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 !

The Struggle Is Real You’ve probably heard the phrase “Show, don’t tell!”  so many times that it haunts your dreams. Writing advice blogs throw it around like it’s the "golden rule" of storytelling—but let’s be real: nobody actually explains how  to do it. So here’s the truth: You need both showing and telling. One makes your reader feel  the story; the other helps move it along.  The trick is knowing when to show, when to tell, (read my blog post here on the importance of both Showing AND Telling ) and how to master the art of showing in a way that makes your prose immersive without turning into a purple-prose nightmare. Read my other article here on what it means to be a " Purple Prose Writer ." In this post, we’re diving deep into how to write vivid, immersive prose by mastering: The five senses and why they’re your best writing tool How to get into your body so your characters feel  real Using deep POV to make your reader experience the story firsthand Writing exercises to help you sharpen your skills By the end, you’ll know exactly how to bring your writing to life—and your readers? They won’t just read your story. They’ll live it . Table Of Contents Why Your Writing Feels Flat Why Showing Is Essential What Are The 5 Senses? Utilizing The 5 Senses Getting Into Your Body The Body Scan Technique Becoming Deep POV Literate When Vivid Writing Becomes Too Much Writing Exercises Concluding Thoughts If Your Writing Feels Flat, This Might Be Why If your writing feels lifeless, and your scenes lack depth, emotion, or engagement, you might be relying too much on telling instead of showing. Rather than stating “she was nervous,” let the reader see her hands fidgeting with the hem of her sleeve. Instead of saying “the city was in ruins,” immerse them in the crumbling walls, the air thick with the scent of smoke and ash. The goal isn’t to eliminate telling altogether—it’s about knowing when to let the reader experience the world through the character’s senses. By mastering this balance, you transform passive descriptions into vivid, unforgettable storytelling. Why Showing Is Essential to Strong Writing Showing isn’t just about painting a pretty picture—it's about pulling readers into a story. It 's about making them feel, see, and experience what your characters do. When you show instead of tell, emotions become visceral, settings come alive, and actions carry weight. Instead of saying a character is heartbroken, showing lets the reader feel their grief through trembling hands, hollowed eyes, and the way they can’t bring themselves to step into the room where a loved one once stood. Strong writing isn’t about dumping information—it’s about crafting an experience that lingers in the reader’s mind long after they’ve turned the page. Think about some of your favorite books. The ones that pulled you in, the ones that made you forget where you were, and made your heart race like you’ve just sprinted up a flight of stairs. Go pry those dusty books open and analyze them. Reread your favorite passages and ask yourself why it felt so immersive. Was it because the author was telling you what was happening? Or was it because the author made you feel and experience the story, not just read it. Telling vs. Showing (Side-by-Side Example) Let’s say your character is terrified: ❌ Telling: She was scared. ✅ Showing: Her breath hitched. Her fingers clenched into fists, nails biting into her palms. The shadows stretched longer, darker, closing in. One is a statement. The other is an experience. Readers don’t want to be informed that a character is scared. They want to feel the tightness in their chest, hear the pounding of their pulse, and taste the bile in their throat. That’s why showing is so powerful—it makes readers feel the character’s world. The Five Senses: The Secret Weapon for Immersive Writing Engaging your readers isn’t just about telling them what happens—it’s about making them experience it. By tapping into the five senses, you transform your prose from a flat narrative into a vibrant, living scene. Whether it’s the glimmer of sunlight through a window, the subtle hum of a busy street, the comforting aroma of fresh bread, the cool touch of a gentle breeze, or even the bittersweet taste of regret, each sense adds a layer of authenticity and emotion. Use these sensory details to draw your readers deep into your world, making every moment feel tangible and unforgettable. How to Actually Write Vivid Prose Using the Five Senses Vivid prose isn’t just about describing what a character sees—it’s about crafting an experience that feels real. Instead of saying “The room was cold,” let the reader feel the chill— “Goosebumps prickled her arms as the draft curled around her, slipping beneath her collar like icy fingers.” Each sense adds texture, grounding the reader in the scene. By layering sensory details naturally into your writing, you create an immersive world where readers don’t just observe the story—they live in it. But don't get confused—or overzealous. Showing isn’t just about adding adjectives. It’s about choosing the right details to create a full experience without overloading the prose. If you want to pull readers into your world, your best tool isn’t a massive vocabulary or the overuse of poetic metaphors. It’s the five senses. When you engage sight, sound, smell, taste, and touch, you don’t just describe a scene—you transport your reader into the story. Breaking Down the Five Senses in Writing 👁️ Sight  – The most used sense in writing. But don’t just say “The sky was blue.”   What kind of blue? Was it a deep indigo, a washed-out gray-blue, or so blinding it felt like staring into a god’s eye?* 👂 Sound  – Think beyond dialogue. Footsteps on gravel. The distant howl of wind through cracked windows. The sticky silence between two people who should be talking. 👃 Smell  – The strongest trigger for memory and emotion. A whiff of burnt sugar can bring back childhood. The stench of iron can signal danger. Use smell to anchor scenes emotionally. 👅 Taste  – Often overlooked but powerful. Blood tastes like pennies on the tongue. Fear is bitter, thick, clinging. A lover’s kiss might be sweet, tinged with the sharpness of wine. 🖐 Touch  – Temperature, texture, weight. The heat of sunburned skin, the damp chill of fog, the gritty bite of sand in someone’s boots. Readers should feel  what your characters feel. PRO-TIP: Because scent is so closely tied to memory, I personally love weaving in a character’s past through the smells they encounter. It’s a subtle yet powerful way to reveal backstory, deepen characterization, and evoke emotion without resorting to an info-dump. A whiff of freshly baked bread might transport a hardened warrior back to childhood mornings in their mother’s kitchen. The scent of burning wood could trigger a painful memory of a home lost to fire. Smell isn’t just sensory—it’s storytelling. Use it to layer subtext, nostalgia, or even trauma into your scenes. Example of Layering the Senses ❌ Flat Description (Telling): The alley was dark and smelled bad. ✅ Immersive (Showing): The alley reeked of rotting fish and urine, the kind of stench that sticks to the back of your throat. A single streetlamp flickered overhead, casting warped shadows along the damp brick walls. Notice how layering sensory details creates a visceral image? It’s not just dark—it’s claustrophobic. It doesn’t just smell bad—it’s gut-churning. Getting Into Your Body: The Key to Writing Immersively If you don’t feel the scene, how can your readers? To write scenes that feel real, you need to feel them first. One of the biggest reasons writers struggle with showing is that they don’t fully engage with their own senses  while writing. Pay attention to how emotions manifest physically—where do you carry stress? How does fear tighten your chest? What does exhaustion actually feel like beyond just “being tired”? The more aware you are of your own body’s reactions, the more authentically you can translate them onto the page. Instead of simply saying a character is anxious, describe the tension in their shoulders, the restless bounce of their knee, the way their breath hitches before they speak. By grounding your writing in tangible, bodily sensations, you pull readers deep into the moment, making your story a full-body experience rather than just words on a page. The Body Scan Technique for Writing One of the best ways to strengthen sensory writing is to get into your body. Close your eyes. Where do you feel tension? What does the air smell like? Is your skin warm, cool, clammy? The Body Scan Technique is a mindfulness exercise that helps you tune into physical sensations—an invaluable tool for writing immersive prose. Instead of defaulting to generic emotions like “she was scared,” consider where that fear manifests. A clenched jaw? A twisting gut? Wobbly knees? By first paying attention to your own body, you can better translate sensory experiences onto the page. Before writing a scene, try this: Close your eyes. Take a breath. Notice your body. Are your shoulders tense? Are you warm or cold? Focus on textures and sensations. How do your clothes feel against your skin? What background sounds are filling the room? Now , write as if your character is experiencing it firsthand. This practice builds sensory awareness, making it easier to write scenes that feel alive. Understanding Your Character’s Perspective: How Their Worldview Shapes Their Deep POV Deep POV (Point of View) isn’t just about removing filter words ( “he saw,”   “she thought” )—it’s about fully embodying your character’s unique worldview. Every character steps into a scene with a lifetime of experiences that shape how they think, act, and interpret the world. Their upbringing, past hardships, and personal beliefs all influence how they perceive and react to situations. A character raised in comfort might see a bustling marketplace as lively and full of opportunity, while one who’s struggled with poverty might see it as overwhelming and dangerous. Consider their outlook on life—are they an optimist who believes things will work out, or a cynic who expects disappointment? Do they see the world through a lens of nostalgia, regret, hope, or apathy? A young character who has already endured immense hardship may view love as conditional, while an older character who has lived a sheltered life may still carry a childlike naivety about the world. These factors don’t just inform their internal monologue but also shape the very details they notice. A pessimist might walk into a room and immediately register the cracks in the walls, the frayed edges of a rug, and the way the air smells stale, while an idealist might focus on the golden glow of sunlight streaming through dusty curtains. By weaving in these personal filters, you ensure that your prose doesn’t just describe —it immerses . Readers don’t just see what’s happening; they feel it through the lens of a character who is fully alive on the page. Deep POV isn’t just about telling a story—it’s about making readers feel it. By removing narrative distance, it pulls readers directly into your character’s mind, making emotions immediate, intimate, and authentic. Instead of simply stating how a character feels, Deep POV immerses readers in their raw, unfiltered experience. Instead of: ❌ She was tired but forced herself to keep running. Try: ✅ Her legs screamed with every step, muscles trembling. The air burned her lungs, her heartbeat pounding in her ears. But stopping wasn’t an option. See the difference? Deep POV eliminates emotion labels ( tired, scared, sad ) and replaces them with visceral sensations, internal reactions, and physical cues. It doesn’t just tell the reader what’s happening—it makes them feel it. Example 1: Mira pushed her way to the front of the crowd, eyes wide, heart pounding in anticipation. The scent of spiced honey pastries and fresh-cut flowers hung thick in the air, blending with the warmth of hundreds of bodies packed together. Trumpets blared, and the first shimmer of gold caught the sunlight—robes embroidered with intricate sigils, gemstones twinkling like captured starlight. She gasped, pressing her hands to her chest as the queen’s procession drew closer. So close! She thought. The silk banners unfurled in the breeze, each thread a symbol of power, of legacy, of something greater than her simple life in the weaving district. To see them in the flesh! Her fingers curled into the fabric of her skirt, grounding her in this impossible, dreamlike moment. The nobles passed, resplendent and radiant, their horses adorned in silver filigree. One day, she thought, one day, maybe my hands will weave the very silk that drapes their shoulders. Example 2: Edrik stood at the edge of the crowd, arms crossed, jaw clenched. The cheers around him rang hollow, each voice grating against his ears. The scent of honeyed pastries twisted his stomach—not with hunger, but with the memory of the last time he had stood on these streets, his mother begging for scraps while the nobles feasted inside gilded halls. The fanfare blasted through the square, and there they were, parading through the city as if their every step wasn’t bought with stolen coin and broken backs. The banners rippled, each sigil a mockery of justice, each gemstone winking in the sunlight like a taunt. His fingers curled into fists. Look at them, high and mighty, smiling down at the very people they trample. The queen’s carriage rolled by, her serene face untouched by grief, untouched by the suffering her taxes had wrought. Edrik turned away before rage could turn to something worse—before the grief clawing at his throat could make him do something reckless. See how the same event feels completely different depending on who’s experiencing it? Mira and Edrik are watching the same parade, but their pasts, beliefs, and emotions shape how they interpret it. One sees splendor, a dream made real—while the other sees corruption, a reminder of loss. This is the power of Deep POV. By fully inhabiting your character’s mindset, you don’t just describe a scene—you filter it through their lived experiences, biases, and emotions, making every moment richer and more personal. When Vivid Becom e s Purple: Don't Over-Describe Now, there’s a fine line between immersive, vivid prose and overindulgent, purple writing. If your descriptions feel like they belong in a poetic fever dream rather than serving the story, you might be leaning too hard into the thesaurus. Watch out for excessive metaphors, adjectives that suffocate rather than enhance, and imagery so dense that it slows pacing to a crawl. Vivid prose should create clarity, not confusion. If you’re unsure whether your writing has crossed into purple territory, read your passage aloud—if it takes longer to describe a door opening than it would for someone to walk through it, you might have a problem. (And if you need a deep dive on how to fix it, read here .) Read my blog post " Sometimes You Just Need to Get to the Point: When Telling Is the Right Move "  here to get a more in-depth explanation how to effectively "tell" in your writing. Writing Exercises: Strengthening Your Showing Skills Now that we’ve explored the power of sensory details, let’s put it into practice. Writing is like fine-tuning a radio—sometimes, you need to adjust the frequency to hear the full depth of a scene. The following exercises will help you refine your ability to show rather than tell , heighten sensory immersion, and strengthen your deep POV. Grab your pen (or keyboard), and let’s dive in! Exercise 1: Sensory Expansion Take a bland sentence and expand it using all five senses (without overloading). Basic Sentence: The coffee was strong. Challenge: Describe the coffee using sight, smell, taste, touch, and sound. Exercise 2: Body Awareness Freewrite Write a paragraph where a character is experiencing a strong emotion. Instead of naming the emotion, show it through body sensations. Exercise 3: Deep POV Rewrite Challenge Rewrite these sentences using deep POV: She was terrified. He felt embarrassed. The forest was eerie. Concluding Thoughts Mastering the art of showing through vivid, immersive prose isn’t just about painting a pretty picture—it’s about making readers feel every moment as if they’re living it themselves. By tapping into the five senses, embodying Deep POV, and understanding how life experiences shape perception, you can transform flat descriptions into storytelling that lingers. Whether it’s the scent of a lost childhood, the burn of exhaustion, or the weight of unspoken grief, every detail has the power to pull readers deeper into your world. “Don’t tell me the moon is shining; show me the glint of light on broken glass.” – Anton Chekhov What’s a moment in your writing that could be more immersive? Try rewriting it with sensory details and drop your favorite lines in the comments! Good luck with your 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 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 !

Writing Advice’s Most Misunderstood Rule: Show, Don’t Tell (& When to Ignore It) The Show vs. Tell Debate You’ve probably heard it before—maybe from a critique partner, a writing teacher, or that one friend who suddenly became an expert on storytelling after watching one MasterClass : “Show, don’t tell!” It’s one of the most common pieces of writing advice, but like most oversimplified rules, it’s often misunderstood. The truth? Both showing and telling have their place in storytelling. Sure, showing can make your reader feel like they’re in the moment, experiencing the rain splatter against their skin, their pulse racing as they stand on the edge of a battlefield. But sometimes, you just need to move things along, and telling is the best way to do that. The key isn’t choosing one over the other—it’s knowing when to use which to craft an immersive and well-paced story. Let’s break it down. Table Of Contents The Power of Showing The Efficiency of Telling Why Telling Gets Hate How To Use Both For Stronger Storytelling Writing Exercises Concluding Thoughts The Power of Showing: When & Why to Use It Showing pulls the reader into the story, making them experience the scene firsthand rather than being told what’s happening. Instead of stating that a character is angry, you reveal it through their clenched fists, clipped words, and stormy expression. Showing allows for subtext, emotion, and immersion, letting readers interpret feelings and actions rather than having everything spelled out for them. It’s what makes a story feel alive, cinematic, and deeply engaging. However, like all tools, it works best when used with intention—not every moment needs a deep-dive into sensory details. When Should You Show? Showing is at its best when: You want to immerse readers in a scene. You need to highlight emotions, tension, or atmosphere. You’re writing key moments like action scenes, emotional confessions, or climactic battles. Example: Telling vs. Showing ❌ Telling: She was nervous before her speech. ✅ Showing: Her fingers clutched the paper so tightly that the ink smudged, her pulse a frantic drumbeat in her ears. See the difference? One informs, the other immerses. Read my blog post " Bringing Your Story to Life: The Art of Writing Vivid, Immersive Prose (How To Show Not Tell) " here on how to actually write "showing" language in your writing. The Efficiency of Telling: When It’s the Better Choice Telling gets a bad rap, but let’s be real—sometimes, you just need to get to the point. Not every moment in your book needs deep immersion. Pacing matters . When Should You Tell? Telling is most effective when: You need to summarize events quickly without dragging the narrative. You’re covering travel, transitions, or mundane details that don’t need a deep dive. The information is important but doesn’t require emotional weight or action. Example: When Telling Works Better Imagine you’re writing a fantasy novel and your characters need to get from Point A to Point B . Do you really need five pages describing every rock they step on? ❌ Showing Overload: The road stretched endlessly ahead, its pebbled surface shifting beneath the horse’s hooves. Each gust of wind carried the scent of damp earth as the travelers pressed forward, muscles aching from the relentless ride… ✅ Telling (Efficient & Effective): The journey took three days, cold and miserable, but uneventful. One is a deep dive; the other is straight to the point. Neither is wrong—it depends on what the moment needs. (However, should you feel a desire to make the time feel like it's pulling on the characters and readers, you may want to go into "showing overload" to give a certain kind of effect. Use wisely, however.) Read my blog post " Sometimes You Just Need to Get to the Point: When Telling Is the Right Move "   here to get a more in-depth explanation how to effectively "tell" in your writing. Why Does Telling Get a Bad Rap? Telling is often villainized in writing advice because, when misused, it flattens emotions, distances the reader, and drains tension from a scene. Instead of experiencing the moment, the reader is simply informed about it. Example: Weak Telling vs. Effective Showing ❌ Telling: She was scared. ✅ Showing: Her hands trembled as she backed away, her breath catching in her throat. One states the fact; the other makes you feel it. This is why telling is often dismissed as lazy or weak—it summarizesinstead of immerses. But before you grab your pitchfork and declare “Death to all telling!”, let’s be clear: Telling isn’t bad. Overusing it is. Why Telling Gets Criticized It Can Feel Distant – If everything is told instead of shown, readers might struggle to connect emotionally. “She felt sad” doesn’t pull you in the way tears burned at the edges of her vision does. It Can Be Boring – Readers don’t want to be given a bullet-point summary of what’s happening. They want to experience the world and characters. Too much telling saps engagement and makes the prose feel lifeless. It Can Kill Tension & Pacing – Imagine a thriller where the author simply states, “The hero felt tense.” vs. building tension through atmosphere, body language, and dialogue. Telling in the wrong places can deflate what should be a gripping moment. But Telling Isn’t Always Bad! Despite its reputation, telling has its place. Not every moment in a story needs deep immersion. Pacing, clarity, and narrative flow all rely on well-placed telling. When Telling Works Best: Summarizing mundane details (e.g., The journey took three days, cold and uneventful. ) Transitioning between major scenes without unnecessary fluff. Prioritizing key information when the action or event matters more than emotional immersion. The key isn’t to avoid telling altogether—it’s knowing when to show and when to tell. Striking the Balance: How to Use Both for Stronger Storytelling Great storytelling isn’t about choosing between showing or telling—it’s about knowing when to use each. Think of showing as zooming in with a cinematic close-up, letting readers feel every pulse-pounding moment, while telling is pulling back for a wide shot, giving just enough context to keep the story moving. A well-paced novel flows seamlessly between both, immersing readers in key emotional beats while efficiently guiding them through transitions. Mastering this balance is what turns a good story into one readers can’t put down. Example: Blending Show & Tell Let’s say your protagonist just witnessed a murder: ❌ Only Telling: She was horrified by what she saw. ❌ Only Showing: Her breath hitched. Her knees wobbled. She stared at the blood pooling around the man’s lifeless body, bile rising in her throat. ✅ Balanced Approach: She wanted to run, but her legs refused to move. Her breath hitched, her heart a frantic drumbeat. She had seen death before, but never like this. See how the final version combines immersion with efficiency? Show & Tell Writing Exercises Now that we’ve broken down the when, why, and how of showing vs. telling, it’s time to put that knowledge into action. The best way to sharpen your instincts for balancing the two is through practice—learning to spot where showing enhances a scene and where telling keeps the pace tight. Below are some writing exercises designed to help you refine your storytelling choices and strengthen your ability to switch between showing and telling with purpose. Now get to it! Writing Exercise #1: Show, Don’t Tell—But Do It with Layers Rewrite these telling sentences as showing, but take it further—use body language, setting, sensory details, or dialogue to add depth. Basic Sentences (Telling): He was furious. She felt cold. The city was in ruins. Challenge Mode: Write two versions of each sentence—one with subtle showing and one with over-the-top, immersive details. Experiment with POV and style. How would this scene look in deep first-person vs. third-person limited? Use setting to reflect emotion. Can the weather, surroundings, or even small background details enhance the mood? Writing Exercise #2: Mastering Effective Summaries Take a long-winded, overly detailed scene (from your WIP or a book you’ve read) and rewrite it into a concise but effective summary. Guidelines: Keep only what matters—what moves the story forward. Maintain tone and voice without bogging down the pacing. Find one small but vivid detail to anchor the summary—just enough to keep it engaging. Challenge Mode: Rewrite it three ways: One-line summary. (Example: Their journey took three days—miserable, cold, and uneventful. ) Two to three sentences with slight showing. Full paragraph with a balance of show & tell—brief, yet immersive. Compare & contrast: Which version feels strongest? Writing Exercise #3: Finding the Balance Write a short scene (150-300 words) that naturally blends showing and telling. Guidelines: Start with deep showing (immersive detail, emotions, movement). Transition into a brief telling moment to move the pacing along. Return to showing for emotional impact in the final sentence. Challenge Mode: Swap with a critique partner (read my blog post " 5 Benefits of a Writing Buddy " here on writing buddies and critique partners) and see if they can spot the balance—do they feel it’s too slow? Too rushed? Rewrite the same scene in pure showing, then again in pure telling—how do they read differently? Try different genres. How would this exercise change in a thriller vs. literary fiction vs. fantasy? Concluding Thoughts At the end of the day, showing and telling aren’t enemies—they’re tools. Knowing when to immerse and when to summarize is what separates good writing from great storytelling. Your job as a writer isn’t to avoid telling—it’s to use it wisely. Give the big moments depth. Move through the small moments efficiently. Keep your reader engaged, not exhausted. I'd like to end this blog post with my most favorite writing quote by E.L. Doctorow:  Good writing is supposed to evoke sensation in the reader—not the fact that it is raining, but the feeling of being rained upon .   Now, tell me—do you find yourself over-showing or over-telling? For me, I'm an over-writer and believe every detail is important and so I tend to over-write and over-show. But which do you struggle with most? Drop a comment below! See you in the next blog! —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 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 . This support helps keep my website up & running, and me writing! Thanks so much for your support! 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 struggling to get that book of yours done? Do you have no one to talk to when it comes to your latest story and all of its glorious twists and turns? Worst of all, do you have no one to relate to when it comes to writing—aside from that occasional meme on Instagram? Worry not! I have a remedy for you that should help solve your problems and help you be a more productive writer so you can finally finish that book of yours. Here are the 5 Benefits of a Writing Buddy. 1. They know #ThePain. What's better than having someone who knows the personal struggles of a writer than another writer?  Nothing . Literally nothing.  There truly is nothing better in this world than having a writing oriented friend. They can relate to you in all your writing struggles because, most likely, they've been there before. What's better is that they are more than likely to listen to you blab about whatever writing project you're currently working on. And vice versa! Which leads me to my second point... 2. You can bounce ideas off of them! If you're stuck on a particular scene or chapter, you can run ideas by them and get their input! They can let you know what they think would work best for your story or how you could make your characters more interesting. They can let you know what they think of your next big plot twist or if your beloved protagonist's breaking point is believable or not. Best of all, they can help you find that word that's right on the tip of your tongue! Which goes into my third point... 3. They can help look over your work.  At some point, you have to let other people see and read your writing, or else, what's the point of writing a book? This is a truth you  have  to accept at some point or another, so who better than your writing buddy to look over your work?  No matter what stage of writing you're at, you should be comfortable enough with them to able to trust them and have them look over your work. So whether it be basic spelling, grammar, or punctuation, writing buddies can help you identify your strengths and weaknesses; and let you know where you're excelling and where you need improvement. With that— 4. They can help you improve your writing! Your writing buddy will most likely have a different, if not opposing, writing style to your own, so take that as an opportunity to experiment with your writing style.  Maybe they excel at showing, and you're great at telling without overdoing it, sharing your work back and forth will help balance each other out and improve your own writing! Which leads me to my fifth and final point... 5. Work together!  No, I don't mean collaborating on writing a novel together (but do that if you want), I mean to literally work together side-by-side and or virtually. Pick a time and date to meet up, or face chat with them, and  write . It's  that  simple. Doing so will help to create a support system in which you keep each other accountable in doing your work. Yes, writing is an activity that is primarily done  alone , but doing a writing sprint together where you're keeping each other accountable is not only crucial, but  key . Best of all, you'll both benefit from the endeavor, since you're helping to raise each other up. This is by far my favorite tip, as this has been the most helpful to me. It took me  three years  to write a little over 50,000 words, but once I truly dedicated my time to writing with a writing buddy, I went from 50,000 words to 85,000 words in just  one  month.  So don't sell yourself short by writing alone! But what's this I hear you say? "But Bair,  how  do I  find  a writing buddy?" Good question! Consider the following: Check out Discord or Facebook groups that are writing oriented. Take a writing class, and connect with fellow students. Find a writing group near you and dedicate your time to getting to know other members. Now, if already established, large communities seem a bit too daunting for you, I'd suggest checking online writing forums and asking around. Even ask around Twitter and Instagram, you may be surprised by the number of people who would jump at the opportunity. I know it may be a little intimidating, but it's WORTH IT. Looking back, I was foolish not to have gone out and found one sooner. But that's why I'm telling you right now!  Seriously , do yourself a favor and get yourself a writing buddy, they are  invaluable —you'll thank me later. I wouldn't be where I am if it weren't for my current writing buddies as they've been a great source of inspiration since they are incredibly talented, published authors. So shout out to Kimberly D. Herbstritt who has pushed and inspired me to get to where I am today. My questions to you are: Do you have a writing buddy? If so, how have they helped you? If not, are you interested in having one? Let me know your thoughts in the comments below and let me know if any of this helped! I would love to hear from you! See you in the next blog,  A hui hou~ —Bair✍︎ Want to get to know a more personal side of me, get writing FREEBIES, behind the scenes insights on my projects, and more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Want more writing content? Find me on Medium . Struggling to get your word count in? Check out my writing podcast ! Looking for an audiobook narrator? Learn more here . Support me on Ko-fi ! INSTAGRAM | TWITTER | PINTEREST Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are you struggling to write and get your word count in? When you go to sit down and write, is it difficult to get words out on the page? Or do you ever wake up regretting not writing down that idea you had that solved your novel's plot hole? Best of question of all, do you have notebooks collecting dust? Not to worry, as a fellow writer, I completely understand. You may be wondering, "How can I boost my productivity  and  my word count?" Well, you're in luck! In this blog I'm going to share with you my personal experiences with dedicating myself to using my notebooks and why I firmly believe having one is super beneficial to your writing. As well as why I believe, when used well, a writer's notebook is one of the greatest, if not the greatest, tool in a writer's arsenal. I know that sounds a bit far fetched, but hear me out! Remember all the times you've had ideas, and you said you'd write it down later, be honest, did you ever  really  do it? Once you get in the habit of using your notebook, I can pretty much guarantee you'll be addicted to using it. Here are the 5 Benefits of a Writer's Notebook. 1. Your word count will go up. During those mundane times when I get a sudden "eureka" moment, I immediately reach for my notebook and scribble down my thought, so for the following evening, when I go to write, my initial idea ends up snowballing which helps to increase my word count  drastically . So instead of writing 500 words, I write well over 2,000!  *Pro-tip:  When writing down a note, be sure to give yourself context and or necessary details so when you go back and look at it, you know what the heck you were writing about. That said— 2. You'll actually get your writing done. I'm not saying to write your entire novel in your notebook (I mean you can if you want to, you do you), but like in my previous point, keeping your notebook handy for when you get an idea can be incredibly helpful. Because when you go to plug in the ideas you've scribbled down, your word count will go up as you build on them. *Pro-tip:  To get the most use out of your notebooks, specifically for the ones you'd use for your books, first write your ideas in pencil, then once graphite is spilling from the pages, cross out all those ideas (don't bother to erase them) and then start again but in pen, writing over your old notes (see right photo for reference). 3. You can use it as a #BookBible. For those of you who don't know what a  Book Bible  is, a Book Bible, which is usually better known as a  series bible , or 'show bible,' is, in essence, an outline and or synopsis for a TV series. Using your notebook as a Book Bible can help you keep track of all the minuscule details in your novel and keep you from forgetting crucial information in your story. Using your #WritersNotebook to write down everything that happens in your stories regarding plot and basic outlines, names for future characters, characters, and character arcs, as well as world terminology, can be extremely useful when your needing to stay consistent. For more information on 'Book Bibles' and what goes into one, sign up for my newsletter and get access to my FREE Book Bible eBook (which is filled with basic worldbuilding and character development sheets). 4. It's where you can plan writerly goals and write down notes on writing and the industry. I shouldn't have to explain writerly goals part, but having your notebook around for the times you come across really amazing writing tips (like while you're scrolling through Instagram when you really should be writing...), quickly jot the writing tip down in your notebook, so you don't lose it. Or, if you come across an article on how to flawlessly execute a query letter, write the essential tips in your (surprise surprise) notebook! 5. It's where your New York Times best-selling book idea will be born! Like your phone, it should follow you wherever you go. Keep it near your person at all times, and if you can't do that, leave it by your bed, so when you have a spark of genius, you can write it down before you settle down for the night. (Fair warning, this may result in thoughts spinning on and on endlessly. Proceed at your own risk.) And on the off chance your phone dies right when you have an idea, you have your notebook handy to write down your thought! (Just don't forget a pen or pencil!) I believe what stops most people from using their notebooks is due to some subconscious thought of not wanting to potentially ruin it. So save your fancy, aesthetically pleasing notebooks for Instagram and your bookshelves and get yourself a plain notebook of inconsequence (brown or black will suffice) and begin there. Once you start writing in your notebook, COMMIT. (I know that's a scary word, but don't run away just yet!) Something else to consider is to find a size that works well with you and stick with it. Because, along with having your notebooks not be aesthetically pleasing, having your notebook be too big or too small can subconsciously deter you from using it. For example, I absolutely love and adore my plain brown, 3.5x5.5 notebook. It's small enough to take wherever I go (not that I'm going anywhere because you know,  writer . Well... does my kitchen count?) so it doesn't intimidate me since it's a good pocket-sized notebook. But it isn't so small that I quickly fill it up. I personally use (and  highly  recommend) the   RETTACY Pocket Notebook   as it has two separate string bookmarks, the pages are numbered, and (my favorite part of all) there is a table of contents at the beginning to keep track of all my thoughts and ideas!  I have two of these little beauties, one in which I write notes regarding the writing industry and writing tips, and the other I mainly use for jotting down my ideas for  my current WIP  and additional random notes for stories yet to come.  Be warned, if you're going to use more than one notebook at a time, keep track of them. So if you're going to use one notebook for your book, strictly use it for your book. If you're going to use it for bullet journaling, only use it for bullet journaling. And if you're going to use it for writing tips, ONLY USE IT FOR WRITING TIPS. This way, you don't get confused and lose ideas and valuable information.  Last but not least, my final piece of advice to you is this: Treasure your notebook like your computer or phone. It will be the birthplace of your best-selling idea, so don't lose it. I hope I have convinced you to start using your notebooks.  My question to you is:  How do you use your notebooks? Do you use them at all?  Let me know in the comments below and or let me know whether or not this helped! I would love to hear from you! Happy writing everyone,  A hui hou~ —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 . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to get to know a more personal side of me, get writing FREEBIES, behind the scenes insights on my projects, and 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 ! Looking for an audiobook narrator? Learn more here . Buy me a coffee ! INSTAGRAM | TWITTER | PINTEREST Like this post? Share the link on your social media or pin the image below to your Pinterest board !

What Your Character Thinks They Want vs. What They Actually Need Ever notice that your protagonist thinks they want something… but that thing is actually ruining their life. Welcome to the magic of character development! Every great story boils down to this: Your protagonist is wrong about what they want. They’ll fight tooth and nail for it—until your plot slaps them in the face with what they actually need. So if your character immediately gets what they want, your story is over. If they get what they need too soon, your story is boring. Your job? Make them suffer until they figure it out. If that sounds mean, well… welcome to storytelling. Great characters don’t get what they want right away—because what they want  is usually a distraction, an emotional crutch, or a full-on terrible idea. They have to struggle, suffer, and grow before they can recognize what they actually need. That’s where conflict, tension, and emotional depth come from. So let’s break it down: What your character thinks  they want. What they actually  need. How internal vs. external conflict  makes them suffer (for our entertainment). Writing exercises to help you apply this to your own characters. Table Of Contents What Your Character Thinks They Want What Your Character Actually Needs Internal V.S. External Conflict Understanding External Conflict Understanding Internal Conflict Writing Exercises Concluding Thoughts Step 1: What Your Character Thinks They Want (AKA, The Lie They Tell Themselves) Your protagonist is absolutely convinced they need [insert questionable goal here] to be happy. It doesn’t matter if that goal is revenge, validation, money, romance, power, freedom, control, or even just being left alone ( ehem , Shrek ). Whatever it is, they believe it wholeheartedly. The catch? This goal is a distraction from their real issue. Whether it’s a trauma response, an unhealthy obsession, or just plain stubbornness, they believe this external thing will solve their problems. Spoiler: It won’t. But that’s part of the fun—watching them chase the wrong dream while their actual need looms in the background, waiting to be realized (usually after significant suffering). Why Do Characters Cling to the Wrong Goal? It ’s easier. ( Why work on emotional healing when you can just overthrow a kingdom instead? ) It ’s what they’ve been conditioned to believe. ( Maybe society, their parents, or their past trauma have convinced them this is the only way. ) It ’s a defense mechanism. ( If they admit they need love, they risk getting hurt. If they admit they need to change, they risk failure. ) Examples of Characters Who Want the Wrong Thing: Ariel (The Little Mermaid): Wants legs so she can be with Prince Eric. ( Totally ignores the small detail of giving up her voice and entire identity. ) Jay Gatsby (The Great Gatsby): Wants Daisy, convinced she’ll complete him. ( Bro, no. You want self-worth. ) Elsa ( Frozen ): Wants isolation because she thinks it’s the only way to feel safe. ( It’s actually making her miserable. ) Walter White ( Breaking Bad ): Wants money for his family. ( Thinks it’s about security, but actually just craves power and control. ) Katniss Everdeen ( The Hunger Games ): Wants to survive and protect her family. ( But survival alone doesn’t fix the broken system. ) Step 2: What Your Character Actually Needs (AKA, Their Emotional Growth Arc) What they want is external, but what they need is internal—self-worth, healing, purpose, connection, acceptance. This realization doesn’t come easily; it’s usually forced upon them through conflict, failure, or loss. The moment they realize that their original goal was a coping mechanism, not a solution, is the moment their true arc begins . Whether they embrace this need (hello, satisfying character growth) or reject it (cue tragic downfall) is what makes stories so compelling. What your protagonist wants is external. What they need is internal. At some point (preferably after suffering), they realize their goal was shallow, toxic, impossible, or entirely missing the point. The true emotional resolution comes from getting what they need instead. Common “Wants” vs. “Needs” in Character Arcs: What They Think They Want What They Actually Need Revenge Closure & healing Love from the wrong person Self-worth & self-love Power Connection & trust Money/success A sense of purpose Isolation True safety & belonging Control Acceptance of uncertainty Examples of Characters Who Finally Get It: Ariel ( The Little Mermaid ): Learns her voice is more valuable than her legs. Gatsby ( The Great Gatsby ): Well… he doesn’t actually learn. He dies clinging to the illusion. But that’s why it’s a tragedy! Elsa ( Frozen ): Learns that love and connection, not isolation, give her control over her powers. Walter White ( Breaking Bad ): Learns… nothing. His refusal to change is what makes his downfall so compelling. Katniss Everdeen ( The Hunger Games ): Learns that survival alone isn’t enough—she must fight for something bigger. See this blog post here to get more ideas for internal & external conflicts. Step 3: The Role of Internal vs. External Conflict (AKA, Why Writers Are ✨Evil✨) A great story doesn’t just hand the protagonist what they need—it makes them fight for it. External conflict throws obstacles in their path, stopping them from reaching their goal, while internal conflict forces them to confront their own flaws and fears. Maybe they want love but push people away. Maybe they want revenge but struggle with guilt. The best stories make them wrestle with both—because the world isn’t just against them, they’re against themselves, too. Now that we know what they want vs. what they need, how do we make them suffer properly? External Conflict (The World Says “No”) External conflict is everything outside of the character that stands in their way—antagonists, society, nature, or even fate itself. It’s the physical, visible challenges they must overcome to get what they want. Whether it’s a ruthless villain, an oppressive system, or an impending apocalypse, external conflict keeps the plot moving. But the best stories weave internal and external conflicts together—forcing characters to confront not just the world, but themselves. Internal Conflict (The Character Gets in Their Own Way) Internal conflict is the battle happening inside your protagonist—the emotional turmoil, doubts, fears, and contradictions that shape their decisions. It’s driven by their wants vs. needs, unresolved trauma, or deeply held beliefs that the story will challenge. A hero might want revenge but secretly crave peace. A loner might insist they don’t need anyone, yet fear being truly alone. This inner struggle creates depth, making characters feel real, flawed, and human. This is the emotional struggle—their flaws, fears, and deep-seated issues that make achieving their goal impossible until they change. Why Both Conflicts Matter: External conflict keeps the story moving. Internal conflict makes it meaningful. The best stories force characters to confront both. Writing Exercises Now that we’ve explored how internal and external conflicts shape a character’s journey, let’s put this into practice. Understanding the difference between what your protagonist wants and what they actually need is one thing—applying it to your story is another. The best way to internalize these concepts? Get your hands dirty and start writing. Below are some exercises to help you craft deeper, more compelling character arcs. Writing Exercise 1: The False Goal Write down your protagonist’s main goal at the start of the story. Now ask yourself: Is this goal external (money, revenge, love, power) or internal (self-worth, acceptance, purpose, healing)? What happens if they get this goal immediately? ( Does it actually make them happy, or does it lead to a hollow victory? ) What flaw, belief, or fear is making them chase the wrong thing? Writing Exercise 2: The Need They’re Avoiding What lie does your character believe about themselves or the world? What lesson must they learn before they can grow? What moment in the story forces them to confront this truth? Do they accept the truth and change—or reject it and face consequences? Writing Exercise 3: Conflict Breakdown What external force is actively stopping your protagonist from getting what they want? What internal fear or flaw is making them sabotage their own success? What’s a moment in your story where these two conflicts collide? Concluding Thoughts At its core, every great character arc is a battle between what they want and what they truly need. The tension between these two forces drives the story forward, deepens emotional stakes, and makes the resolution satisfying—whether it’s triumphant or tragic. The key is to let your protagonist struggle, fail, and learn (or refuse to). The harder they fight for the wrong thing, the more impactful it is when they finally see the truth. So go forth, make them suffer, and craft arcs that hit your readers where it hurts—in the best way possible. Ask Yourself: What does my protagonist think will solve their problem? What deeper emotional truth are they avoiding ? How does external conflict challenge their want? How does internal conflict force them to change? Your Turn! Drop a comment below: What’s a great example of a character who wanted the wrong thing? Or better yet, tell me how your own protagonist is currently ruining their life. Let’s talk about it! “The greatest conflicts are not between two people but between one person and himself.” – Garth Brooks Now get to writing, I believe in you! —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 !

Why do some characters feel real and compelling, while others fall flat? Often, it comes down to motivation—what a character wants, why they want it, and how far they’re willing to go to get it. Maslow’s Hierarchy of Needs is a psychological framework that can help writers understand what truly drives their characters at a deep, human level. Helps you to get deeper into the psychology of your character to better understand your characters, your character's motivations, their psychology, and help you understand where they are in their journey and what path they are on. In this post, we’ll break down how each level of Maslow’s hierarchy shapes a character’s desires, fears, and decisions, and how you can use it to craft richer, more believable character arcs. Table Of Contents What Is Maslow's Hierarchy of Needs? Physiological Needs Safety Needs Love & Belonging Esteem Needs Self-Actualization How To Apply The Hierarchy To Characters Where Do Your Characters Start? Want V.S. Need Conflict On The Pyramid Writing Exercises Concluding Thoughts Understanding Maslow’s Hierarchy of Needs For Characters What Is Maslow's Hierarchy of Needs? If you've never heard of Maslow's Hierarchy of Needs, it is a psychological theory developed by Abraham Maslow in 1943, outlining the stages of human motivation. It is often depicted as a pyramid with five levels, each representing a different category of needs that drive human behavior. At the base are physiological needs like food, water, and sleep—essential for survival. Once those are met, people seek safety needs, such as financial security and physical protection. Higher up, individuals crave love and belonging, forming deep relationships and communities. Beyond that, they strive for esteem needs, seeking recognition, self-worth, and achievement. At the top is self-actualization, where a person pursues purpose, creativity, and personal fulfillment. Maslow theorized that as lower-level needs are satisfied, people become motivated by higher aspirations. In storytelling, this framework helps define character motivations, conflicts, and arcs, as characters evolve based on what they desire most. Illustration of Maslow's Hierarchy of Needs, depicting the pyramid from basic physiological necessities to self-fulfillment, with artistic elements like a typewriter and open book enhancing the visual presentation. Here’s a breakdown of the five levels and how they can shape a character’s journey. 1.) Physiological Needs – Survival at All Costs (The Base of the Pyramid) At the most basic level, every human (and character) is driven by the need to stay alive. These are essential needs like food, water, air, shelter, sleep, and physical health—without them, nothing else matters. When a character is stuck at this level, their entire focus is on survival, meaning they won’t have the luxury of worrying about self-worth, relationships, or personal growth. Their choices will be instinctive, desperate, and often reckless because the stakes are life or death. This level is common in survival stories, post-apocalyptic settings, war narratives, and dystopian fiction. A protagonist who has been thrust into the wilderness, trapped in a deadly competition, or fleeing a dangerous enemy will be primarily focused on securing these physiological needs before anything else. Example: Katniss Everdeen (The Hunger Games) isn’t initially concerned with rebellion or love—she just wants to survive and protect her family. Mark Watney (The Martian) spends most of the book solving one problem at a time: How do I get food? How do I make water? How do I not die on Mars? How This Shapes a Character: Their decisions are purely instinctual—survive or die. They have no time for deep emotions or complex relationships if their immediate survival is threatened. They may develop resourcefulness, resilience, and quick-thinking skills to navigate life-threatening situations. 2. ) Safety Needs – Stability & Security Once survival is secured, characters shift toward seeking safety and stability in their lives. This includes physical safety (protection from danger or harm), financial security, law and order, and overall stability. Characters at this stage are driven by the desire to avoid risk, establish control, and protect what they have. This need often creates internal conflict in characters who must choose between playing it safe or taking a risk. A character clinging to safety may refuse adventure, turn down opportunities, or even betray others to maintain their sense of security. Example: Bilbo Baggins (The Hobbit) starts his journey in a safe, comfortable home and is deeply resistant to adventure at first. Walter White (Breaking Bad) is initially motivated by his need to financially secure his family’s future after his cancer diagnosis, leading him down a dangerous path. How This Shapes a Character: If they are too attached to safety, they may struggle with stepping outside their comfort zone. They may hoard wealth, manipulate situations, or even lie to protect their stability. If safety is suddenly taken away, they may become desperate, paranoid, or reckless in an attempt to restore it. 3.) Love & Belongi ng – The Search for Connection After securing stability, characters begin to crave emotional connections—whether through friendships, romantic relationships, family, or a sense of belonging. This is where many deep internal conflicts arise, especially in stories where characters struggle with abandonment, rejection, or trust issues. A character at this stage may feel lonely, disconnected, or desperate for approval. They might go to extreme lengthsto maintain a relationship, or they may push others away out of fear of getting hurt. This level is particularly relevant in coming-of-age stories, romance, found-family narratives, and redemption arcs. Example: Elsa (Frozen) isolates herself because of her fear of rejection, but deep down, she longs for connection. Harry Potter doesn’t just want to survive the Dursleys—he craves friendship, love, and a true home. Dom Toretto (The Fast & Furious series) is motivated not by money or power but by his loyalty to his found family. How This Shapes a Character: If they lack love, they may become cold, detached, or afraid of vulnerability. They may chase relationships or approval to an unhealthy degree, leading to codependency. Their biggest fear might be abandonment, betrayal, or rejection. 4.) Esteem Needs – Respect & Recognition Once a character feels loved and accepted, they start to seek self-worth, respect, achievement, and recognition. This can take many forms—career success, proving themselves to others, gaining power, or earning admiration. Some characters want status and prestige, while others simply want to feel valued for who they are. This is where ego, pride, and ambition come into play. A character’s self-esteem might be tied to external validation—making them susceptible to arrogance, insecurity, or self-destruction if their status is threatened. This is common in rivalry stories, tales of ambition, and tragic character arcs. Example: Tony Stark (Iron Man) starts as a man who thrives on validation, status, and being the smartest person in the room. Jay Gatsby (The Great Gatsby) is obsessed with wealth and prestige, believing it will win him Daisy’s love. How This Shapes a Character: They may struggle with imposter syndrome, fear of failure, or arrogance. If they lose status, they might experience a crisis of identity. They might start out believing external success = happiness, only to realize true self-worth comes from within. 5.) Self-Actualization – Becoming Who They’re Meant to Be At the top of the hierarchy is self-actualization, where a character is no longer motivated by external factors (survival, security, relationships, or status) but by their own internal purpose and fulfillment. They seek to become their best selves, live authentically, and leave a lasting impact. This is often the end goal of a protagonist’s journey. They start off chasing something external (money, love, revenge, power) but eventually realize what truly matters. In contrast, tragic characters never reach this stage, remaining stuck in their lower-level needs. Example: Moana starts by wanting to follow her family’s traditions, but she realizes she must embrace her destiny and explore the ocean. Aang (Avatar: The Last Airbender) has to accept his role as the Avatar, despite wanting to run from responsibility. How This Shapes a Character: They stop being driven by fear, approval, or ambition and act out of purpose and wisdom. They often reach clarity about their true self, completing their arc. Their transformation may inspire or impact others, showing their growth. How to Apply Maslow’s Hierarchy to Characters Characters, much like real people, don’t wake up one day thinking, “I need self-actualization.” They start at the bottom—hungry, afraid, or longing for connection—and climb the hierarchy as their story unfolds. A character’s arc is often about moving up the pyramid, whether they realize it or not. That lone mercenary scavenging for scraps (physiological) might one day become a reluctant hero fighting for a cause (self-actualization). A street thief (safety) may only seek survival at first, but along the way, they might stumble into an unexpected found family (love & belonging). And sometimes? A character never reaches the top. Tragic heroes, villains, and even anti-heroes often get stuck in lower levels, unable to move forward because of fear, ambition, or self-doubt. By aligning your character’s desires, struggles, and ultimate growth with Maslow’s hierarchy, you can craft a journey that feels authentic, emotional, and deeply human. So now that we understand the five levels of Maslow’s Hierarchy, let’s explore how they shape a character’s journey. Characters rarely recognize their needs explicitly, but their struggles, motivations, and ultimate growth often align with this pyramid. A survival-driven character (Level 1) might start out only concerned with their next meal, but by the end of the story, they may rise to fight for a cause greater than themselves (Level 5). A power-hungry villain (Level 4) may spend an entire story chasing status and validation, only to realize too late that what they truly needed was love and belonging (Level 3). Some characters climb the pyramid, while others tragically fall—either way, their needs dictate their actions, shape their internal conflicts, and drive their arcs. Where Does Your Character Start? Before crafting a character arc, ask yourself: "where do my characters start on the hierarchy?" Are they struggling for basic survival, seeking safety, longing for love, or chasing prestige and recognition? Are they focused on survival (Level 1), stability (Level 2), or something higher? What need is currently driving their actions? What Do They Think They Want vs. What They Actually Need? Many characters believe they know what will solve their problems, but what they want isn’t always what they need. This tension is key to creating compelling character arcs. External Goal: What the character believes will fix their life. Internal Need: The deeper, often unrecognized truth that will actually fulfill them. Example: Elsa (Frozen) thinks she needs isolation to feel safe (safety needs), but what she actually needs is love and acceptance (belonging needs). Walter White (Breaking Bad) thinks he needs money to secure his family’s future (safety needs), but his true craving is power and control (esteem needs). Reflection Question: How does the story force your character to realize what they truly need? How Does Conflict Push Them to Climb the Pyramid? Great character arcs don’t just happen—conflict forces characters to evolve. Whether it’s internal struggles, external challenges, or life-changing events, something must disrupt their status quo and challenge their priorities. As characters grow, their needs shift up the pyramid. In a tragedy, a character may fail to grow and instead fall lower. Example: Katniss Everdeen (The Hunger Games) starts at physiological needs (finding food for her family). As the story progresses, she moves through safety, belonging, esteem, and ultimately, rebellion and self-actualization. Jay Gatsby (The Great Gatsby) remains trapped in esteem needs (status and wealth), never reaching self-actualization, which leads to his downfall. Reflection Question: Does your character naturally move up the pyramid, or do they cycle between levels? Writing Exercises for Maslow’s Hierarchy of Needs Exercise 1: Climbing the Pyramid – Character Growth Through the Hierarchy Pick a character and map out their progress through Maslow’s hierarchy. Where does your character start (survival, safety, love, esteem, or self-actualization)? What external event or conflict forces them to move up? Do they get stuck at a level? Why? What final moment or realization helps them grow—or keeps them from evolving? Example: Katniss starts at survival → moves through safety and belonging → struggles with esteem → reaches self-actualization as a revolutionary leader. Reflection Question: Does your character climb the pyramid naturally, or are they resistant to change? Exercise 2: What Do They Think They Want vs. What They Actually Need? Many characters pursue the wrong thing, believing it will bring happiness. This exercise helps define their false belief vs. true need. Write down your character’s external goal (what they think they need). Identify their internal need (what will actually fulfill them). Determine which Maslow level aligns with this need. How does the story force them to realize this truth? Example: Jay Gatsby thinks he needs Daisy’s love (esteem needs), but he actually needs self-worth and acceptance of the past (self-actualization). Elsa believes she needs isolation (safety), but her true need is love and connection (belonging). Reflection Question: How does your character’s journey shift their understanding of their true need? Exercise 3: The Pyramid Reversal – When Characters Fall Instead of Rise Not all stories are about growth—some are about destruction. Write about a character who descends Maslow’s hierarchy instead of climbing it. Identify where they start on the pyramid (e.g., a respected leader at esteem needs). What event shatters their progress and pushes them down? Do they recognize their fall, or are they in denial? Can they recover, or is their descent permanent? Example: Anakin Skywalker begins with esteem and purpose, but his fear and anger pull him down to safety and survival. Walter White starts at safety (providing for family) but descends into power obsession (esteem) and finally collapses back into survival mode. Reflection Question: What was the turning point where your character could have changed but didn’t? Exercise 4: The Missing Need – What’s Holding Them Back? Some characters never reach a specific level—and that’s what defines them. This exercise helps uncover what’s missing. Pick a character from your story. Identify which Maslow level they struggle to fulfill the most. How does this unmet need shape their fears, relationships, and actions? Will they ever reach this need, or will it always remain out of reach? Example: Batman is stuck in love & belonging—despite his found family, he isolates himself. Snape never fully reaches self-actualization—his identity is forever tied to past wounds. Reflection Question: If they fulfilled this need, how would it change them? Exercise 5: The Pyramid in a Single Scene A single scene can reveal where a character stands on the hierarchy. Write a moment where a character confronts a key need. Choose a Maslow level that’s driving your character. Introduce an obstacle that challenges this need. Show how they react—do they fight for it, abandon it, or compromise? Example Prompts: Physiological: A character stranded in the desert, facing starvation. Safety: A mother hiding her child during a war. Love & Belonging: A soldier returning home, unsure if they still fit in. Esteem: A musician competing for the opportunity of a lifetime. Self-Actualization: An inventor realizing their purpose isn’t fame, but changing lives. Reflection Question: How does the resolution of the scene impact their long-term character arc? Concluding Thoughts At its core, storytelling is about transformation. Whether a character is fighting to survive, searching for belonging, or striving to fulfill their purpose, their journey is shaped by their needs. Maslow’s Hierarchy of Needs offers a roadmap for character motivation, showing us why they act the way they do and how they evolve through conflict. Not every character climbs to self-actualization—some stay stuck, others fall, and a few never realize what they truly need. But understanding where your character stands on this hierarchy can help create depth, emotional resonance, and organic growth that makes them feel real. The best stories are not just about what happens, but why it matters. When you craft characters whose struggles mirror the fundamental needs of human nature, you create narratives that connect with readers on a visceral level. All great characters are driven by desire, but what they want is rarely what they truly need. – John Truby     Let me know if this blog post was helpful! I wish you all the success with your writing! —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 . This support helps keep my website up & running, and me writing! Thanks so much for your support! 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 !

This is long overdue, but I'd like to introduce the Two Tired Writers Podcast! Two Tired Writers Podcast is a writing podcast that I created back in the summer of 2020 with my best friend Kimberly D. Herbstritt during the midst of the pandemic when we had nothing better to do. Read here to learn more about our story and our fateful meeting during a rainy October day in 2019.  Linked above is our debut episode where we tell you what the show is all about! Much of the first season is us goofing around trying to figure out what we wanted get out of the podcast but the second season is much more put together and cohesive. But before a I ramble further, here's the podcast's pitch: Two Tired Writers Podcast is an inspirational and motivational show geared towards fiction writers, authors, and creatives to help you unleash your inner storyteller. Here we challenge the listeners to write for twenty minutes in our Write Alongs (writing sprints), where after we encourage you to send in writing prompts for the Write-Alongs or submit your flash fiction for a chance to win a shoutout on our social media, or to be featured on our website. Each episode will be dedicated to various elements and steps of the writing process. Listen for writing tips, tricks, and tools to help you take your creative writing to the next level. Listen on your favorite podcast app to get tip and tricks for you writing. Check out our website to sign-up to our newsletter to get notified when we upload a new podcast episode and to get podcast update. Let me know your thoughts on the podcast in the comments below! 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 !