Introducing The OCs Of Pawn

i love motifs i love recurring themes i love symbolism i love foreshadowing i love impactful narratives

did it hurt? when your word count for the day turned out to be not even half of what you thought it was?

ma'am those are my 15 emotional support wip research tabs

How to Write Accents

Credit: https://www.nownovel.com/blog/how-to-write-accents-dialects/

1. Use accent and dialect for the right reasons

There are many things to consider when you’re writing a person’s accent or dialect. A stereotypical rendering of regional accent or dialect based on racial, cultural or ethnic “difference" can be offensive and perpetuate harmful stereotypes. When you use dialect, make sure you're using it for the right reasons! Ask yourself:

Is it essential to the story (e.g., is it used to reinforce the main character’s insider/outsider status in a close-knit regional community)?

Are there stereotypical expressions associated with the accent or dialect you should take care to contextualize, use sparingly, or avoid?

Make sure when you describe the speech of a character whose mother tongue isn’t your own that your efforts don’t come across as superior or mocking. Giving each character believable speech will make your characters more three-dimensional.

2. Don’t overexaggerate

Obviously you want to show that your character has an accent. But if you emphasize it too much, it begins to sound exaggerated and inauthentic, and can be offensive. The accent should sound natural, not forced. Reread your dialogue--out loud--and watch for awkward moments and lulls in the flow of the conversation.

3. “Eye dialect”

This ties into the previous point.  “Eye dialect” is the term for representing deviations from "standard" pronunciation in a certain language using alternate spellings (for example, writing "fella" instead of “fellow"). Writing about non-mother-tongue speakers can seem bigoted or prejudiced because a writer can try too hard to mimic a “foreign” character’s speech. To represent eye dialect as respectfully and accurately as you can, try:

Making the minimum changes necessary to show the effect of an accent (e.g., “I’m tellin’ ya” instead of “Ahm tellin’ ya”)

Avoiding over-relying on single, overused words to create the impression of an accent (e.g. using ‘y’all’ for conveying southern accents)--variety is key

Finding more ways to show regionalism

4. Transliteration

Transliteration is the way people often insert the grammatical structure of sentences in one language directly into another, even if the second language has its own, different rules of grammar. This “transplanted” grammatical structure creates a sense of a character’s situation and relationship between languages, places, cultures, etc.

As an example, in Spanish, plural nouns take plural adjectives, but the same thing doesn’t happen in English (e.g. “blues cars” in Spanish and “blue cars”  in English). When describing a character who is not fully fluent in the primary language of your story, find grammatical particulars of their first language. Then, use these to create sentences that use transliteration to show imperfect translation.

5. Language errors

One way you can see this is when characters of later generations interact with first-generation immigrant parents or grandparents. The ways different generations of immigrants speak the same language frequently vary. To capture the speech of characters who are in an unfamiliar place or speaking an unfamiliar language, learn the most common errors that people from your characters’ home country make. Use language errors consistently but sparingly to avoid creating a national, ethnic, or cultural caricature.

6. Regional colloquialisms and slang

In all languages slang differs by location. If you plan to set a story in a real-world place, make a list of local colloquialisms/slang. Look at local news websites and social medias, listening for the inflections of local speech. Learn how regional accents sound but also write down any expressions that show up often.

Also, keep in mind that slang considered outdated in one country or city is often still popular in another! To make your characters’ dialect typical of a place and time, make sure any words you’ve included are current---slang goes in and out of fashion.

7. Idioms and sayings

Idioms breathe life and color into fiction. To create a sense of local particularity, find popular region-specific phrases you can use. If a character from your novel is from a distinctive place, give them exclamations or expressions that demonstrate this background.

This also applies for creating dialect differences between fictional groups in an invented world. If you write fantasy or sci-fi, invent regional idioms and sayings that draw on local myths or practices to give each place in your novel its own character and modes of speech!

Overcoming Perfectionism

Writing sprints

One of my biggest problems as a perfectionist and a writer is editing while I write. It slows me down way too much. Objectively, I know that grammar and spelling don’t matter in the first draft, but my inconsiderate brain is trained to argue that it does matter. If you spend more time fixing your typos than writing, then the best solution is to just do a writing sprint. 

It’s pretty self-explanatory: set a timer and then write for a certain amount of time. The goal of a writing sprint is to write as many words as possible in the time you have. Your writing does not have to be perfect. Let me repeat that: Your writing does not have to be perfect. The whole point of a writing sprint is to churn out words. Whether they’re “good” words is something to worry about later. If you still find yourself returning to that perfectionist mindset, then put your writing out of view for a while and take your mind off it.

First Draft Perfectionism Syndrome

Yes, I’ve decided to give this a name: First Draft Perfectionism Syndrome, or FDPS for short. If you’re on the first draft--I feel your pain. It’s tempting to make the first draft as neat as possible so you have less work to do later on. That’s the way it works, right? Well, yes and no. 

Yes, you might save yourself work later, but at what cost? You’ll be constantly obsessing over the tiny details and slowing yourself down. A first draft is supposed to be messy. It’s one big brain dump for the main structure and ideas of your story. It should not be of a published quality. That comes many drafts later. The first draft is all about just getting your ideas down.

Having fun with writing

Writing isn’t supposed to be a chore, but perfectionism can often make it seem like one. If you’re not having fun with your writing, take a step back and ask yourself why. If you’re not enjoying yourself, is it because of you, your idea, or both? Pinpoint the problem and then think of ways to solve it. Writing is supposed to be fun, not something to dread.

The perfectionist standard

Many times, perfectionists hold themselves to a standard of perfection. But what is perfect in writing? Good grammar and spelling? The complete absence of plot holes? Flowing and unstilted dialogue? Trying to have all of these qualities and more is simply unachievable. Every single published work out there has some kind of flaw. Your favorite media most likely has flaws, but does that make you completely hate it? No! So don’t burn yourself out trying to reach a standard that is literally unreachable. Your writing is not defined by its flaws. You might look at your writing and only see flaws, but another person won’t read your writing the same way.

Better done than perfect

It’s really important to remember that in the end, all that matters is that you have something. You can edit “garbage,” but you can’t edit a blank page. So don’t be afraid to show up. It’s okay to feel like your writing is bad and it’s okay to be imperfect. Every single writer ever has felt this way. If they haven’t, they’re probably lying. Honestly, I’d be extremely worried if a writer said that they think their first draft was ready for publication. It’s not. And that is more than okay.

Tips For Designing a Book Cover

Credit: https://dribbble.com/stories/2021/01/26/book-cover-design-101-how-to-design-a-cover-that-sells

1. Gather book cover design inspiration

Before you start designing, you should always gather visual inspiration first to help guide your cover’s overall look and feel. Gathering different book cover ideas will help you to understand what you’re drawn to, what works, and what doesn’t, so you can narrow down what you want to accomplish with your cover design. As a good rule of thumb, aim to collect between 10 - 20 pieces of visual inspiration.

Once you’ve gathered enough ideas, you should start to notice certain patterns of visuals, themes, imagery, and layouts that you’re drawn to. Keep this in mind throughout the next steps.

2.  Outline the book’s main themes

A book cover needs to support the themes the book explores. It also needs to support the mood of the book. What is the book about? Is it a serious exploration of modern society? Is it a fun, adventurous memoir all about finding yourself? A serious book should have a relatively serious cover, while a fun beach read needs an entirely different kind of aesthetic.

Outline your book’s main themes and keep these at the front of your mind when deciding on the kind of imagery you’ll want to use on the cover.

3. Consider the genre

Different genres have different conventions when it comes to covers. Most fantasy books show protagonists with weapons or fantasy creatures. Romance books typically have the romantically involved characters on the cover. Contemporary books frequently feature cute, modern art. True crime books usually feature dark covers that hint at the crime.

To get a sense of what the genre expects, look to competing books. If they all follow a certain convention, you’ll likely want your cover to also fit that convention so that readers of that genre can immediately recognize it!

4. Use visual hierarchy

Visual hierarchy on a book cover is key. You need to make sure that the reader browsing the shelves sees the most important part of the cover first. For most books, this will be the title. But for certain bestselling authors, you might want to consider emphasizing their name so that it’s even more prominent than the title. That’s because fans of that author can immediately recognize that it’s one of their books.

In general, your hierarchy should place the title and cover graphics most prominently, followed by a subtitle (e.g. “a novel”), followed by the author’s name. There may also be endorsements or prizes to include on the cover, but those are usually placed less prominently than other elements.

5. Get rid of the clutter

Cluttered covers don’t work well when viewed at small sizes. Since a lot of book browsing happens online, covers are usually shrunk down to thumbnail size. If your book cover looks cluttered at thumbnail size, you will risk turning away potential readers.

Choose one focal element for your cover. This could be part of the image used on the cover, or it could be the title of the book. Once you know your focal point, you can design the rest of the cover to emphasize that point. Also make sure you leave plenty of white or blank space around that focal point.

6. Think in terms of thumbnails

When people are browsing Amazon or other online publishers such as Bookshop.org, they’re presented with a series of cover thumbnails. These are often pretty small—less than 200px high. That means that if your title isn’t prominent enough on the cover, it won’t be legible. It also means that if your cover has a ton of fine details that are important to its meaning, that will be lost in thumbnail size.

That doesn’t necessarily mean that you shouldn’t include those details on a cover, though. What it means is that you need to make sure that your cover still has a powerful impact at thumbnail size. Make your title legible at small sizes and ensure that the most prominent part of your graphics are recognizable (i.e., a mountain should be recognizable as a mountain, a person should be recognizable as a person, etc.).

7. Choose an appropriate font and color palette

Choosing a typeface for your book cover can be tricky. It needs to look great when viewed on the full-size cover, but it also needs to remain legible at small sizes on thumbnails.

For the most part, try to avoid any super detailed display or complex script typefaces. When searching for the perfect typeface, try it out both at large display sizes and at smaller body sizes to see if it’s still readable when displayed at 12px or 14px sizes.

Color palettes can be a book cover’s biggest asset—or biggest downfall. The right color palette draws the reader’s eye and gives them an idea of the tone and mood of the book, while the wrong colors risk confusing your audience. For example, neon colors typically indicate that a book will be fun to read and not too serious. Dark colors? This book could be serious or scary (depending on genre).

However, remember that color palettes are only one part of establishing a mood. You can, for example, create a scary mood with a pastel cover with the right visual elements (for instance, The Dark Descent of Elizabeth Frankenstein by Kiersten White has a pastel pink cover).

8. Don’t overlook the spine or back cover

While a book’s front cover gets all the glory, the spine and back cover are also important design elements. Spines, especially, are important when a reader is browsing bookstore shelves, where most books are arranged on shelves with only the spine showing. 

You also need to take into account that due to the way offset printers work, your front cover, back cover, and spine may not always align perfectly. By continuing the basic background design around the entire cover, you avoid the spine or back cover looking bad due to printing errors. This ensures that your entire book cover looks professional and consistent.

A random song: I brought you inspiration...

Me: Oh, thanks!

The song: ...for a new WIP >:)

Me: No-

sometimes i just really want to just take my spine and whip it around like a lasso to crack it