Writing Tips

Have a new idea every page.
Develop your ideas, one leading into another. One way to do this is using the thesis, antithesis, and synthesis structure: an idea, followed by its opposite, followed by a unification of the two.
Include that which shows character, advances plot, or demonstrates your idea; omit that which does not.
Avoid the passive voice and excessive use of the verb 'to be.'
Be daring and experimental in your storytelling content, but not your storytelling form: Put your sentences and paragraphs together according to the standard storytelling conventions you recognize from published stories so that your readers focus on the story and not the telling.
Describing characters:
When we first meet a person, we size them up. When you introduce us to your characters, describe them in such a way that we can get a working first impression of them.
A physical description may not be necessary to bring this across: "He seemed like the kind of man who would wear the same tie Wednesday that he wore Tuesday, who would not notice if his wife packed him an unusual lunch, and who in his mind might live the life of a pirate."
Pay attention to the emotional arc of your story and aim to leave the reader with a sense of satisfaction.
Reading long, winding passages gives readers a feeling different from reading short, quick ones. Use that to augment the effect of the story: describe slow or contemplative action with long passages and quick, abrupt action with short ones.
Segueing between events:
In movies and TV, it works like this: characters decide to go someplace; the camera establishes the new location with an external shot; a new shot follows the characters into the new environment; or, the story may be divided into two or more plot lines, and we understand time to be passing in one plot line while we watch another.
This second trick works well in fiction: the first does not. When you need to fastforward your story, either switch to another plot line, or interject a descriptive passage (of a character's private thoughts; of the setting; of recent relevant socioeconomic events) to convey the sense that time is passing.
Create loose ends by raising questions or implying contradictions, especially in people's actions. Before tying them up and resolving the unknowns, raise new questions. Curiosity powerfully motivates readers to read.
Communicate symbolically by representing invisible states of affairs in concrete ways. Symbolically hint at the most important states of affairs to prepare the reader's mind for what you're getting at.
In your writing, in order to pull the reader into the story, and even make it difficult to stop reading, use periodic sentences: by suspending grammatical completion, as well as completion of a thought, until the end of a sentence you can keep them interested. And if you want to keep up the momentum, follow this quickly with a new thought.
Remarkable characters have remarkable desires and fears before they come onstage; unremarkable characters have unremarkable fears and desires.
Characters do things because, (a) having certain goals, they (b) believe that things are a certain way; that (c) if things were a different way they would attain their goals; and that (d) their actions will move them from the first to the second.
Good character depiction is attained, not only by the little quirks which writing teachers have convinced us convey a person's inner essence, but also by manipulating a character's (a) goals, (b) beliefs about states of affairs, and (c) plans to attain their goals; and by keeping in mind that (d) a character may be mistaken in holding to any part of this chain.
Sometimes people do not understand themselves.