Introduction: Why Your "Why" Matters Writing isn’t just about putting words on a page—it’s about  what drives you to tell stories. Your motivation shapes the types of stories you tell and helps you stay inspired even when doubt creeps in. Knowing your  why  is what separates writers who write from those who  want  to write. It keeps you going when self-doubt, perfectionism, or writer’s block try to stop you. Think of your "why" as your "creative compass"—it points you in the direction of the stories you’re meant to tell. Without it, it’s easy to lose momentum or second-guess your work. But when you’re clear on why you write, you’ll find the confidence to push forward, even when the words don’t come easily. This lesson will help you uncover your personal creative why, explore how motivations evolve, and guide you through a reflective exercise to solidify your purpose as a writer. By the end, you’ll have a deeper understanding of what fuels your storytelling and how to harness it. My Personal Story: From Doodles to Dedication I’ve always been a storyteller. Before I could even write my ABCs, I would sneak into my mother’s purse, steal her notebooks, and draw in the back pages. Eventually, I learned to just ask her for her notebooks instead of take them (then she got me notebooks of my own), but regardless, since I couldn’t write words, I would dictate the stories to her and she would write down who the characters were, what they were doing, and what was happening in their world. As I got older, my love of drawing shifted into a love of daydreaming and, eventually, writing. It was in 5th grade when a classmate’s older sister came in for show-and-tell and proudly showed off the book she had published. I thought that was the most amazing thing ever! And I was immediately inspired to do the same. I started writing my own stories just for fun, but it wasn’t until middle school that I started considering creative writing—novel writing—as a potential career. When I was 14, I had a realization:  This is what I want to do for the rest of my life.   It was during that period when life starts shifting—when you start figuring out who you are and what you want. I loved how stories and books made me feel  seen , understood , and less alone —and I wanted to do the same for others. I wanted to write stories that also made people feel seen and understood, encouraged, and that would make an impact. Even though I have a “classic adult job,” writing is still my  first love —my passion, my dedication, and the thing I will always return to.   My  why  has changed over time. When I was younger, I wrote  because it was fun!  Now, my why has deepened to:  “Because stories matter. Storytelling is innately human, and I want to make an impact on the world.”  While my original why was about making people feel comforted, seen, and understood, it has now expanded to encompass exploring different perspectives, pushing boundaries, and even challenging the status quo. Takeaway:  Your why isn’t  static . It  grows as you do.  The way you approach storytelling today may evolve in the future, just as your own experiences and perspectives evolve. How My Why Has Helped Me Through Challenges While I haven't always depended on my "why" to keep me motivated to write, for writing comes so naturally now and is so thoroughly in my veins, that somehow, somewhere, at sometime, I always come back to it. But what has always helped me keep writing is knowing that if I am interested in my story, there is going to be someone else out there who will also find it interesting. There's always going to be someone out there who will read my novel and have it be there favorite book —who am I to deprave that person of their future favorite book? Writing has the power to heal and transform, to impact and change minds and souls. It can provide an escape when reality feels too heavy—not just to readers, but for writers too. But when I do struggle, in the moments where doubt, perfectionism, and imposter syndrome begin to paralyze me, I remember: storytelling is in my bones. I write because stories have the power to do such good. My why has become my anchor, reminding me that even when writing is hard, it's always worth it. Writers Whose “Why” Inspired Me Every writer has a why—an inner drive that compels them to create. Many of the writers I admire have shared their reasons for writing, and their words have left a lasting impact on me: Toni Morrison  wrote because the stories she wanted to read didn’t yet exist. She once said,  “If there's a book that you want to read, but it hasn’t been written yet, then you must write it.”   This has stuck with me since I first heard it. It's a fantastic reminder every writer has a unique voice and perspective that deserves to be shared. Octavia Butler  wrote because she believed in the power of science fiction to challenge societal norms and imagine new futures. She once said,  “You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it.”  Her words remind me that writing is a journey of growth, persistence, and self-discovery. Brandon Sanderson  writes because he fell in love with fantasy as a child and wanted to build worlds that could inspire others. His dedication to storytelling reminds me that passion and persistence can turn dreams into reality. Common Writing Motivations: What’s Yours? Not every writer has the same motivation. Some people write for artistic expression, others for storytelling mastery, and some for activism, education, or connection. Here are some common reasons people write: For Fun & Escape  – You love getting lost in stories and creating new worlds. For Self-Expression  – Writing helps you explore thoughts, emotions, and creativity. To Educate & Inspire  – You want to share knowledge, challenge perspectives, or teach lessons. To Make People Feel Seen  – You want readers to find comfort, validation, or connection in your stories. To Change the World  – You believe storytelling has the power to influence culture, politics, and perspectives. To Explore New Ideas & Philosophies  – Writing is a way for you to challenge the status quo, push boundaries, and question everything. Exercise: Which ones resonate with you?  Pick 2-3 from the list. What drives your storytelling?  If your reason isn’t listed, write it down! Write a short paragraph  about why you think storytelling is important in the world today. How does it impact people? Find Your Why: Guided Exercise Grab a notebook or open a blank document. Answer these questions honestly: Step 1: Dig Into Your Writing Roots 1. When did you first start writing (or storytelling)? 2. What made you excited about telling stories when you were younger? 3. Did you ever tell stories when you were younger? Why or why not? Step 2: Explore What Drives You Today 4. What kinds of stories move you the most (books, movies, themes)? 5. What emotions, messages, or experiences do you want to capture in your writing? 6. What do you hope readers feel or take away from your stories? Step 3: Define Your Personal Why 7. In one or two sentences, summarize your why—why do you write? 8. Has your why evolved over time? How? 9. If you could only tell one story in your lifetime, what would it be about? Example Responses:   “I write because I want people to feel less alone. I want them to see themselves in my characters and find comfort in my stories.” “I write because storytelling is a way to explore different perspectives, challenge norms, and start conversations that matter.” "I want to start writing because I believe there are ideas worth exploring and I want to expose people to new perspectives and philosophies that encourage self-actualization." Next Steps: If You’re Still Searching for Your Why If you don’t feel like you’ve found your why yet, that’s okay! Sometimes, your why reveals itself through the act of writing itself. Here are a few steps to help you uncover it: Look back at your favorite books.  What do they all have in common? What emotions or themes resonate with you? Freewrite for 10 minutes  about why you love storytelling—don’t edit, just let the words flow. Talk to a fellow writer!  Sometimes, discussing your passion out loud can bring clarity. Write a letter to your younger self about why stories matter and what you wish you had known about writing earlier. Keep writing.  Your why doesn’t have to be perfect or profound—it just has to be  yours. Share Your Why & Commit to Writing! Now that you’ve found your why, let’s make it real! Post your why  somewhere you’ll see it often (journal, vision board, desktop wallpaper). Share your why  with someone you feel like you can confide in or with a writing friend (read here about why you should have writing friends). Commit to a writing goal!  Now that you know your why, what’s your next step? Concluding Thoughts: Your Why is Your Compass Finding your why is just the beginning. It will help guide you through the highs and lows of writing, helping you stay grounded when self-doubt or creative block creeps in. Remember, writing isn’t about perfection—it’s about discovery, growth, and connection. Whether you write for yourself, for others, or for the sheer joy of storytelling, your why is what keeps the words flowing. So embrace it, nurture it, and most importantly— keep writing. Your  why  will  keep you going  when writing feels hard. It’s okay if your why evolves! Writing is a journey, and your motivation will shift as you grow. The most important thing?  Just start writing. Bonus Tip:  Write a  manifesto  for your writing journey. What are your values as a writer? What impact do you want your stories to have? Drop your why in the comments or journal about it!  Let’s build a community of writers who are passionate about writing and their stories. :) Carpe scripturam! —Bair✍︎ 🔜  Next Up: Lesson II – Exploring Genres & Story Types Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

DISCLAIMER: There are some minor short story spoilers given in this blog post. Why Short Stories Matter (& Why You Should Write One) Let’s be honest—writing a whole novel can feel like trying to bake and eat an entire cake from scratch. It’s ambitious, time-consuming, and sometimes downright overwhelming. But if you’re craving a satisfying slice of storytelling without the multi-tiered commitment, a short story is the perfect dessert—small, rich, and just enough to leave a lasting impression. Short stories are a great way to challenge your writing abilities. They challenge you to pack emotion, conflict, and meaning into a fraction of the space, sharpening your storytelling skills along the way. Plus, if you’ve ever stared at a blank page wondering how to start a novel, a short story might be the  perfect place to begin. So, how does one write a short story that lingers in a reader’s mind long after they’ve finished? Let’s dive in. Table Of Contents What Is a Short Story? Different Lengths of Short Fiction Why You Should Write Short Stories In-Depth Plotting & Structuring Short Stories How To Write a Short Story Game-ify The Writing Process Common Short Story Mistakes Writing Exercises For Short Stories Concluding Thoughts What Is a Short Story? A short story is exactly what it sounds like—a complete story told in a limited number of words. Unlike a novel, which has the space to weave complex subplots and expansive character arcs, a short story hones in on a single moment, theme, or conflict. Every word must serve a purpose, and the best short stories leave a lasting impact in just a few pages. Short stories have been around for centuries—folktales, fables, and myths are some of the earliest examples. Oral storytelling traditions often relied on concise, engaging narratives that carried moral lessons or cultural significance. Over time, the short story evolved into a literary form that is both accessible and artistically challenging. Today, short fiction continues to thrive in literary magazines, anthologies, writing contests, and even digital platforms. From the tightly woven narratives of Edgar Allan Poe to the modern mastery of Alice Munro and Ted Chiang, short stories remain a powerful medium for storytelling. A well-crafted short story can deliver the emotional impact of a novel in just a few pages, often lingering in a reader’s mind long after they’ve finished it. Unlike novels, where subplots and extensive worldbuilding add layers to a narrative, short stories focus on efficiency and impact—every detail, every line of dialogue, and every scene must serve a purpose. Whether you want to experiment with new ideas, sharpen your craft, or explore storytelling in a bite-sized format, short stories provide a unique challenge and an incredible creative outlet. Different Lengths of Short Fiction Short fiction comes in many shapes and sizes, each with its own unique storytelling demands. Whether you’re crafting a 100-word flash fiction piece or a 9,000-word short story, the goal remains the same: tell a compelling, self-contained narrative. Flash fiction forces you to focus on a single moment or twist, while longer short stories allow for deeper character development and layered conflicts. Understanding the differences in length helps you determine the best format for the story you want to tell. WARNING: Not all short stories are created equal. Depending on length, different terms apply: Flash Fiction: 100-500 words – Short, sharp, and to the point. Often focuses on a single moment or twist. Short Story: 1,000 - <10,000 words – A compact story with room for character development and a structured arc. Novella: 10,000 - 40,000 words – A bridge between a short story and a novel, often following a single plotline. Novel: 50,000+ words – Fully developed story arcs, subplots, and worldbuilding. Want a Printable Guide? Download my "Story Length Cheatsheet" by signing-up for my (FREE) newsletter for easy reference! Learn more about how long your novel should be depending on whether or not you're writing a romance novel and fantasy book! Why You Should Write Short Stories Short stories aren’t just a stepping stone to writing novels—they are an art form in their own right. They teach you how to write with precision, create impact in fewer words, and develop characters quickly yet effectively. 1. Sharpen Your Craft Writing short stories forces you to be precise—no unnecessary fluff, no wasted words. You learn to craft strong characters, compelling plots, and impactful prose in a fraction of the space a novel allows. Because of their brevity, short stories demand focused storytelling, encouraging writers to refine their narrative skills while experimenting with style, voice, and theme. 2. Great for Publishing & Contests There are thousands of opportunities to publish short fiction. Literary magazines, anthologies, and online platforms regularly seek submissions. Writing contests also favor short fiction, making it a fantastic way to gain recognition. Additionally, many well-known authors have launched their careers through short fiction, using it as a stepping stone toward larger works. 3. A Creative Challenge Short fiction challenges you to tell a complete, satisfying story under tight constraints. Whether it’s flash fiction or a longer piece, working within boundaries enhances your creativity. How can you establish character, conflict, and resolution in just a few thousand words? Mastering this balance will make you a stronger storyteller, even in longer formats. 4. Builds Your Portfolio & Confidence A well-crafted short story can become a valuable addition to your writing portfolio—perfect for submitting to editors, agents, or self-publishing. Short fiction allows you to showcase your range as a writer while building confidence in your storytelling abilities. 5. Can Lead to Bigger Projects Many novels start as short stories! If you fall in love with an idea, expanding it into a longer work is always an option. Authors like Stephen King and Neil Gaiman often develop short stories into novellas or full-length novels, proving that short fiction can serve as a testing ground for bigger projects. Going More In-Depth on Plotting & Structuring Short Stories While short stories are brief, they still require strong structure and pacing to be effective. Unlike novels, which have room for subplots and multiple arcs, short fiction demands tight storytelling that focuses on a single, impactful moment. Whether you use the classic three-act structure, a twist ending, or a circular story, understanding how to build tension, escalate conflict, and deliver a satisfying resolution is key. Let’s break down different ways to structure your short story for maximum effect. 1. What Makes a Strong Short Story? Unlike novels, short stories have limited space to develop characters, establish conflict, and deliver resolution. Every element needs to be precise and meaningful. Here’s what a short story needs to succeed: A clear central conflict (internal or external) A distinct character voice (even if briefly developed) A tight structure (beginning, middle, & end in a small space) An impactful resolution (it doesn’t need to be happy—just satisfying) 2. The Classic Short Story Structure (Inspired by O’Connor & More) Short stories function like condensed narratives, following a mini three-act structure with a clear beginning, middle, and end. In a compact space, they introduce conflict quickly, escalate tension efficiently, and deliver a sharp resolution. Every moment must serve a purpose, ensuring the story feels complete despite its brevity. Act 1: The Setup (Beginning) Introduce the protagonist & setting as late as possible without confusion. Establish the core conflict or tension within the first 1-2 paragraphs. Don’t waste time on backstory—hint at it through dialogue or action. Example:   In A Good Man Is Hard to Find , Flannery O’Connor introduces the family’s road trip but quickly seeds foreshadowing about The Misfit—a looming threat that later becomes the central conflict. Writing Tip #1:  Start in medias res  (in the middle of the action) to engage readers immediately. Act 2: The Rising Conflict (Middle) Develop tension by forcing the character into choices that escalate stakes. Every sentence should serve a purpose—this is where brevity matters. Introduce foreshadowing or a mid-story twist to keep momentum. Example:   Shirley Jackson’s The Lottery  slowly reveals the unease in the town, leading to the shocking climax. The subtle tension makes the ending hit harder. Writing Tip #2:  If you’re writing a flash fiction piece, this is where your conflict should peak—you may only have one pivotal moment before the resolution. Read one my published flash fiction short story "Finding Home" here. Act 3: The Climax & Resolution (End) Deliver the emotional or thematic punch—the “aha” moment or gut-punch ending. Resolutions don’t have to be fully closed, but they should feel earned. The last line should linger in the reader’s mind. Example:   O’Connor often ends her stories abruptly—not with long explanations but with a powerful final image (like The Misfit’s chilling line in A Good Man Is Hard to Find ). Writing Tip #3:  Don’t over-explain. Let implication and subtext do the heavy lifting. 3. Different Approaches to Short Story Plotting As said before, not every short story sticks to a traditional structure—some break the mold to create unique effects. Whether it’s a twist ending, a circular narrative, or a story driven purely by character introspection, structure can be as flexible as the story demands. The key is ensuring that, no matter the format, the story feels intentional, cohesive, and emotionally resonant. Here are a few alternative approaches: The Snapshot (Character-Driven) Instead of focusing on plot twists, this approach explores a character’s emotional shift within a moment in time. Use this if your story revolves around a single transformative moment. Example:  Cathedral  by Raymond Carver—where a blind man teaches a narrator to “see” without eyesight. The Twist Ending (O. Henry Style) Everything builds toward a single surprising revelation at the end. Use if: You want to shock your reader in the final paragraph. Example:  The Gift of the Magi , where a husband and wife sell their most prized possessions to buy gifts for each other—rendering both gifts useless. The Circular Story (Ending Where It Began) My personal favorite ending to use in my novels, a circular story is when the protagonist returns to the same moment they started, but something has changed internally. Use this if: You want your reader to read between the lines rather than spell everything out. Example:   In Hills Like White Elephants  by Hemingway, a conversation about an unnamed topic (abortion) starts and ends unresolved, yet the reader understands everything has changed. Read my blog post " Plot Twist or Quiet Goodbye? The Different Types of Story Endings " here to learn about all the different kinds of way to end your story. How To Write a Short Story So, you’ve got an idea—now what? Let’s break down exactly how to turn that spark into a complete short story without losing your mind (or momentum). Step 1: Define Your Core Concept Pick Your Central Idea in 5 Minutes or Less Your short story should focus on one key idea, emotion, or moment. Because short fiction thrives on brevity, you must cut the excess and go straight to the heart of the story. To quickly generate ideas, ask: What is one emotion or realization I want to explore? (e.g., regret, hope, betrayal, transformation) What is one small but powerful event that sparks this emotion? (e.g., a breakup, a confrontation, a discovery) Quick Idea Generation: Story Prompts If you're struggling to find an idea, modify one of these classic short story prompts: A character finds a lost letter that changes everything. A child sees something no one else does but can’t explain it. A detective solves a case—too late. A meeting with an old friend unearths long-buried emotions. A desperate person makes an impulsive choice that changes their life. Once you have one solid idea, move forward without overthinking. Step 2: Define the Core Elements Before Writing Core Concepts & Vision Checklist Theme Ideas: What’s the takeaway?  What’s the core truth of the story? Loss, redemption, discovery, revenge, etc.? Tone & Genre: Is it hopeful, tragic, eerie, heartwarming, suspenseful? Is it literary fiction, sci-fi, horror, romance? Story Type: Character-driven (focuses on inner transformation). Plot-driven (focuses on an external situation or action). A blend of both (internal and external conflict work together). Setting Ideas: Is the setting integral to the plot, or just background? Does it take place in a single location (a house, a train, a city street)? Is it modern, historical, futuristic, fantastical? Writing Style: Sparse & minimalistic ( Raymond Carver, Hemingway ) Lush & descriptive ( Angela Carter, Gabriel García Márquez ) Sharp & fast-paced ( Elmore Leonard, O. Henry ) Central Conflict: What is the internal conflict? (What emotional struggle does the character face?) What is the external conflict? (What external event pushes them toward change?) Step 3: The Fast Three-Act Structure for Short Stories A great way to get get started is to quickly write a rough draft of your short story. Here's a quick overview of how to do that! Act 1: The Hook (300 words max) Start as late as possible in the character’s life— in medias res style—drop them into an active moment. Introduce the protagonist and conflict within the first few sentences. Skip excessive backstory. Hint at it naturally through dialogue, subtext, or action. Act 2: The Rising Conflict (600 words max) Build tension—make things worse for your character. Every action should be forcing a decision or realization. Dialogue should push the story forward—no filler conversations. Act 3: The Climax & Resolution (100-300 words max) Deliver the emotional gut punch—what is the story’s defining moment? End with a strong final image or line—something that lingers. Avoid over-explaining the resolution—leave room for the reader to interpret. Step 4: Make Every Word & Line Count Cut adverbs & unnecessary description (Replace “she walked slowly” with “she trudged”). Focus on dialogue, action, and emotion over long exposition. The last line should resonate—mic drop moment! Step 5: Final Takeaways for Writing a Short Story Quickly Keep it tight: Every sentence should push the story forward. Character is everything: Even in a short space, readers should feel something. Experiment with form: Not all stories need traditional arcs—play with structure. Embrace ambiguity: Don’t explain everything—let your reader fill in the blanks. Bonus: Speedwriting Tips for Short Stories Use a Timer: Give yourself 30-minute sprints to prevent overthinking.  Write the Ending First: If you know where you're going, it's easier to get there.  Trust Instincts Over Perfection: Your first draft won’t be perfect. Just get it on the page. Want a Quick Story Structure Guide? Download my Short Story Cheatsheet—a one-page reference for story lengths, structures, and tips. Sign up for my newsletter for instant access! Short stories don’t need months of planning—they just need focus, intent, and urgency. Whether you’re looking to submit to a contest, develop a skill, or just get words on the page, this speedwriting method will help you write short fiction with impact—fast. Game-ify The Writing Process! Game-ifying the short story writing process can make it more engaging, structured, and fun, especially if you thrive on challenges, timers, or creative constraints. Here are several ways to turn short story writing into a game-like experience: 1. The Randomized Challenge Roll the Dice for Your Story Elements Assign story elements to numbers (1-6 for dice, 1-10 for a random generator). Example categories: Protagonist, Conflict, Setting, Emotion, Theme, Ending Style. Roll the dice for each category, and you must incorporate the result into your story. Example: Protagonist (Roll 4) → An escaped prisoner Conflict (Roll 2) → Trapped in a blizzard Setting (Roll 5) → An abandoned lighthouse Emotion (Roll 1) → Regret Theme (Roll 3) → Redemption Ending Style (Roll 6) → Twist Ending Now, go! You have one hour to write this story. 2. The Timed Sprint Mode Use speedwriting for creativity & flow by setting a strict time limit and challenge yourself to write without stopping: 5-Minute Flash: Write a complete 100-word micro-story in 5 minutes. 30-Minute Blitz: Write a 1,000-word story draft in 30 minutes. 60-Minute Full Story: Plan and draft a full short story under time pressure. Bonus Challenge: If you stop or hesitate, you lose the round. Just keep writing—fix it later! 3. The “Level-Up” Writing System Complete writing challenges to "level-up" your short story skills by assigning XP (experience points) to different skills, and track your progress: 500 XP – Master of Hooks (Write 5 gripping first sentences) 750 XP – The Conflict Creator (Write 3 tension-filled dialogues) 1000 XP – The Flash Fiction Master (Write a full story in 300 words) 2000 XP – The Multi-Ending Storyteller (Write 3 different endings to the same short story) Each completed challenge unlocks the next level of difficulty! 4. The Random Object Challenge Pull inspiration from everyday items and write a short story where the plot revolves around a random object near you. Step 1: Close your eyes and grab an item (a mug, a book, a shoe, a random kitchen utensil). Step 2: Your protagonist must interact with this item in a meaningful way. Step 3: Write a 500-1000 word short story featuring this object as a key element. Example Prompt: You grab a broken watch → Your story: A man finds a watch that counts down to his death—but only when he’s lying. 5. The Restriction Game Add a constraint to boost creativity by giving yourself one major writing restriction and stick to it throughout the short story. Ideas for restrictions: No dialogue – The entire story must be told through action and description. One-room setting – The story can only take place in a single confined space. Only one sentence – The entire story must be written without breaking into paragraphs. Every sentence starts with the same letter – Example: “She waited. She worried. She wondered if he would return.” Why It Works: Constraints force you to think creatively and make deliberate storytelling choices. 6. The “Choose Your Ending” Experiment Write the same story but with three different endings. Step 1: Write a short story setup (character, setting, conflict). Step 2: Write three different endings: Happy Ending – Everything works out. Tragic Ending – The worst possible outcome happens. Twist Ending – Subvert expectations completely. Bonus: Have a friend choose the ending before they read the story and see if it fits! 7. The Reverse Engineer Game Start with the last line & work backward: Pick a random last line and write the entire story leading up to it. You can’t change the last sentence, no matter how weird or out-of-place it feels. Example Last Lines: “And that was the last time anyone saw her.” “The clock stopped at midnight, and so did his heart.” “She picked up the phone, knowing exactly what she had to do.” This method tricks your brain into problem-solving mode, making you think about cause and effect in reverse. 8. Take a Classic Story & Change One Major Element Rewrite a famous story but change one critical detail. Examples: Cinderella  → She never loses the shoe, and the prince must track her down another way. The Three Little Pigs  → The pigs team up and become the villains, hunting the wolf. Dracula  → Dracula is actually a misunderstood hero, fighting against corrupt humans. This game helps you analyze structure, play with tropes, and experiment with perspective. How to Track Your Progress & Stay Motivated Make a Writing BINGO Board: Create a 5x5 grid filled with writing challenges (e.g., “Write a 500-word story,” “Use a random object as a major plot point,” “Write only in dialogue”). Every time you complete a square, mark it off. Reward yourself when you hit BINGO! Set Up a Friendly Competition Challenge a writing buddy to a flash fiction duel: both of you must write a 500-word story in 30 minutes, then swap and critique. Or compete against yourself by beating your own best time! Common Mistakes in Short Stories (and How to Avoid Them) Writers often spend precious word count on buildup or backstory. In short fiction, you need to start as close to the action as possible—again, start in in medias res . Don’t warm up—jump in. Every short story, no matter how brief, needs a sense of tension, urgency, or emotional pressure. If your story meanders without conflict, it loses impact. When in doubt, KISS : K eep I t S imple S weetheart! A short story isn’t the time to assemble an ensemble cast or dive into subplot #3. Keep the cast tight and the goal focused. This is also the time to let the story breathe. Trust your reader. Leave space for them to interpret, imagine, and read between the lines—especially with your ending. And when it comes to your endings, don’t fizzle out. Even open-ended or ambiguous conclusions should feel earned and emotionally satisfying. Stick the landing with intention. Writing Exercises to Sharpen Your Short Story Muscles Now it's your turn to write a short story! Here are some good writing exercises. Exercise #1: The 300-Word Micro Challenge Write a complete story in exactly 300 words.  Focus on one character, one decision, one emotional beat. Trim the fat. Exercise #2: The “Last Line First” Exercise Write your story starting with the ending.  Come up with a killer last line, and reverse-engineer the rest of the story to lead up to it. Exercise #3: The Unexpected Genre Swap Take a fairy tale or myth and retell it in a different genre. What does Cinderella  look like as sci-fi? Or Prometheus  as a romance? Exercise #4: The Emotion-Only Outline Before writing, outline your story using only the emotions the character feels in each scene.  Then build the events around those beats. Exercise #5: Dialogue-Only Scene Write a short story using only dialogue —no tags, no description. It’s a great way to test character voice, pacing, and subtext. Legendary Short Story Writers: Who to Read & Learn From If you want to master the short story form, studying the greats is a must. Flannery O’Connor, for example, is famous for her darkly comedic and Southern Gothic tales, packed with tension, irony, and sharp character studies. Stories like  A Good Man Is Hard to Find  show how a well-crafted short story can deliver both philosophical depth and gut-punching impact in just a few pages. Other legendary short story writers to check out include Shirley Jackson, Edgar Allan Poe, Alice Munro, Ray Bradbury, and Jorge Luis Borges—all masters of weaving compelling narratives in compact spaces. Concluding Thoughts Short stories are a fantastic way to hone your craft, experiment with ideas, and build a strong writing portfolio. Whether you’re looking to publish, challenge yourself creatively, or simply tell an impactful story in a smaller space, short fiction offers endless possibilities. I hope to write more short stories myself as a way to expand my portfolio and give publishers a better idea of my capabilities. But I want to know! Do you prefer writing short stories or longer works? Drop a comment below! See you in the next blog! —Bair✍︎ P.S. If you've gotten this far, I think you could benefit from checking out and reading a few of my other blog posts: Show & Tell: Why BOTH Are Important For Effective Storytelling . Introducing The Tired Writers Podcast! Get more writing ideas and writing tips! Endnote: In medias res  is a Latin term that means “into the middle of things.” In storytelling, it refers to a narrative technique where the story begins in the midst of action, rather than at the chronological beginning. Instead of starting with background info or a slow buildup, in medias res drops the reader straight into a pivotal moment, often during a conflict, crisis, or turning point. The backstory and context are revealed gradually through dialogue, flashbacks, or exposition as the story unfolds. Example: Instead of starting with: Lena was born in a quiet village and grew up with dreams of adventure… You might begin in medias res with: The dragon’s breath scorched the treetops as Lena sprinted through the forest, clutching the stolen relic to her chest. It’s a powerful way to hook readers immediately, create tension, and raise questions that keep them turning pages. Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

The Perfectionism Trap Perfectionism. The bane of all artists existence. It lurks in the shadows of our mind whispering sweet nothings of: your work isn't good enough. Or it creeps in the crevices of our hearts and says:  you  aren’t good enough.  I spent months working on the same damn first chapter of one of my WIP, rewriting it over and over, never satisfied. Why? Because I didn’t know where the story was going, so I kept reworking the opening to  death —thinking if I just got it  perfect , the rest of the book would fall into place. Spoiler alert:  It didn’t . That’s the trap of perfectionism—it tricks you into thinking you’re making progress when really, you’re just running in circles. The longer you chase  perfect , the more you delay  progress. Sound familiar? You’re not alone. But here’s the truth: Perfectionism doesn’t make you a better writer—it keeps you from writing at all. It doesn’t just stall creativity—it murders it. If you’re constantly waiting for the right words, the right moment, or the perfect conditions to write, guess what? You’ll never write. Every book you love exists because someone chose progress over perfection. It’s time to do the same. Liberate yourself of your anxieties and embrace the messiness of the creative process. The only way forward is through. Your words deserve to exist, even in their rawest form. And honestly, there's such a profound beauty of fledgling words in their rawest form. Why deny them their existence? Writing isn’t about perfection—it’s about creating something meaningful, it's about self-expression, and it's about giving voice to something important. Table Of Contents How Perfectionism Kills Creativity Silence Your Inner Perfectionist Give Yourself Permission To Write Badly Set Low-Stakes Goals Remove Distractions Keep Asking Questions Separate Writing From Editing The "No Delete" Rule Fall (Back) In Love With Writing Writing Exercises Concluding Thoughts Why Perfectionism Is Killing Your Creativity Perfectionism convinces you that if you’re not great immediately, you shouldn’t even try. It tells you: "If it’s not perfect, why bother?" "What if people think it’s bad?" "I need to be 100% ready before I start." REALITY CHECK:  Writing is  supposed  to be messy. Your first draft is not a book—it’s just raw material that you’ll refine later. Think about learning an instrument. When you first pick up a guitar: Your fingers hurt. Your chords sound like a dying walrus. You have no idea what you’re doing. Writing is the same. If you’ve been writing for three months, you are a three-month-old writer. Would you expect a three-month-old baby to run a marathon? No. So don't expect yourself to write 5,000 perfect words in one sitting. And while there are talented snobs out there who are great at writing (or any art) from the get-go, talent can only take you so far—what really matters is showing up, practicing, and pushing through the messy middle. Consistency builds skill. Skill builds confidence. Confidence kills perfectionism. How to Silence Your Inner Perfectionist & Just Start Writing 1.) Give Yourself Permission to Write Badly Every writer—even bestselling authors—writes garbage first drafts. Ernest Hemingway literally said: “The first draft of anything is sh*t.” So stop expecting yourself to write Shakespeare on your first try. Write badly. Write messy. Just WRITE. ACTION STEP:  Set a timer for 10 minutes and write whatever comes to mind. No stopping. No editing. Just let the words exist. If your brain freezes up, type:  "This is stupid. I don’t know what to write. Maybe my character just walks into a wall? That’s fine. It’s something." Keep going. Momentum matters more than quality. The words don’t have to be perfect; they just have to be there.  You can’t fix what doesn’t exist. As Shannon Hale put it perfectly: “I’m writing a first draft and reminding myself that I’m simply shoveling sand into a box so that later I can build castles.”  2.) Set a Low-Stakes Goal (200 Words Is Enough) Instead of aiming for “perfect”, aim for progress. Write for  10 minutes. Write  200 words. Write  one messy paragraph. Once you start, you’ll probably keep going. But even if you don’t? You still made progress. Writing isn’t about inspiration—it’s about consistency. Even 200 messy words a day adds up to a full novel. That’s 6,000 words a month, 72,000 words a year. You’re closer than you think. 3.) Remove Distractions and Just Write One of the biggest killers of creative momentum isn’t just perfectionism—it’s  distraction.  Social media, notifications, family, friends, pets, and the constant temptation to check one more thing keep you from getting words on the page. If you want to write,  you need to create a space where nothing else exists but your story. Try these: Put your phone in another room (or use “Do Not Disturb” mode). (Or if you want to be crazy like me, go to a cafe and leave all your devices (yes, ALL ) in your car and bring an old fashioned writing notebook (read here on the 5 Benefits of a Writer's Notebook ) and pencil and write until your fingers cramp.) Use distraction-blocking apps like Freedom or Cold Turkey. Set a timer and commit to writing with zero interruptions. Create a pre-writing ritual to signal to your brain that it’s time to focus. The more you train yourself to enter a distraction-free writing zone, the easier it becomes to lose yourself in the flow of writing. And most importantly, when you're in the early stages of your writing career, treat your writing space as a sacred space. 4.) Stuck? Ask More Questions If you’re struggling to put words on the page, maybe it’s because you haven’t explored your world or characters deeply enough. Even if you’re a discovery writer (pantser), you can gain momentum by figuring out what you want to say with your story. A great way to push forward is to ask yourself questions: Who is my protagonist? What are their flaws? What kind of world do they live in? What problem are they facing? What’s standing in their way? What do they think they want vs. what do they actually need? For me, writing is all about asking questions. The more questions you ask, the more doors you open in your story. If you feel stuck, it might not be a block—it might just be a  lack of clarity . Keep questioning, keep exploring, and the words will come. Read my blog post here on The Power of Asking Questions in Writing to get a whole list of questions to ask yourself while writing. 5.) Separate Writing & Editing Drafting and editing use different brain modes. If you switch back and forth, you kill your momentum. WRONG:  Write → Delete sentence → Rewrite → Stare at blank page → Cry. RIGHT:  Write → Keep moving forward → Let it be imperfect → Fix later. TRICK:  If you can’t resist editing, change the font color to white so you can’t see mistakes as you type. Another trick? Write in a font you hate. Comic Sans. Papyrus. Whatever makes it impossible to take yourself seriously. Make it ridiculous so you stop expecting perfection. 6.) The “No Delete” Rule If you constantly delete sentences while writing— STOP. Instead of deleting: Use strikethrough. ( This sentence sucks, but I’ll fix it later. ) Cha nge the fon t co lor . (Or turn it white so it’s “invisible” until revisions.) Highlight it and move on . You can’t fix what doesn’t exist. Keep moving forward. Editing is where good writing happens, but only if you have something to edit. The Best Way to Beat Perfectionism? Fall (Back) in Love With Writing Perfectionism feeds off fear. But joy? Joy is untouchable. Joy doesn’t care if you write the “perfect” sentence—joy just wants to write. Joy just wants to be free. Here’s how to actually do it: Write the scenes that excite you (even if they’re out of order). Take the pressure off by playing with words. Write something ridiculous, self-indulgent, or over-the-top dramatic. Re-read the part of your WIP that made you fall in love with your story. Make writing feel fun again. Play music, light a candle, wear a ridiculous hat—whatever gets you in the zone. Celebrate progress, not perfection. A messy draft is  still progress. Ready to put this into action?  Let’s do some writing exercises. Writing Exercise: Now It’s Your Turn to Just Start Set a timer for 10 minutes. Write  without stopping —no backspacing, no deleting, no fixing. If you get stuck, literally type “I don’t know what to write next” until your brain fills the gap. When the timer goes off, STOP. Read what you wrote. See? You just wrote something. It might be messy, but it exists. And that’s the goal. Concluding Thoughts Perfectionism is lying to you. Your first draft doesn’t need to be good—it just needs to exist. The difference between writers who finish books and those who don’t? They keep going. Every great writer starts with something imperfect.  The only way to get better is to write anyway. So go . Write something messy. Write something terrible. But most importantly? Write something. “The first draft is just you telling yourself the story.”  – Terry Pratchett Write without fear, ignore the inner-perfectionist, and when in doubt, have a shot of favorite choice of poison—then write! —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

How to Unstick Your Story and Deepen Your Writing Why Asking Questions is the Key to Better Writing Writing is an act of discovery. Whether you're a meticulous plotter or a chaotic gremlin panster who thrives on vibes alone, asking the  right  questions can guide your story, deepen your characters, and keep your world feeling alive. When you’re stuck, struggling with a weak scene, unsure of where your plot is headed, or staring at your manuscript like it just insulted your ancestors,  questions  are the best tool to unlock new ideas. Instead of waiting for inspiration to strike (spoiler: it’s unreliable and flaky like that one friend who never texts back), train yourself to  ask more questions —about your characters, setting, and story structure. The more you ask, the more possibilities you create. Questions act as stepping stones, helping you navigate the vast landscape of storytelling and ensuring that no part of your narrative feels underdeveloped. Table Of Contents Questions To Ask Before You Start Writing Questions To Ask While Drafting Questions To Ask During Revision Ultimate List of Questions Character Development Questions Worldbuilding Questions Plot & Story Questions Creative Jumpstart Questions Using Questions To Get Unstuck Concluding Thoughts When to Ask Questions in the Writing Process Before You Start Writing (Idea Generation & Planning) Need a new story idea? Ask “ What if? ” repeatedly until something excites you. (Bonus points if it spirals out of control into existential horror.) Unsure about your protagonist? Ask about their past , fears , and motivations . (And whether they have deep-seated trauma. They probably do.) Struggling with worldbuilding? Ask about how people live , work , and survive in your world. (Or how quickly they’d get canceled on fantasy Twitter.) Want to establish strong themes? Ask what moral or philosophical question your story explores. (And how you can emotionally devastate your readers with it.) Developing a magic system or futuristic technology? Ask about its limitations and consequences . (Would it make capitalism even worse? Would wizards unionize? Discuss.) While Drafting (Breaking Through Blocks & Deepening Scenes) If your scene feels flat,  ask what could go wrong.  (Then make it worse.) If your character feels one-dimensional, ask what they want vs. what they need.  (Then emotionally wreck them by denying both.) If your dialogue feels boring, ask what the characters aren’t saying.  (Nothing screams  tension  like repressed emotions and unsaid words.) Trying to boost tension? Ask how the stakes can be raised for the protagonist.  (Literally or figuratively—drop a chandelier on them or force them into an awkward dinner conversation with their ex.) Feeling stuck? Ask yourself what the character is struggling with emotionally.  (Then make them suffer more.) During Revision (Strengthening the Story & Fixing Weak Spots) If a plot twist feels weak, ask what would make it more surprising.  (Could an enemy turn ally? Could someone spontaneously combust?) If a scene feels unnecessary, ask what it adds to the story.  (If the answer is  vibes only,  maybe rethink it.) If a character arc feels incomplete, ask what lesson they need to learn.  (And whether you should let them be happy. Probably not yet.) Want to ensure continuity? Ask what details need to be reinforced throughout the story.  ( Wait, does this kingdom have indoor plumbing or nah? ) Unsure if your pacing is right? Ask where readers might need a break or a faster tempo. (Not every scene needs to be dialed to  trauma & suffering.  Sometimes you need  gay yearning  or  chaotic found family banter. ) The Ultimate List of Writing Questions Use these to deepen your story, fix weak areas, and get unstuck. Character Development Questions Who is my protagonist? What shaped them into who they are? What’s their greatest fear , and why? What’s the biggest  lie  they believe about themselves? What’s the worst thing that could happen to them right now? (Do it.) How do they react under pressure? What’s their breaking point? What’s something they  refuse  to admit—even to themselves? Who do they trust the most? Who do they  wish  they could trust? How would their  enemies  describe them? What childhood memory still haunts them? How do they justify their bad decisions? What are their moral lines, and what would make them cross them? What’s their ultimate comfort food? (And what tragic memory is attached to it?) What’s their biggest  ick  when it comes to other people? Do they have gay panic moments? Be honest. Worldbuilding Questions What’s the political system like? Who has power, and who doesn’t? What do people in this world  fear  the most? What traditions are sacred? What happens if someone breaks them? What’s a  common misconception  outsiders have about this world? What’s considered a  luxury  vs. a  necessity ? How do people in this world handle death and grief? What are the major conflicts shaping this world right now? What’s a small detail (a superstition, a folk tale, a tradition) that makes this world feel alive? How does geography affect culture and behavior? What is the world’s relationship with technology or magic? What’s the weirdest local superstition? (Do they believe in haunted soup?) How do laws and societal expectations influence everyday life? Plot & Story Questions What happens if my protagonist  fails  their goal? What’s the absolute  worst decision  they could make right now? (Make them do it.) How does this scene connect to the  bigger picture ? What’s at stake in this moment? Can I  raise the stakes ? Does this scene reveal something new about my characters? What unexpected  consequences  could happen next? If I cut this scene, would the story still make sense? If yes, do I need it ? Who benefits the most from what’s happening in this scene? How does my protagonist change from the start of the story to the end? What’s the one thing my protagonist swore they’d never do? (Make them do it.) What motivates my antagonist beyond simply “being evil”? What themes run beneath the surface of my story? Creative Jumpstart Questions (For When You're Stuck) What would happen if I completely  changed the setting of this scene ? What if this character is hiding something important? What if I wrote this scene  from a different character’s POV ? What’s a small but powerful way I can add tension to this moment? What’s the most unexpected  thing that could happen next? How can I make this conflict more  personal ? What’s something the protagonist doesn’t know yet that will change everything? What happens if I rewrite this scene in the opposite tone (humorous instead of tragic, hopeful instead of tense)? Using Questions to Get Unstuck Asking questions is one thing, but knowing how to use them effectively is another. Here are some techniques: Freewriting with Questions Choose one question and write for 10 minutes without stopping. Let your mind wander—don’t censor yourself. Even if it’s messy, you might discover something surprising. The “What If?” Chain Write “What if…?” and answer it. Then, take that answer and ask “What if…?” again. Repeat 5-10 times—by the end, you’ll have a completely unexpected idea. Switching Perspectives Stuck in a scene? Rewrite it from a different character’s POV. Ask: What does this moment mean to THEM? Sometimes a fresh perspective unlocks the heart of a scene. Shaking Up Expectations If a moment feels predictable, flip it. What’s the opposite of wh at I expected here? How can I challenge the reader’s expectations? Concluding Thoughts Writing isn’t about having all the answers—it’s about  asking the right questions.  The best stories aren’t built in a single moment of inspiration—they’re shaped by curiosity, exploration, and discovery. The next time you feel stuck, don’t panic.  Ask a better question.  The answer might lead you somewhere incredible. And if all else fails, remember: chaotic gremlin energy always wins. Lean into the chaos, embrace the uncertainty, and throw perfectionism into the nearest volcano. Writing is meant to be wild, messy, and filled with unexpected surprises. The more questions you ask, the more you invite possibility—and the more you allow yourself to break free from self-imposed constraints. So write. Write nonsense, write brilliance, write something that makes you cackle at two in the morning. Just write. Because the only story that truly fails is the one that never makes it onto the page. What’s a question that helped you break through a writing block? Drop it in the comments! Happy writing! —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are you a newbie writer and want to get better at writing? Want to skip the painful lessons I, and many other authors, had to learn? Well then, keep reading as this blog will enlighten you. Even if you're an experienced writer with decades of experience under your belt, stick around as you can probably relate to many of these newbie writer mistakes. Read until very end to get a sneaky bonus tip. Table of Contents Not Writing Down Your Ideas Not Organizing Your Ideas Info-Dumping No Internal Consistency You Don't Read Writing Craft Books You Don't Write Without further ado... Here are the 6 Newbie Writer Mistakes I Made as a Newbie Writer & How You Can Avoid Them 1.) Not writing down your writing ideas. This may seem like a no brainer but as a young teen with a fresh brain and ability to remember ideas in great detail, led me to the bad habit of never writing down my story ideas during the early stages of my writing journey. I lament never writing my story ideas down as a teen as there worlds-worth of ideas that I've forgotten that I wish I could remember; and subsequently tell. Don't be like me and delude yourself into believing that you'll remember all of your ideas and their nuances later. I hate to be the bearer of bad news, but you wont. Create a series bible or a create a way to keep all of your ideas in order. I love my writers notebook and my OneNote for this reason. With OneNote, I can have several notebooks with several folders and notes that can help me keep track of all my various thoughts and ideas for everything—not just my writing. I plan to write a future blog entailing how I like to organize my OneNote for all my writing as it leads me to my next point... 2.) You don't organize your ideas from the get-go. I'm not talking about plotting here. Even if you are a sworn panster, coming up with a small outline is better than none. I'm a discovery writer myself, but once I have the meat and bones of my story I have  to organize them. Whether it's in a word processor, notebook, or scrivener, keep your ideas organized . You'll save yourself so much trouble and pain down the line. Don't be like me and get 80,0000 words deep into a project only to put down your novel for two years to come back to a dumpster fire of a mess. It's like coming home to a hoarders house not knowing you were a hoarder and asking yourself, "how the  f*ck  did I live like this?" Don’t do it. Just... don't .   Do yourself a favor and create a system that best suits how you and your brain work for organizing your writing. Create special folders for everything you need: characters, setting, plot, worldbuilding, inspiration, research, etcetera. Make it as detail or simple as you need   I have a personalized scrivener template which I created which you can download here  so you can get a head start so you don't have to do it at all—that helps me keep track of all my writing. Everything from characters, character sheet & scene card templates, to worldbuilding, and research. If you decide to download my template, feel free to delete or add anything from the list. And please comment below if you found it helpful or not.   3.) Info-dumping This may seem like a, "uh… duh Bair, I would never info dump," no brainer. But instead of being the writer who tells you, "NEVER INFO-DUMP!" I'm here to tell you to info-dump to your hearts content… Outside of your main draft . In the beginning stages of your writing and your first drafts, feel free to info-dump outside  of your main writing. Create a separate file to write it all down. Just like in my first point, write down all of your ideas. Then take bits and pieces of your info-dump and evaluate what info you have that will actually be needed and relevant to your story. This way you don't end up deleting something in your main manuscript that contained an important detail that you're now forgetting because you deleted it. (Trust me, I've done this one too many times to count.) But just in case, if this is the first time you've heard of info-dumping and you have no idea what it is, info-dumping is when a writer provides a large amount of information to their audience in a story in a concentrated and uncontrolled manner. This can be overwhelming for readers as it may disrupt the flow of the narrative. Info-dumping often occurs when a writer tries to convey a significant amount of background information, world-building details, or explanations all at once, without integrating them seamlessly into a story. This can be problematic because it may lead to a lack of engagement from the audience, as they may find it tedious or difficult to absorb the information. Effective storytelling usually involves gradually revealing information in a way that is relevant to the plot or character development, allowing the audience to become naturally immersed in the world of the narrative.   Info-dump—just don't keep it in your finished manuscript. Distribute the information strategically throughout the narrative, provide it in digestible portions and integrate it as seamlessly into the storyline as much as possible. Allows your readers to learn about the world, characters, or concepts at a pace that enhances their understanding and enjoyment of the narrative.   4.) Not keeping things internally consistent.  Be it character voice, behavior, timelines, worldbuilding, or character description, keep it consistent. Say it with me now, "Write it all  down."   Your first drafts and writing ramblings are meant to be where you discover your characters, your story, your settings, and all the little details you discovered during your initial writing. But once you get to your third or fifth draft, create a series bible (sometimes known as a story bible), note section, what have you, and in detail consider your characters' past experiences and ensure their actions and decisions align with their established traits. Developing well-rounded characters with consistent personalities, motivations, behaviors, and m aintaining internal consistency is crucial for creating a believable and engaging story. Don't forget to maintain a consistent tone and writing style throughout your narrative. Consider the genre and atmosphere of your story, ensure the language, dialogue, and overall feel remain cohesive. Avoid introducing elements that contradict the established rules unless there is a well-thought-out and logical explanation. Pay attention to small details, such as names, dates, and descriptions, to ensure they remain consistent throughout the story. Stay true to the rules you create. When in doubt, regularly review your work for inconsistencies during the writing process. During the editing phase, pay special attention to details and verify that all elements align with the established rules and continuity. If you're unsure, share your work with beta readers or writing buddies  who can provide fresh perspectives and identify any inconsistencies you may have missed. 5.) You don't read writing craft books or books in the genre you write. This next tip is a quick one. If you want to stay an amateur, fine . Be my guest I guess. But no one will read your books. Sorry but that's the truth. Writing craft books can be the thing that make or break your writing. Learning how to better flesh out your characters, the driving force of your story, is pretty critical don'tchya think? Sink your teeth into plotting books, story craft technique books, how-to-write-to-reader books, how-to-set-a-scene books. There are so many good story and writing craft books written by expert authors that you have no excuse to not read them. Not only are writing craft books important, but it is immensely important to read books in the genre you write. Reading books in the genre you write helps you gain an understanding of trends, tropes, common cliches, what is typically expected by your genre audience, and so on. The list goes on. Reading books in the genre you write can also help inspire your own writing. It can help you figure out what to do in your own narrative, give you insight into how characters in your genre typically behave and how you can subvert readers expectations. Help your readers stay engaged and on the edges of their seats—or better yet, have them staying up all through the night 'til sunrise—by doing your do-diligence as an author. Read in your genre and read writing craft books. Heck! Take a writing class. Or feel free to read this blog here to learn more about my absolute favorite writing craft books that immensely helped my writing. (Forewarning: Unsurprisingly, you will see Sacha Black pop-up often).   6.) You don't actually write. This is the kicker. (I bet a whole bunch of you just cringed.) How can you become better at writing if you don't write? It doesn't matter how many writing craft books you read if you don't apply what you've learned, what real good is it if you don't put it into practice. Five words is better than no words. Three good sentences are better than an empty word document. You can always edit bad writing, you can't edit a blank page. Need I say more? BONUS TIP: Make friends with other writers If the last point kicked you in the crotch, then more than anything please take this advice. Make friends with other writers. As many of you can relate, it can be really difficult to gather-up motivation to write. Having even one writing friend can be the difference of writing 50,000 words in three years to writing 35,000 words in a month . Writer friends are invaluable. Read this blog here on writing buddies , where to find them, and why they're so important. Now get out there and put these tips to use. Happy writing! —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Ever read a book where the characters were fascinating, but nothing actually happened ? Or one packed with twists and action, but you didn’t care about a single person in it? That’s the difference between story and plot. Plot is the blueprint—it tells you where the walls go, keeps the structure standing, and prevents everything from collapsing. But story is the feeling of stepping inside—the warmth, the memories, the little details that make it a home. Without story, a plot is just an empty house—technically livable, but cold and forgettable. And without plot, a story is like beautifully arranged furniture sitting in an open field—pretty, but with no foundation to hold it together (as well as completely impractical). One of the biggest reasons writers struggle with structure is misunderstanding the difference between story and plot. Understanding this distinction will help you write with more intention, craft deeper narratives, and avoid the dreaded “flat” or “directionless” book. Not only does it sharpen your ability to structure a novel effectively, but it also enhances your ability to create narratives that resonate deeply with readers on an intellectual and emotional level. Plot is what happens. Story is why it matters. Let’s get into it! Table Of Contents What Is Story? What Is Plot? Story VS Plot: The Key Differences Identifying Story VS Plot Differences Between Story VS Plot & Internal VS External Conflict How To Strengthen Both Story & Plot How To Fix Common Issues How To Find Both In Any Idea Mini Case Study Concluding Thoughts What is Story? Story is the emotional and thematic core of your book—the journey of transformation that gives your novel meaning. It’s the heart of the narrative, the why behind everything that happens. Unlike plot, which consists of events arranged in a sequence, story is about the underlying message and emotional experience that those events create. If you strip away every specific event and simply ask, What is this book really about? , you’re left with the story. Example: The Lord of the Rings isn’t just about destroying a ring. It’s a story about friendship, sacrifice, and the struggle against corruption. Story is what lingers in a reader’s mind long after they finish a book. It is the element that inspires fan theories, personal connections, and deep discussions. It’s the part that makes a book more than just a collection of events; it turns it into an experience. A strong story resonates because it taps into something universal—fear, love, loss, hope. That’s why two completely different books can have wildly different plots but still share the same core story. A story is essentially timeless—it can be retold in countless ways and still hold its power because it speaks to fundamental human experiences. What is Plot? Plot is the sequence of events that make up your novel. It’s the external framework that carries the story forward—the what happens, rather than the why it matters. A plot provides the mechanics of storytelling, the structural foundation upon which the narrative unfolds. Without plot, a story risks being amorphous, lacking direction and momentum. If story is the soul of a novel, then plot is the skeleton . Without a structure of events, your story has no movement. Just as a body needs bones to stand, a story needs plot to move forward. Example: In The Lord of the Rings , the plot includes Frodo leaving the Shire, forming the Fellowship, encountering obstacles (Nazgûl, betrayal, war), and ultimately reaching Mount Doom. A compelling plot keeps readers turning the page, providing momentum and tension that drive the character’s emotional journey forward. It ensures that the reader remains engaged, balancing action, pacing, and stakes. The best plots serve the deeper themes of the story, reinforcing character arcs and the novel’s emotional depth. Without a clear plot, even the most profound themes and characters can feel lost, like a rudderless ship drifting in a vast sea of ideas. Story vs. Plot: The Key Differences While story and plot work together, they serve different roles: Story is internal (character change, theme, emotional depth). Plot is external (events, actions, conflicts). Plot serves story—a gripping plot means nothing if there’s no emotional core. Story can survive without complex plot twists (but a plot without meaningful story falls flat). Example: If you remove all the events in Pride and Prejudice and replace them with different suitors, different settings, different misunderstandings, it’s still a story about love, pride, and personal growth. But if you strip away the emotional depth, the novel becomes just a series of romantic encounters without real weight. Story and plot are interconnected yet distinct. The most effective novels understand how to use plot to illustrate and deepen story, ensuring that every event has significance beyond its surface-level action. How to Identify Story vs. Plot in Your Writing If you’re struggling to separate story from plot, ask yourself these questions: If I remove all the events, does my story still exist? If yes, that’s because story is about emotional and thematic depth, not just external events. Can I summarize my story in one sentence and my plot in another? Story: A woman learns to overcome her pride and find true love. Plot: Elizabeth Bennet meets Mr. Darcy, dislikes him, misjudges his character, faces obstacles, and eventually falls in love. Could I swap out plot details and still have the same emotional journey? If yes, then your story is intact, even if the plot changes. A strong writer understands how to use plot as a vehicle for delivering story—ensuring that every narrative choice enhances the emotional impact of the book. How Story vs. Plot Differs from Internal vs. External Conflict Think of it like this: Story vs. Plot is the macro-level structure of your novel. Internal vs. External Conflict is the micro-level tension within scenes. Example: The Hunger Games Story: A girl learns what it means to survive, sacrifice, and fight oppression. Plot: Katniss volunteers, trains, fights, makes alliances, and outwits the Capitol. Internal Conflict: Her guilt over leaving her family, struggle to trust others, resistance to being a symbol. External Conflict: The literal Games, the Capitol’s oppression, other tributes trying to kill her. Story and plot define the structure and meaning of a narrative, while internal and external conflict shape the tension and character growth within it. Story is the emotional and thematic journey—the heart of the narrative—while plot is the sequence of events that drives that journey forward. Meanwhile, internal conflict (a character’s personal struggles, fears, or moral dilemmas) and external conflict (outside forces like antagonists, disasters, or societal pressures) create the stakes that fuel both story and plot. A strong narrative balances these elements, ensuring that events are engaging (plot), meaningful (story), and full of compelling challenges (internal and external conflict) that force characters to grow. Plot is the map, but story is the journey. Without a map, you may wander aimlessly, but without a journey, the map means nothing. How to Strengthen Both Story & Plot If you’re struggling with balancing story and plot, here’s how to improve both: To strengthen story:  Focus on themes, emotional stakes, and character arcs. Ask,  Why does this story matter? To strengthen plot:  Look at pacing, escalation, and cause-and-effect. Ask,  Does every event drive the story forward? Exercise:  Take a scene from your WIP and revise it twice—once by enhancing the story elements (character emotions, thematic depth) and once by tightening the plot (better pacing, clearer stakes). Compare the impact of both. Troubleshooting: Fixing Common Issues Problem Possible Fix The book is action-packed but feels hollow Strengthen the  story —add emotional stakes, inner conflict, and a clear character arc. The book has deep character work but feels slow Strengthen the  plot —tighten pacing, ensure every scene has purpose, add external obstacles. Readers forget the story quickly Strengthen the  theme —reinforce why this story matters through symbols, recurring motifs, and emotional resonance. The plot feels repetitive Check  cause and effect —make sure each event builds on the last instead of just moving from one scene to another. How to Find the Story & Plot in Any Idea If you have a book idea but aren’t sure what the story vs. plot is, try breaking it down: Example Idea: A girl wakes up with no memory in a dystopian world. Plot:  She pieces together clues, evades those hunting her, and uncovers the truth about her past. Story:  It’s about identity, free will vs. control, and whether she’s defined by her past or her choices. Exercise:  Take a one-sentence book idea and expand it into both story and plot descriptions. Mini-Case Study: How Great Books Balance Both A great way to understand this balance is to look at how successful books handle it. Example: The Hunger Games Story (Emotional/Meaningful Journey) Plot (Events & Structure) Katniss wrestles with survival, morality, and becoming a symbol of rebellion. Katniss volunteers for the Games, trains, forms alliances, fights, and ultimately outsmarts the Capitol. Exercise:  Pick a book you love and break it down into story vs. plot. How do they work together? Concluding Thoughts Story vs. Plot is like a train and its tracks.🚂 The tracks (plot) guide where the train goes. The train (story) is what carries the readers and gives the journey meaning. Internal vs. External Conflict is the tension that keeps the train moving. Internal conflict is the  fuel —what drives the train emotionally. External conflict is the  obstacles on the track —storms, fallen trees, rival trains trying to stop it. A great book ensures the train (story) is on strong tracks (plot) with enough fuel (internal conflict) and obstacles (external conflict) to make the journey exciting. Now that you understand the difference between story and plot, take a look at your own writing. Are you balancing both effectively?  Do you have a strong emotional core alongside a gripping sequence of events? Drop a comment below—what’s your story in one sentence? What’s your plot? Let’s workshop them together! The king died and then the queen died is a story. The king died, and then the queen died of grief is a plot.”  – E.M. Forster Write with structure. Write with purpose. But above all—write a story that matters . —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Conflict is the beating heart of every great story. Without it, there’s no reason to turn the page. A story without conflict is like a game with no stakes—why play if nothing’s on the line? You have to give them a why—why should they care, why does this story matter, why should they spend their precious time reading it? The answer? You need to make your protagonist struggle, suffer, and fight for what they want, or your readers won’t care. But conflict isn’t just about epic sword fights, dramatic betrayals, or escaping from a burning building. It’s also about doubt, guilt, fear, and the internal battles raging inside your character. That’s where internal vs. external conflict  comes in. The best stories don’t rely on just one—they weave both together seamlessly, creating a narrative that’s gripping, emotionally resonant, and deeply human. Internal struggles pull your characters apart from the inside, while external obstacles push them to their limits. But how do you balance them? And how do you ensure that your protagonist’s internal struggles don’t get overshadowed by external chaos (or vice versa)? Let’s break it down! Table Of Contents What Is Conflict In Storytelling? What Is External Conflict? What Is Internal Conflict? The Push-And-Pull of Internal & External Conflict Common Mistakes To Avoid The Different Types of Internal Conflict The Different Types of External Conflict Using Subtext For Internal & External Conflict Weaving Conflict Within Every Scene The Power Of Resolution (or Lack Thereof) Writing Exercises Concluding Thoughts What Is Conflict in Storytelling? Conflict is the backbone of storytelling. Without it, your characters are just wandering around, sipping tea, and contemplating life with zero stakes. Conflict creates tension, drives the plot, and forces characters to grow. The Two Primary Types: External Conflict → The obstacles, antagonists, and forces that stand in the protagonist’s way. Internal Conflict → The emotional and psychological struggles that shape their decisions and arc. The most compelling stories use both , intertwining them so that external struggles trigger internal dilemmas, and internal struggles complicate how the character handles external obstacles. External Conflict: The Forces Against Your Protagonist External conflict is what most people think of when they hear “conflict.” It’s the physical, social, or situational obstacles that create tension and opposition in a story. Your protagonist has a goal, and something (or someone) is trying to stop them. Types of External Conflict: Person vs. Person: Classic hero vs. villain, rivalries, or power struggles. ( Harry Potter vs. Voldemort, Sherlock Holmes vs. Moriarty ) Person vs. Nature: Surviving harsh environments, natural disasters, or hostile creatures. ( The Revenant, The Martian ) Person vs. Society: Fighting oppression, systemic injustice, or societal expectations. ( The Hunger Games, Les Misérables ) Person vs. Fate/Supernatural: Struggles against destiny, gods, or forces beyond their control. ( Oedipus Rex, The Matrix ) Person vs. Technology: Battling artificial intelligence, robots, or the consequences of scientific progress. ( The Terminator, Black Mirror ) Example: External Conflict in Action The Hunger Games → Katniss Everdeen is thrown into an arena where she must fight to survive. That’s the external conflict. The government, the other tributes, and the rules of the game are all obstacles she must overcome. But external conflict alone isn’t enough—if Katniss was just fighting to stay alive without any emotional stakes, the story wouldn’t resonate as deeply. That’s where internal conflict comes in. Internal Conflict: The War Inside Internal conflict—sometimes referred to as the "third rail" of storytelling—is the emotional, psychological, or moral struggle within a character. While external conflict creates action, internal conflict creates depth. It’s what makes characters feel real—because no one goes through life without doubts, fears, or personal demons. Internal conflict, or the "third rail," is what powers the story forward —without it the story won't move. External events and obstacles might keep the plot in motion, but it’s the character’s internal struggle—their fears, desires, and misconceptions—that gives the story its emotional power and keeps readers invested. Without strong internal conflict, a story will feel hollow. The character may face challenges, but if they don’t have a deeply personal, unresolved issue driving their reactions and decisions, the stakes won’t feel compelling. The third rail of internal conflict ensures that every external challenge forces the protagonist to reckon with their own inner demons, making the story feel meaningful and inevitable rather than just a sequence of events. Types of Internal Conflict: Fear & Self-Doubt: A character doesn’t believe they’re strong enough, worthy enough, or capable enough. (Frodo in The Lord of the Rings ) Moral Dilemmas: A character is torn between what’s right and what’s easy. ( Hamlet, Breaking Bad ) Trauma & Regret: Past wounds shape their present decisions and prevent them from moving forward. (Tony Stark in Iron Man 3 ) Desires vs. Responsibilities: A character wants something, but their duty or circumstances hold them back. (Elsa in Frozen ) Example: Internal Conflict in Action In The Hunger Games , Katniss isn’t just fighting to survive—she’s torn between self-preservation and her growing desire to rebel against the Capitol. Her guilt, fear, and resistance to vulnerability shape her actions just as much as the external dangers do. This is where great storytelling happens—when the internal and external conflicts feed off each other. The Push-and-Pull Between Internal & External Conflict Internal and external conflicts are not separate entities—they are deeply intertwined. A character’s internal fears, desires, and flaws shape how they respond to external events. Likewise, external obstacles force internal growth (or destruction). The best stories make it so that internal and external conflicts are inseparable, each feeding into the other to create a rich, layered narrative. Great stories don’t rely on just one—they intertwine internal and external conflict so that one fuels the other. External conflict forces your protagonist into situations where their internal struggles become unavoidable, and internal conflict shapes how they respond to those external challenges. A character with only external conflict → Becomes a shallow action hero, facing obstacles without any personal stakes. A character with only internal conflict → Feels like they’re stuck in their head, without anything actually happening in the story. In short: External conflict is what happens. Internal conflict is why it matters. Common Mistakes to Avoid One of the biggest mistakes writers make with conflict is keeping internal and external struggles separate instead of allowing them to influence each other. For example, a knight who is terrified of failing (internal) might hesitate in battle (external), causing a devastating loss that deepens their self-doubt. On the flip side, external pressures can bring internal struggles to the surface—like a character forced into an arranged marriage realizing their true desire for freedom. Another common pitfall is relying too much on external conflict (endless action with no emotional stakes) or overloading internal conflict (a character stuck in their own head with nothing actually happening). The strongest stories balance both, ensuring every punch thrown, every lie told, and every decision made is shaped by what’s happening both inside and outside the character. The Different Types of Internal Conflict If I'm starting to sound like a broken record... Sorry not sorry. I need to make sure you get this into your head. Internal conflict is what makes characters feel real. It can come in many forms, but they all boil down to a character fighting themselves in some way. It’s the war between who they are and who they could become, the struggle between desires and fears, and the tension between what they think they want and what they actually need.Here are some of the most common types of internal conflict that can shape a character’s journey: 1.) Moral Dilemmas The classic “right vs. wrong” struggle. A character is torn between doing what is right and what is easy, personal, or beneficial. Often, this kind of conflict forces them to decide what kind of person they truly are when faced with an ethical crossroads. Example: In Les Misérables , Jean Valjean struggles with whether to turn himself in as a fugitive or continue living under a new identity to help others. 2.) Fear vs. Desire (The Push-Pull Conflict) A character desperately wants something, but fear, trauma, or past experiences hold them back. This conflict is compelling because it forces the character to grow past their self-imposed limitations. Example: Frodo in The Lord of the Rings wants to complete his mission, but the burden of the Ring—and the fear of what it is doing to him—makes him hesitant to continue. 3.) Identity & Self-Worth Struggles Who am I? Am I good enough? A character may battle self-doubt, imposter syndrome, or a fractured sense of identity. Their arc will often involve coming to terms with who they truly are, not who the world tells them to be. Example: Zuko in Avatar: The Last Airbender struggles between his father’s expectations, his own moral compass, and his ultimate desire for honor. 4.) Duty vs. Personal Happiness A character must choose between responsibility and personal fulfillment. This is common in stories where a character is bound by tradition, family expectations, or a larger mission—but deep down, they crave something else. Example: In Mulan , she feels torn between her family’s expectations of who she should be and the warrior she knows she is inside. 5.) The Lie They Believe One of the most powerful internal conflicts is when a character believes a fundamental lie about themselves or the world—and the story forces them to confront the truth. Example: Elsa in Frozen believes that isolation is the only way to stay in control, but she learns that love, not fear, is the key to mastering her powers. 6.) Past Trauma & Regret A character’s unresolved past wounds affect their present decisions. They may struggle with guilt, shame, or grief, which creates hesitation, avoidance, or self-sabotage. Their arc is about either healing or succumbing to their past. Example: Bruce Wayne in Batman is haunted by the murder of his parents, fueling both his drive for justice and his inability to live a normal life. 7.) Logic vs. Emotion A character is caught between what makes sense logically and what feels right emotionally. This can manifest in a scientist who rejects belief in the supernatural, a detective who refuses to trust their instincts, or a hero who must decide between duty and love. Example: Spock in Star Trek constantly struggles between his Vulcan logic and his human emotions. 8.) Fear of Change vs. Need for Growth A character knows they need to change but resists it. Whether it’s fear of failure, fear of the unknown, or fear of losing what’s familiar, their struggle is about whether they’ll take that leap—or stay stuck. Example: Bilbo Baggins in The Hobbit initially refuses the call to adventure, preferring his comfortable life in the Shire, but ultimately finds the courage to leave. 9.) Love vs. Independence A character wants love but fears losing themselves in it. They struggle with trust, vulnerability, or past wounds that make them hesitant to open their heart. Example: In Pride and Prejudice , Elizabeth and Darcy must overcome pride, prejudice, and misunderstandings before they can admit their true feelings. 10.) Free Will vs. Fate (Destiny vs. Choice) A character struggles between accepting their fate or defying it. They may resist a prophecy, fear they are doomed to repeat history, or grapple with whether they even have control over their own path. Example: Neo in The Matrix doesn’t believe he’s “The One” and must struggle with the idea of destiny versus free will. 11.) The Desire for Power vs. The Cost of Power A character craves influence, strength, or control, but getting it requires sacrificing something important. They must decide if the price is worth paying—or if they are becoming the very thing they once opposed. Example: Walter White in Breaking Bad tells himself he’s cooking meth to provide for his family, but his true internal conflict is between his growing thirst for power and what’s left of his moral compass. 12.) The Need to Belong vs. The Need to Be True to Oneself A character longs for acceptance but feels like they must hide their true self to fit in. They struggle between conforming to expectations or embracing their individuality. Example: In The Little Mermaid , Ariel longs to be part of the human world but risks losing her voice—literally and figuratively. 13.) Trust vs. Self-Reliance A character fears depending on others due to past betrayals or personal pride. They wrestle with whether they can truly trust someone else or if they are better off alone. Example: The Mandalorian in The Mandalorian starts as a lone bounty hunter but struggles with learning to trust and care for Grogu. 14.) Fear of Success A character wants to succeed, but deep down, they fear what success will bring—responsibility, expectations, or even the loss of their old identity. This can lead to self-sabotage or avoidance. Example: In Good Will Hunting , Will has the talent to change his life but actively avoids opportunities out of fear of leaving behind what’s familiar. 15.) Love vs. Duty A character is torn between their love for someone and their greater responsibility. Whether it’s romantic, familial, or loyalty-based, they must choose between their heart and their obligation. Example: Jon Snow in Game of Thrones loves Ygritte but ultimately chooses his duty to the Night’s Watch over their relationship. 16.) Hope vs. Despair A character fights against the temptation to give up. Whether due to external hardship or personal demons, they struggle between clinging to hope or succumbing to despair. Example: Frodo in The Lord of the Rings nearly gives in to despair as the Ring’s burden grows, but Sam’s unwavering hope keeps him going. 17.) Rationality vs. Instinct A character is caught between cold logic and raw emotion. They must decide whether to follow their intellect or trust their gut feelings. Example: In Sherlock Holmes , Sherlock constantly grapples with emotions he refuses to acknowledge, favoring reason over human connection. 18.) The Past vs. The Future A character clings to the past or is haunted by it, preventing them from moving forward. Their arc revolves around letting go, embracing change, or confronting what they’ve been avoiding. Example: In The Lion King , Simba runs from his past until he realizes he must face it to reclaim his place as king. 19.) Guilt vs. Justification A character has done something morally questionable and struggles with whether they should feel guilt or justify their actions. This type of conflict is especially potent for anti-heroes and morally gray characters. Example: Macbeth in Macbeth wrestles with his guilt after committing murder, but also justifies it in his quest for power. 20.) Innocence vs. Experience A character starts with a naïve, idealistic view of the world but slowly loses their innocence as they experience hardship, betrayal, or loss. The struggle is whether to hold onto their beliefs or embrace the harsher truths of reality. Example: In To Kill a Mockingbird , Scout Finch slowly learns about racism and injustice, transitioning from innocence to awareness. This isn’t an exhaustive list, but it covers the most common—and some of the more nuanced—types of internal conflict. Internal struggles come in endless variations, shaped by the character’s personality, history, and circumstances. The best internal conflicts are deeply personal, emotionally raw, and impossible to ignore—pushing characters toward growth, change, or even self-destruction. As you’ve probably noticed, internal conflicts rarely exist in isolation. A hero torn between love vs. duty might also grapple with trust vs. self-reliance, questioning whether they can lean on others while fulfilling their responsibilities. The more these conflicts overlap, the richer and more layered the character’s journey becomes, forcing them to confront their deepest fears and desires in a way that feels organic and compelling. The Spectrum of External Conflict External conflict is what drives the plot and forces characters into action. It can range from direct physical confrontations to systemic pressures and environmental struggles. The best stories often layer multiple types of external conflict to raise the stakes and deepen the protagonist’s journey. Because it isn’t just about fighting villains—it’s about how forces outside a character’s control shape their journey . 1.) Character vs. Character (Interpersonal Conflict) The classic external conflict: one person against another. Can be physical (a duel, a battle) or psychological (manipulation, betrayal). Often fuels rivalries, personal vendettas, and moral dilemmas. Examples: Harry Potter vs. Voldemort  ( Harry Potter series ) Sherlock Holmes vs. Moriarty  ( Sherlock Holmes stories ) Jean Valjean vs. Inspector Javert  ( Les Misérables ) 2.) Character vs. Society The protagonist fights against laws, traditions, or social expectations. Can be a rebellion against oppression or simply struggling to fit in. Often tied to themes of justice, freedom, or self-expression. Examples: Katniss Everdeen vs. The Capitol  ( The Hunger Games ) Winston Smith vs. Big Brother  ( 1984 ) Celie vs. Racism & Sexism  ( The Color Purple ) 3. Character vs. Nature The protagonist must survive against the elements—storms, deserts, animals. Emphasizes resilience, adaptation, and survival instincts. Often features man as insignificant in the face of nature’s power. Examples: Pi vs. the Ocean & Tiger  ( Life of Pi ) Brian vs. the Wilderness  ( Hatchet ) Dr. Mann vs. the Ice Planet  ( Interstellar ) 4.) Character vs. Fate/Destiny A character struggles against a predetermined path, prophecy, or divine will. Can explore free will vs. fate, duty vs. desire, or existential themes. Often found in myths, fantasy epics, and philosophical narratives. Examples: Oedipus vs. Prophecy  ( Oedipus Rex ) Achilles vs. His Fate  ( The Iliad ) Paul Atreides vs. His Destiny  ( Dune ) 5.) Character vs. The Supernatural The protagonist must deal with forces beyond human understanding. Ghosts, gods, monsters, magic—anything beyond the natural world. Often overlaps with Character vs. Fate  or Character vs. Self . Examples: Dr. Frankenstein vs. His Creation  ( Frankenstein ) Ichabod Crane vs. The Headless Horseman  ( The Legend of Sleepy Hollow ) Danny Torrance vs. The Overlook Hotel  ( The Shining ) 6.) Character vs. Technology A struggle against machines, artificial intelligence, or scientific advancement. Can explore themes of ethics, humanity, and progress vs. destruction. Often found in science fiction but increasingly relevant in modern narratives. Examples: John Connor vs. Skynet  ( The Terminator ) Neo vs. The Machines  ( The Matrix ) Dr. Susan Calvin vs. AI Ethics  ( I, Robot ) 7.) Character vs. The Unknown A character faces an external force that is alien, eldritch, or completely unfamiliar. Often tied to fear of the unknown, isolation, or cosmic horror. Can be psychological (paranoia, madness) or literal (extraterrestrial life, deep-sea horror). Examples: The Crew vs. The Xenomorph  ( Alien ) The Town vs. The Mist  ( The Mist ) Lovecraftian Protagonists vs. Ancient Gods  ( The Call of Cthulhu ) 8.) Character vs. War/Conflict A character is caught in the midst of war, whether as a soldier, civilian, or leader. Can explore survival, morality in battle, or the cost of war. Often a backdrop for Character vs. Society  or Character vs. Self . Examples: Paul Bäumer vs. The Horrors of WWI  ( All Quiet on the Western Front ) Frodo & Sam vs. The War for Middle-earth  ( The Lord of the Rings ) Katniss vs. The Rebellion’s Cost  ( Mockingjay ) 9.) Character vs. Systemic Oppression The protagonist struggles against deeply entrenched power structures. This can be political, economic, racial, or gender-based oppression. Often overlaps with Character vs. Society , but with an emphasis on injustice. Examples: Offred vs. The Patriarchy  ( The Handmaid’s Tale ) Starr Carter vs. Racial Injustice  ( The Hate U Give ) V vs. Totalitarian Government  ( V for Vendetta ) 10.) Character vs. Time The protagonist races against time, struggles with aging, or deals with time travel. Creates urgency, existential dread, or philosophical reflection. Can overlap with Character vs. Fate , Character vs. Nature , or Character vs. Self . Examples: The Crew vs. Time Dilation  ( Interstellar ) Marty McFly vs. Time Paradoxes  ( Back to the Future ) Benjamin Button vs. Reverse Aging  ( The Curious Case of Benjamin Button ) 11.) Character vs. Illness/Disability The protagonist must navigate life with physical or mental illness. Can be about personal resilience, societal stigma, or medical ethics. Often deeply intertwined with Character vs. Self . Examples: Hazel & Gus vs. Cancer  ( The Fault in Our Stars ) John Nash vs. Schizophrenia  ( A Beautiful Mind ) Will Graham vs. His Hyper-Empathy  ( Hannibal ) 12.) Character vs. Memory/Past A character struggles with amnesia, repressed memories, or past trauma. Can be psychological (haunted by guilt) or literal (uncovering lost truths). Often creates Character vs. Self  conflict within an external framework. Examples: Leonard vs. His Amnesia  ( Memento ) The Narrator vs. His Own Identity  ( Fight Club ) Joel & Clementine vs. Erased Memories  ( Eternal Sunshine of the Spotless Mind ) What makes external conflict engaging isn’t just what the character fights, but what it forces them to confront within themselves—their fears, limits, and sense of identity. The Role of Subtext in Conflict: The Power of What’s Left Unsaid Subtext is the art of conveying meaning beneath the surface of dialogue, actions, and descriptions. It’s what a character really means, really feels, or really thinks—but without stating it outright. Subtext allows writers to create depth, tension, and authenticity by trusting readers to pick up on implied emotions, motivations, and underlying themes rather than spelling everything out. A well-crafted scene packed with subtext can say more in a single look or unfinished sentence than pages of explicit explanation. For example, instead of writing: ❌ “I’m really angry at you for what you did.” A character might say: ✅ “Oh, don’t worry about it. You always do whatever you want anyway.” The second version tells us that the character is angry, but instead of outright admitting it, they use passive aggression, sarcasm, or even resignation. This forces the reader to read between the lines, making the scene feel more natural and emotionally charged. How Subtext Works in Writing 1.) Dialogue with Hidden Meaning – People rarely say exactly what they mean, especially when emotions are high. A character might dodge a question, use sarcasm, or speak in half-truths to mask their real feelings. Example: Instead of “I miss you,” a character might say, “I was at our old spot today. It’s changed.” 2.) Body Language & Action as Subtext – What a character does can often reveal more than what they say. Clenched fists, a forced smile, or shifting eyes can contradict spoken words, showing an internal struggle or concealed emotions. Example: A character saying “I’m fine” while gripping the edge of a table so tightly their knuckles turn white tells the reader they are not fine. 3.) Situational Subtext – Sometimes, subtext emerges from the situation itself. A scene between two ex-lovers pretending to be polite at a dinner party but avoiding eye contact speaks volumes about their unresolved tension. 4.) Symbolism & Repetition – Objects, settings, or repeated phrases can carry subtextual meaning. If a character always removes their wedding ring before making a decision, it tells the reader something about their emotional state without outright saying it. 5.) Contrast Between Inner & Outer Conflict – A character’s external conflict might mask their internal struggles, and what they don’t do or say can be just as revealing as what they do . If a character avoids a subject entirely, that silence itself can be powerful. Why Subtext Matters Subtext creates tension without direct confrontation—a conversation can feel like a battlefield without a single insult being spoken. Mastering subtext allows writers to layer conflict into every interaction, making scenes feel rich and engaging. Keep in mind that not all conflict is loud and explicit—some of the most powerful moments are subtle, unspoken, and laced with tension. Subtext is the conflict beneath the surface, where characters say one thing but mean another, or where body language contradicts dialogue. Subtext deepens emotional impact, makes dialogue feel more natural, and invites readers to engage actively with the story. Instead of spoon-feeding every thought and feeling, it allows readers to piece together the truth themselves—creating a richer, more immersive reading experience. So don't just consider what's on the page, consider what might linger beneath the surface. Weaving Conflict into Every Scene Here’s a reminder of Freytag’s Pyramid , a classic story structure that applies not just to whole novels but to individual scenes as well! A piece of advice I heard years ago that has stuck with me for scene writing is this: Just like the overarching plot of a book, each scene should function as a mini-story within your narrative. Therefore, a great scene should: Answer at least one or two questions from the previous scene or chapter. Pose several new questions to keep the reader hooked. Ensure that not all questions are answered—mystery and tension drive engagement! And what’s the most effective way to do this? Surprise surprise! You guessed it! Conflict . Every scene in your book should have some form of conflict, even if it’s subtle. It’s not just about action-packed duels or heated arguments—conflict is what keeps readers engaged. Even quiet moments should carry tension, stakes, or emotional friction. A character waiting for test results might not be in immediate danger, but their spiraling thoughts create internal conflict. A peaceful dinner might seem calm, but if one character is hiding something, there’s underlying tension. Even a romantic scene can have conflict—one character might be in love, while the other is unsure. One of the best ways to ensure that every scene pulls its weight is by using scene cards (which I’ll cover in an upcoming blog post!). These allow you to balance internal vs. external conflict, making sure every moment serves a purpose and moves the story forward. The Power of Resolution (Or Lack Thereof) Resolution gives your story—or an individual scene—its sense of closure, but that doesn’t always mean wrapping everything up in a neat little bow. A well-crafted resolution delivers emotional payoff, showing how the conflict has changed the character or the world around them. But sometimes, deliberate lack of resolution is just as powerful—unanswered questions, lingering tension, or a sense of ambiguity can leave readers thinking long after they turn the final page. Whether you tie things up or leave threads frayed, resolution should feel intentional and serve the emotional core of the story. Some arcs are about resolving inner demons, while others leave characters forever changed, but not necessarily at peace. Here’s how different arcs utilize these conflicts and some examples to illustrate them: 1.) Tragic Arcs: When Internal Conflict Wins (and That’s a Bad Thing) In a tragic arc, a character’s internal struggle overpowers their ability to grow, leading them down a path of self-destruction. Often, they recognize their internal demons but make the wrong choice, failing to change for the better. Their external conflict (battles, relationships, the world) might push them toward growth, but their internal fears, flaws, or obsessions hold them back. Example: Anakin’s fear of loss and desperation for control drive him straight into Palpatine’s manipulation. Externally, he faces war, Jedi politics, and Palpatine’s whispers, but his real struggle is internal—his inability to accept loss. Instead of growing, he gives in to his fear, becoming Darth Vader. His story is tragic because we see what could have been —his internal conflict had a chance to be resolved differently, but it wasn’t. Other Examples: Macbeth ( Macbeth ) – His ambition leads him to murder and paranoia, sealing his doom. Walter White ( Breaking Bad ) – His pride transforms him from a desperate man into a ruthless kingpin, destroying his family in the process. Jay Gatsby ( The Great Gatsby ) – His obsessive love for Daisy blinds him to reality, ultimately leading to his death. 2.) Redemptive Arcs: Overcoming Internal Conflict for Growth A redemptive arc is a direct contrast to a tragic arc —the character starts in a dark place but fights their internal battles and comes out stronger. Their external conflicts (usually fights, challenges, or relationships) mirror  their internal struggle, forcing them to confront their flaws until they grow. These arcs are satisfying because they show hope —that change is possible, even for the most flawed characters. Example: Zuko starts as a villain, obsessed with restoring his honor by capturing the Avatar. His external conflict (being banished, fighting the Avatar, dealing with his father’s cruelty) is deeply tied to his internal struggle with identity—is honor something he has to earn through violence, or is it something he can define for himself? Over time, his internal conflict shifts—he stops seeking validation from his father and chooses his own path. Other Examples: Edmund Pevensie ( The Lion, the Witch, and the Wardrobe ) – Starts as selfish and betrays his siblings, but learns humility and redeems himself. The Grinch ( How the Grinch Stole Christmas ) – Begins bitter and isolated but learns love and kindness through the Whos of Whoville. Darth Vader ( Return of the Jedi ) – Yes, Anakin has a tragic arc, but his final moment is one of redemption—he chooses love over power, saving Luke and defeating the Emperor. 3.) Bittersweet Endings: Victory at a Cost Not every story ends with total triumph or absolute failure—some sit in the grey area of bittersweet endings, where a character succeeds in one conflict but loses something else in the process. These endings often feel realistic, reflecting the fact that growth and success don’t always come without sacrifice. Example: Jon Snow wins the war against the White Walkers, and peace is restored to Westeros—but at tremendous personal cost. Daenerys, whom he loved and believed in, had to be stopped. He kills her, but instead of being hailed a hero, he’s exiled. His external battle is won, but his internal conflict—his sense of duty vs. love—ends in heartbreak. Other Examples: Frodo ( The Lord of the Rings ) – The Ring is destroyed, Middle-earth is saved—but Frodo is permanently scarred and unable to live a normal life. Katniss Everdeen ( The Hunger Games ) – The rebellion succeeds, but Katniss is left traumatized and grieving. Sherlock Holmes ( Sherlock Holmes stories ) – He defeats Moriarty but fakes his death, losing his old life in the process. Each of these arcs reflects the push-and-pull between internal and external conflict. Whether a character succumbs, overcomes, or pays a heavy price, these struggles make them real—because, in life, we all wrestle with choices, fears, and consequences. Would your character win, lose, or sacrifice something to grow ? That’s the heart of their arc. Writing Exercises Now that we’ve explored in-depth internal vs. external conflict, it’s time to put it into practice. Exercise #1: The External Conflict Without Action Challenge Take a major external conflict scene in your WIP. Now, rewrite it without any physical action—focus only on internal conflict and subtext. Can the scene still feel intense without direct fighting or arguing? Exercise #2: The Mundane Action with High Stakes Exercise Choose a small, everyday action (pouring tea, tying shoes). Now, write it with tension by layering internal conflict. Maybe the tea reminds the character of their lost mother. Maybe they’re shaking too much to tie their shoes properly before running into danger. Exercise #3: Hidden Conflict in Dialogue Write a conversation where two characters are in conflict but never directly state their issue . Let body language, tone, and subtext hint at the real tension. Exercise #4: Dual Conflict Scene Write a scene where your protagonist faces both an external and internal conflict. How does their emotional struggle shape their reaction to the external problem? Exercise #5: Conflict Flip Take a scene from your WIP that focuses on external conflict. Rewrite it with a focus on internal conflict instead. Then do the reverse—take an internally driven scene and add an external struggle. Exercise #6: Conflict Layering Write a short passage where a character is arguing with someone. On the surface, the argument is about one thing (external conflict), but underneath, there’s something deeper driving their emotions (internal conflict). Concluding Thoughts At the heart of every compelling story lies conflict—both within and without. Whether your character triumphs, falls, or stumbles into a bittersweet ending, their internal and external struggles shape the emotional core of your narrative. The best stories don’t just throw obstacles in a character’s way—they force them to face themselves in the process. So, as you craft your characters’ journeys, ask yourself: What are they really fighting for? Write without fear, ignore the inner-perfectionist, and when in doubt, have a shot of whiskey — then write. —Bair✍︎ P.S. Good god this blog post is so long.🫠😵‍💫😂😭 Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Every story has a perspective. The question is: whose eyes should your readers see it through? Choosing a POV is like picking the right camera angle for a movie—do you want a wide shot, a close-up, or an awkward selfie? If you want readers fully immersed, first-person lets them cozy up inside your character’s head. Prefer a little distance? Third-person offers flexibility, giving a broader view of the world. And second-person ? That’s for when you’re feeling bold, pulling the reader directly into the action. But which one is right for your story? Let’s break it down. Table Of Contents What Is POV & Why Does It Matter? The Main Types Of POV First-Person POV Second-Person POV Third-Person Limited POV Third-Person Omniscient POV Third-Person Objective POV Common POV Mistakes Choose The Right POV Writing Exercises Concluding Thoughts What is POV & Why Does It Matter? Point of View (POV) is who is telling the story and how they are telling it. It controls what information the reader has access to, shapes the voice of the story, and dictates how close (or distant) the audience feels from the characters. Choosing the right POV is crucial because it affects everything—the tone, the emotional depth, and even how the plot unfolds. Pick the wrong one, and your story might feel flat, confusing, or just… off. The Main Types of POV | Their Strengths & Weaknesses 1.) First-Person (I/Me) – The Inside Look First-person POV puts readers directly inside the character’s head, using “I” and “me” to tell the story from their perspective. This viewpoint creates an immediate and intimate connection between the protagonist and the reader, making it especially effective for character-driven stories, psychological thrillers, and coming-of-age narratives. However, its limitations—only knowing what the protagonist knows—can be a challenge when crafting complex plots with multiple perspectives. Well Known Works Using First-Person POV The Catcher in the Rye  by J.D. Salinger – Told entirely from Holden Caulfield’s cynical, wandering perspective. The Great Gatsby  by F. Scott Fitzgerald – Nick Carraway narrates, giving us an outsider’s view of Gatsby’s world. The Fault in Our Stars  by John Green – Hazel Grace’s first-person narration brings emotional depth and relatability. Example: I pressed my palm against the wooden door, feeling the cool ridges beneath my fingertips. My heartbeat pounded in my ears, drowning out the muffled voices on the other side. If I went in now, I could still stop this. I could still fix everything. But what if they didn’t listen? What if it was already too late? The air felt thick, cloying, like it was pressing against my ribs, demanding I make a choice. My fingers curled into a fist, hesitation lingering in the space between breaths. First-person POV puts readers directly inside the protagonist’s head. They experience thoughts, emotions, and reactions as the character does, making it one of the most immersive perspectives. ✅ Strengths: Deep emotional connection between reader & character Great for unreliable narrators Strong, distinct voice potential ❌ Weaknesses: Limited to what the character knows/sees Can feel claustrophobic if overdone Hard to balance multiple first-person POVs in one story Best for: Character-driven stories, YA, memoir-style narratives, and psychological thrillers. 2.) Second-Person (You/Your) – The Bold Choice Second-person POV is the least common in fiction, though it occasionally appears in experimental writing, interactive fiction, and “choose-your-own-adventure” books. Using “you” as the main pronoun, this perspective places the reader in the protagonist’s shoes, making the story feel personal and immersive. While powerful in short bursts, it can feel unnatural or gimmicky over the length of a novel, which is why few full-length books use it successfully. Well Known Works Using Second-Person POV Bright Lights, Big City  by Jay McInerney – One of the most famous second-person novels, fully immersing the reader in the protagonist’s experiences. If on a Winter’s Night a Traveler  by Italo Calvino – An experimental novel that places “you” directly into the story. Choose Your Own Adventure  books – Classic examples of interactive second-person storytelling, giving readers direct control over the plot. Example: You hesitate at the top of the stairs, gripping the railing as if it’s the only thing keeping you upright. Below, the party hums with conversation, laughter spilling into the hallway like a current ready to pull you under. You were invited, sure, but that doesn’t mean you belong . Your fingers tighten. Breathe , you think to yourself, forcibly inhaling a breath. You take a step forward, then another. The lights are too bright, the voices too loud, but you keep going. Because if you stop now, you’ll never start again. Second-person POV is rare , but when done well, it pulls the reader directly into the experience, making them feel like the protagonist. ✅ Strengths: Highly immersive Feels personal and urgent Can be experimental and unique ❌ Weaknesses: Difficult to sustain for a full-length novel Can feel gimmicky or unnatural if not executed well Limited mainstream appeal Best for: Short stories, experimental fiction, horror (for a psychological effect), and interactive narratives. 3.) Third-Person Limited (He/She/They) – Close But Controlled Third-person limited is the go-to perspective for many modern novels because it provides a balance between intimacy and flexibility. The narrator sticks to a single character’s thoughts and experiences, allowing readers to connect deeply while still maintaining a broader view of the story. This POV is widely used in genres like fantasy, mystery, and literary fiction, offering insight into characters’ emotions without fully locking the reader into one perspective. It’s the perfect mix of immersion and narrative control. Well Known Works Using Third-Person Limited POV Harry Potter series  by J.K. Rowling – Follows Harry’s perspective while still maintaining a third-person narrative. The Hunger Games  by Suzanne Collins – Stays tightly within Katniss’s thoughts, giving an intimate but controlled experience. The Name of the Wind  by Patrick Rothfuss – Uses a framed narrative but primarily sticks to Kvothe’s perspective in third-person limited. Example: Elias hesitated at the top of the stairs, gripping the railing tighter than necessary. Below, the party was in full swing, a blur of bright dresses and crystal glasses catching the chandelier’s glow. He had been invited—sure—but that didn’t mean he belonged . He inhaled slowly, steadying himself. Just a few minutes. That was all he had to endure. Then he could slip out and pretend none of this had happened. Third-person limited focuses on one character at a time, showing their thoughts and emotions while maintaining a slight narrative distance. It offers flexibility—immersive, yet not as locked-in as first-person. ✅ Strengths: Balances intimacy and narrative control Great for stories with deep character development Allows for more objective storytelling while keeping emotional depth ❌ Weaknesses: Still limited to one character’s knowledge at a time Can be tricky when switching POV characters (if you do multiple) Best for: Fantasy, historical fiction, mystery, and literary fiction. 4.) Third-Person Omniscient (He/She/They) – The All-Knowing God Mode Once a dominant narrative style in classic literature, third-person omniscient has become less common in modern storytelling. In this POV, the narrator knows everything, jumping between different characters’ thoughts and perspectives at will. While it allows for a grand, sweeping scope, it can sometimes create emotional distance, making it harder for readers to fully invest in a single character’s experience. It’s best suited for epics, historical fiction, and stories with large ensemble casts. Well Known Works Using Third-Person Omniscient POV The Lord of the Rings  by J.R.R. Tolkien – The narrator knows the thoughts and experiences of multiple characters across vast landscapes. Pride and Prejudice  by Jane Austen – Frequently moves between Elizabeth Bennet’s thoughts and broader societal observations. Good Omens  by Terry Pratchett & Neil Gaiman – Uses an omniscient narrator with humorous asides, breaking the fourth wall at times. Example: Elias gripped the railing at the top of the stairs, willing himself to descend. Below, the party roared on, oblivious to his hesitation. Across the room, Delia laughed too loudly at a joke she didn’t find funny, her eyes flicking toward the door for an escape. Meanwhile, the host, Mr. Whitmore, watched from the balcony with a smile that never quite reached his eyes. He knew who belonged here and who didn’t, and Elias, hesitating at the top step, was already marked as an outsider. Omniscient POV gives the narrator god-like knowledge of every character’s thoughts, emotions, and actions. It was commonly used in classic literature but is less common in modern storytelling. ✅ Strengths: Allows insight into multiple characters at once Great for epic stories with large casts Can establish a unique narrative voice ❌ Weaknesses: Can feel distant and impersonal If not handled well, can lead to head-hopping (sudden shifts in perspective that confuse readers) Best for: High fantasy, historical fiction, multi-generational sagas. 5.) Third-Person Objective – The Reporter’s Lens Third-person objective is one of the rarer narrative voices in fiction. Unlike first-person or third-person limited, it doesn’t provide access to a character’s inner thoughts or emotions—instead, it presents only observable actions and dialogue. This “fly-on-the-wall” perspective is often found in genres like mystery or journalistic writing, where the focus is on external events rather than internal experience. While it can create a uniquely detached and unbiased tone, it is less commonly used in narrative fiction compared to the more immersive first-person and third-person limited perspectives. Well Known Works Using Third-Person Objective POV Hills Like White Elephants by Ernest Hemingway – A classic short story written entirely in third-person objective, where the characters’ emotions and thoughts are never explicitly revealed, leaving interpretation up to the reader. The Lottery by Shirley Jackson – Uses an objective viewpoint to build suspense and unease, presenting events in a detached manner without diving into characters’ internal thoughts. Ragtime by E.L. Doctorow – While it shifts perspectives, much of the novel employs an objective approach, presenting historical figures and fictional characters through an impartial, observational lens. Example: Elias stood at the top of the stairs, one hand clenched around the railing. Below, guests drifted between tables, their glasses flashing under the chandelier’s glow. A woman in a red dress laughed sharply, shaking her head as she turned away from the man beside her. The host leaned against the far wall, watching the crowd with a practiced smile. Elias exhaled and descended the stairs, his movements stiff, measured. No one noticed. Third-person objective sticks to only what can be observed externally—no thoughts, no inner emotions. It’s like watching a movie. The reader interprets the characters based on action and dialogue alone. ✅ Strengths: Creates mystery & intrigue Forces readers to analyze character behavior Great for minimalist, literary, and noir-style writing ❌ Weaknesses: Can feel emotionally distant Harder to establish deep character connections Best for: Mystery, crime fiction, and literary works. POV Mistakes to Avoid One of the biggest mistakes writers make with POV is inconsistency—accidentally slipping into another character’s thoughts when writing in third-person limited or breaking the established perspective mid-scene. Another common pitfall is choosing a POV that doesn’t serve the story well, such as using first-person for a plot that requires multiple perspectives or third-person omniscient when deep emotional connection is needed. Over-explaining thoughts and emotions in first-person or making a distant, detached narrator in third-person limited can also weaken a story’s impact. Whatever POV you choose, commit to it and use it intentionally. Common Mistake Definitions Head-Hopping – Jumping between multiple characters’ thoughts without a clear break. Stick to one character per scene. Inconsistent POV – Accidentally slipping from one POV to another (e.g., first-person to third) without a clear reason weakens storytelling. Forgetting Narrative Voice – POV isn’t just about pronouns—it affects how the story is told. A first-person narrator should sound distinct, while an omniscient narrator should feel purposeful. How to Choose the Right POV for Your Story The best POV for your story depends on the level of intimacy, control, and flexibility you want. If you want readers to feel completely immersed in one character’s emotions, first-person is a great choice. If you need some distance while still keeping things personal, third-person limited offers a balance between deep character connection and narrative flexibility. Writing a vast, epic tale with multiple characters? Third-person omniscient might be the way to go. And if you want to experiment and push boundaries, second-person is a bold, unconventional option. Consider what will best serve your story’s tone, structure, and emotional depth—your choice of POV shapes how readers experience the world you create. Questions You Should Ask Yourself: How close do you want the reader to be to the character’s emotions? Deeply personal? → First-person Flexible but immersive? → Third-person limited More distant and expansive? → Third-person omniscient How much do you want the reader to know? Do they learn things as the protagonist does? → Limited POV Do they get insights into multiple characters at once? → Omniscient POV What kind of tone and experience do you want? Intimate and personal? → First-person Cinematic and observant? → Third-person objective Experimental and unique? → Second-person Writing Exercises: Experimenting with POV Now that you have a better understanding of all the types of POV there are, their strengths and weaknesses, which are best for the different types of stories and genres, let's put this knowledge to work with some writing exercises. Exercise #1: Rewriting the Same Scene in Different POVs Take a short scene and rewrite it in first-person, third-limited, and third-omniscient. Notice how the focus and emotional impact change. Exercise #2: Character Voice in First-Person Write a paragraph in first-person with a strong narrative voice. Make your character’s personality shine through the narration. Exercise #3: Omniscient Without Head-Hopping Write a short scene in third-person omniscient, but avoid head-hopping. Make smooth transitions between characters’ thoughts. Concluding Thoughts POV is one of the most powerful tools in a writer’s arsenal—it shapes how readers experience your story, how deeply they connect with your characters, and even how the plot unfolds. Whether you choose the intimacy of first-person, the flexibility of third-person, or the boldness of second-person, the key is to wield your chosen perspective with intention. A well-chosen POV enhances immersion, emotion, and clarity, while a mismatched one can create distance or confusion. So, whose eyes will your readers see through? Choose wisely, and let your story unfold from the perfect vantage point. “Point of view is everything in a story. Who tells it, how it’s told, and what is revealed all change the narrative completely.” — Neil Gaiman For me personally, I love writing in third-person limited and third-person objective, but I tend to struggle quite a lot with first-person POV. So tell me! Which POV do you find easiest to write in? Which one challenges you the most? Let me know your answers in the comments below! Write boldly, edit bravely, and go take on your manuscript! —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Ever read a book where the author described every single blade of grass for five pages? Yeah, sometimes you just need to get to the point (looking at you Tolkien...). And Robert Jordan, I love you, but I don’t need to know the exact embroidery on every noble’s sleeve. Not every moment in your story deserves a deep dive. If your character is walking through a door, you don’t need to describe the grain of the wood unless it matters . Just let them walk through the damn door. Pacing matters, and sometimes, “They traveled for three days in silence” is all you need. No one wants to read about every rock on the road. Writers are constantly told to “show, don’t tell,” but guess what? Sometimes, telling is the smarter move. Let’s talk about when to tell, how to tell effectively, and why knowing the difference is the key to strong storytelling. Table Of Contents What Is Telling? Telling: An Essential Writing Tool Why You Should Tell How To Tell Effectively Writing Exercises Concluding Thoughts What Is Telling? (& How It Differs from Showing) Much like how I will keep this blog post, telling is straightforward, efficient, and to the point. Instead of immersing readers in sensory details, telling delivers information quickly so the story can move forward. Example of Telling: She was exhausted but kept running. Example of Showing: Her legs burned with every step, breath hitching in her throat. The world blurred at the edges, but she pushed forward. Telling gives fact s. Showing gives experience . But that doesn’t mean telling is bad—it just serves a different purpose. Why Telling Is an Essential Storytelling Tool Telling gets a bad rap, but it’s a necessary part of storytelling. If you showed every single moment in full sensory detail, your book would be a thousand pages long, and readers would get bored. Here’s why telling is useful: It speeds up pacing – No one wants to read five pages about someone packing a suitcase. It summarizes unimportant details – Not every meal needs to be described like a feast from Game of Thrones. It keeps focus on what matters – Sometimes, the outcome is more important than the process. Good storytelling balances showing and telling. Knowing when to tell is just as important as knowing how to show. When & Why You Should Use Telling? Here are the best times to use telling in your writing: 1. Summarizing Events & Skipping the Boring Stuff Not every event needs to be fully fleshed out. If a scene doesn’t add tension, character development, or key plot points, summarize it and move on. The journey took three days, cold and miserable, but uneventful. This avoids unnecessary filler. If something exciting had happened, you’d want to show it instead. 2. Transitions & Time Jumps When your story moves forward in time, telling helps bridge the gap. Months passed, and winter set in. Do we really need to experience every day of those months? No. Just tell us time has passed and get to the good part. 3. When the Action Matters More Than the Details Sometimes, what happens is more important than the experience of it happening. He signed the contract and sealed his fate. Instead of showing the entire scene, this single sentence conveys weight and finality. 4. When Creating Narrative Distance (Objective Storytelling) If you want an objective, distant narrator (common in literary fiction or historical storytelling), telling can work to create that detached feel. The kingdom fell into ruin after the war. This feels more distant and factual than a deeply immersive scene. 5. Internal Thoughts & Quick Emotional States Telling is useful for brief internal thoughts or emotions—especially when you don’t want to drag the moment out. She hated him. Regret filled his chest, but he turned away. Short, punchy telling delivers impact without slowing the pace. How to Tell Effectively Without Making It Dull Telling only becomes a problem when it feels lazy, distant, or flat. Here’s how to use telling well: Make It Punchy – Keep it brief and impactful. “The war lasted a decade, and millions died.” That’s powerful. Blend Show & Tell – Sprinkle in sensory details to keep it engaging. Use Strong, Active Language – Instead of “She felt scared,” try “Fear gripped her chest.” Know When to Step Back – Sometimes, less is more. If the moment doesn’t need depth, just tell it and move on. Writing Exercises: Mastering Intentional Telling Knowing when to tell instead of show is a skill that strengthens your storytelling, keeping your pacing tight and your readers engaged. Now, let’s put this into practice. The following exercises will help you sharpen your instincts on when to summarize, when to immerse, and how to balance both for maximum impact. Exercise #1: Condense the Scene Take a drawn-out passage from your WIP and rewrite it in 1-2 sentences. Focus on keeping clarity, impact, and pacing. Before (Too Much Showing): The sun sank below the horizon, casting an amber glow over the endless waves. He walked along the shoreline, each step leaving a fading imprint in the damp sand, the salty breeze biting at his skin. After (Effective Telling): He walked the beach at sunset, lost in thought. Reflection: Did you keep the essential feeling of the moment while making it more concise? Exercise #2: Identify Weak Telling vs. Strong Telling Rewrite these flat telling sentences into strong, engaging ones: The city was in ruins. She was heartbroken. They argued all night. Challenge: Can you make these short but vivid without over-explaining? Exercise #3: Find the Balance Write a short paragraph using both showing and telling. See if you can: Start with a brief telling sentence. Expand with one sensory detail to add depth. End with another short telling statement for impact. She had never been so afraid. The walls of the tunnel pressed in, damp and suffocating. A single breath—then she ran. Concluding Thoughts Telling isn’t the enemy of good writing—bad telling is. When used intentionally, telling tightens pacing, clarifies information, and keeps your story moving. The trick is knowing when to immerse readers and when to just get to the point. Good storytelling isn’t about never telling—it’s about striking the right balance. “Good writing is not just about what to include, but what to leave out.” — Mark Twain    What’s a scene in your story where telling actually worked better than showing? Let’s talk in the comments! Happy writing! —Bair✍︎ P.S. If you've gotten this far, check out my other two posts on how to effectively "show" in your writing and get a deeper understanding of why showing AND telling are important: Bringing Your Story to Life: The Art of Writing Vivid, Immersive Prose (How To Show Not Tell Using The 5 Senses) Show & Tell: Why BOTH Are Important For Effective Storytelling Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are You Writing? Or Weaving Verbal Tapestries? Some writers tell a story. Others paint it in lush, sprawling brushstrokes that make even a sunset blush... in secondhand embarrassment. If you’ve ever described a “verdant cascade of emerald-hued foliage swaying like the whisper of forgotten gods,” when you really just meant “the leaves rustled in the wind” —congratulations! You might be a Purple Writer. Purple writing is like adding too much seasoning to a dish. A sprinkle of poetic prose? Delicious.  But drown your story in it, and suddenly no one can taste the actual plot. So, how do you know if your writing is drenched in literary lavender? Here are four telltale signs. Table Of Contents You're Married To Thesaurus.Com Your Sentences Are As Long As Marathons Your Character's Sound Like Martians You Describe EVERYTHING... Even When It's Not Important When It Becomes Too Much Concluding Thoughts 4 Signs You’re a Purple Writer (& How to Dial It Back Before Your Prose Becomes a Floral Monstrosity) 1.) You Have a Deep, Unrelenting Love for Thesaurus.com A good writer knows the power of a well-placed word. A purple writer treats the thesaurus like a divine text, consulting it religiously to avoid using anything as pedestrian as “sad.” Why say sad when you could say “drenched in melancholic despair, adrift in a sea of sorrow, bereft of all joy, consumed by the abyss of existential ruin” ? If your writing sessions involve spending thirty minutes hunting for the perfect synonym for “blue,” (I'm definitely not guilty of this... not me, def not me. .*sips tea loudly*) you may be engaging in unnecessary verbal gymnastics . Simplicity isn’t a crime. Your readers will still get the picture if the sky is just… blue. 2.) Your Sentences Are Long Enough to Qualify as a Marathon A single, beautiful, poetic sentence can be breathtaking. But if one of your paragraphs contains exactly one period, and it stretches across half a page, filled with ellipses, commas, em dashes, and enough subclauses to make Charles Dickens shake in his boots, then you might be a purple writer. Sure, the rhythm and flow of a long, descriptive passage can be mesmerizing, but if your readers need a Sherpa and a breathing exercise to get through one sentence, you might want to rein it in. Let your words breathe. Shorter sentences can hit just as hard. 3.) Your Characters Don’t Speak Like Human Beings Imagine a simple exchange: → Regular dialogue: “I’m cold,” she said, shivering. “Here,” he replied, tossing her his jacket. → Purple writer dialogue: “Alas, a frigid specter clutches at my bones, whispering cruel nothings of winter’s unrelenting grasp,” she lamented, her breath unfurling in ephemeral wisps of frost. “Then take this, fairest maiden, lest the abyss of chill claims thee as its own,” he murmured, draping his cloak upon her quivering shoulders like a knight of yore bestowing divine protection. … If your characters sound like Shakespearean ghosts at all times, you may have a problem. Readers want characters who feel real —not like they’re auditioning for a Renaissance faire. Dialogue should sound natural, even in fantasy. If you wouldn’t say it in a casual conversation without getting weird looks, your character probably shouldn’t either—unless they’re the kind of person who would talk like a walking thesaurus (in which case, congratulations, you’ve created a truly unique character). Otherwise, let them breathe! Give them personality, rhythm, and an authentic voice, not just layers of overwrought poetry. 4.) You Describe Everything… Even When It’s Not Important Does your writing take three paragraphs to describe the color, texture, and tragic backstory of a side character’s cloak, even though they only appear in one scene? Do your action sequences pause for a full page of internal monologue about the emotional significance of a battle stance? Purple writers sometimes forget that not everything needs to be artfully adorned in adjectives and metaphors. Not every door needs to be “an ancient portal of splintered mahogany whispering tales of forgotten hands.”Sometimes, it’s just… a door. When Purple Writing Becomes Too Much There’s nothing wrong with beautiful prose—in fact, poetic descriptions can elevate a story! But when your writing gets in the way of clarity, pacing, or emotional impact, it’s time to dial it back. Readers want to be immersed in a story, not drowning in it. If they have to reread a sentence three times to figure out what’s actually happening, your story might be suffocating under all those adjectives. How to Fix It (Without Losing Your Style!) Ask yourself: Does this sentence serve the story? If it doesn’t push the plot, develop the character, or enhance the mood, cut it. Read it out loud. If you’re out of breath before the sentence ends, it’s probably too long. Swap two poetic lines for one sharp, impactful one. Sometimes, less is more. Use purple prose intentionally. A little flourish in emotional moments? Beautiful. All the time? Exhausting. Concluding Thoughts The best writing strikes a balance—a touch of beauty, a dash of simplicity, and a whole lot of clarity. As Antoine de Saint-Exupéry said: “Perfection is attained not when there is nothing more to add, but when there is nothing more to take away.” Great writing isn’t about stuffing as many adjectives and metaphors as possible into a sentence—it’s about making every word count. So, whether you’re a recovering purple writer or proudly reveling in your literary flourishes, just remember: your story matters more than the way it’s dressed. So, tell me—do you recognize any of these signs in your own writing? Or are you proudly embracing your flamboyant, adjective-loving soul? Let me know your answers in the comments below! May every blank page bring excitement and never fear! —Bair✍︎ Disclaimer: Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . 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