in it’ll be much harder to get lost in overwriting.
James Patterson is the king of outlining. 👑
He pumps out tons of books each year mostly through his great ability to outline well. He has ghostwriters. For many of his stories today, he creates an outline that’s good and then hands it off to one of his writers to fill in. This is how he’s not just an author today, but a story factory.
He pumps out so much fiction in a given year that you’d think he’s actually a robot 🤖.
But he’s not. No, the truth is his secret weapon is outlining.
The beauty of an outline is that it by definition is the bare bones of a story. An overwriter has no choice but to skim it down or else it’s not an outline, it’s just more notes.
Start practicing outlining the next part of your story and you might see quickly how this will organize the smaller important details of your story instead of getting lost in a sea of notes.
We need to step back and see the overarching story, beginning, middle, and end.
Use writing exercises discussed here to try to simplify the beginning, middle, and end of your story in your mind.
Outlining will be your new secret weapon to getting the entire story out so we can see what details need to be added in to make it a well-grounded, interesting read.
If You’re Thinking, “I’m a Chronic Overwriter!” These Tips Might Help You
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If You’re Thinking, “I’m a Chronic Overwriter!” These Tips Might Help You
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Are You Killing Off Your Main Character? Avoid These Writing Mistakes
Killing off main characters is not a feature of every story. But when it happens in order to pull it off it must be done well.
It’s not something to take lightly.
After all, our reader has spent the last couple days or weeks even, falling in love with our main character and now we are asking them to accept their death as a meaningful thing.
How do we do this? And how do we do it well?
Avoid these mistakes and it’ll be much easier for you to have your reader accept your main character’s demise.
It feels contrived or forced.
Don’t make the mistake of forcing their death. Just because you want to have your main character die doesn’t mean it works within the story.
How do we avoid this?
It has to be at a time and place in the story that feels organic. It has to feel natural.
If it doesn’t come across as “this is the way it has to be,” it’ll feel forced.
Our main character dying needs to be somewhat bittersweet.
Some things need to be resolved through their untimely passing, while it also leaves some things missing.
It’s not a happy ending. If we set things up for our main character to die and be gone forever then there should be a lingering sadness there.
It may be a time of victory and maybe they died to save someone or many (I love you 3000) but it doesn’t mean we can all rejoice right away. There needs to be a time of mourning before we express the happiness that can follow.
Making their ending fully miserable.
This is more of a personal preference. A full-on tragedy may leave the main character dead and no resolution, just sadness.
Some critics really like that.
Personally, I think it’s a mistake. I don’t believe most (not all) readers will find that enjoyable and look for more writing from you. This type of ending usually leaves the reader feeling less than satisfied. Not a good idea.
The ending of a main character should have meaningful tones as well as sadness tones, not just unresolved sadness.
This is a plot hole to be avoided in all situations but especially with our main character dying, there must be NO OTHER WAY.
It is the ONLY way.
This makes the death feel justified, earned, and worth it.
It doesn’t mean that it isn’t hard and painful to accept. It just feels like it had to happen this way.
If our reader can instantly in their mind say, “dude! Come on! That’s so unrealistic! All they had to do was (blank) and she would have survived.”
It’s a hard thing to do so tread lightly in the department of killing off your main characters, but when you do be sure to look at the situation from all angles to make it an impossible situation without the main character dying.
It’s not a meaningful death.
This is probably the most important thing to think about.
Was there death truly meaningful?
If you’re going to have your main character die, there better be a REALLY good reason for it.
Don’t just have them get hit by a bus (everyone in the audience glares at Mean Girls).
But seriously, this is probably the biggest mistake any writer can make when deciding it’s time for a main character to die.
The way they die is just as important as the why. And these two ideas have to mold together perfectly in order to get away with murdering your main character.
It needs to push the story to its logical and meaningful conclusion, or it needs to push the remaining characters forward in such a way that the readers left sad but feeling justified and like it had to be this way.
It doesn’t have to make sense at first, but maybe your other main characters find out secrets along the way that show how purposeful and meaningful it really was. (I, Robot)
Make your main character’s death natural and organic, never forced just to try to up the emotional weight of the circumstances.
The main character’s death may be for their best (meaning to save everyone else), but it doesn’t mean it has to be a happy thing for anyone. Allow and create a time or moment of mourning through one or more characters. Write a funeral or characters sitting around a fire sharing stories of the lost loved one.
Don’t make their death pointless. Make sure that there was no other way. They had to die. It was inevitable.
Create a scenario where how they die and why they die are extremely meaningful to the complete story arc.
Are You Killing Off Your Main Character? Avoid These Writing Mistakes
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Are You Killing Off Your Main Character? Avoid These Writing Mistakes
Are You Killing Off Your Main Character? Avoid These Writing Mistakes
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