Writing Tips

The below list is writing tips I have jotted down for the purpose of reminding myself of various writing tricks and techniques. Occasionally, other writers have found them helpful, so I include them here.

Tips are linked to posts on that particular topic in Wright’s Writing Corner, where such a post exists.


Writing Tips


Two Strings:             Two separate issues need to be going in each scene.

The Trick:         Raising expectations in one direction but having the story go in the opposite direction. It sounds simple, but it may be the most useful writing technique of all…the book Rebecca by Daphne du Maurier is just the trick over and over again. 

The Foil:           The trick applied to people.  Use other characters to showcase the strengths of your main characters and to make them seem extraordinary.  Example:  Nausicaa’s guys.

Senses:             Add three to five senses to every description.

Interior Dialogue:  Readers don’t trust dialogue.  Have your characters think, and have what they think be juxtaposed to the dialogue, showing a new angle.

Open active:     Start scene changes underway and then explain how you got there…unless change significant.

Measurements by example:  Tall as a man, rather than six feet high, where applicable.

Romantic Tension: Part 1, Part 2, Part 3         To make a character seem attractive to another character (at least to women) list a character trait of character A and an emotional reaction to this trait from character B).  (example: she had an air of mystery that intrigued him. Or, her shy retiring manner made him wish he could protect her.)

Payload:  Part 1, Part 2         Every scene/fight/sex scene should have some moment that moves the plot along or heightens awareness, drawing the reader into something greater. Villains should reveal something important during a fight, and romantic partners should learn more about each other or reveal secrets.

                        Also, every character should have at least one paragraph/scene where the inner motivation of that character is revealed.

Dicken’s Trick: Using action in description: “There is not just a kettle on the fire, it is boiling over.” "Horses at the cab stands are steaming in the cold and stamping. When people enter a room they are sneezing or hiding something in their pockets."

Ping Pong Dialogue: Have some dialogue go back and forth quickly, taking less than one line on the page – leaving white space – to increase readability.

Pink passages: Add visceral reactions – physical involuntary reactions – to heighten connection with reader…but not too much.

Character dynamics:  To make a character come to life, give him two conflicting goals. Also, add a scene where he shows a trait at odds with his main traits—this has the same effect in print that shading does in an illustration. It adds a sense of three-dimensionality.

Eyes Ahead: To give a sense of motion, and to increase the readers sense of anticipation, make sure you let the reader know what the character’s goal is in both scenes and story archs.

Long Live Exposition – Use the Long Life the Queen system to evaluate where to put exposition.

Dave Barry Endings – Tie the beginning and the end together — balance satisfaction and surprise.

Checklist – To check every scene:

What does it look like?

Senses…what does it smell/sound/feel/taste like?

What is the character feeling?

What is the character doing to express this? — nonverbal reactions

What Visceral reaction can the character have?

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  1. Pingback: Here is my interview with L. Jagi Lamplighter | authorsinterviews

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