Ask the Author: Veronica Roth
Answered Questions (37)
Veronica Roth
I majored in creative writing at Northwestern University, but the creative writing major at NU is an english literature degree with a focus on creative writing (which is a small program you have to apply to). The reason I think it's important to acknowledge that is that reading and studying literature is essential to the study of writing, not simply working on the writing itself.
As a result of that philosophy, I do not think you need to study anything in particular in school to be a writer. Actually, studying something else, anything else, can be hugely beneficial. The wonderful thing about writing is that everything-- EVERYTHING-- feeds it and makes it richer and more interesting; there is no wasted endeavor when it comes to your studies and writing. So no, I don't think you need to take visual and performing arts courses in high school, I don't think you need to major in writing. If you want to get better at writing, read critically, study story, and practice, practice, practice. That's it. That's all you need.
Some of the best conversations I have ever had about writing have been with a friend of mine who didn't graduate high school. So it's not about your education-- it's about you, and the work and time you put into the craft of writing.
As a result of that philosophy, I do not think you need to study anything in particular in school to be a writer. Actually, studying something else, anything else, can be hugely beneficial. The wonderful thing about writing is that everything-- EVERYTHING-- feeds it and makes it richer and more interesting; there is no wasted endeavor when it comes to your studies and writing. So no, I don't think you need to take visual and performing arts courses in high school, I don't think you need to major in writing. If you want to get better at writing, read critically, study story, and practice, practice, practice. That's it. That's all you need.
Some of the best conversations I have ever had about writing have been with a friend of mine who didn't graduate high school. So it's not about your education-- it's about you, and the work and time you put into the craft of writing.
Veronica Roth
Well, for writers who are still in school, my advice is: don't stress. Write when you want to, don't write when it sounds overwhelming. I think it's important to note that I wrote while I was in school because it was how I coped with stress. It was never a burdensome activity for me, or I wouldn't have been doing it. Your job right now is to learn and really soak in the experience of being in school. Writing will still be there when you're done, and there's nothing you can learn or do that isn't useful for writing.
But if it's fun, or stress-relieving? Go for it. Write whatever sounds good to you. Enjoy yourself, and only pressure yourself to finish a book if the challenge sounds interesting. And read broadly and thoughtfully. That's the best way to set yourself up for good writing later.
As for writer's block, I usually get it when I'm A. exhausted, at which point I take a break or B. when what I've just written in the story is not working, and I can't move forward while it's in place. For that, you just have to identify the thing you wrote that isn't working and try something else in its place. That can be harder than it sounds-- you might be wrong about what isn't working, or why. So it may involve some trial and error. But it does work for me as a writer's block strategy, every time.
But if it's fun, or stress-relieving? Go for it. Write whatever sounds good to you. Enjoy yourself, and only pressure yourself to finish a book if the challenge sounds interesting. And read broadly and thoughtfully. That's the best way to set yourself up for good writing later.
As for writer's block, I usually get it when I'm A. exhausted, at which point I take a break or B. when what I've just written in the story is not working, and I can't move forward while it's in place. For that, you just have to identify the thing you wrote that isn't working and try something else in its place. That can be harder than it sounds-- you might be wrong about what isn't working, or why. So it may involve some trial and error. But it does work for me as a writer's block strategy, every time.
Veronica Roth
Yes, if I recall correctly it was the scene where Tris goes to visit Caleb! It was not what I envisioned, no-- Erudite Headquarters in the book is located across the street from Millennium Park, and Tris and Caleb have their chat under the Bean. But I thought the UChicago library worked well in the movie.
When I wrote Divergent I was looking at Chicago as an outsider-- as a suburb dweller who had only visited it occasionally on school field trips. I think you can see that in the book, which is basically a highlight reel of Chicago landmarks (the ferris wheel at Navy Pier, the Sears Tower, the Hancock Building). Now that I live in the city my books that are set in Chicago (Chosen Ones, When Among Crows) feel a little more like someone who lives here wrote them, they're more focused on neighborhoods than on landmarks.
That said, I do think you can see that I love architecture even in Divergent, and I encourage anyone to try to learn more about Chicago's architecture while you're here. The architectural boat tour is a tourist activity that is actually great. Walking tours (self-guided or otherwise) are also wonderful. One of my favorite buildings in Divergent is the Merchandise Mart (AKA Candor Headquarters); I also love the Rookery, Chicago Cultural Center, and the Old Chicago Main Post Office, which aren't in Divergent but are still worth a visit.
Really, though, wait until spring or summer and go on the boat tour.
When I wrote Divergent I was looking at Chicago as an outsider-- as a suburb dweller who had only visited it occasionally on school field trips. I think you can see that in the book, which is basically a highlight reel of Chicago landmarks (the ferris wheel at Navy Pier, the Sears Tower, the Hancock Building). Now that I live in the city my books that are set in Chicago (Chosen Ones, When Among Crows) feel a little more like someone who lives here wrote them, they're more focused on neighborhoods than on landmarks.
That said, I do think you can see that I love architecture even in Divergent, and I encourage anyone to try to learn more about Chicago's architecture while you're here. The architectural boat tour is a tourist activity that is actually great. Walking tours (self-guided or otherwise) are also wonderful. One of my favorite buildings in Divergent is the Merchandise Mart (AKA Candor Headquarters); I also love the Rookery, Chicago Cultural Center, and the Old Chicago Main Post Office, which aren't in Divergent but are still worth a visit.
Really, though, wait until spring or summer and go on the boat tour.
Veronica Roth
Hello! I'm so glad you enjoyed them!
I do have a plan for a third installment of that series (I mean, I gotta, there's a couple things left unresolved!) but I'm not quite sure when that will happen yet, because I've got a busy couple of years ahead with Seek the Traitor's Son and its sequel (and another project I haven't announced).
To answer your question about why they're novellas-- I wanted to write novellas, in general, because they're an interesting, challenging format that allows for a little more experimentation than a longer novel if you're trying something new, and WAC was perfect because it was my first true fantasy story. I also wanted to keep the cast small and the time frame compressed. Part of the (fun) challenge of When Among Crows was developing a strong bond among these three characters in 36 hours. Given that, the novella format just felt more natural to me.
For me, knowing whether an idea is a novella or a novel just involves giving it a try, and I have developed a feeling for it over time. Sometimes I'm wrong-- I originally thought Poster Girl was a novella, and it turned out to be a novel! But I would try to pay attention to the restrictions inherent to an idea. You can definitely write a novel with a small cast over a short period of time, but if the story is smaller, tighter, or has a compressed-timeline, it might be a novella.
You can also figure this out by mapping it out in as few scenes as possible and just looking at how many there are. But you may still discover you need more if you actually sit down to write it. Writing involves a lot of trial and error; getting comfortable with that fact is just part of learning the craft of it.
I do have a plan for a third installment of that series (I mean, I gotta, there's a couple things left unresolved!) but I'm not quite sure when that will happen yet, because I've got a busy couple of years ahead with Seek the Traitor's Son and its sequel (and another project I haven't announced).
To answer your question about why they're novellas-- I wanted to write novellas, in general, because they're an interesting, challenging format that allows for a little more experimentation than a longer novel if you're trying something new, and WAC was perfect because it was my first true fantasy story. I also wanted to keep the cast small and the time frame compressed. Part of the (fun) challenge of When Among Crows was developing a strong bond among these three characters in 36 hours. Given that, the novella format just felt more natural to me.
For me, knowing whether an idea is a novella or a novel just involves giving it a try, and I have developed a feeling for it over time. Sometimes I'm wrong-- I originally thought Poster Girl was a novella, and it turned out to be a novel! But I would try to pay attention to the restrictions inherent to an idea. You can definitely write a novel with a small cast over a short period of time, but if the story is smaller, tighter, or has a compressed-timeline, it might be a novella.
You can also figure this out by mapping it out in as few scenes as possible and just looking at how many there are. But you may still discover you need more if you actually sit down to write it. Writing involves a lot of trial and error; getting comfortable with that fact is just part of learning the craft of it.
Veronica Roth
Sometimes writers make the mistake of thinking that in order to provoke emotion from the reader, they have to pour emotional language into a scene. They have to describe every sensation, every thought, every sensory detail, etc. But that's not true. Reading is cooperative-- the writer brings something to each scene, but so does the reader. They supply their imagination, for one thing, but also their sympathy/empathy, their experiences, their emotions. So if you crowd the reader with all this emotional language, you are giving them no space to offer anything to the scene themselves, and they won't feel anything.
If you restrain yourself a little, you give the reader room to imagine, react, and participate. So pull back during emotional scenes. Find the right details, the right moments. This is the most important place to "show, not tell"-- reveal emotion, don't force it.
As for synonyms, I don't know. You have to let the language feel natural. Don't use "orbs" when "eyes" will do. If you're repeating the same word in the space of a sentence or a paragraph or a page, it's better to delete or rephrase to avoid it than to dig around for synonyms that feel out of place, forced, or imprecise. And rephrasing can sometimes help you find more interesting descriptions-- as with any editing you do, you can think of it as a chore...or you can think of it as an opportunity.
Sorry for the tears! (Or am I?)
If you restrain yourself a little, you give the reader room to imagine, react, and participate. So pull back during emotional scenes. Find the right details, the right moments. This is the most important place to "show, not tell"-- reveal emotion, don't force it.
As for synonyms, I don't know. You have to let the language feel natural. Don't use "orbs" when "eyes" will do. If you're repeating the same word in the space of a sentence or a paragraph or a page, it's better to delete or rephrase to avoid it than to dig around for synonyms that feel out of place, forced, or imprecise. And rephrasing can sometimes help you find more interesting descriptions-- as with any editing you do, you can think of it as a chore...or you can think of it as an opportunity.
Sorry for the tears! (Or am I?)
Veronica Roth
My friend, you have accidentally stumbled into a much greater question here, which is: "do you think about the characters after you finish writing the book?"
So if you actually just want to know what Sloane et al are up to, the TL;DR is: I have no idea. But if you're interested in this greater question, read on.
There are some authors out there who can tell you what their characters are doing ten minutes, ten hours, ten years after a story takes place. They know where all their made-up people ended up, if they ever fell in love, had children, got a new job, died a miserable death, etc. To those authors I say, that sounds fun. But to me, the characters exist only inside of the story I have made. I know very little about them that doesn't appear on the page, and I don't really think about what happens to them afterward. As the Internet would say, that's none of my business.
If I do start to wonder, it's because I have another story in mind and need to write it. But...that doesn't usually happen to me. The reason I know Chosen Ones is complete at one book is that I don't have any lingering questions about it. (Alas.)
So if you actually just want to know what Sloane et al are up to, the TL;DR is: I have no idea. But if you're interested in this greater question, read on.
There are some authors out there who can tell you what their characters are doing ten minutes, ten hours, ten years after a story takes place. They know where all their made-up people ended up, if they ever fell in love, had children, got a new job, died a miserable death, etc. To those authors I say, that sounds fun. But to me, the characters exist only inside of the story I have made. I know very little about them that doesn't appear on the page, and I don't really think about what happens to them afterward. As the Internet would say, that's none of my business.
If I do start to wonder, it's because I have another story in mind and need to write it. But...that doesn't usually happen to me. The reason I know Chosen Ones is complete at one book is that I don't have any lingering questions about it. (Alas.)
Veronica Roth
So, I'm actually not a romance author, though most of my books have romantic subplots, if that's what you mean. My books Chosen Ones and When Among Crows/To Clutch A Razor are contemporary fantasy. Chosen Ones is about a group of traumatized heroes who saved the world ten years ago and have now been called upon again. When Among Crows is about a man searching for Baba Jaga in Chicago's underworld of creatures from folklore (mostly Slavic folklore). Chosen Ones and When Among Crows do both have romantic subplots, but they're not a major part of the story. Hope that helps! Happy reading.
Veronica Roth
I did try to do a science fiction retelling of Oedipus (without the "married his mother" part); that's what I was supposed to be writing, in fact, when I was sneakily writing When Among Crows. It was a weird, interesting idea that I might return to one day, but I've got a few projects in the works that will come out over the next few years, so it may be awhile!
Veronica Roth
Oh boy, I have great news for you-- I already wrote a dystopian mystery book, it's called Poster Girl! (https://www.goodreads.com/book/show/6...)
I found writing a mystery to be really fun and really difficult at the same time. It requires the puzzle-solving part of the writer brain to be really active and engaged, and it means you think a lot more about the reader experience while writing (how do I mislead the reader here, what alternate theories will the reader have here, at what point does the reader realize this vs. the character, etc.). I will probably attempt it again one day, because I'd love to grow in that area.
That said, I do love to read mysteries and thrillers, especially when I need a little break from SFF. I recently read Case Histories by Kate Atkinson and really enjoyed it, as well as Listen for the Lie by Amy Tintera.
I found writing a mystery to be really fun and really difficult at the same time. It requires the puzzle-solving part of the writer brain to be really active and engaged, and it means you think a lot more about the reader experience while writing (how do I mislead the reader here, what alternate theories will the reader have here, at what point does the reader realize this vs. the character, etc.). I will probably attempt it again one day, because I'd love to grow in that area.
That said, I do love to read mysteries and thrillers, especially when I need a little break from SFF. I recently read Case Histories by Kate Atkinson and really enjoyed it, as well as Listen for the Lie by Amy Tintera.
Veronica Roth
I'm glad you enjoyed them! Carve the Mark is similar in that it's YA and it has a strong love story and a lot of action. (And various things I apparently like, such as: training sequences, arena fights, complicated mother figures, and minor eyeball horror.) It's not similar in that it's not dystopian-- it's a second-world fantasy (ie: set in another world) with spaceships and planets. If you were on board with the level of fantasy that Star Wars offers, that's kind of where I'd situate it on the science fiction to fantasy spectrum. Hope that helps! Happy reading!
Veronica Roth
Thank you! I'm so glad you enjoyed it!
I'm going to take this opportunity to give a bit of a backlist rundown, a "what should I read next" guide for anyone who sees this (and, of course, for you). I don't really have favorites, but I do have thoughts. What to read after Divergent sort of depends on what you really liked about Divergent, so...
If you loved the romance...
...you should probably read Carve the Mark, which is my most romantic book (except for Seek the Traitor's Son, which comes out in May 2026, just a heads up). It reads like fantasy even though there are planets and spaceships involved. Star-crossed lovers, fate, parents who are lying liars who lie, warring nations, the whole nine yards.
If you loved the setting, or the "only *she* can save them!/chosen one" vibes...
...you should read Chosen Ones, which is contemporary fantasy set in Chicago, ten years after the "chosen" teenagers have saved the world. Now they're cynical and bitter and have to go on a new adventure. Godspeed to all involved.
If you loved the "dystopia" of it all...
...you should read Poster Girl, which is a dystopian mystery set after the fall of an oppressive regime, as the former regime's "poster girl" gets the opportunity to earn her freedom by finding a missing girl. There's a social credit system and eye implants, you know how it is.
If you loved Tris's dynamic with her friends and a kind of warm/found family feeling...
...you should read When Among Crows, which is (like Chosen Ones) fantasy set in Chicago, this time with a kind of underworld of creatures from Slavic folklore. There's a mysterious man on a mission to find Baba Jaga for Reasons, a cursed woman who reluctantly helps him, and the charismatic hottie (imo) who comes along for the ride. With a dash of romance.
Okay, I hope that helps! Happy reading!
I'm going to take this opportunity to give a bit of a backlist rundown, a "what should I read next" guide for anyone who sees this (and, of course, for you). I don't really have favorites, but I do have thoughts. What to read after Divergent sort of depends on what you really liked about Divergent, so...
If you loved the romance...
...you should probably read Carve the Mark, which is my most romantic book (except for Seek the Traitor's Son, which comes out in May 2026, just a heads up). It reads like fantasy even though there are planets and spaceships involved. Star-crossed lovers, fate, parents who are lying liars who lie, warring nations, the whole nine yards.
If you loved the setting, or the "only *she* can save them!/chosen one" vibes...
...you should read Chosen Ones, which is contemporary fantasy set in Chicago, ten years after the "chosen" teenagers have saved the world. Now they're cynical and bitter and have to go on a new adventure. Godspeed to all involved.
If you loved the "dystopia" of it all...
...you should read Poster Girl, which is a dystopian mystery set after the fall of an oppressive regime, as the former regime's "poster girl" gets the opportunity to earn her freedom by finding a missing girl. There's a social credit system and eye implants, you know how it is.
If you loved Tris's dynamic with her friends and a kind of warm/found family feeling...
...you should read When Among Crows, which is (like Chosen Ones) fantasy set in Chicago, this time with a kind of underworld of creatures from Slavic folklore. There's a mysterious man on a mission to find Baba Jaga for Reasons, a cursed woman who reluctantly helps him, and the charismatic hottie (imo) who comes along for the ride. With a dash of romance.
Okay, I hope that helps! Happy reading!
Veronica Roth
I have two thoughts for you:
1. Do you need detailed character descriptions? Reading is a cooperative experience. The author offers something, yes, but the reader offers something, too. So think of your initial introduction to a character as just that-- an offering of your highest priorities, that you will either leave to the reader's imagination after that point or you'll add to, piece by piece, as the character takes shape. You don't have to do everything at once-- and especially in first person, what your main character notices about other people (particularly over time) says something about them as well as whoever they're describing, which is pretty cool.
2. I question whether you really need to think about likability at all. I'm not saying everyone needs to go out there and write "unlikeable" characters, but I think stressing over "likability" just isn't useful to a writer. Building a character who's interesting, who wants things they can't get, who has strengths and weaknesses, who triumphs or fails, who speaks a certain way, acts a certain way, dresses a certain way, whatever-- those are all more important things to consider than whether the character is likable. Likability is mostly a side effect, and it's not that hard to achieve. A person can like a pencil if you tell them his name is Jerry and he's always wanted to be a red pen because red pens can't be erased. (Aw, Jerry.)
1. Do you need detailed character descriptions? Reading is a cooperative experience. The author offers something, yes, but the reader offers something, too. So think of your initial introduction to a character as just that-- an offering of your highest priorities, that you will either leave to the reader's imagination after that point or you'll add to, piece by piece, as the character takes shape. You don't have to do everything at once-- and especially in first person, what your main character notices about other people (particularly over time) says something about them as well as whoever they're describing, which is pretty cool.
2. I question whether you really need to think about likability at all. I'm not saying everyone needs to go out there and write "unlikeable" characters, but I think stressing over "likability" just isn't useful to a writer. Building a character who's interesting, who wants things they can't get, who has strengths and weaknesses, who triumphs or fails, who speaks a certain way, acts a certain way, dresses a certain way, whatever-- those are all more important things to consider than whether the character is likable. Likability is mostly a side effect, and it's not that hard to achieve. A person can like a pencil if you tell them his name is Jerry and he's always wanted to be a red pen because red pens can't be erased. (Aw, Jerry.)
Veronica Roth
At one time-- years ago now-- I thought I might write a sequel, but I currently have no plans to do so, as my publishing situation has changed and I like where the book ends. I've tried to get the "sequel" removed from Goodreads so that it's not out there misleading everyone, but it hasn't worked so far, alas!
Veronica Roth
Thank you! I'm so glad you enjoyed it. If you liked Ark, I think the next logical step is to read Poster Girl. The actual plot is "after the fall of a dystopian regime, a disgraced woman is tasked with finding a missing girl," but it's moody and thoughtful and concerned with grief and growth, the way that Ark is.
Happy reading!
Happy reading!
Veronica Roth
This is a tricky one, because what you're describing (not finding the right ideas, getting stuck in tricky parts, etc.) is just how writing feels a lot of the time, no matter how experienced you are. The specific nature of the problems you run into will change with each book, but you will still run into problems.
A lot of people struggle with the idea of writing vs. the reality of it. That's okay; it's hard, with a solo activity, to know what's "normal" and what's not. But the reality of writing is that it's often frustrating and difficult. I am, for example, constantly writing the "wrong" ideas, at first. I've gotten better at stopping myself right when I realize an idea is wrong and going back to the last point at which the story worked, but I have not stopped writing the "wrong" ideas a lot of the time. I've gotten better at thinking my way through the tricky parts so they don't derail me for too long. I've made my peace with the idea that a lot of what I write will end up being irrelevant to the story, and I'll have to pare it down later.
So, basically what I'm telling you is: you're doing it. You're doing the thing! Yes, the thing is annoying sometimes. It is also, in my opinion, an extremely rewarding process. But I won't leave you completely without practical advice, so, here are some thoughts:
- Make a list of all the scenes you have ideas for. Then try to isolate which scenes on your list are absolutely necessary to get your story from A to B. These aren't necessarily your favorites or the most fun scenes-- they're the plot-moving ones. Try to fill in the gaps between them. That's a pretty good basic outline that can guide you through the writing process.
- If you find that writing with an outline sucks the joy out of it for you, toss it. There's no rule that says you need one. But if you decide to toss it, know that you will likely have to do more exploring than if you had one. And that will mean cutting, trimming, or changing a lot of your work at the revising stage.
- When you hit a tricky part, put on a song that reminds you of the story and take a walk. Try to visualize the tricky part you're stuck on. That's what I do, anyway.
- Try to explain your story to a trusted friend. This will be tedious for them, so consider buying them a coffee in exchange, or something. The exercise of trying to tell your story out loud or in an email or whatever is extremely helpful for identifying areas of confusion or weak points in your story, but for some reason it only works for me if there's an actual person on the other end of it. Give it a whirl.
I hope that helps.
V
A lot of people struggle with the idea of writing vs. the reality of it. That's okay; it's hard, with a solo activity, to know what's "normal" and what's not. But the reality of writing is that it's often frustrating and difficult. I am, for example, constantly writing the "wrong" ideas, at first. I've gotten better at stopping myself right when I realize an idea is wrong and going back to the last point at which the story worked, but I have not stopped writing the "wrong" ideas a lot of the time. I've gotten better at thinking my way through the tricky parts so they don't derail me for too long. I've made my peace with the idea that a lot of what I write will end up being irrelevant to the story, and I'll have to pare it down later.
So, basically what I'm telling you is: you're doing it. You're doing the thing! Yes, the thing is annoying sometimes. It is also, in my opinion, an extremely rewarding process. But I won't leave you completely without practical advice, so, here are some thoughts:
- Make a list of all the scenes you have ideas for. Then try to isolate which scenes on your list are absolutely necessary to get your story from A to B. These aren't necessarily your favorites or the most fun scenes-- they're the plot-moving ones. Try to fill in the gaps between them. That's a pretty good basic outline that can guide you through the writing process.
- If you find that writing with an outline sucks the joy out of it for you, toss it. There's no rule that says you need one. But if you decide to toss it, know that you will likely have to do more exploring than if you had one. And that will mean cutting, trimming, or changing a lot of your work at the revising stage.
- When you hit a tricky part, put on a song that reminds you of the story and take a walk. Try to visualize the tricky part you're stuck on. That's what I do, anyway.
- Try to explain your story to a trusted friend. This will be tedious for them, so consider buying them a coffee in exchange, or something. The exercise of trying to tell your story out loud or in an email or whatever is extremely helpful for identifying areas of confusion or weak points in your story, but for some reason it only works for me if there's an actual person on the other end of it. Give it a whirl.
I hope that helps.
V
Veronica Roth
Start with the first scene you want to write. It may not be the beginning you will ultimately need, but that doesn't matter. Just pick a spot and start.
I always start my stories in the wrong place. I usually write 50-75 unnecessary pages at the beginning of a book so that I can feel my way into it. It annoys me that I do this, because it feels like a waste of time, but it's the only way that works for me. Only when I have a rough draft can I look back and see where the story really needs to begin. So my point is, you're not going to magically come up with the perfect beginning for a story-- you need to just tell the story as it comes to you, and worry about its starting place later.
I always start my stories in the wrong place. I usually write 50-75 unnecessary pages at the beginning of a book so that I can feel my way into it. It annoys me that I do this, because it feels like a waste of time, but it's the only way that works for me. Only when I have a rough draft can I look back and see where the story really needs to begin. So my point is, you're not going to magically come up with the perfect beginning for a story-- you need to just tell the story as it comes to you, and worry about its starting place later.
Veronica Roth
My favorite book of the series is Divergent. It was the one that I wrote in the pure joy of creating something without anyone watching. Special shout-out to Four, which surprised me with how fun it was to write.
My favorite character is probably Tris. I don't think I would have chosen her to tell the story if I didn't love her the most. But my favorite non-main character is probably Evelyn. I love her arc so much, and when I reread the series last year, her complicated relationship with Four was one of my favorite parts, especially in Allegiant.
My favorite character is probably Tris. I don't think I would have chosen her to tell the story if I didn't love her the most. But my favorite non-main character is probably Evelyn. I love her arc so much, and when I reread the series last year, her complicated relationship with Four was one of my favorite parts, especially in Allegiant.
Veronica Roth
If spoiling things is your primary concern: yes, you can, it only overlaps with Divergent plot-wise.
If you want the full experience of cursing my name to the heavens that many other divergent readers have had before you: read it after allegiant.
If you want the full experience of cursing my name to the heavens that many other divergent readers have had before you: read it after allegiant.
Veronica Roth
Some tips:
- Try going back to the point when you last felt like your story was working...and move everything after that point to a new document that you will call "deleted stuff." Then start again from that "working" point.
- Take a break and work on something else
- Take a break and don't work on anything. Just do other things you like in the time you would have spent writing and try not to think about writing for awhile.
- Make a story playlist and listen to it while you try to remember what sparked your interest in the project to begin with
- Gather up a bunch of stuff you love in your mind (books, movies, tv, whatever) and consider what you love about each thing. Then think about how you might introduce some of the things you love into the story you're working on, even if that wasn't part of the original plan.
- Relatedly: throw out or change the original plan.
- Make a new document and start experimenting. Try writing from a new POV, writing a scene from later in the story, rewriting an old scene in a different way, writing in a new tense, only writing dialogue, a random barista AU, I don't care, just do weird shit and keep doing it until you hate it and then try new weird shit.
- Read what you have out loud to yourself.
- Reread an old favorite.
- Look at something old you've written and think about how to mash it up with the thing you're working on.
- Drink some water
- Talk to a friend about what's not working
- Talk to yourself in the shower, playing the part of a character in your scene.
- Scream into the void
- Stare into the void
- Become void yourself
I feel like that's enough to get you started. Good luck!
- Try going back to the point when you last felt like your story was working...and move everything after that point to a new document that you will call "deleted stuff." Then start again from that "working" point.
- Take a break and work on something else
- Take a break and don't work on anything. Just do other things you like in the time you would have spent writing and try not to think about writing for awhile.
- Make a story playlist and listen to it while you try to remember what sparked your interest in the project to begin with
- Gather up a bunch of stuff you love in your mind (books, movies, tv, whatever) and consider what you love about each thing. Then think about how you might introduce some of the things you love into the story you're working on, even if that wasn't part of the original plan.
- Relatedly: throw out or change the original plan.
- Make a new document and start experimenting. Try writing from a new POV, writing a scene from later in the story, rewriting an old scene in a different way, writing in a new tense, only writing dialogue, a random barista AU, I don't care, just do weird shit and keep doing it until you hate it and then try new weird shit.
- Read what you have out loud to yourself.
- Reread an old favorite.
- Look at something old you've written and think about how to mash it up with the thing you're working on.
- Drink some water
- Talk to a friend about what's not working
- Talk to yourself in the shower, playing the part of a character in your scene.
- Scream into the void
- Stare into the void
- Become void yourself
I feel like that's enough to get you started. Good luck!
Veronica Roth
I spent a long time fighting against the voice that came naturally to me, which was a bit sparser and more straightforward than some of the writing that I admired most when I was younger. But in college I was in a writing class with a professor I ended up taking quite a few classes with, and she circled one paragraph in one of my assignments and said, "this is the best writing in the piece." That paragraph was notable because of its clarity and precision-- not because of any "pretty" or clever language.
This moment unlocked something for me, which is that I was fighting so hard to be a writer I wasn't-- and I needed to just become the best version of the writer that I am. Since then my highest priorities have been clarity and precision, even if I don't always get there. And believe me, there's plenty of room to grow in that style if that's the style that comes naturally to you. And not for nothing, it can be just as beautiful.
The critical moment, for me, was having someone reflect my work back to me clearly, and being able to accept what I saw. I think most writers know what comes naturally to them, but they might not like it, or they might not know how to develop it. Something that might help is trying on different styles to see how they feel. I did that in school and it was really valuable. You just have to think of some writers you admire, then identify what it is about each writer you admire that makes them distinct, and then write a few pages in which you try to emulate those qualities. Inevitably you'll find that some people are easier for you to imitate than others-- and that can help you to discover what works best for you and your voice.
Best of luck out there, writers!
This moment unlocked something for me, which is that I was fighting so hard to be a writer I wasn't-- and I needed to just become the best version of the writer that I am. Since then my highest priorities have been clarity and precision, even if I don't always get there. And believe me, there's plenty of room to grow in that style if that's the style that comes naturally to you. And not for nothing, it can be just as beautiful.
The critical moment, for me, was having someone reflect my work back to me clearly, and being able to accept what I saw. I think most writers know what comes naturally to them, but they might not like it, or they might not know how to develop it. Something that might help is trying on different styles to see how they feel. I did that in school and it was really valuable. You just have to think of some writers you admire, then identify what it is about each writer you admire that makes them distinct, and then write a few pages in which you try to emulate those qualities. Inevitably you'll find that some people are easier for you to imitate than others-- and that can help you to discover what works best for you and your voice.
Best of luck out there, writers!
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