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How to describe scenes and not bore the reader while trying

The description of characters and settings turns out to be one of the hottest points in literature and one of the most common problems for writers.

How far should I describe scenes to correctly help the reader imagine the surroundings?

There are stories that due to their extension it is illogical that they carry too much description, such as: short stories or micro stories. However, the rest of the stories do not have difficulties to generate a good description of their characters, their settings, emotions, sensations and others.

The important thing is to know how to describe and when to do it without going to extremes, in which either it is not described at all or it is described too much and in a single instant. Today many authors adopt this form of description:

... Hello my name is Nathan, I am dark, tall of 1.80 meters, brown hair and blue eyes, neither very muscular nor very thin ...

Although the previous example does not have an error per se, for the reader that kind of mechanical description is quite shocking, take the time to develop the characteristics of your character at different times or in a more natural way

Fifteen years ago I was born and my parents had the idea to call me Nathan, no idea why that name, perhaps because my blue eyes reminded them of my grandfather, who had the same color of orbs and that name of wealthy man. However, only the eyes are similar, because where he was pale as snow, I am dark ...

The same happens with the scenarios, it is not the same to describe.

The sky is blue, the car that takes me to school is black, and the neighboring trees are green.

To describe:

When I left the house, the first thing I noticed was the totally cloudless sky, which made its blue look more vibrant than other days, while making the black car that was waiting for me to travel to school shine, the trees of the neighboring gardens absorbing in their green leaves the energy necessary for their splendor.

Now, we must also talk about the other side of the coin. At what point does the description become so extensive that I chase readers away from too much character or setting development?

Let's put the previous example of the blue sky and make a more extensive description:

When I left the house, closing the door behind me and going down the seven steps, the first thing I noticed in the sky was the totally cloudless sky, there were no cirrostratus, nor high-strata, much less cumulonimbus clouds that obstructed my view, which generated that his blue looked more vibrant than other days, at the same time that the car was shining, my father's black 2019 Porshe Gt Gembala, who had been waiting for me for fifteen minutes on the sidewalk of the house to travel to school, that boring place the one he hated to go to. Trees of all types and sizes, from neighboring gardens of which he did not know the names, were absorbing in their green leaves the energy necessary to generate their photosynthesis process.

Observe how the description made mainly in four lines, becomes a paragraph of nine lines that may hold the attention of some brave, but that in the majority of readers will create a fatigue for the extensive reading of an action as simple as leaving from home and take a car to school.

In conclusion, the description is a very important element in the story and the good handling of it can trap the reader, transport him to the exact place and make him feel the same way the protagonist feels in a specific scene. Everything will depend on the way the writer does his descriptive work.

Finding a middle point between lack and excess is preponderant, read aloud what you write and imagine the scene according to the words you have already put down on paper, so that you are the first to judge if you lack a little more detail or if on the contrary you are detailing too much.

The character and scenario cards will help you to have your ideas of how each element looks and it will be easier to then go to the description within the story, Manage your limits and find your ideal point of description, it will develop you as a writer and your readers will appreciate it.

Written by Janeth Velázquez. (@jancev)

15 Juillet 2020 00:24:49 0 Rapport Incorporer Obtenir un financement participatif de cette histoire 4

What type of writer are you?

Dear writer, if you have come this far it is because you have already written one or more stories, either because you have a very anxious mind and full of ideas or because you previously prepared to write your book, no matter how you came to the universe of the writing, the essential thing is to give yourself tools that help you improve every day in what you like to do the most, which is writing.

In this post we will not address your story or what rules you must follow to write it, in fact, it is about teaching you a little about yourself as a writer, because many of us started as paratroopers in this field and after a long time of stumbling, there are things simple that we do not know.

So, at this point, the question you should ask yourself is: What kind of writer am I?

If you know, I congratulate you, you have done your homework properly, if you do not know, congratulations, you are in the right place to learn it.

Perhaps on some occasion you managed to hear the phrases "Writer of Compass" or "Writer of Map", because in principle, this classification was established by Javier Marias, Spanish writer and member of number of the Royal Spanish Academy, and is currently the most used when talking about what kind of writer you are.

Compass Writer:

With a compass writer we mean the writer who, having the idea in his head, leaves on the way to the excessive writing of his story, without knowing very well where it will lead him, what will really be the central problem, or even what will be the End of the story.

Most of us when we started writing, we have been compass writers, divine inspiration has come to us with a phenomenal idea and we have run to the notebook, to the phone notes, to the Tablet or to the computer to download what has happened to us by the head.

Writing with a compass is going where the wind takes us, we feel free and without any kind of weight or ties, that should make our writing smooth and fluid.

In this impetuous path we forget or do not give importance to make a detailed outline of what we want from the story or the characters and in the end, it may happen that by not specifying, then we can not continue due to lack of foundations that would keep our idea strong and live.

How many has happened to her that the protagonist in the first chapter is 1.50 and has green eyes, and halfway through the story, we describe her taller and with blue eyes?

That comes to be one of the problems of being such a free writer, the lack of annotations leads us to error.

An example of a compass writer, and you may find it strange for the magnitude of the characters, is Stephen King, who we know has written countless stories that make our hair stand on end.

Map Writer:

The other side of the coin is the map writer, that writer who, in order to develop the story he has in his head, goes through a long process of preparation, planning the story, establishing chapters, character cards, creating scenarios or worlds as the case may be, among many other data you need to start writing.

Writing with a map reveals the meticulous nature of its author and the commitment he puts into every detail. This type of writer knows what he wants and how to get to his goal.

And although it sounds wonderful, when it comes to remembering and not making mistakes with the essential data of your story, this form of writer also has its weaknesses.

Sometimes the writer becomes so engrossed in planning the details that by the time he decides to start the story himself, he is already exhausted or may even spend years creating his “map,” his outline of the story, and not having actually written a single chapter. Or even, restrict your own creativity to adjust to what you already have set.

We emphasize, not all cases are the same, there may be compass writers who if they finish their stories based on their inspiration and are genius, as well as map writers who do not stop themselves planning excessively and create masterpieces.

An example of a map writer is James Dashner, the author of The Maze Runner trilogy, who confessed in an interview that when he started the first book he had even established what the end of the saga would be in the third book.

Is it wrong to be part of one stream or the other? Is one of the guys better than the other?

Not at all, everything will depend on what best suits your needs and the commitment and commitment you place on your story. Each of the types has its benefits and it is up to you as a writer to take from each one what seems beneficial to you.

Perhaps they are not one of the two types, but a mixture of them, that which we shall call a mixed writer; a free writer who doesn't rally his brains by planning scenes or chapters in advance, but who does keep a character file and a timeline of relevant events or if he plans his story long enough but not so meticulously as to stray into an endless loop .

So, "compass writer", "map writer", "mixed writer". I know what you want to be and enjoy writing to the fullest, surely there will be many people waiting to read what you have to offer, but always remember that the first thing you should please is you.

Written by Janeth Velázquez. (@jancev)

30 Juin 2020 00:23:07 0 Rapport Incorporer Obtenir un financement participatif de cette histoire 4

How to create your protagonists characters

In a novel we will always have our protagonist and main character; that person with whom we identify in the story; that character we live their moments of anger, happiness, rancor and fear; that character with whom we get to empathize or sometimes hate. But not all stories have a single protagonist.

Stories with Multiple Protagonists:

Something we must take into account is that, in a story with multiple leading characters, it is that in each of them there is a background, a story behind them, as well as a different purpose, but just as important.

They hold their own goals as paramount, they have their own bumps and their own consequences for their actions. Each of them are different from each other, but always keeping something in common.

Unique and different:

Our protagonists always have to stand out in one way or another. They have to keep something that sets them apart from the rest of the characters, be it physically or mentally, always open something unique in our characters.


This is a fairly important piece of information. In a story we always look for logic and coherence, especially on the part of our iconic protagonist, not that we want our beloved protagonist where his favorite food was pizza, sooner or later he will detest it.


We want a character who is active, a character who feels cry, screams, who thinks for himself. A character that does not have any of these characteristics is a flat and meaningless character, a character that we will not empathize with. And that is not what we want.


A main character should always have a goal in mind or at least something that drives him to be in the story either: an adventure, revenge, love, or for simple monetary interest. There must always be something that drives you into the plot of the story.

Ethics and Morality:

Morality and ethics on the part of the protagonist, something that has been discussed a lot in the plots, I am not saying that the protagonist must be a saint, to me personally a protagonist who carries that moral label on his shoulder would not be one to empathize with .

We must understand that what is labeled as fair will not always agree with the rest of the characters. A protagonist does not necessarily have to be a vigilante for humanity. But neither should we make him a villain in himself. We must create a moral limit, depending on the personality we give him, without derailing his character in the story, otherwise it would not make sense.

Perfections and imperfections:

A perfect protagonist, is a character that personally chooses me to get bored, so a character that has a few other problems is a gem that is polished throughout the story.

Mystery in the plot:

A protagonist who has a background behind him is a part that stands out, as it is discovered or in the course of history.

I hope and you liked it. @tania9305

15 Juin 2020 01:18:59 0 Rapport Incorporer Obtenir un financement participatif de cette histoire 5

The narrative ellipsis

The narrative ellipsis is a literary resource that is used to remove information or an event that occurs in a story. This can be done for various reasons, specially when playing with time sequences, space, or information, since it is very easy to have your characters move from one place to another without having to narrate the trip they have made; as well as going from one date to another.

Using this resource, an author can prompt a reader to react in certain ways that will make him/her want to continue to read. This conscious elimination of information is supported by the theory of "less is more", in this way we do not overload the script and we avoid that the readers get tired in so much detail. The greatest part is that story's continuity is not lost.

Is the use of this resource recommended?

Yes, of course. When creating a story, not everything that is planned is added, in order to avoid overloading it with unimportant details. In addition to that, this planned "intrigue" has a very important role in the overall story. If we tell the reader everything he has to know, we would be taking away the opportunity to leave things to imagination, which can cause any reader to get bored and quit reading.

When can we use this resource?

Whenever you want as long as it is used with a purpose and without abusing of it

Some cases can be:

  • To speed up the pace of the story.
  • To avoid overloading a scene with information.
  • To intrigue the reader.
  • To avoid repeating what happened in the scenes.
  • To achieve fluidity of the story.

Written by Taty Calderón. (@iamtaty)

31 Mai 2020 18:12:50 0 Rapport Incorporer Obtenir un financement participatif de cette histoire 4
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