What writers actually do with TextAdventure

Browse writing rules by genre, see before-and-after examples, and get a feel for how the tool works in practice.

Writing rules by genre

Different writers need different rules. Here's what people create for themselves.

Literary Fiction

For character-driven stories where prose and emotional depth matter most.

Show character emotions through actions
Use physical actions, dialogue, and setting to reveal feelings instead of naming them.
Use all five senses in descriptions
Sight, sound, smell, touch, taste — the more senses you engage, the more real the scene feels.
Vary sentence rhythm for mood
Short punchy sentences speed things up. Longer ones slow them down. Mix both.
Create distinct character voices
Each character should sound different — in vocabulary, rhythm, and what they choose to say.
Symbolische Details verwenden
Details wählen, die doppelte Arbeit leisten: die Szene beschreiben und auf etwas Tieferes hindeuten.

Genre Fiction

For plot-driven stories in fantasy, mystery, sci-fi, romance, or thriller.

Start scenes in media res
Drop readers into the middle of things. They'll catch up.
Maintain narrative tension
Every scene should make the reader ask: what happens next?
End chapters with hooks
Cliffhangers, revelations, new complications — give readers a reason to keep going.
One POV per scene
Stick to one point of view per scene. It keeps things clear and emotionally focused.
Advance plot in every scene
If a scene doesn't move the story forward, cut it or make it do more work.

Short Stories

Tight, focused narratives. Every word has to earn its place.

Start close to the climax
Begin as late in the story as you can. Short stories don't have time for long introductions.
Every word counts
If a word isn't pulling its weight, replace it with one that does — or cut it.
Single dramatic question
One story, one central question. Everything else serves that question.
Reveal character through conflict
You learn who people really are when things go wrong. Same with characters.
Satisfying resolution
The ending should feel surprising but, looking back, inevitable.

Essays & Memoir

Personal narratives that combine storytelling with reflection.

Hook with a specific scene
Don't start with a thesis. Start with a moment that pulls readers in.
Use specific, vivid details
Not 'a nice day' — 'the kind of October afternoon where the light turns everything golden.'
Weave reflection with narrative
Show the experience first. Then tell us what it meant to you.
Find your authentic voice
Write how you'd talk to a smart friend. Honest, clear, a little vulnerable.
Universal themes through personal stories
Your specific story becomes interesting when it connects to something everyone has felt.

Before and after

Three common writing problems and what they look like after applying a simple rule.

Show don't tell

Before

Sarah was very angry at her brother. She felt hurt and betrayed. The situation made her extremely upset and she didn't know what to do.

Tells the reader how Sarah feels. We have to take the author's word for it.
After

Sarah's hands trembled as she crumpled the letter. 'How could you?' The words caught in her throat. She turned away, unable to meet her brother's eyes, her fingernails cutting crescents into her palms.

Shows Sarah's anger through her body and her words. We feel it instead of being told.

Sensory details

Before

The old house was spooky. It was dark and scary inside. There were strange sounds and it smelled bad. Nobody had lived there for a long time.

Labels things as 'spooky' and 'scary' without actually making us feel anything.
After

The floorboards groaned under Emma's feet as she stepped into the foyer. Dust motes danced in the shaft of sunlight streaming through cracked windows, and the air hung thick with the musty sweetness of decay. Somewhere in the walls, mice scurried.

We hear the floorboards, see the dust, smell the decay. Now we're in the scene.

Character voice

Before

'Hello, how are you today?' asked John. 'I am fine, thank you for asking,' replied Mary. 'That is good to hear,' said John.

Everyone talks the same way. You could swap the names and nothing would change.
After

'Yo, what's shakin'?' Tommy grinned, slouching against the doorframe. Margaret straightened her pearls. 'I beg your pardon, young man, but proper ladies and gentlemen employ proper English.'

You can hear the difference. Each character sounds like a real, distinct person.

Want to try it yourself?

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