One of the first difficulties a writer encounters is their limited vocabulary for ordinary words. These are the objects

An easy way to structure your story and generate interesting characters is to give your character something they want. Start with a desire that is not physical — say “love” or “understanding” or “a sense of accomplishment.” Then, take a physical object and make it a metaphor for what your character desires — a ring or a dress or a new laptop. Finally, place an obstacle between the character and the object (better yet, another character) and see what happens.

One of the best ways to do this is to create a character and give them two attributes. Then, devise a plot that forces them to choose between their two characteristics. George R.R. Martin does this very well. In A Game of Thrones, we know that Ned Stark holds his honor in high esteem. He also loves his family. Through the events of the novel, Ned must choose between upholding his integrity or protecting his family. The external conflicts play out within the character of Ned Stark.

One character rarely carries a story by themselves. Other characters push and pull, too. Good dramatic action pits two characters against each other. They want something, and the other character stands in their way.

The best way to account for all of them is to think of your fiction as a dream. You want to make sure the dream is fluid and has its internal consistency (it need not be “realistic,” but it must conform to the reality it expresses, in its terms). All of the above mistakes jar the reader out of the dream, reminding them that they are reading and breaking the fluid stream of images in their head.

When you read, pay attention to the words the writer deploys. Underline the ones you do not immediately recognize. Practice using particular words in your writing. The serious writer will learn other languages, too. Words cross-pollinate across cultures, and learning another language will improve fidelity with your native tongue.

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irst disagreement, notice how your partner responds or reacts to you. Do they care about how you feel? Are they present? Are they aware of your feelings? Do they see your perspective? Do they make you feel understood and respected? — If the answer is no, they’re not suitable for you.

Brand names are helpful, too. A character who wears Gap is worlds away from one who wears Gucci. A Timex is not a Cartier. Think about what kind of coffee your character drinks, the brand of cigarettes they prefer. The easiest way to build this skill is to notice it in your life. Pay attention to the brands and objects your friends and acquaintances use and what that says about them.

“In the work of beginning writers, especially those weak in the basic skills of English composition, the usual mistake is that the writer distracts the reader by clumsy or incorrect writing.” — John Gardner

According to John Gardner, writers all employ the same trick: creating a dream and putting it in the reader’s mind. Bad writing pulls the reader out of the dream and makes them aware that they are reading. Gardner identifies these seven common forms of clumsy writing in his book The Art of Fiction:

Starting with the embedding of a word (W) from the input text, we need to somehow find a way to measure the importance of every other word embeddings (Wn) in the same text (importance with respect to W) and to merge their information to create an updated embedding (W’).

Beginner writers usually have one of two problems. First, they try to describe everything in detail. The story slows down and gets boring quickly. Second, the reader fails to describe things in any detail, and the story feels “far away” and abstract and hard for the reader to imagine.

Self-attention will linearly project each word embedding in the input text into three different spaces, producing three new representations known as query, key and value. These new embeddings will be used to obtain a score that will represent the dependency between W and every Wn (high positive scores if W depends on W’ and high negative scores if W is not correlated with W’). This score will then be used to combine information from different Wn word embeddings, creating the updated embedding W’ for the word W.

No fledgling writer will succeed at avoiding all these pitfalls all the time. You will naturally avoid some of them, but others will be your Achilles heel, popping up in your writing again and again. You must learn to recognize your faults and vigilantly correct them.

It is useful for the writer to learn architectural terms, flora and fauna of their region, and the terms of the profession or hobby of their characters (if a character is a tennis player, they should speak fluently in those terms: serve and net, ace, approach shot, breakpoint, etc.). As a writer, it is your job to research and deploy specific terminology where appropriate.

When creating characters, think about what the character would notice. A fashion designer might notice everyone’s clothes and how they fit and not necessarily the wall’s colors. Whenever you need to describe something in your story, it’s an excellent opportunity to do some character work. Describe the scene as the character would notice it. Always try and get your sentences to do double duty.