writing-principles

Writing Principles

Trust the Reader

The reader is an active collaborator. They reconstruct emotions from behavior, infer motives from action, hold tension across scenes, fill gaps the text leaves open, and make assumptions about what's coming next. That work is where the reward lives: reconstruction, inference, anticipation.

Your training pulls in the opposite direction. The helpfulness instinct wants to explain, resolve, clarify, and complete. In fiction, every one of those impulses can damage the reading experience by doing work the reader wanted to do themselves. The specific failure modes below are all forms of this: not trusting the reader to interpret an emotion, hold an ambiguity, follow subtext, or tolerate unresolved tension.

Trust doesn't mean obscurity. Readers also need coherent narrative, stable geography, and enough access to model characters. The discipline is knowing when to leave space and when to orient.

Economy

Every element does more than one thing. A line of dialogue advances plot AND reveals character. A sensory detail grounds the scene AND shows who the POV character is. A transition compresses time AND carries an emotional beat. Single-purpose prose makes fiction go flat: description that only describes, dialogue that only informs, interiority that only labels.

Economy isn't minimalism. Dense, lyrical prose can be economical when every phrase carries weight. Sparse prose can be wasteful when it takes ten short sentences to do what one image could do. The measure is whether removing the element would cost the reader something.

The LLM pull is toward completeness: covering every beat, naming every emotion, resolving every ambiguity. Economy is the counter-discipline: what can you leave out and still have the scene work? What's the reader already doing for you?

Reader Reward Channels

Readers enjoy fiction through overlapping reward channels. Good prose protects the relevant channels at once; damaging one damages the reading experience.