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Using motifs to create thematic depth.

Motifs are one of the most powerful tools a writer has for weaving deeper meaning into a story.

What Is a Motif?

A motif is a repeated element in your story that highlights a theme. While similar to symbols, motifs are more dynamic and can evolve as your characters and story progress.

Symbol: A single red rose representing love. Motif: Flowers appearing throughout the story to represent different aspects of relationships—love, decay, growth, and loss.

Why Use Motifs?

They deepen your story’s meaning. Motifs give your readers something to latch onto, creating a sense of unity.

They enhance immersion. Repeated elements help ground readers in your world.

Tips for Crafting Effective Motifs

1. Choose a Motif That Fits Your Story’s Themes

Ask yourself: What’s the central idea of my story? Your motif should subtly reinforce that idea.

Theme: Resilience in the face of hardship. Motif: Cracked glass—a recurring image of something that’s damaged but still functional, reflecting the characters’ inner strength.

2. Use Motifs to Reflect Character Growth

A well-designed motif can evolve alongside your characters, reflecting their arcs.

In the beginning, a character always wears a watch to represent their obsession with time and control. By the end, they stop wearing the watch, symbolizing their acceptance of life’s unpredictability.

3. Keep It Subtle (But Consistent)

A motif shouldn’t feel like a flashing neon sign. It should quietly enhance the story without overpowering it.

If your motif is rain, don’t make every scene a thunderstorm. Use it sparingly—maybe it rains during moments of emotional turmoil or reflection, creating a subconscious link for the reader.

4. Use Recurrence to Build Meaning

The more your motif appears, the more it will resonate with readers. The key is repetition with variation.

In a story about family bonds, food could serve as a motif.

Early on: A tense family dinner where no one speaks. Later: A shared meal where characters open up and reconnect.

5. Connect Motifs to Emotion

Motifs are most effective when they evoke a visceral reaction in the reader.

Motif: A recurring song. First appearance: A father sings it to his child. Later: The same child hums it as an adult, remembering their father’s love. Final scene: The song plays during the child’s wedding, tying past and present together.

Examples of Motifs in Action

Motif: Mirrors

Theme: Self-perception vs. reality. A character avoids mirrors at first, unable to face their reflection. They slowly start using mirrors to confront their flaws. The final moment shows them standing confidently before a mirror, accepting themselves.

Motif: Keys

Theme: Freedom and control. A character collects keys, searching for one that unlocks their past. They find an old, rusted key, which leads them to uncover family secrets. The motif shifts to symbolize freedom when they lock a door behind them, leaving their past behind.

Motif: Birds

Theme: Longing for freedom. Early scenes show a bird trapped in a cage, reflecting the protagonist’s feelings. Later, the bird is released, symbolizing a turning point in the character’s journey.

Motif: The Ocean

Theme: Emotional depth and uncertainty. Calm waters reflect peace in the protagonist’s life. Stormy seas mirror moments of inner conflict.

Practical Exercise

1. Identify your story’s central theme.

2. Brainstorm objects, actions, or images that resonate with that theme.

3. Introduce the motif subtly early on.

4. Repeat it with variation, tying it to key emotional moments.

5. Bring it full circle by the end, letting the motif reinforce the resolution.

Look I know the toxicity and the tension is like the main appeal of Burned Bridges and it’s utterly delicious but

Have you considered. An alternative. That exists in my head.

Them representing the part of themselves that they actively suppresses to each other. One suppresses his emotions behind a mask of a lack of emotion(Smitten(overwhelming emotion) to Cold), while the other suppresses the part of himself that feels alone and empty, covering it up with all of the other emotions that he intensely feels(Cold(the emptiness and yearning) to Smitten). Masks of overwhelming positive emotion and no emotion to hide the depths of their emotions. Their vulnerability. They are each other’s tormentors.

Cold pushing Smitten’s buttons at first out of his own amusement. Smitten retorts back at Cold every time he provokes him and dislikes the realisation of how easy it is for Cold to push his buttons. And then. Emotional torment. Them showing the depths of their hearts to each other. Whether by complete accident or an action made by Smitten that had unraveled them both. Their vulnerability and the parts of themselves were shown to each other. Cold hits a realisation. Smitten sits in stunned shock. They realise there is more to the other than they originally thought.

Smitten being Smitten denies it at first. He denies how similar they are to each other and retorts with uncertain anger in a vain attempt to cover up the parts of his heart that he tries so desperately to hide. But how can he deny it anymore? When now the question swims within his head on the possibility that he may be wrong, and now everything that he has done within the construct is coming back at him at full force? When what he’s done in HEA and him being the reason why his beloved and the Decider are unhappy? Is he a good person? He must be a good person! He is passionate and full of emotion! But is he really? The heart yearns for companionship, and yet he cannot get it through the Princess anymore. She is gone.

Cold acknowledges their similarities. And yet he remains unchanged. Outwardly at least. His heart has been shown to Smitten. The depths of his buried emotion and passion, the feelings of betrayal from the Narrator. They find their way back bubbling onto the surface. His heart rages a storm. He continues to deny the emotions within the dam that he kept locked up. Another drop in a glass that is already spilling.

Their existence forces each other to look into themselves. Their existence forces each other to start their journey to grow and to face the parts of themselves that they try so desperately to suppress and hide. A seed of doubt planted into their hearts, and it will only grow further. And one day, they will be a devotion no longer blind, and a longing satisfied. It will be a long and difficult journey, but with guidance, one day they will be able to look at each other in acceptance and learn to love the parts they feared and despised.

writing a novel is adding a bit of light humour to a conversation, reading it back and realising you've just set up some unconscious foreshadowing that is going to go off in seven chapters

a lot of stories treat romance like it makes the relationship between two characters self explanatory and to be honest it doesn’t

“I don’t want to be a burden” you’re more like a relief, a gift, a blessing actually

Haha so uhmmm remember how I said Narinder fell first and harder? It doesn't go well for him for a while lmao.

He confessed with full confidence that they would accept him over everyone else cause of course. Why wouldn't they? Oh? They said no! Well actually, they said they're gonna pretend that they didn't hear that haha whoops. Lamb fumbled for another 200 years.

Its fiiiine this opened them both up to talk about it later and they'll test the waters soon.... In another few years. Boy gotta yearn for this lamb. It's what they deserve.

Bro gathering

When drawing robotic parts, how do you keep the shapes organic but also keeping the feeling that they're made of metal? :o

Probably the balance between natural and unnatural shapes!

Like this:

It is pretty much a mix of human anatomy and the sharp edges and gaps commonly found in mechanic joints. In Beatrix's case, her arms are not jointed in the same way a human arm is, however they function as one. They mimic an organic form in 80% of sillhouette.

Aside from color and lighting variations, there's a trick using lineart. Notice that bodies have wrinkles where the skin twists and stretches to accommodate the muscle, tendons and bones underneath. Mechanisms have "wrinkles" of their own, except they show that parts are detachable and far more rigid in comparison. There's also a symmetrical look to them not usually found in organic matter!

Finally now that the comic is fully public on comicfury, I get to share it with all of you here, too <3

If you enjoyed, please consider supporting by buying a PDF of the comic on itch.io: https://tawnysoup.itch.io/home-in-the-woods

round up of fave art i drew this year :)

A couple of gouache paintings of my clown girlies

Misery x CPR x Reese's Puffs but it's Re-Op Team A6

Fish & Gill

I love when characters are always drawn in lab coats even outside the lab because it implies that 1) they are either constantly violating lab safety rules or 2) they have a second, casual lab coat purely for external use

this hit me like a truck

Book binding 101: Materials

I’ve decided to do a series of posts on how to book-bind since I talk about it a lot, and I think it’s a really fun process. These posts will include various inexpensive alternatives to “professional” supplies, many of which you will have at home. Not everyone can afford a cricut and that’s ok! I will also be listing more expensive materials for people who want to invest a bit more into the craft, but they absolutely are not a must.

This first post will focus on a list of supplies you can use to make books, but will not yet get into the instructional part of it. That will come later!

Anyway…

Bookbinding Materials: Essentials

These are items you need to bind, but many you can find around your house!

Sewing thread: Any thread will work for bookbinding, though waxed threads can help reduce tangles. You can also double up thread as another way to prevent tangling if you so choose. Waxed thread is definitely more expensive, so it can be good to use what you have starting out. Here’s a link to the waxed thread I used for those that are interested. You can buy it in a lot of different colors! (White is good if want an “invisible” thread).

Sewing needle: A lot of people say to use a curved needle for binding, but I’ve never found it to be much different from using a regular needle. If you have one, I would recommend a larger needle, however, since it’s better for piercing through signatures (aka the stacks of pages you bind together). In other words: there’s no special needle you need to bind books.

Ruler: I’d recommend any metal ruler since it’s better to use as a straight edge for cutting. There’s a good chance you already have one. It’s just used for measuring and being a straight edge. Nothing fancy.

Paper: Any paper will work. What you wanna use depends on your project really: if you’re binding together a work of text you’ll want to use some kind of printer paper (of course). If you’re making a sketchbook, you can fold up some sketching paper. I like to get sketchbooks with perforated edges so I can tear them out easily if I want to use a blank page for bookbinding. You can also buy large sheets of paper made for any medium. For example, if you want a sheet of water color paper, just search “large watercolor paper sheet”.

Awl (or all alternative): An awl is a tool used to poke sewing holes. It’s nice because it’s sharp and ergonomic, but you can totally also use a pushpin or even a sewing needle.

Bone folder (or a bone folder alternative): A bone folder creates sharp creases when you fold your pages, making them lay flatter. It also helps define the hinge gap on finished books, making it open easier. You can use a ruler if you don’t have one.

PVA glue: PVA glue is what to look out for when it comes to binding glue. There are some designed specifically for bookbinding, which spread out a bit faster than ones that aren’t. You can also use tacky glue which IS a PVA glue.

Book board: Also sometimes called chip board, Davey board, or mat board. This is what you’ll use for hard cover books. It is important to use book board specially, as cardboard will warp. You can buy book board directly, or you can cut the covers off of old textbooks or binders, unwrap the paper/plastic around the board, and use that!

Box cutter or utility knife: for cutting the board

Decorative paper and book cloth: For wrapping around cover boards and for endpapers. Book cloth can also be used to cover boards. You can also draw your own designs on Bristol paper if you want (or any paper with a similar thickness/durability). When it comes to decorative paper I like to either get scrapbook paper or rolls of fancy handmade paper (you can get those on Etsy, through paper source, or through bookbinding websites).

Bookbinding materials: Optional (and not crazy expensive)

These are supplies that you don’t need for binding but that can make the process easier and/or help with the decorative elements of your books. I’d recommend these things for when you’ve been binding for a while and feel these things could be helpful!

Paper trimmer: can cut a few sheets of paper evenly—I find it really helpful for endpapers

Stencils: Super helpful if you want to add text on the covers

Stamps: Good for adding text and also great for adding illustrations if you’re not able to draw them on your own. You can buy ink pads for them or use markers by coloring over the stamp lightly and using the stamp immediately so it doesn’t dry (I’ve tested this with alcohol markers and it works very well)

Paint markers: great for drawing directly on the cover. Since they’re opaque they can imitate the look of vinyl. You can also get them super painterly if you want. The internet usually talks about poscas but there are tons of different brands. Do some research, figure out what you like & can afford.

Hot foil pen & heat transfer foil: Perfect if you want to add foil to your covers but don’t want to spend a ton of money on a cricut. A lot of binders uses the foil quill brand, but there are ones that cost less and work the same (I have both a cheaper one & an actual foil quill because I wanted some nib variation. As long as the pen has good reviews that aren’t from bots you should be good). Also remember: don’t use foil designed for going through laminators (I.e. decofoil) . It doesn’t work the same way.

Bookbinding Materials—Expensive

These are materials I’d recommend for people who have been bookbinding for a while & feel that it’s something they really want to invest in. To be fully transparent, I’m a college student and don’t own these and have little personal experience with them. However, I know a lot of binders who love them!

Cricut machine—Cricuts are cutting machines that can make precise cuts into paper, wood, bookboard, or vinyl. A lot of binders will cut designs out of vinyl and apply them to the covers using a heat press.

Book press—What it sounds like. The pressure helps the pages lay flat and stay even. That being said you can stack heavy books on top of your projects, it just may not have the same even pressure. I also know some people will DIY these, so if you’re skilled with power tools you can give it a go!

Paper guillotine—like a paper trimmer but bigger and can cut more sheets of paper at once. I believe really good ones can also be used to cut bookboard!

Those are all the materials I can think of! Hope this can work as a good starting point for those interested in the craft. I’ll definitely be posting more info about bookbinding for people who are interested :)

-Zoë💗

I’m like if someone smart chose to be an idiot. Out of free will

“nobody is making you do this” i am driven by unnatural forces you will never even begin to comprehend

i'll stop here for now because my back is killing me

where is that cat with the kind and reassuring face

“but what if i’m being annoying :(“ everyone’s annoying dipshit it came free with fucking being alive and existing. now go talk to your friends

the intimacy of being a weapon. your body is an extension of their power, your words an extension of their will. you are made significant in the way a gun is only dangerous with a finger on the trigger, and a blade only swipes through the actions of a swordsman. to have one end of yourself fit perfectly, comfortably in their hands while the other sheds blood. you are given purpose because of them, and they are given strength because of you.

your life is not an optimization problem

eat drink sleep play

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

How to show emotions

Part VII

How to show pride

standing tall

expanded posture, opening of the torso

lifted chin, head held high

big and confident smile

looking around to see if people recognize and admire what they are proud of

How to show enthusiasm

big smile and laughter

wide radiant eyes

raised eyebrows

jumping up and down or bouncing

clapping hands

big hand gestures

loud and high pitched voice

speaking quickly

How to show anxiety

not holding/breaking eye contact

fidgeting

heavy breathing

twitching in their face

often a blank stare or looking away

rigid posture

sweaty palms

bouncing their knees

rubbing palms against each other or clothing

How to show playfulness

laughing

giggling

grinning

using a playful tone

making a silly face

touching the other person teasingly

e.g. tickling, nudging, bumping into them

How to show being offended

stiffening up

hard line around the lips

frozen stare

narrowing of the eyes

Part I + Part II + Part III + Part IV + Part V + Part VI

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