When you write online, nothing matters more than your first 3 words.

So, make them small:

• “I can’t lie…”

• “You might laugh…”

• “Here’s the problem…”

• “No one knows…”

• “She almost quit…”

• “They won’t last…”

• “He changed me…”

• “When you write…”

Why?

Small words are very hard to ignore.

We internalize them the moment we look at them. With zero effort.

Or rather, we can’t look at them without reading them.

On the other hand…

Big words (3-5 syllables) are very easy to ignore.

They’re less familiar, more complex.

So, processing them naturally requires a little more thought.

Which is why most people ignore them without realizing it.

For example:

• “Interrogate your assumptions…”

• “Deconstruct normative frameworks…”

• “Articulate phenomenological complexity…”

You know what all these 3-word phrases mean.

But I’m willing to bed you didn’t internalize the bigger 3-word phrases as quickly or effortlessly as the smaller 3-word phrases above.

And that extra fraction of a second makes a world of difference for your reader—the difference between moving on and staying engaged. Especially in digital settings like social media. Where thousands of creators compete for the reader’s attention. And only a few will succeed.

This is how I think about it:

Our brains naturally gravitate toward writing that’s:

• Easy to read.

• Hard to resist.

So, make your first 3 words are effortless to read:

• 2-syllables max.

• Common language.

• Clear syntax.

And tease an idea that’s impossible to resist:

• A controversial opinion.

• A surprising story.

• A costly mistake.

Whatever’s on your mind.

Hope this helps,

Jake

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Want more examples?

Try this prompt.

I made it in case you wanted a more interactive way to practice this concept. It’ll help you develop a system for brainstorming more irresistible openings to your openers, a system you can use even when your LLM is unavailable ;)

Just copy, paste, and follow the guidance.

Enjoy!

Your task is to brainstorm the first three words of my hook. Words that my reader can’t not read.

For example:

• “I can’t lie…”

• “You might laugh…”

• “Here’s the problem…”

• “No one knows…”

• “I almost quit…”

• “This won’t last…”

• “It changed things…”

Context:

• Here’s the draft post I need to hook readers into.

• My audience’s biggest pain or desire is: ___

• Desired outcome of the post (pick one): **shift mood / shift thinking / spark action**

Task:

1. **Pinpoint the tension** – Identify a pain, frustration, or unmet desire your reader will feel in their gut.

2. **Use their words** – Only everyday language. 1–2 syllables max. Zero jargon.

3. **Open the loop** – Hint at a coming shift: a solution, surprise, or payoff. But don’t spoil it.

4. **Draft 10 openings to the openers** – Each must be exactly **3 words**, simple syntax (noun or subject-verb), and friction-free to read.

5. **Rank them** – Score for:

   • **Cognitive Ease** (short, clear, familiar)

   • **Curiosity Pull** (how badly the reader wants to keep going)

6. **Explain the rankings** – For each hook, describe:

   • What tension it touches

   • What it promises (implicitly)

   • Why it’s easy—or harder—to read

   • Cite specific sources that back up your rationale

7. **Suggest refinements** – Offer ways to slightly sharpen or simplify the best options (e.g. verb swap, word order flip, rhythm tweak).

Output Formatting:

• Deliver a ranked table: **Rank | Hook | Why it Works**

• Follow with a quick list of enhancement ideas.

Remember:

The goal isn’t just to find the perfect hook.

It’s to help me understand why it works—so that I can build my own system. One that helps me write sharper, stronger openings anytime, even without your help. This will help me think more clearly, not to think less. I do not want to outsource my mind. I want to about training it.

Start here:

Ask for the post.

I’ll show it to you.

And we’ll begin.

Hope this helps, too.

See you next time,

Jake

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Hey there.

The other day, a friend asked me:

“…I’m taking a year out of my career in law in October to travel, but I’d also like to dedicate some time to my writing - both fiction but also more commercial stuff like copywriting, to see if it’s something I’d enjoy/whether it would be viable as a side hustle for me to build. Any tips/advice you can give/places to start would be much appreciated! I’ve checked out the copywriting thread on Reddit which has some advice on starting out but if you’ve got anything you could advise based on your experience that would be super appreciated…”

For context:

I’ve been a professional copywriter for 10 years.

And Associate Creative Director for 2.

(Even though I graduated with a degree in music business.)

Since then, the copywriting space has changed a ton.

So, I told him this:

1. Experiment with All Types of Copywriting

Copywriting isn’t one-size-fits-all.

Off the top of my head, I’ve done 4 types:

1. Brand Copywriting: Crafting the brand’s personality and voice. Think tagline, mission statement, website copy.

2. Direct Response Copywriting: Selling through conversion-focused content. Ads, emails, landing pages. (“Sign up today!” kind of stuff.)

3. Creative Copywriting: Building awareness with ad campaigns, commercials, stories, branded content, and creative concepts.

4. UX Copywriting: Guiding users through digital (and sometimes physical) experiences.

If I could do it all over again?

I would’ve focused on one of them and gotten really, really good at it. Each type solves a different business problem. And it’s important to learn to spot the difference.

For example:

Direct response is all about driving sales, while creative copy is about building brand awareness. Which do you enjoy most?

Pick that one.

2. Go Full Bore on Your Favorite Type

Once you find the type you want to focus on, go deep.

This is what separates the people who get swallowed up by AI from those who thrive. You should master the fundamentals without AI first. Then, once you know the ins and outs, you can use AI as a tool to speed up your process. Document what you learn. Share what you’re discover, not just to help others, but to show Creative Directors you’re the real deal.

A great example of this?

Eddie Shleyner.

Eddie started by sharing what he was learning about copywriting. He’s worked with hundreds of companies. Now, he’s built a business off his wisdom.

And written a really beautiful book called Very Good Copy

3. Do Free Work (Yes, I’m Serious)

A lot of creatives hate free work, but Nicolas Cole describes this as getting paid in confidence.

And I agree with him. When you do free work, you get to practice, get results, and build relationships without as much pressure. Plus, once you’ve done a few projects, you’ll have results and testimonials to showcase in your portfolio.

This is what will convince clients to pay you.

4. Build a Story with Your Portfolio

Your portfolio shouldn’t just be a collection of work.

The best portfolios I’ve reviewed tell a story. They walk me through your thought process from start to finish. Explaining not just what you did, but why you did it, how you did it, and how it impacted the client.

In my opinion, this is what separates an ignored writer from an irresistible one.

5. Build Some Momentum

If you do all of this, you should start getting people reaching out to you.

The reason is you’re practicing in public, sharing what you’re learning, and being transparent about the work you’re doing.

And yeah, free work is key.

That’s how I got started without a degree in copywriting.

I gained some traction, and kept going. Making genuine connections and showing people how I can add value to what they’re doing.

Do that enough, and you can’t lose.

Hope this helps,

Jake

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Oh!

One more thing.

If you’re looking to get into copywriting, I think you’d find my free course helpful:

How to Become a Challenger Copywriter in 5 Days

It’s all about a type of copywriting that I love the most. I call it: “Challenger Copywriting.” Which is all about writing copy for challenger brands.

In the words of Adam Morgan:

“A challenger brand is a brand that has business ambitions beyond conventional marketing resources and is prepared to do something bold, usually against the market leader, to break through.”

Also here’s a link to Eddie’s book: Very Good Copy

See you next time,

Jake

Hey there,

Over the last few months, I’ve been a little obsessed with a book called:

The Anatomy of Genre:
How Story Forms Explain The Way the World Works

Why? Many reasons.

In short, it’s helped me understand how to best combine tried-and-true story structures with weird, new ideas. Giving me the tools and strategies to write wildly original stories that people can still relate to. Which means I can transcend genre, bring more ideas to life, and captivate more readers.

What’s more, The Anatomy of Genre is has made me rethink the purpose of genre altogether. Meaning, it doesn’t just help us categorize books, movies, and plays—it also shows us how the world works.

Each one through its own unique philosophy.

Check this out.

The 14 Philosophies
Behind The 14 Major Genres:

The Philosophy of Horror:

Confront death and face your ghosts from the past.

Truby says the Horror genre has a deep connection to religion and the human psyche.

Horror narratives, Truby says, often explore themes of sin, punishment, and the unknown—serving as a mirror to our deepest fears and moral dilemmas.

At its most fundamental level, Horror is the most primal of all storytelling forms.

The Philosophy of Action:

90 percent of success is taking action.

The Action genre is about the pursuit of success. (By whatever means necessary.)

Truby emphasizes that action stories revolve around a hero's quest for freedom, honor, and victory, often against overwhelming odds. These narratives highlight themes of courage, resilience, and the relentless drive to overcome obstacles.

The Philosophy of Myth:

Seek immortality by finding your destiny in this life.

The Myth genre delves into the human quest for identity, purpose, and immortality.

Myths often feature archetypal characters embarking on epic journeys, confronting formidable challenges, and seeking profound truths about existence.

These stories serve as metaphors for personal transformation and the universal human experience. ​

The Philosophy of Memoir & Coming of Age:

Examine your life to create your true self.

Memoir and Coming of Age both center on the formation of self-identity.

Memoir involves crafting the self through nonfiction techniques, allowing individuals to reflect on their lives and shape their future.

However, Coming of Age stories depict the protagonist's journey from adolescence to adulthood, using fictional narratives to explore personal growth and self-discovery.

The Philosophy of Science Fiction:

Make the right choices now to ensure a better future for all.

Science Fiction is meant to explore human evolution on a grand scale, often addressing societal and cultural transformations.

He emphasizes that science fiction isn't merely about futuristic technology but serves as a lens to examine the present world, morality, and the direction in which humanity is heading.

(One of my favorites.)

The Philosophy of Crime:

Protect the weak and bring the guilty to justice.

Think of the Crime genre as an intricate dance between lawbreakers and those who seek to apprehend them.

These stories often highlight moral ambiguities, the allure of transgression, and the complexities of justice. Most of all, crime stories emphasize the cat-and-mouse dynamics between criminals and law enforcers.

They focus on the strategies and psychological maneuvers employed by both sides.

The Philosophy of Comedy:

Success comes when you strip away all facades and show others who you really are.

Comedy is meant to expose human flaws and societal absurdities through humor. It often highlights the gap between how individuals perceive themselves and the reality of their situations, leading to humorous outcomes.

For example:

• When humans are reduced to animals. (Ex. Shrek)

• When human adults are reduced to children. (Ex. Stepbrothers)

• When humans are reduced to machine. (Ex. Office Space)

By employing irony and satire, comedy encourages audiences to reflect on human nature and societal norms.

The Philosophy of Western:

When you help others make a home, you create a civilization where everyone is free to live their best life.

The Western is a narrative that explores the rise and fall of civilization, often set against the backdrop of the American frontier.

These stories typically depict the tension between individual freedom and societal order, highlighting themes of exploration, justice, and the taming of the wilderness.

The Western serves as a metaphor for the American Dream, illustrating both its promises and pitfalls.

The Philosophy of Gangster:

Don’t be enslaved by absolute power and money or you will pay the ultimate price.

The Gangster genre explores the dark side of the American Dream.

These stories often depict individuals who rise to power through criminal enterprises, highlighting themes of ambition, power, and moral corruption.

The Gangster genre serves as a critique of societal values, showcasing how the pursuit of success can lead to one's downfall.

The Philosophy of Fantasy:

Discover the magic in yourself the makes life itself an art form.

John Truby explores the Fantasy genre as narratives that delve into the human desire to find magic in the world and within ourselves.

Fantasy stories often feature quests in imaginary realms, where heroes confront mythical creatures and overcome supernatural challenges.

These tales serve as metaphors for personal growth, transformation, and the pursuit of a life imbued with wonder and meaning.

The Philosophy of Detective & Thriller:

Look for the truth and assign guilt in spite of the danger.

The Detective genre centers on the protagonist's quest for truth, unraveling mysteries through observation, deduction, and logical reasoning.

Conversely, the Thriller genre emphasizes the protagonist's struggle for survival against imminent threats, focusing on suspense, tension, and high stakes.

While both genres involve elements of danger and revelation, the Detective story is primarily about solving a puzzle, whereas the Thriller is about overcoming a direct and often life-threatening challenge.

The Philosophy of Love:

Learning how to love is the key to happiness.

Truby identifies the Love genre as narratives that explore the profound connection between individuals, focusing on the challenges and triumphs of forming deep, meaningful relationships.

These stories delve into the complexities of intimacy, vulnerability, and the transformative power of love, often highlighting personal growth and the human desire for companionship.

And that’s it!

Whether you write fiction or nonfiction, you can use the themes and beats from different genres to add structure to your story, and use parameters that give you the freedom to combine genres, explore complex characters, and transcend storytelling.

Because genre is more than just a way to categorize.

It’s a way to understand how the world works.

It’s been a huge help for me.

Hope it helps you, too :)

Subscribe now

P.S

Let me know if you have questions. I’d love to chat about it.

Read “The Anatomy of Genres” by John Truby

Here’s a link —> The Anatomy of Genres by John Truby

Hey there,

In my last post, Missed Connection: NYC Ferry Astoria Route, I used a writing technique called the "Hermit Crab Essay."

In this post, I’ll break down this technique so you can use it to craft short, meaningful stories that stand out on Substack and impress new readers. I’ll cover what Hermit Crab Essays are, how I approach them, offer a few powerful tips, and share some of my favorite examples in fiction.

Sound good?

Let’s dive in :)

What is a Hermit Crab Essay?

A Hermit Crab Essay is a story—whether fiction or nonfiction—that adopts a pre-existing form (not typically used for essays or short stories) as its framework. The structure serves as a shell for the narrative, much like a hermit crab finds shelter in discarded shells.

For example:

• A story about addiction told through a grocery list.

• A story about an abusive relationship written as a missed connection on Craigslist.

• A story about infidelity presented through a customer service email.

The term was coined by Brenda Miller and Suzanne Paola in their book Tell It Slant: Writing and Shaping Creative Nonfiction. It’s a creative technique that blends the familiar with the unfamiliar, adding intrigue and novelty by using the chosen form’s inherent structure to shape the narrative.

4 Examples of Hermit Crab Essays in Fiction

“Hermit Crab Essays” was originally coined as a technique used for nonfiction, and specifically, personal essays. But the same technique can easily be applied to fiction and short stories. Here are some of my favorites:

Ernest Hemingway: Baby Shoes

For Sale: Baby Shoes, Never Worn.

That’s it. That’s the whole story.

Widely regarded as the shortest short story ever written, Hemingway’s "Baby Shoes" is also an example of a Hermit Crab Essay. It takes the form of an ad headline—just six words—but its simplicity carries layers of meaning. The more you think about it, the more the story unfolds:

• Who posted the ad?

• Why did they buy baby shoes?

• Why are they selling them?

• Why haven’t they been worn?

• Is this about a miscarriage or a desperate financial situation?

“Baby Shoes” is also a great example of Hemingway’s iceberg theory—where the story’s depth is implied, with only the “tip of the iceberg” revealed to the reader. This style is often found in Hermit Crab Essays, where the chosen form leaves much beneath the surface.

BJ Novak: Missed Connection: Grocery spill at 21st and 6th 2:30 pm on Wednesday

Missed Connection: Grocery spill at 21st and 6th 2:30 pm on Wednesday

“I was outside the Trader Joe's at 21st and 6th at around 2:30 pm last Wednesday.

I was wearing oversized sunglasses and a small straw fedora hat, light blue jeans, a black t- shirt- like top, and had freshly washed shoulder- length dirty blond hair with bangs. I'm 29 but people sometimes guess I'm anywhere from 28 to 30. I was carrying two paper grocery bags. You were walking by me in the opposite direction, carrying groceries, too, but only one bag. You asked if you could help and when I tried to explain that then your hands would be just as full as mine, I dropped a bottle of salsa, red, medium spicy Trader Joe's brand (or Trader Jose's, as you corrected me) but it didn't shatter which we both found interesting.

I told you my name was Lila (L-I-L-A) and you told me you had a cousin who pronounced it the same way but spelled it differently (L-E-I-L-A)…”

This story, presented as a Craigslist Missed Connection, tells a quick, relatable, modern-day tale of unrequited love.

You can find the full piece in Novak’s One More Thing: Stories and Other Stories.

Fun fact: Novak’s story inspired me to write Missed Connection: NYC Ferry Astoria Route. Remember, it’s okay to borrow techniques from other writers as long as you add your own spin. The essence of storytelling is telling old stories in new ways and new stories in old ways :)

Nicolas Marconi: A Recipe For You in The New World

In a cracked clay pot on a tenement stove, combine in equal measure:

Anardana, imported to America like your parents.

Aniseed, for your unappreciated sweetness.

Cacao, raw and bitter as the laughter of the bigots mispronouncing your name.

Ginger, to stoke the unyielding fire in your eyes.

Peppermint, an uplifting balm for the weariness of living in a place not made for you.

Vanilla, because your flavor is deeper than slurs and stereotypes.

Simmer with the love of your ancestors for a thousand years until you boil over. Don’t worry about the mess.

This is another example of a powerful story packed into a short word count.

Marconi entered it in the 100-Word Challenge for NYC Midnight, a global writing contest I’ve entered many times. In fact, my "Missed Connection: NYC Ferry Astoria Route" was one of my recent entries.

Marconi won the contest.

I placed fourth in my group.

: The Escape Room Emails

Please note: I wasn’t able to find an excerpt of this one online, but I was able to find a synopsis from The LA Review of Books:

“[Keret writes] an email exchange between a young man, who wants to bring his Holocaust-survivor grandmother to an escape room on Holocaust Memorial Day, and the owner of that escape room, who tries to explain that his business is closed on that day, is interspersed throughout the latter half of the book…

…At one point, a story that ends with the phrase, “I’d like to thank her again,” gives way to an email addressed to the escape room owner, beginning, “Dear Sefi, I would like to thank you again…”

Etgar Keret is one of my favorite writers.

His ability to pack so much meaning into such a small space has been a huge inspiration to me, especially how he blends humor with deeply moving stories about the human condition. If you haven’t noticed, I added a link to his Substack above.

You should definitely check him out—and absolutely read his books.

My favorite is Fly Already.

How I Approach Hermit Crab Essays

Step #1: Start with an Idea

Before writing anything, I always start with an idea.

This could be a prompt, a character, an ending, a plot point, an emotion, or a theme. It doesn’t have to be set in stone—it can evolve as the story takes shape.

The point is to get started and let that initial idea guide your next creative step.

Step #2: Make Connections

Creativity is about making connections.

In my short story “Missed Connection: NYC Ferry Astoria Route,” I knew I needed to write a drama that took place on a ferry and somehow involved a charcuterie board. When I thought about the charcuterie board, I envisioned a diverse plate of meats and cheeses from different countries.

That idea connected to something my character, Isabelle, longed for: wanderlust, a desire to escape her abusive relationship and rediscover herself.

Step #3: Let Constraints Determine the “Inevitable”

Think about your constraints (ferry, missed connection, drama, charcuterie board, etc.) and the inherent properties of your constraints—whether it’s the form, setting, or ideas you’ve already fleshed out. What kind of story, events, or character arcs naturally align with them?

This will make your story feel both surprising and inevitable.

For example, when I thought about the ferry, I saw it as a liminal, temporary space. This idea connected to the theme of liminal, temporary love, a common thread in drama, which led me to use the "Missed Connection" format for my story. The ferry’s repetitive route also symbolized a cycle—something I paralleled with the cycle of abusive relationships, aiming to take readers through that journey as well.

Before I knew it, I was writing a Hermit Crab Essay without even realizing it.

Here are 50 “Shells” to Start Your Hermit Crab Essay.

1. Customer Complaint Email

2. Grocery List

3. Resume

4. Missed Connection

5. Reddit Thread

6. Google Review

7. Obituary

8. Recipe

9. Job Rejection Letter

10. Apology Letter

11. Text Message Thread

12. Product Instruction Manual

13. Auction Listing

14. College Application Essay

15. Breakup Letter

16. Weather Report

17. Classified Ad

18. Wedding Invitation

19. Airline Safety Instructions

20. Spotify Playlist Notes

21. Personal Diary Entry

22. Emergency Evacuation Plan

23. Museum Exhibit Label

24. Travel Brochure

25. Horoscope

26. Fortune Cookie Message

27. Police Report

28. Medical Bill

29. Restaurant Menu

30. Facebook Event Invitation

31. Movie Review

32. Real Estate Listing

33. Annual Holiday Newsletter

34. To-Do List

35. Public Apology Statement

36. LinkedIn Recommendation

37. Dating App Profile

38. Online Shopping Cart

39. Performance Review

40. Anonymous Postcard

41. Prescription Drug Label

42. Wedding Vows

43. Conference Agenda

44. Handwritten Thank You Note

45. Court Transcript

46. Lost and Found Poster

47. Eulogy

48. Instructional Pamphlet

49. Field Trip Permission Slip

50. Airline Lost Luggage Form

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4 Tips for Writing Hermit Crab Essays

Hermit Crab Essays are all about using creative constraints to tell an unexpected story. Before you get started, here are four tips I always keep in mind:

Tip #1: Write Implicitly

When writing a Hermit Crab Essay, don’t give away every detail. Your words need to work harder, implying deeper meaning through subtext. This makes the reader part of the story, creating a more engaging experience. Implicit writing is my favorite because it’s conversational—the reader fills in the gaps, which is far more rewarding than being spoon-fed every detail.

Tip #2. Write Your Story Outside the Form

Your first draft doesn’t need to fit into the chosen form right away.

I find it easiest to brain dump all the details into a formless document, telling myself the story. Once you have everything out, you can simplify it and find the right structure that fits the form of your Hermit Crab Essay.

Tip #3: Form Follows Character

The form you choose should say something about your character.

It doesn’t have to be a profound connection, but it should make sense. Hemingway’s choice of an advertisement for “Baby Shoes” tells us the character is a victim of misfortune, possibly desperate for money. In my “Missed Connection” story, the format immediately tells the reader that Felix is desperately searching for Isabelle, which adds intrigue and sets up an inevitable twist.

Tip #4: Add a “Negative Character”

This might be a term I made up, but it’s useful.

A “negative character” is someone who isn’t explicitly present in the story but is still central to it. Their story is told through the perspective of another character. In my case, Isabelle’s story is told through Felix’s eyes. Though Felix is the narrator, Isabelle is the real protagonist. I used Felix’s perspective to show her emotions, decisions, and thought process, leading the reader to realize they were rooting for her all along—not Felix.

This mirrors a theme in abusive relationships, where a charming, seemingly charismatic partner is later revealed to be obsessive and abusive.

And that’s it :)

I love Hermit Crab Essays.

They’re such a simple way to stumble on your most creative ideas and write stories that feel unconventional and moving. Why? Because they make it easy to:

• Blend the familiar with the unfamiliar

• Add guidelines that lead to more “obvious” creative decisions.

• Create a more interactive and thought-provoking experience.

So go ahead—experiment, surprise your readers, and let your story take shape in unexpected ways. Be sure to reach out with questions, and let me know how you’re progressing with your story. I’d love to see what you come up with.

Hope this helps,

Jake

Hey there.

I want to give you a quick checklist of words that weaken your writing.

Once you remove them, your writing will be cleaner, and make a bigger impact. As a bonus, I wrote this checklist as an AI prompt so that it’s easier and faster for you to use. Just copy and paste the prompt into your AI and watch your writing assistant do all the the dirty work you don’t want to do.

Background: I created this list a few weeks back as a Quora answer. A lot of people found it helpful, so I figured I’d expand on it here, and then make it even more valuable by transforming it into a prompt.

Now I’m rambling.

Here’s the (editable) prompt:

I want you to understand this guide so that you can clean up my writing into a more compelling and impactful piece, without changing my voice or style. 

First I will teach you the guidelines. 

Then I will share the writing that I want you to clean up.

Here are the guidelines:

No Adverbs: especially those ending in -ly (e.g., really, very, basically, actually). Replace them with words that better describe the action. 

Example: “He ran quickly to the store” should be “He sprinted to the store.”

No Weak Verbs: replace with stronger, more specific verbs (e.g., is, are, was, were, be, being, been).

Example:“She is happy” should be “She radiates happiness.”

No Qualifiers: words that weaken your statement (e.g., just, quite, rather, somewhat, kind of, sort of, fairly).

Example:“She was quite upset” should be “She was upset.”

No Redundant Phrases: unnecessary repetition (e.g., absolutely essential, true fact, free gift).

Example: “It’s a free gift” should be “It’s a gift.”

No Clichés: overused expressions (e.g., at the end of the day, think outside the box, easier said than done).

Example: “Think outside the box” should be “Think the norm.”

No Filler Words: words that don’t add meaning (e.g., like, you know, so, well).

Example: You know, it’s important” should be “It’s important"

No Empty Phrases: phrases that add little to no value (e.g., in order to, due to the fact that, in the process of).

Example: “In order to succeed” should be “To succeed.”

No Intensifiers: words that overemphasize (e.g., absolutely, completely, totally, utterly).

Example: “Completely wrong” should be “Wrong.”

No Nominalization: turning verbs into nouns (e.g., “decision” instead of “decide,” “discussion” instead of “discuss”).

Example: “Made a decision” should be “Decided.”

No Unnecessary Modifiers: words that don’t add significant meaning (e.g., really, very, quite, somewhat).

Example: “Really big” should be “Enormous.”

No “There is/are” Constructions: more direct constructions are often stronger (e.g., “There are many people who” vs. “Many people”).

Example: “There are many factors that contribute” should be “Many factors contribute.”

No Excessive Details: avoid over-explaining or providing unnecessary information.

Example: “She wore a red dress, which was bright and eye-catching” should be “She wore a bright red dress.”

No Tautologies: saying the same thing twice in different ways (e.g., “end result,” “added bonus”).

Example: “End result” should be “Result.”

No Vague Words: be specific and clear (e.g., stuff, things, good, bad, nice).

Example: “Good idea” should be “Excellent idea."

No Unnecessary Negatives: rephrase to be more direct (e.g., “not unhappy” vs. “happy”).

Example:“Not wrong” should be “Right.”

After your AI learns these rules, it’ll then ask you to paste in your writing.

And boom. Your writing just got 10x stronger, bolder, and clearer.

I hope this helps.

And I hope your writing moves someone today.

To discover more methods I use, stories I write, and books I read to Write to Move People, consider clicking this demanding little box.

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Sometimes, I'm supposed to write to millions of people.

But I still pretend I'm writing to just one person.

I pretend I’m writing to you.

Because when I picture you in my mind, I start to see things that I can't see when I picture a million strangers.

I see your personality.

Your problems.

Your presence.

I see the things you love.

The things you hate.

I see what makes you, you.

And as I start to write, I can see your face start to change.

Scoffing.

Laughing.

Questioning.

I hear you say, "How the hell did he know that?"

And, "Alright, this is getting weird."

But it’s not just weird.

It’s borderline schizophrenic.

And it’s how I get a sense of what to write, how to write it, and why I'm writing to millions of people.

Because at the end of the day, you and me aren’t that different from everybody else.

We’re all just a bunch of brains trying to figure out why.

So, yeah.

Write to one person.

And you will speak to millions.