10 Storytelling Mistakes Even Experienced Fiction Writers Make

Why “experienced” doesn’t mean “perfect”

You might have published books, built a fanbase, or sold stories—but even veteran fiction writers stumble into certain traps again and again. Recognizing these recurring mistakes is a powerful way to move from “good” to “great.”

Below are ten storytelling pitfalls I’ve observed (in myself and others). Each comes with diagnosis, examples, and (where possible) corrective tactics. Use this as a checklist when you revise your drafts.

1. Starting too early (weak opening)

One of the most frequent mistakes: you set the scene, introduce the world, ease in the characters—but nothing compelling has happened. As Susan Breen warns, beginning way too early causes readers’ attention to drift.

Fix: Identify the moment your story “really starts”—the inciting incident or the first real conflict—and begin as close to it as possible. Use a “cold open” or drop hints of tension early. You can always add prologue-like setup later (or via flashbacks) if needed.

2. Neglecting stakes, conflict, or pacing

Even with a good opening, many writers fail to sustain momentum. The story may meander, or characters drift without meaningful conflict or urgency.

Symptoms:

Scenes feel like filler or “quiet time” without narrative drive
The protagonist doesn’t face escalating consequences
The middle sags (“second act slump”)

Fix:

At each scene, ask: What’s at stake? If nothing is at risk or the danger isn’t real, raise the stakes.
Use “micro-conflicts” (internal choices, tension between characters) even in quieter scenes.
Outline pacing arcs: rising tension, mid-point reversal, low point, climax.
Kill your darlings: if a scene doesn’t move something forward (plot, character, or theme), consider cutting or repurposing.

3. Info-dumping & backstory overload

Experienced writers sometimes fall into a trap of “I know all this world/building detail, so I’ll share it early.” But dumping pages of exposition kills momentum and turns readers into mere observers.

Symptoms:

Walls of text about lore, history, world mechanics
Flashbacks that interrupt momentum
Reader wondering, “Why am I reading this?”

Fix:

Integrate backstory sparingly and only when needed.
Use “show, don’t tell” (more on that in #4) to reveal character history or world hints gradually.
Use in-scene dilemma or conflict to reveal backstory in small bites (dialogue, internal thought, brief memory triggers).
If a chunk is too heavy, consider moving it to appendices or a prologue (but even then, be cautious).

4. Over-telling instead of showing

This is a venerable advice, but famously hard to master. Writers sometimes explain feelings, motivations, and internal states directly instead of dramatizing them.

“She was angry.”
vs
She slammed her fist on the table. Her knuckles cracked. “Don’t you dare—”

The second is showing; the first is telling. Many writers slip into telling when rushed or overconfident.

Fix:

Always ask: Can I write this as a scene (action + dialogue + sensory detail) rather than simply stating it?
In revision, highlight every sentence that states internal emotion and see if you can convert it into a scene or image.
Strike a balance: sometimes telling (summarizing) is useful for transitions or bridging time, but use it sparingly.

5. One-dimensional or static characters

Even accomplished writers can fall into “traps” of character stagnation: characters whose motivations never evolve, or who act as mere plot devices rather than living people.

Symptoms:

The villain is evil for evil’s sake (or the hero is purely noble with no flaws)
Side characters exist only to prompt the protagonist (no arcs)
The character’s inner life feels flat

Fix:

Give each major character internal contradictions, wants vs fears, wounds.
Ensure character arcs: how does each character change (or resist change) by the end?
Use “reverse scenes”: show moments where characters act contrary to what they “should” do, revealing depth.
Explore point of view intimately: what is your character thinking, misinterpreting, avoiding?

6. Weak or artificial dialogue

Dialogue is one of the trickiest skills. Even seasoned authors sometimes write conversations that feel formal, expository, or on-the-nose.

Symptoms:

Characters explain things they already know (“As you know, Bob…” lines)
Dialogue that mimics an essay (too polished)
Characters all sounding the same (lack of voice)

Fix:

Listen to how people actually speak (snippets, subtext, interruptions).
Use subtext: characters often say less than they mean.
Give each character distinct voice quirks (vocabulary, rhythm, slang)
Trim “on the nose” lines and force implication or restraint.

7. Inconsistent tone, point of view, or voice

Experienced writers may experiment—and sometimes their story shifts in tone or viewpoint unintentionally. That inconsistency disrupts immersion.

Symptoms:

The narrative flips between omniscient to limited POV
Tone changes (e.g. a funny scene suddenly becomes melodramatic without warning)
Voice or register (language level) goes haywire

Fix:

Before writing, define your narrative frame: first person? third limited? omniscient? Stick to it (or make a reasoned shift).
Create a style guide for your novel (tone, register, permitted slang/phrases).
In revision, search for passages that feel “off voice” and rework them to match.
If you do change POV or tone, signal it clearly or use breaks (e.g. chapters or section breaks).

8. Failing to foreshadow or mismanaging setups and payoffs

Even seasoned writers forget that setups (hints, small threads) must be paid off later—or else the plot feels loose or contrived.

Symptoms:

An object, detail, or subplot appears and then vanishes
A twist feels unearned (comes from nowhere)
Foreshadowing is heavy-handed or overly obvious

Fix:

On your outline, mark setup–payoff pairs (introduce a clue here, pay it off later).
Use “Chekhov’s gun” principle: if you bring up something, use it.
Spread your hints in subtle ways (dialogue, sensory detail, offhand remark).
In revision, list unanswered threads and ensure each is resolved or intentionally left ambiguous (but controlled).

9. Ignoring the importance of revision and ruthless cutting

One of the pitfalls even experienced writers fall into is treating the first draft as “finished” (or polishing too little) or conversely, overediting until the voice is lost.

Symptoms:

Favorite scenes that don’t advance anything
A draft that feels bloated and slow
Hesitancy to kill or rewrite “good prose” for the story’s sake

Fix:

Adopt a mindset: the first draft is “brain dump”; revision is where the real sculpting happens.
Use objective read-throughs: “Does this scene move the plot, the character, or the theme? If not, cut or revise.”
Work in passes: big structural pass, then character/scene pass, then line edit, then polishing.
Enlist beta readers or editors to flag weak areas you might love but that don’t work.

10. Lack of reader empathy / forgetting the audience

Sometimes experienced writers assume the reader “should just get it” — skipping bridges, misjudging pacing, or underestimating how much explanation the reader needs. This creates confusion or alienation.

Symptoms:

Scenes or jumps that puzzle readers
Assumed knowledge (lingo, culture, references)
Overcomplicated structure or timeline without clues

Fix:

Step outside your author’s mind: act as your first reader.
Use beta readers, especially ones not deeply embedded in your genre.
Add guideposts: short reminders of setting/time, subtle context cues.
Stay humble: assume readers don’t see what you see; gently guide them rather than forcing them.

Bonus tip: Use craft books & community to stay sharp

Even the best writers benefit from fresh perspectives. Here are a few writing-craft books I recommend:

Stephen King: On Writing – A Memoir of the Craft — part memoir, part writing advice; King’s lessons on discipline, style, and perseverance are timeless.
The Handbook of Creative Writing — a solid reference covering voice, plotting, style, editing, and more.
Creative Writing Workbook — full of exercises to stretch your skills and break writer’s ruts.

In addition, join writing communities (critique groups, workshops, online forums). The feedback, clashing tastes, and shared challenges help reveal your blind spots.

Even experienced fiction writers fall into traps: overwriting, unclear structure, weak characters, or careless pacing. The key is to build self-awareness and use revision to unwind those mistakes.

Use the list above as a diagnostic checklist when revising: go through your draft, mark places that trigger the symptoms, and ask whether each scene or line truly serves the story.

Fictional Fixation