#1: The one phrase I’ve yet to see within this discussion is “Write what you know.”
You may not have ever had sex, so don’t start by describing a hot, steamy sex scene. Write about how frustrated the protagonist is, give them faults and an underlying series of problems that they figure will all magically be solved just by getting laid.
You may not have ever dated/married/broken up/divorced. So don’t write about that, and instead focus on what you do know - seeing that person you feel something for, how hard or tough it is just to speak to them, how stupid whatever you say or do makes you feel.
You may not have ever experienced being crushed by a sixteen-foot tall woman, been pissed on, used for sex without consent, or even been kissed. So, instead of writing from a presumed knowledgeable starting point, see if you can mimic the same feelings. Lift something stupidly heavy, spray yourself with water, take a crowded train, ask a very close friend or family member for a kiss on the cheek.
Write what you know - if it hasn’t happened, then write about how it hasn’t happened, because, that’s what you know. Take the time to get into the mindset of what it is you’re trying to explain to those of us who haven’t experienced it from your side before.
#2: If you self-insert into the story, don’t make them the protagonist.
I want to be the lucky guy, the hero; I don’t give a flying fuck about
you. Name-choice is always good, but take it a set further! Barely describe your main protagonist, leave it up to the reader to see how they look, and use vague, general terms to describe them (ex.
Tall, broad-shouldered, slightly heavyset, etc.)
If you do need to self-insert, make it small, forgettable, and unimportant. Most of my self-inserts in what I write are self-deprecating, a one-off joke, and gone. They hold no bearing or weight on the overarching plot.
#3: Never write for
them, but for you. If you find enjoyment from the story, then nothing else even matters in the long run. There was an earlier post here that said you shouldn’t over-detail the exposition. Nuts to that, I’ll write a sixteen-paragraph section devoted entirely to what the three girls in the scene are wearing, their meals, the time of day, where they are, what they’re talking about, and transfer point-of-view between all three of them to let the reader know
exactly what is going on.
Which sounds better to you:
Jane, Samantha and Lisa sat outside eating lunch, talking about nothing, waiting for the bell to ring.
OR
Jane, her long black hair tied tightly up into a ponytail, brushed a bead of sweat from her forehead, the hot sun and large, black sweater an unfortunate combination. She wished she were more carefree like her best friends, Samantha in her mini-skirt and t-shirt, Lisa with the strapless sundress that emphasized her pert breasts; she was too ashamed to broach the subject, eagerly awaiting the end of lunch.
The first section left it all up to you to decide what was going on. But I want you to see that Jane is not comfortable, that she envies her friends, that she wishes she were more like them, that it’s hot outside, and she wanted to go inside without causing a fuss.
Write for you, and nuts to those who skip or say that you should “Show, not Tell”. G.R.R.M. has spent pages of his amazing books about battles and wars and dragons to discuss what was being eaten, what the sigils of the houses are, what people wore, etc. Tell me what you see, because if you don’t, I may assume something very different.
#4: Don’t write massive walls of text like this, people don’t like it. Can’t rightly say why, really, when a book is just over overly massive block of text with no pictures in it, but... nobody ever said that every person is smart, either