How to Overcome Writer’s Block by Finding Its Cause

---

A stalled draft is often a signal, not a verdict on your ability. Writer’s block is difficulty making progress with writing, and it can have different causes, from uncertainty about your work to pressure to get every sentence right. Learning how to overcome writer’s block starts with identifying what is stopping you, rather than simply trying to force more words onto the page.

If you’ve been staring at a blank page, you may already know something is getting in the way. The challenge is working out whether it’s low confidence, perfectionism, an unclear idea or simply difficulty getting started. Identifying the cause can help you choose a practical way forward and approach the work with more patience.

This article explains what writer’s block can feel like, how to explore its possible causes and how confidence and high expectations can affect your progress. You’ll find manageable ways to begin, build momentum and recognise when the project itself may need attention. The aim isn’t to demand perfect writing straight away, but to help you take a considered next step.

1. What is writer’s block?

Writer’s block is difficulty making progress with writing, whether you’re stuck on an opening, a scene or an entire project. The phrase was coined by psychoanalyst Edmund Bergler in 1947, but the experience can have different causes. A blank page might reflect uncertainty about what happens next, pressure to write perfectly or competing responsibilities that leave little room to think.

To see how different causes can call for different responses, watch Overcoming Writer’s Block: 3 Causes and Solutions by Writing with Andrew.

When you cannot get started, try a ten-minute freewriting exercise: keep your pen moving, write whatever comes to mind and leave editing for later. You could also deliberately write rubbish, such as an absurd opening or dialogue that would never appear in the finished story. The aim is to generate material, not judge it. Even a clumsy line can suggest a useful idea.

Play with the project instead of demanding a complete plot. Imagine two characters stuck on parachutes, shouting to each other, or write twenty unconnected lines of dialogue on separate scraps of paper. You could also list thirty ways a difficult scene might unfold. These prompts give you options to examine, combine or discard during editing.

A routine makes room for writing alongside work, study and caring responsibilities. Choose a regular time that fits your schedule, then set a realistic goal, such as one page or a short timed session. A specific, measurable and achievable target gives the session a clear endpoint. If a full session isn’t possible, use a lunch break or jot down notes while travelling.

A different setting may help if your usual desk has become associated with frustration. Try moving to a library, changing rooms or working on another section; a change of surroundings can offer a fresh perspective. You don’t need to move every time. Notice whether noise, interruptions or an uncomfortable setup is making it harder to concentrate, then adjust one thing.

If stress or exhaustion is making writing difficult, pause before treating the problem as a lack of discipline. Basic steps such as eating, sleeping, stretching and taking a break from the computer can support concentration. If the strain is connected to wider concerns about your wellbeing, counselling or therapy may be worth considering.

In the UK, a local writing group, an online peer group or a structured creative writing course can provide prompts, shared practice and accountability. Choose a format that suits your project and schedule; a supportive group can help you keep writing, while wellbeing support may be more appropriate when stress reaches beyond the page.

2. Identifying the cause of writer’s block

Before choosing a remedy, identify what happens just before you stop writing. Note the task, the thought that comes up and what you do next. For example, you might open a draft, think “this idea is too ordinary”, then switch to research. That sequence points to a different problem than having no idea what to write.

Try this short diagnosis: write down the sentence you’re avoiding, then finish “I’m stuck because…”. Keep the answer specific. “My writing is bad” is a judgement; “I don’t know what the main character wants in this scene” identifies a task you can address. You could also describe the problem to an imagined friend, which may help you put it into plain language.

Too many ideas can create pressure just as surely as too few. If several projects are competing for your attention, list them on paper and mark the one that feels most urgent or meaningful. Give the others a temporary home in a notes file instead of trying to develop them all at once. This preserves creative freedom while giving your attention a clear direction.

When ideas are scarce, make the question smaller. Instead of asking “What should my book be about?”, ask what one character wants in the next scene or what a reader needs to understand in the next paragraph. Freewriting or a quick list of possible answers can reveal a starting point, even if the first options seem obvious. The problem may be an oversized prompt, not a lack of imagination.

Fear can also interrupt writing. You may worry that the work will disappoint readers, expose a lack of skill or fail to match an earlier success. Samuel Taylor Coleridge described an “indefinite indescribable Terror” when trying to write meaningful poetry in 1804. Naming your own worry can make it easier to separate a real craft question from a prediction about failure.

• If the page feels empty: identify the smallest unanswered question in the next section.
• If ideas crowd in: choose one project for this session and record the rest for later.
• If fear takes over: write down the feared outcome, then name one action within your control.

Notice whether the difficulty belongs to the writing task or reaches beyond it. If blocked writing coincides with distress affecting other parts of your life, consider speaking with a GP, counsellor or therapist. Writing exercises can help with a creative obstacle, but wider wellbeing concerns deserve attention in their own right.

These distinctions help you match your response to the cause: prioritise competing ideas, narrow an unclear task or acknowledge the fear behind avoidance. A brief note after each writing session can show which pattern keeps returning, giving you a more useful starting point next time.

Loss of confidence and perfectionism

Confidence can falter when you compare a rough draft with a finished book or polished article. For example, an author may write a scene, reread its awkward opening and decide the whole project lacks merit. Separate the evidence from the conclusion: “This paragraph needs work” describes a revision task; “I can’t write” turns one difficulty into a judgement about your ability.

Perfectionism can make that judgement feel urgent. You might spend an entire session changing the first sentence because you expect it to set the standard for every page. Change the conditions instead: draft in an unattractive font, leave the title blank or use a temporary heading such as “Scene at the station”. These small choices reduce the pressure to treat early decisions as final.

Some authors accept that a first draft is provisional. John Green has said there is a 90 percent chance he’ll delete what he writes on a particular day. That figure isn’t a target for your own editing; it illustrates that drafting can involve material you later remove. Give yourself permission to produce a version that helps you discover what the piece is trying to say.

Make the worry specific. At the end of your writing day, list what concerns you, such as “the character sounds unconvincing” or “my argument needs stronger evidence”. Naming the thought can turn a general fear into a question you can address. If you’re going in circles, explain the problem to an imagined friend, then write the answer you’d give them.

Keep your attention on the sentence or scene in front of you. If you’re writing a difficult conversation, focus on whether each character’s response feels true, rather than judging the entire novel. You can also separate drafting from editing: mark a concern in brackets, such as “[check this detail]”, and carry on. Return to the note during revision instead of interrupting each new thought.

Friends can offer perspective, but decide what kind of response you need before sharing a draft. Ask a trusted reader to identify where they became confused, rather than whether the whole piece is good. This gives you a specific craft observation to consider without making your confidence depend on broad approval. Sometimes the most useful next step is simply to take a break, then try the current scene again.

Reducing perfectionism doesn’t mean lowering your standards. It means applying each standard at the right stage: first get ideas onto the page, then shape the argument, improve the sentences and check the details. When “this must be perfect now” crosses your mind, remind yourself which stage you’re in and choose one manageable action, such as completing the next paragraph.

4. Building momentum by starting

Starting can feel harder than continuing because the first sentence seems to define the whole piece. Ease the pressure by choosing an action, not an outcome. Open the draft, read the last paragraph and add one sentence explaining what should happen next. You don’t need to believe that sentence belongs in the final version; its purpose is to restart the writing process.

Set a fifteen-minute timer and write despite the thought that the work won’t be good enough. Use that time to move the project forward, not to judge its quality. If you’re revising a difficult draft, choose one clear task, such as clarifying a character’s motivation or adding evidence to a claim. A limited focus makes the next step easier to see.

When the current section won’t move forward, change the task rather than abandoning the work. Rewrite a paragraph in simpler language, draft a monologue for a minor character or note what the reader needs to understand. Each action engages a different part of the project. A rough attempt also gives you something specific to revise.

If you can’t produce a polished draft, try writing three uncensored pages in a notebook. Let questions, complaints, fragments and possible scenes sit together without correcting them. Then underline one phrase that holds your interest or energy. Use it as a prompt for your next focused session, rather than expecting all three pages to become finished work.

A prompt can provide structure when your thoughts feel scattered. Set a ten-minute timer and combine three elements, such as a character, an emotion and an unexpected event. For example, write about a tired baker, a secret and a power cut. Give the scene a beginning and a change, then stop when the timer ends. You’ve completed a defined exercise, even if the piece is unfinished.

If sitting down still feels difficult, do a small manual task first. Washing a few dishes or taking out the rubbish can create a clear transition before you return to the draft. Then set a gradual target: open the document, reread one section and make one useful change. Small actions turn an intimidating demand into a manageable plan.

If a draft feels stuck during revision, find the exact point where progress stops. Write a note such as “the scene lacks a decision” or “this paragraph repeats the previous point”, then focus on that issue alone. If the passage remains difficult, move to another section and return later. Starting elsewhere can reveal what the troublesome passage needs.

Momentum grows through repeated, achievable actions, not one perfect session. At the end of each writing period, leave yourself a next-step note, such as “describe the room” or “check the argument’s order”. That instruction gives your next session an immediate entry point and helps you begin before uncertainty takes over.

5. Identifying the source of writer’s block

A stalled chapter may point to a problem with the writing itself, rather than your discipline. Perhaps the characters have no clear reason to act, the plot depends on an unlikely choice or the next scene repeats information. Before seeking inspiration, reread the last page you completed and identify where the story stops making sense to you.

Heather Dyer spent two years trying to develop a storyline for her fourth book without making progress. Her experience shows why persistent difficulty deserves investigation: repeating the same approach may not solve the underlying issue. Ask what feels wrong, then pinpoint the element affected. Is it the character’s motivation, the order of events, the point of view or the project’s direction?

Test your diagnosis with a small change. If a character’s decision feels unconvincing, write a brief alternative scene showing a different choice. If a chapter feels slow, summarise each paragraph in a few words and look for repeated functions. If you’re unsure about the ending, draft two possible outcomes. These experiments can reveal whether the obstacle is structural, creative or practical.

Responsibilities can also seem to block writing. List the specific demands competing for your time, then distinguish genuine constraints from tasks that provide an easier refuge. For example, answering messages may be necessary, while repeatedly reorganising notes might delay a difficult scene. This isn’t a reason to dismiss your responsibilities; it helps you see what adjustments could make room for the project.

A deadline can intensify pressure, especially when the task feels too large. Break the work into visible stages, such as choosing the chapter’s purpose, drafting its key moment and reviewing its order. If the deadline feels distant, set a clear next action. If it feels close, decide what the reader must understand first and postpone refinements that don’t serve that purpose.

Sometimes the source is depleted attention or wider distress, rather than a plot problem. Notice whether blocked writing comes with difficulties in other parts of life or appears only around one project. If concerns about your health and wellbeing are affecting daily activities, consider seeking appropriate support. Writing methods can address a difficult draft, but they cannot resolve every cause of distress.

Before changing your routine, try a brief source check: identify the exact point of resistance, name what feels wrong and test one small change. If it helps, continue in that direction. If it doesn’t, revisit your diagnosis rather than blaming yourself. A chapter that needs a new direction calls for a different response than a crowded schedule or a project that no longer feels meaningful.

College of Media and Publishing: Social media marketing course

The College of Media and Publishing offers an online social media marketing course for people who want to plan and create content for social platforms. If writing posts, shaping campaign messages or finding a consistent voice is part of your work, structured learning can help you develop those skills alongside practical social media marketing strategies.

A course won’t resolve every kind of writer’s block, particularly when the cause is exhaustion or a project that needs rethinking. It may be a useful next step, though, if you want to build confidence in writing for social channels and understand how content fits into a broader marketing plan. For a closer look, explore the social media marketing course.

To explore the course, visit the College of Media and Publishing website.

Take your next step with greater clarity

Learning how to overcome writer’s block is part of building a steadier relationship with your work. You don’t need to solve every obstacle before continuing. Think about what you want your writing practice to make possible, then choose a next step that supports that aim. You might set aside time to learn, seek a fresh perspective or strengthen a particular skill.

For guidance on your next step, contact the College of Media and Publishing.

Measure progress by the care you give your work, not by whether every session feels effortless. With attention and practice, you can keep learning about your process and make writing feel more manageable over time.

Frequently Asked Questions

What is writer’s block?

Writer’s block is a persistent snag in turning an intention into written words; it can affect one sentence or a larger piece. Pausing to check a fact, reconsider an argument or take a planned rest isn’t automatically writer’s block. Notice whether you can resume once that specific task is complete. If the resistance remains, the difficulty may lie elsewhere in the writing process.

What are the most effective ways to overcome writer’s block?

Choose a method that changes how you approach the page. If your thoughts sound stiff, explain the idea aloud as if speaking to a colleague, then note the phrase that feels most natural. If you’re unsure what belongs in a section, write down a question a reader might ask after reading it. That question can give the passage a clear purpose and help you decide what to include.

How can you overcome perfectionism and fear of failure when writing?

Set acceptance criteria before drafting, so you’re not judging each sentence against an undefined standard. For a section explaining a recommendation, your criteria might be a clear point, a relevant reason and an example. Once those elements are present, mark the section as a working draft and continue. This makes progress visible while leaving room for revision and careful evaluation later.

How can outlining, freewriting or mind mapping get a draft started?

Use different techniques for different kinds of uncertainty. For a guide to a new app, a mind map could capture readers’ tasks, questions and concerns without forcing them into an order. Group related branches, then arrange them into an outline that follows the reader’s needs. Freewriting can help you explore one group in full sentences. The result is raw material to shape, not a fixed plan you must follow.