The Fastest, Most Reliable Way to Improve Your Writing Craft
by Jenny Hansen
When you’re learning something new—whether it’s baking bread, fixing a leaky sink, or crafting a story that keeps a reader up all night—you bump into two types of difficulty: the stuff you can figure out on your own, and the stuff that makes you want to throw your laptop into the nearest body of water.
The Zone of Proximal Development (ZPD) lives in between those extremes. This magical zone is where the most effective (and usually the fastest) learning takes place.
What is the Zone of Proximal Development (ZPD)?
Lev Vygotsky, the psychologist who coined the term, defined the ZPD as the sweet spot where a learner can’t quite do something alone but CAN do it with guidance, modeling, or collaboration. This zone is the difference between “Easy Peasy” and “I have no idea where to start.”
In that in-between zone, you’re stretching your skills without snapping them. You’re building competence while getting support, until you can learn to handle the [Fill in the Blank] challenge on your own.
How does the ZPD apply to writing?
To think about this from a writing perspective...there is only so far you can take a story without help.
That help might come in the form of blogs, classes, podcasts, writing mentors, or books, but no writer develops their talent in a bubble. For every creative, there is something that sparks your need to create, or shows you more productive ways to go about that creativity. There is someone or something that makes you attempt to reach higher or further.
For writers, the ZPD is EVERYWHERE. We are in a profession of constant learning.
We find it hidden in the learning curves we barely noticed, and in the hurdles that stop us cold. The trick is recognizing when you’re in that I don't know how to do this place, and then being willing to seek help.
Seeking the right kind of help allows you to move forward more quickly in mastering Craft skills.Think of a teacher like Margie Lawson or Becca Syme as the "scaffolding" that allows you to bridge the gap between what you can't do yet and what you can do with their assistance.
Some examples…
Below are examples of how I've seen the ZPD show up on the road to learning writing craft, and ideas for how you can use it to your advantage.
1. Moving from Grammar Rules to Style
A beginner writer might know basic sentence structure but often gets stuck when trying to vary sentence rhythms for effect.
On their own, many newbies produce choppy or predictable prose. In their ZPD, a mentor, teacher, or writing group member might give them a critique and point out where varying length or structure could create impact. Through guided rewrites, the writer learns how to balance clarity with cadence, eventually hearing and applying those patterns instinctively.
Without support: “I write how I talk, and my sentences all sound the same.”
With support in the ZPD: “Here’s how to play with sentence length so your reader feels the tension you’re building.”
2. Developing a Compelling Scene Arc
When I was a newer fiction writer, I understood the components of a scene: characters, conflict, dialogue. But I didn't understand how to use them in a way that moved the story along. I'd flesh out the scene, and the pacing would drag. I knew I was dragging, and that I was taking too long to get to the good stuff, but I couldn't pinpoint why.
3 Pivotal Tools (for me)
Reading Debra Dixon's book (Goal, Motivation & Conflict) pointed me down the path toward mastery. Blake Snyder helped too, by explaining Story Beats in Save the Cat. Finally, Margie Lawson's EDITS system showed me how to visually see what was missing from any scene or chapter.
Writing teachers like the above, a great editor, or a really good critique partner can walk a writer through a scene, so they understand when and how to apply a concept like micro-tension, or recognize when an emotional beat is missing.
Best of all, they can do it quickly. Two perspectives are way better than one when you're learning writing craft.
That new-ish writer who asked for help can rework their scene so the tension rises and falls in a compelling way. Almost overnight, a writer can go from “my scenes all lack energy” to understanding how to build or release tension in a scene. Eventually, they can extrapolate the knowledge to all their scenes. Their readers begin to lean in instead of tuning out.
Now they can move on to work on the next layer of learning.
3. Understanding Point of View Nuances
The leap from knowing what point of view is to mastering it is a classic ZPD moment. A writer might be able to keep first-person narration consistent but still “head-hop” in third-person without realizing it. A line editor, workshop leader, or (in my case) a blogger, can point out where the voice slips, then guide them through exercises to keep the reader anchored in a single perspective.
My amazing helper was Lisa Hall-Wilson. Her Deep POV posts here at WITS have had a massive impact on how I approach point of view. Here's one of my favorites: The 4 Important Layers of Deep POV.
The before-and-after difference in a nutshell:
- Before: “I’m writing in third person, but my beta readers sometimes get confused about who's talking.”
- After: “I know how to ground the reader in the sensory world of one character at a time and keep them in Deep POV.”
4. Learning to Cut (Without Bleeding Out the Story)
Self-editing is a survival skill, but during most writers' early stages, it’s hard to tell what’s fat and what’s bone.
In the ZPD, a mentor models how to identify redundancies, over-explaining, or tangents, while preserving your voice and teasing out the most effective emotional beats. After a few times through this process, the writer starts applying that same lens to their own drafts.
Without support: “I know it’s too long, but I’m afraid to cut anything in case it messes up my story.”
With support in the ZPD: “Let’s cut this paragraph. Perfect. See how the pace improves without losing meaning?”
5. Building Subtext in Dialogue
Speaking of meaning... Many beginning writers write dialogue that says EXACTLY what those literal-minded characters mean. *raises hand* There are no hidden meanings, no misunderstandings, no sarcasm. . .and no tension.
In the ZPD, a writing coach might break down a scene from a well-known novel, showing how characters often talk around the truth. Guided practice helps the writer layer in body language, pauses, or misdirection, until they can craft conversations that hum with what’s unsaid.
Without support: “My dialogue sounds like a script reading.”
With support in the ZPD: “What if the character says the opposite of what they feel—what clues could you drop for the reader?”
Working Inside Your ZPD
The big secret, in my humble opinion, is not waiting too long to find help. You see, the Zone of Proximal Development is less about magic and more about strategy. It’s about identifying that edge where you can almost—but not quite—do the thing, then finding the right scaffold to bridge the gap.
In writing, that scaffold could be:
- A mentor’s real-time feedback
- A workshop’s targeted exercises
- A craft book that speaks your language
- A peer who’s one step ahead of you and willing to share their knowledge
The goal is to internalize the skill so it moves from “I need help” territory into “I’ve got this.” Once it does, your ZPD shifts, and you can move forward. There’s always a new edge, a new skill you can almost—but not quite—do on your own.
And that’s the best part of writing. There’s no finish line, only the next sweet spot where growth lives: just far enough to stretch you, but close enough to reach. . .with a little help.
When have you experienced that lightning-flash of knowledge that kicks your skills up several levels? Please share your effective writing teachers and mentors with us down in the comments!
* * * * * *
About Jenny
By day, Jenny Hansen provides brand storytelling, LinkedIn coaching, and copywriting for accountants and financial services firms. By night, she writes humor, memoir, women’s fiction, and short stories. After 20+ years as a corporate trainer, she’s delighted to sit down while she works.
Find Jenny here at Writers In the Storm, or online on Facebook or Instagram.
Featured photo purchased from Depositphotos. Branded in Canva.
Leave a Reply
25 comments on “The Fastest, Most Reliable Way to Improve Your Writing Craft”
Tagged as:
Subscribe to WITS
Recent Posts
- 5 Rules to Keep Writers Sane on Their Creative Journey
- Deck the Draft: Make Your Story Sparkle
- Naming Your Book: Avoiding Title Mistakes That Kill Sales
- How to Use Perception to Create Subtext in Deep POV
- WITS Bloggers Share Writerly Thanks
Love this, Jenny! You've mentioned Margie - one of the most powerful mentors I've had. She is amazing. You also mentioned Becca Syme, who is incredibly insightful and encouraging. I'd add Laurie Schnebly, Sarah (Sally) Hamer, Lisa Miller, Johnny B. Truant, and probably a ton more! Having the right teacher at the right moment is so empowering!
Awesome! And yes to Laurie Schnebly, Lou Nelson, Donald Maass, Lisa Cron, Chris Vogler, Stephen Cannell, and Michael Hague. (We were super blessed by geography when I was in Orange County, CA!)
All of them taught us skills that we will hold inside of us forever. How cool is that?
Jenny, this was great! Thank you so much!
Yes, definitely Margie Lawson! Lisa Cron’s ‘Story Genius’ also turbo charged my writing craft.
You are SO welcome, Hermina! I learned so much from Lisa Cron. Her theory on the Origin Story? Bang!
She wrote a few post for us here if you want to go search in the right sidebar. 🙂
Love Deb Dixon's GMC. She did workshops for our RWA chapter way back when, and they really helped me get from just having characters "do stuff" to having the stuff they did "mean something."
Right? Us too! And even though I'd heard of GMC and Scene and Sequel (Dwight Swain), I didn't really get it until I heard Deb Dixon speak.
I have to give a shout out to my critique groups and SCBWI workshops, this blog, and the Highlights Foundation blog.
I'm still working on the omniscient POV, so if anyone wants to blog about that here...
Thanks, Debbie! And I hear the best stuff about SCBWI. I need to get after them at some point. I'll check out the others too!
I seriously began my writer's journey alone, except for reading articles and books on the subject. The articles and books helped, but what really made the difference for me is when I discovered there were local writer critique groups I could attend. Getting this specific feedback and participating in critiquing others' work, dramatically improved my recognition and understanding of the elements of style which turn an ordinary telling into a compelling story.
Occasionally, I've seen a commercial editor dismiss the value of critiques groups, suggesting aspiring authors can pick up bad habits, instead. To be sure, there can be a disparity in craft skills between and within critique groups. On the other hand, I've seen often where lesser skilled members will still offer a valuable insight others did not. Each member simply decides for themselves which comments or suggestions to take seriously. so, the benefit of critique groups should never be dismissed. I always strongly recommend to new authors finding one. There's much to be gained.
I think a good critique group significantly shortens the craft learning cycle. What does that editor know? 🙂
Fun fact, Jerold: WITS was started by my original critique group. I'm the last one standing, but that's where we came from. And I wouldn't be the writer I am today without them.
Terrific article! Key point that resonates with me: No writer develops their talent in a bubble.
For me, it is managing all the learning with effective application and the actual writing. Peaks and valleys of feeling like I'm making progress versus I stink and can't do this. I know that I have to intentionally choose active engagement because I like my writer bubble! It so fun in there and I get to do whatever I want.
Honestly. I know there are giant vats of things I don't know and can't do. When and how and with whom to dip into those vats is the hard part. This article gives some great ideas.
Shout out to Lisa Hall-Wilson for Deep POV. She is fabulous, very patient, and has a big tool chest. That was one of those times where I got a peek into what I didn't know I didn't know. Still on that POV vat.
There are many great people and resources out there for writers, new and not so new. Figuring out what to incorporate and participate in is very hard. It could take all my time and money. It's a balance. Finding that balance is my biggest challenge.
That's a great summary. Writers NEED writers and teachers and books. We just do. And I've noticed for myself that progress happens in plateaus and accelerated bursts. It's like I have to practice that thing I sorta-kinda-know a few times before it clicks and becomes MINE. Then I actually know, and I can move on to the next point.
Sometimes what Donald Maass tells me in 2004 doesn't make sense to me until Margie Lawson explains it in 2014. (Total true story.) Writing just works like that.
As a discovery writer, I could write about 2/3s of a novel and then I'd hit a wall. I started studying the stories I really loved and decided the weakest area of my writing was plot, but underneath that lurked weak conflict and low stakes. Also, because I didn't know what was coming ahead, I ended up writing backstory instead of dropping hooks to keep the reader engaged.
Clearly, depending on my imagination to do everything--world-build, set up and resolve conflicts, sustain tension, reveal character, create clever dialogue with subtext, produce twists and turns, write elegant prose, and drive the plot forward--all at the same time was overtaxing my brain, haha. I'd already internalized the romance beats, but that simply wasn't enough.
Because I struggled to find information on plotting a romance beyond the beats, I turned to mystery writer Jane K. Cleland's books 'Mastering Suspense, Structure and Plot,' and 'Mastering Plot Twists.' While I don't write mysteries, mystery authors are often praised for their clever plotting. Her methodology has completely changed my approach to my writing. After all, twists, reversals, and (emotionally) dangerous moments are just as thrilling in a romance as they are in a mystery. The books also taught me ways to develop and weave in related subplots to help deepen my themes. I already knew the beats and the elements of plot, so her advice about how to organize everything was the lightning.
Man, I know this feeling! And the 1/2 to 2/3 stopping point.
I think it is excellent that Jane Cleland resonated with you! There are books on my shelf that I couldn't read until I read other books. There are teachers I couldn't hear until I heard other teachers. It's fascinating to see what is the key for each of us to be able to turn the lock on skills.
The only thing that ever breaks my heart is when writers stop reaching and striving to be better. Usually, it's because they don't understand the help they receive, or because they are too daunted by how much work it will take to fix their story. Those are both valid reasons, but it's still heart breaking to see a good writer turn their back on a shot at becoming a great writer.
Writing is a supportive community for the most part, and I really feel that if you seek the knowledge you will find it. Sometimes you even find it at a reasonable price (or even free)!
That classic wisdom: "the teacher will appear when the student is ready" And we do have to stay ready. That's why reading this site is a regular practice for me--it helps me keep stretching.
Awwwww, thanks Selene. And yes, I totally think the right teacher will appear if we look for them.
I tell everyone, I would not be published if it was not for Margie Lawson. She is one of the best mentors out there. But not only that, I learned so much about editing from her, that it helps me with my developmental editing business.
I hear you, Jenn! Margie is a genius at taking writers of every level and showing them what they COULD be with some solid easy-to-get tools.
I mean, come on...her lecture packets are $22 each and they're like a college course.
Thank you for this post. It's truly helpful.
That's music to my ears, VM!!
All good points Jenny! Of course where writing--any art really--is concerned, one era's mediocre work can become another's masterpiece... And vice versa...
Isn't that the annoying and hilarious truth?
I haven't thought about Lev Vygotsky in a long time. ZPD definitely fits for writers.
Critique group members can serve as mentors who help lift your writing to the next level.
Case in point. A writer in our group was very defensive about her work, lots of tension. So we let it go. A few months later she said, "You guys were right. I ended up removing wide swaths from my chapters. I'm a different writer now."
Jenny, you hit it on the nose. You need to be ready to be receptive as well as have the right mentors/materials.
Great article!
Thanks, Ellen! And it sure is lovely to see you here. I'm so glad your eye is feeling better!!
[…] The Fastest, Most Reliable Way to Improve Your Writing Craft […]