How To Deal With Writer'S Block During Novel Writing Sessions?
2026-07-28 02:58:48
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DanWhite
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4 Answers
Ellie
Bibliophile
Teacher
Honestly? Switch projects. I keep a folder of short story ideas or random scenes that don't fit anywhere. When I'm stuck on the novel, I open that folder and poke at something else for an hour. It keeps the writing muscles warm without the baggage of the main work's expectations. The relief of not having to be 'good' for the big project often leads to surprisingly decent work on the side piece. Then, with my confidence slightly repaired, I can slink back to the novel with a less defeated attitude. It's a psychological game more than a technical one.
2026-07-29 20:01:53
2
Nathan
Expert
Student
Set a timer for fifteen minutes and tell myself I can write the absolute worst version of what happens next. Spelling errors, clichés, nonsense—all allowed. Permission to be bad is the only thing that works. The timer makes it feel temporary, like a gross chore. Usually, by the end, I've written something salvageable, or at least I've identified the specific sentence I'm afraid to write. Then the real work can begin.
2026-07-30 09:28:45
5
Diana
Book Scout
Electrician
I see a lot of advice about taking walks or writing exercises, which is fine, but it feels like putting a bandage on a broken leg if the real issue is structural. My block usually means something earlier is wrong. I'll go back and re-read the last chapter or two, not to edit ruthlessly, but to listen. Is the pacing off? Did a character make a choice that feels forced? Nine times out of ten, I find the seed of the problem a few pages back. Fixing that—even if it means deleting a day's work—gets things moving again. It's painful in the moment but saves more pain later. The block isn't an obstacle; it's an alarm system. Ignoring it and just pushing through garbage prose only digs a deeper hole.
2026-08-02 11:13:16
1
David
Honest Reviewer
Teacher
That blank screen can eat your soul. I usually fail a few times before I remember the one weird trick that works for me: writing the next scene, but from a different character's point of view, even if it won't be in the final book. It feels like cheating, like I'm not doing the 'real' work, so the pressure's off. Suddenly, dialogue or a setting detail emerges that unlocks the main thread. Something about the lateral movement breaks the logjam. Sometimes I'll just open a new document and write a paragraph of pure, terrible prose describing the room I'm in. The goal is to get words flowing, any words, to prove to my brain that the pump isn't broken. It's not about quality, it's about motion.
If that doesn't work, I step away completely. Not to check social media, but to do something physical and mundane—washing dishes, pulling weeds. The repetitive action lets the back of my mind sort things out. Often, the blockage is because I've written myself into a logical corner or a character is acting out of turn, and my conscious mind needs to shut up so my subconscious can fix it. I've had whole plot solutions appear while scrubbing a pan. Returning to the desk feels less like a confrontation afterward.
2026-08-03 01:07:58
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The novel is mainly about the forgotten British poet/writer named C. J Richards who lived in Burma/Myanmar in colonial times and he believed himself as a Burmophile. He served as I.C.S (Indian Civil Servant) and when he retired from I.C.S service, he was a D.C (District Commissioner) and he left for England a year before Burma gained its independence in 1948. He came to Burma in 1920 to work in civil service after passing the hardest I.C.S examination. He wrote several books on Burma and contributed many monthly articles to Guardian Magazine published in Burma from 1953 to 1974 or 1975. Though he wrote several books which had much literary merit to both communities, Britain and Burma (Myanmar), people failed to recognize him.
The story has two parts: one part is set in the contemporary Yangon (then called Rangoon) in 2016 context and a young literary enthusiast named “Lin” found out unexpectedly the forgotten writer’s poetry book and there is surely a good deal of time gap that led him into a quest to know more about the author’s life. The setting is quite different comparing to colonial Burma and independence Myanmar (Burma), early twentieth century and 2016 which is a transitional period in Myanmar.
The writer’s life is fictionalized in the novel and most of the facts are taken from his personal stories and other reference books. It is a kind of historical novel with a twist and it has comparatively constructed the two different periods in Myanmar history to convince readers, locally and abroad more about history, authorship, humanity, colonialism, and transitional development in Myanmar today.
Vera fought for her life in the apocalypse for ten years.
Ten brutal years left her disfigured, hungry, and almost broken, but she still clawed her way through it. She killed zombies, ran from mutated animals, starved, bled, and learned humans were often more dangerous than monsters.
Then her brother, the only family she had left, betrayed her.
Vera thought death had finally come.
Instead, she woke up inside a trashy book she once read to stay sane while the old world fell apart. A book with a twisted plot and too much drama.
And because her luck had always been terrible, Vera did not wake up as the heroine.
No, of course not.
Her second chance was to become the hated second female lead, pregnant, unwanted, and written to die when the plot no longer needed her. Her babies were supposed to die too. Even the three men who got her pregnant were written as future corpses, all to push the story toward spoiled women and one psychotic male lead.
But Vera was not the woman from the book.
She had survived one ruined world. She had not walked through radioactive rain and eaten mutated food just to cry over fantasy characters or beg for love inside a stupid plot.
So Vera adapted.
She accepted her punishment, took her three unborn babies, and left for the garbage center without making a scene. Everyone thought she had been thrown away.
Vera saw a chance to make money, protect her babies, and build something of her own.
Now the woman meant to disappear is building a wasteland empire, breaking the plot, and driving three men insane because she no longer chases anyone.
By every rule in that world, Vera should be dead.
But dying a second time was never an option.
Lazing around has never been a bother and, to say, a hindrance to Josh's life. In fact, as far as he believes in, he's already living with it. The only time he felt a bit of excitement was the first time he had discovered his power. However, it only happened once, and it has been five years since then. He's already twenty-two and indifferently considers it as a thing in the past.
As he continues his normal life teaching students, he gets acquainted with the teachers in the new faculty he's in; one of whom is Jelly. He also meets a newly-hired teacher who inspires him in a way to become a better version of himself. Things are going well for them—until the day of the student council's retreat.
A strange phenomenon hits them, and it changes their lives, permanently.
Josh and Jelly are part of the select teachers who embark with the student council for Bantayan, where everything unfolds. They soon find themselves in tight situations and shocking revelations are unearthed as Josh unravels the secrets of his dormant power.
"Please teach me to become a better writer!"
"Oh?"
Joaquin got his glass sipped his whiskey as he looked at me in a condescending manner.
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"Yes, yes! I would do anything you ask for!"
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Haven Thorne, a young woman who is eager to become a great writer, secretly attended a party that was hosted by a popular and rich top author, Joaquin Greyson. Wanting to learn from the great writer, Haven gathered her courage and visited his home for consecutive days even after the constant rejections.
Irritated, Joaquin entertained the persistent woman to stop her. Seeing her determination however, piqued his interest and had agreed to her request—even asking for a collaboration!
Will the top author really be willing to teach the newbie, or will he lose his patience? Will she able to meet the demands of her experienced mentor, or will she disappoint him?
With that in mind, what will their pen and passion teach them?
Love, hate… or something more?
It’s so frustrating when you hit a wall while writing! I think writer's block can stem from several factors, and it often catches us off guard. For starters, the pressure to create something perfect can be paralyzing. I’ve spent countless nights staring at a blank page, convinced that every word has to be exceptional. That expectation can completely drain the creativity right out of you. Stress and anxiety don't help either; when work or personal life gets overwhelming, it’s like my brain just shuts down the creative flow.
Another contributing factor is lack of inspiration. Some days, I just haven’t encountered any ideas that spark my imagination. It might be a dry spell where nothing feels interesting enough to explore, which makes it really tough to keep the story moving. Additionally, feeling disconnected from the characters or plot can lead to feeling lost in your own narrative—which has definitely happened to me! It’s important to nurture that bond with your writing to avoid these blocks.
Lastly, sometimes, all it takes is a simple change of environment or routine to shake off that writer's block. I’ve found new cafes or even changing the music I'm listening to can make a world of difference. Taking a breath and stepping back can help you find that muse again. Writing is a journey, and it’s perfectly okay to have those slow days; they eventually lead to breakthroughs!
Man, what works for me is almost embarrassingly simple: just stop trying to write the novel. Seriously. Whenever I freeze up staring at the blinking cursor, I switch to writing the world’s worst fanfiction about my own characters. Not even kidding. I’ll take my protagonist and throw them into a ridiculous grocery store argument, or have them get stuck in traffic with their nemesis. The goal is to write something with zero stakes, where the prose can be garbage and the plot nonsensical. It sounds stupid, but it reminds me why I like these people and their voices, without the pressure of it 'counting.' After a few hundred words of that nonsense, I can usually sneak back into the actual manuscript.
Another thing that gets me unstuck is literally changing the medium. I write on a laptop, so when I’m blocked, I’ll grab a cheap notebook and a pen I hate, or even open the notes app on my phone and type with my thumbs. The sheer physical shift seems to bypass whatever mental barrier the usual setup has become. The writing is often terrible, but it’s writing, and that’ s the only objective. Sometimes the solution isn’t a grand psychological breakthrough; it’s just tricking your brain into a different lane.
Lastly, I’ve stopped viewing a block as a monolithic enemy. Now I treat it like a diagnostic tool. Am I blocked because the next scene is boring? Then maybe it shouldn’t exist. Is it because I don’t know a character’s motivation? Time to interview them like a weirdo in a separate doc. Often, the block is just the project’s way of telling me I took a wrong turn a few pages back. So I don’t fight it head-on anymore; I listen to it, backtrack, and fix the root cause. It’s less about 'overcoming' and more about sidestepping or interrogating the feeling until it dissipates.