Mistakes to Avoid When Writing: Part 2

So you read the first list of novel-writing mistakes and thought,
     “Okay, fine, I won’t let my main character have violet eyes, a tragic violin backstory, and absolutely no flaws.” 

Growth! 

But unfortunately (for both of us), the disasters don’t stop there. You’ve merely arrived at the second layer of the flaming lasagna that is writing a novel.
Because guess what? There are still more ways to mess up your writing—and yes, GUILTY, I’ve made every single one of them (while eating cereal out of a mug and calling it “dinner.”)

If your novel is all “vibes” and no story, if your dialogue sounds like it was composed by Alexa, or if you keep quietly skipping every emotional beat because it makes you feel things? I get it. Feelings are exhausting. But so is reading a book where nothing happens and no one reacts to anything. This is the part where I burst through the drywall holding a red pen and a shot of espresso and yell, “WHERE’S THE PLOT, BRENDA?!”

This list Part 2 is here to make sure your novel survives your worst instincts.  
Let’s get you back on track.

 

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4. Failing to Plan / Not Knowing the Plot

There are times when a writer reaches the end of a manuscript, and comes to the terrible realization that they have no idea what the hell is going on. 

 

I love a chaotic vibe and all. But if you’re 40 pages in and your main character still doesn’t know what they want, that’s emotional roulette. (Some structure is sexy, okay?) Even a sticky note that says “[something sad happens here]” is better than nothing. Whether you are a fan of outlining or not, planning is essential to writing any kind of complex story (particularly a novel).  

 

I, too, can be lazy and allergic to commitment. But writing a novel with no plan is like driving cross-country with no GPS and a dead phone. You’ll end up in a ditch, surrounded by cacti and plot holes, sobbing into your giant Slurpee. If nothing else, you must know where the story is going. If not all the details, I suggest (perhaps) the beginning, (maybe some kind of) the middle, and, (if I may) the end. 
Here is a mini step-by-step guidance for building a plot structure—just enough scaffolding to guide the story, never enough to trap it. 

Try This: 
Begin with the “big five beats”: 

1. An opening image or situation that captures your character’s normal
2. An inciting incident that disrupts that normal
3. A midpoint turning point that complicates everything
4. A low point or crisis that forces your character to face what’s truly at stake, and 
5. A resolution where something—externally or internally—changes for good. 

These aren’t shackles—they’re scaffolding. You can fill in more steps later, but even this rough shape will help you spot where tension builds, where transformation happens, and where you’re heading. Keep it messy. Let it evolve. Structure isn’t your enemy—it’s your compass. Just don’t forget you’re allowed to leave the path if the story finds a better one.


5. Leaning on Clichés
 If your opening line sounds like the back of a paperback romance in a grocery store clearance bin, delete it. I’m talking: “she was a feisty spitfire with a past,” or “the night was dark and stormy” garbage. In a world chock-full of novels, readers want something original. Nothing will have someone closing a book for good faster than the use of multiple cliches that make your soul itch. We get it.

Clichés include phrases such as:
    •    A bun in the oven.
    •    A diamond in the rough.
    •    When all is said and done.
    •    When it rains, it pours.

These are just a handful of examples, and of course there are many more and ohmygah. I’m already in hives and I haven’t yet read your virtuosic over-use of “through thick and thin” yet. NO. Stop it. I implore thee. 

Clichés are placeholders for real thought. A writer will insert a cliche that makes sense because they don’t want to spend time thinking of a new way to say it. They sneak in when you're tired or rushing or trying to sound like “a writer.” You are better than this. Instead, try to write the same idea in a different way. (And hot tip: first draft cliché placeholders are fine while you wait for something better to manifest, just be SURE to replace them in the next draft. Your secrets are safe with me).

 Don’t write like a robot who read too many Tumblr posts in 2011. Say it the way your weird little brain sees it.


6. Skipping the Hard Emotional Work
A novel isn’t just stuff happening—it’s how your characters feel about what’s happening. Don’t be afraid to go there. Don’t avoid the challenging scenes that require utterly true, un-choreographed emotionality. Emotional truth is what keeps a reader turning pages. If you the creator flinch away from it, the reader will feel the gap.

 

And here is where I get extra real with you. 

Listen, oh valiant writer, dreamer divine and creator extraordinaire: You cannot write something truly great without letting it cost you something. Not everything. But something.  You can write clever plots, interesting characters, and even very pretty sentences from a distance—but the work that moves people will ask you to walk through the fire yourself. There is no shortcut around sitting right in the center your grief, your rage, your shame, your longing, the ugliest parts of you, the most out-of-control parts of you, the humiliating and human parts—all connected to your deepest ache for belonging. 

 

So if you are—even inadvertently— trying to skip that part? You must take a deep breath, and find your courage. 

 

I know. I know personally how valiant an ask this is, on several artistic levels. But if you are in any way waiting to be less afraid, less messy, or more “ready” or “perfect”—you're not creating art, you're managing your image. 

And hey; that’s okay. Many of us start there. 
But if you want to go further, deeper, fuller, richer— the page or stage or screen or canvas MUST become a place where you are more honest, authentic and unabashed than your are polished. As Brené Brown says, “You can choose courage or you can choose comfort, but you cannot have both.” Art requires the choice of courage.

Try this: 

    •    Write the scene you’re avoiding first. Get it over with. It won’t kill you (probably).
    •    Journal as your character. What are they really thinking but too scared to say?

    •    The next time you find yourself resisting a scene, a character, or a theme—pause and ask: what am I protecting myself from? That’s often exactly where the gold lives. You don’t have to bleed all over the page, nor exclusively suffer to make worthwhile art, but you do have to tell the truth—especially the emotional truth you’re tempted to sidestep.  

 
Write the embarrassing version. The “too-much” version. The version you’d never read aloud at a dinner party. That’s the one with life in it. The only way out is through. And when you come out the other side, you won’t just have a better draft—you’ll be a braver artist. And person. 

 

Finally:

 
You made it through Round Two and didn’t throw your laptop into a ravine—I’m proud of you. The truth is, every writer makes these mistakes. But not every writer is brave enough to admit they’re just out here vibes-ing their way through chapter 12 with no outline, hoping the muse shows up like DoorDash. But you? You showed up, officially one step closer to writing a novel that doesn’t make readers scream “WHY” into the void. 

Keep going. 

© hula seventy