Writing Advice - Blog Posts
me: *writes fic*
me: great! time to post to ao3-
ao3 summary box: *exists*
me:
ao3 summary box:
me:
ao3 summary box:
me:
learning from the reblogs of that post that there's a lot of people out there under the impression that "kill your darlings" means "kill your characters" and that's the funniest possible interpretation of that phrase
*opens word doc covered in blood* it doesn’t have to be good. it just has to be done.
If any advice post makes you feel you need to overhaul your whole wip and examine every inch for "problems"...step back and analyze the advice instead. It may not apply to you, it may be taking a small issue and making it big, or it may be entirely wrong.
Subplots 101
Subplots are an essential part of storytelling that can add depth and complexity to your book's overall narrative. This post covers a step-by-step guide to making subplots, general tips, and some examples of subplots in YA books.
Step-by-step guide to making a new subplot
Identify a secondary character
Consider a secondary character in your story who is not directly involved in the main plot. This could be a friend or family member of the protagonist, or a peripheral character who has a unique perspective on the world of the story.
Create a conflict
Think about a conflict or challenge that this character could face, which could be related to their personal life or a separate issue in the story. This conflict should be something that the character needs to overcome or resolve.
Connect the subplot to the main plot
Consider how this subplot could connect to the main plot. This could involve having the main character help the secondary character with their conflict, or having the subplot reveal important information that impacts the main plot.
Develop the subplot
Once you have established the groundwork for the subplot, develop it in detail, including the character's motivations, the obstacles they face, and the resolution to the conflict.
General tips for a good subplot:
Make sure your subplots are related to the main plot
Subplots should be tied to the main plot in some way, either by affecting the main character or providing additional context for the story.
Develop separate character arcs
Your subplots should have their own character arcs that tie in with the main character's arc. This allows for additional character development and can help create a more immersive world.
Use subplots to reveal new information
Subplots can be a great way to reveal new information about the world or characters that might not be relevant to the main plot. This can help make the world feel more alive and fleshed out.
Keep subplots contained
Subplots should not take over the main plot. They should be contained and serve to enhance the main plot rather than distract from it.
Examples of subplots:
Harry Potter and the Goblet of Fire by J.K. Rowling
Harry and Draco's rivalry
Hermione's fight for the rights of house-elves
the mystery surrounding the Death Eaters.
The Hunger Games by Suzanne Collins
The main plot of The Hunger Games is Katniss's fight to survive in the games. However, there are several subplots that tie into the main plot, such as her complicated relationship with Peeta and her struggle to reconcile her feelings for him with her need to survive.
Remember, subplots should enhance and support the main plot of your story, adding depth and complexity to the overall narrative. I'd recommend having 2-3 subplots of varying depth, depending on how important they are to the story, but obviously that's entirely up to you.
How to create internal conflict in your characters
Developing internal conflict in book characters is essential to creating well-rounded and compelling characters that readers can relate to and empathize with. Here are some tips to help you create internal conflict in your book characters:
Give your characters a goal
Every character needs a goal, and their internal conflict should stem from the obstacles they face while trying to achieve that goal. When a character has a clear goal, it helps to create tension and conflict within themselves.
Create a backstory
A character's backstory can be a powerful tool in creating internal conflict. Explore their past experiences and how they have shaped the character's current beliefs and values. This can help to create internal conflict by highlighting contradictions or inconsistencies in the character's beliefs or behaviors.
Use a character's flaws
A character's flaws can create internal conflict by causing them to question their own judgment or struggle with their sense of self-worth. Consider giving your characters a flaw or two, and show how these flaws cause them to make mistakes or struggle with their decisions.
Show conflicting emotions
A character can experience conflicting emotions, such as feeling both love and hate towards another character, or wanting to do what is right but being held back by fear. By showing these conflicting emotions, you can create internal conflict within the character.
Use external events
External events can also create internal conflict in characters. For example, a character who has always believed in following the rules may be forced to break them to save someone they love. This can create an internal conflict within the character as they struggle with the consequences of their actions.
By using these techniques, you can create complex and engaging characters that readers will be invested in. Remember that internal conflict can be just as important as external conflict in creating a compelling story. And as always, our tips are just suggestions! Hope this helps you with your writing :)
The Emotion Thesaurus: Amazement
Hello everyone! This post will discuss the emotion amazement.
This section is taken from the Emotion Thesaurus by Angela Ackerman and Becca Puglisi.
Amazement
Definition: overwhelming astonishment or wonder
Physical Signals:
widening of the eyes
a slack mouth
becoming suddenly still
sucking in a quick breath
a hand covering one's mouth
stiffening posture
giving a small yelp
rapid blinking followed by open staring
flinching or starting, the body jumping slightly
taking a step back
a slow, disbelieving shake of the head
voicing wonder: I can't believe it! or Look at that!
pulling out a cell phone to record the event
glancing to see if others are experiencing the same thing
pressing a hand to one's chest, fingers splayed out
leaning in
moving closer
reaching out or touching
eyebrows raising
lips parting
a wide smile
spontaneous laughter
pressing palms to cheeks
fanning oneself
repeating the same things over and over
squealing dramatically
Internal Sensations:
a heart that seems to freeze, then pound
rushing blood
rising body tempreture
tingling skin
stalled breaths
adrenaline spikes
Mental Responses:
momentarily forgetting all else
wanting to share the experience with others
giddiness
disorientation
euphoria
an inability to find words
Cues of Acture of Long-Term Amazement:
a racing heartbeat
shortness of breath
knees going weak
feeling overwhelmed as if the room is closing in
collapsing
May Escalate To: Curiosity, Disbelief, Excitement
Cues of Suppressed Amazement:
holding oneself tightly (self-hugging)
walking in jerky, self-contained strides
clamping the hands to the chest
looking down or away to hide one's expression
eyes widening a bit before control is asserted
mouth snapping shut
a stony expression
taking a seat to hide emotion
making excuses if reaction is noticed
stuttering, stammering
Encouragment for writers that I know seems discouraging at first but I promise it’s motivational-
• Those emotional scenes you’ve planned will never be as good on page as they are in your head. To YOU. Your audience, however, is eating it up. Just because you can’t articulate the emotion of a scene to your satisfaction doesn’t mean it’s not impacting the reader.
• Sometimes a sentence, a paragraph, or even a whole scene will not be salvagable. Either it wasn’t necessary to the story to begin with, or you can put it to the side and re-write it later, but for now it’s gotta go. It doesn’t make you a bad writer to have to trim, it makes you a good writer to know to trim.
• There are several stories just like yours. And that’s okay, there’s no story in existence of completely original concepts. What makes your story “original” is that it’s yours. No one else can write your story the way you can.
• You have writing weaknesses. Everyone does. But don’t accept your writing weaknesses as unchanging facts about yourself. Don’t be content with being crap at description, dialogue, world building, etc. Writers that are comfortable being crap at things won’t improve, and that’s not you. It’s going to burn, but work that muscle. I promise you’ll like the outcome.
What to use instead of 'said'
Normally:
• added • replied • answered • stated • announced • questioned • asked • mentioned • remarked
Loudly:
• cheered • shouted • yelled • demanded • barked • blurted • growled • scolded •snorted
Softly:
• muttered • murmured • mumbled • uttered • stuttered • hissed • moaned • mouthed
Emotionally:
• begged • cried • confessed • complained • promised • pleaded
How to Write a CHARMING Villain
Everyone loves a good villain, and they especially love a charming one. If you want to write an antagonist who's both evil yet irresistible, look no further!
1. Show Their "Kindness"
Kindness? Wait, I thought you said we're writing a villain today.
Yup, I mean it--make your antagonist appear kind. Realistically, someone who's polite and friendly is often considered more attractive than someone who's rude and judgmental, so make them kind. It doesn't have to be honest kindness, but you want your readers to doubt the malevolence of your character, if that makes sense.
You can show this kindness through small, daily actions; they don't have to have a lot of impact on the story. Something simple like leaving a big tip, granting a minion a vacation, letting someone go first in the line, and holding open the door all contribute to this image.
2. Smooth Talker
Effective communication is everything. If your villain is eloquent, they seem more capable and intelligent! However, if you're looking to expand further, explore what they can do with their speech.
Does everyone pay attention when they start speaking? Are they able to calmly resolve conflicts verbally? Are they really persuasive? Do they speak elegantly?
Show the effects of their communication skills!
3. Good leader
Make them a good leader. Make them consider how their subordinates might feel. Make them choose good decisions. Perhaps they give their workers days off when they need it. Perhaps they engage with their followers often. Perhaps they're more down-to-earth.
A solid leader looks respectable while a poor one looks ridiculous.
4. Intelligent + Logic
I say this all the time, but make your villains smart, make them logical, make your readers understand where they're coming from. Some of the best antagonists I've ever seen are not the ones that seem excessively evil or unhinged, but rather the ones that seem logical in their actions. And knowing that they're well-aware of their actions and the consequences makes things that much scarier.
if you want a charming villain, you have to start with someone who is competent.
5. Conflicting Moments
At the end of the day, your character is still the antagonist. Yes, they might appear kind, but that's not going to last forever. There will be times when they act unnecessary cruel, and that's okay.
Your audience might be unsettled and confused from the whiplash, and that's okay. Don't force your character into being someone else to satisfy the readers. Embrace the difference.
6. Backstory
Backstories matter for all different types of reasons. From establishing the basis to one's goals, morals, and values to providing the foundation for their character, an effective backstory can do a lot.
However, I want to specifically talk about how the backstory demonstrates someone overcoming their obstacles. If they made it to the present, then they really defied all odds to be here, and honestly? That's admirable (and attractive), no matter what kind of person they turn out to be.
Now, if you're thinking "what if I don't give the antagonist a painful backstory?", I'll address that real quick. You don't have to give them a super depressing past, but there will always be pain and hurt in their past, even if it isn't something "lifechanging" or there 24/7. There is no such thing as a perfect, happy past.
CONCLUSION
To quickly conclude, a charming villain is often not one who appears visibly evil, but one who appears compassionate, intelligent, well-spoken, and acts like a good leader.
Happy writing~
3hks :)
me when the plot won't plot like it should
Any one want to suggest how we perspective writers can minimize this debate while still utilizing this trope? It's good character developing drama (in Little Woman [haven't wanted to watch GOT]) but I wouldn't want the drama to divide the fandom and continue after the book (or other media)
In the endless discussion of female gender presentation in fiction pop culture, I've noticed a slight trend.
When a fictional tomboy and girly girl are portrayed as foils to each other – especially if they're sisters – the majority of fans will claim that the girly girl is "privileged" while the tomboy is the underdog. But a decent number of other fans will backlash against this idea and claim that the tomboy is the real "privileged" one.
I've definitely seen this in discussions of Little Women's Jo and Amy, and if I'm not mistaken, it's common in discussions of Arya and Sansa in A Song of Ice and Fire/Game of Thrones too.
This is the gist of the debate:
Fans of the tomboy see the girly girl receive the social rewards that are won by performing femininity and ladylike manners, while the tomboy is socially punished and shamed for not being ladylike. They empathize with the tomboy's jealousy of the girly girl, and they resent the girly girl for it, viewing her as the one who has all the luck and gets all the love and respect.
The counterargument is that the tomboy actually receives more love and respect than the girly girl does. If not from society in general, then from family members and friends, especially male ones. They adore the tomboy and find her boyishness and wildness endearing, whereas they judge and ridicule the girly girl for her "silly," "vain" feminine tastes, even if they love her too. They don't give her as much attention or understanding as they give the tomboy, which must be very hard for her, and which the tomboy fails to appreciate.
It's an interesting debate, because there's always truth on both sides.
In a pre-20th century setting, and maybe today too, there is no "privileged" gender presentation for girls. Tomboyishness might be seen as endearing in a child or a teenager, but even among the people who love the tomboy the most, there's an understanding that can only be temporary; as a woman, she'll need to be "tamed" and learn to perform femininity. Meanwhile, girly girls are mocked as "silly," "vain," "prissy," etc., but it's also understood that they're behaving exactly the way they're supposed to behave. Young men in period settings might have more friendships with tomboys, but it's the girly girls whom they usually favor romantically. Both forms of gender presentation are punished in some way or other. Misogyny makes it a no-win situation.
The claim that girly girl characters get less attention from their families than their tomboy sisters is probably subjective, though. I'll let individual readers decide whether or not they think Ned Stark neglects Sansa, the March parents favor Jo over Amy, etc.
We also tend to see the claim from fans of the girly girl character that the author is biased in the tomboy's favor. But that's another issue for another post.
Types of Character Arcs
Just like there are various flavours of ice cream to satisfy our taste buds, there are different types of character arcs to captivate readers’ imaginations.
Transformational Arc: A character undergoes a profound transformation throughout the story. This transformational arc takes them on a journey of personal growth, where they evolve, learn from their experiences, and undergo significant change. Think Frodo Baggins from The Lord of the Rings, who starts as an ordinary hobbit and becomes a heroic figure, or Cinderella, who goes from being a mistreated servant to a princess.
Flat or Static Arc: Not all character arcs involve drastic change or growth. In a flat or static arc, the character remains relatively unchanged throughout the story. Instead of personal transformation, these characters serve as a stabilizing force or a moral compass within the narrative. They maintain their core values, beliefs, or traits, providing stability and guidance for others. Sherlock Holmes is a prime example of a character with a flat arc. His brilliant deductive reasoning and logical nature remain consistent, while the world around him evolves.
Positive Change Arc: In a positive change arc, a character starts with flaws, struggles, or a particular mindset, but over the course of the story, they experience personal growth and positive transformation. They learn valuable lessons, overcome obstacles, and develop into a better version of themselves. This arc is often associated with themes of redemption, self-discovery, and the triumph of the human spirit. Characters like Ebenezer Scrooge from A Christmas Carol or Katniss Everdeen from The Hunger Games exemplify positive change arcs.
Negative Change Arc: Contrasting the positive change arc, the negative change arc delves into the descent or downfall of a character. It explores the moral decline, corruption, or internal conflicts that lead the character astray. This arc can be dark and intense, showcasing the destructive power of choices or external influences. Characters like Macbeth from Shakespeare’s play or Anakin Skywalker in Star Wars demonstrate the negative change arc. 💻✨ Discover how the transformative journeys of character arcs breathe life into your stories, and captivate the hearts and minds of your readers. You can read the full post in the Reading Room at the link above.
Sparking Chemistry Between Characters #1
⇢ Emotional Timing ( When One Opens Up and the Other Isn’t Ready, Yet)
There’s something so devastatingly real about when characters miss each other, not physically, but emotionally. One’s finally ready to be honest, to be seen… and the other? Still hiding. Still pretending. That emotional dissonance creates a whole different kind of electricity: one rooted in vulnerability, silence, and the ache of almost.
“I trust you,” she said, voice low, eyes steady. He looked at her, and for a second, he almost said it back. But then his smile cracked, soft and sad, and he looked away like the words were burning holes in his throat.
This isn’t the moment they fall into each other’s arms. This is the moment they could have. And those moments still haunt.
Use this when:
You want slow burn that hurts a little
Your characters are stubborn, scared, or emotionally constipated (bless them)
The closeness builds from not-quite-connecting, until one of them finally breaks
⇢ Silent Support ( When They Don’t Say It, But They Show It)
Sometimes the most romantic thing a character can do is just… be there. No speeches. No dramatic gestures. Just showing up, quiet, consistent, unwavering. The kind of person who notices when your laugh sounds tired.
He didn’t say anything when he found her curled up on the kitchen floor. He just sat next to her, their shoulders barely touching, and slid his hoodie off without a word. A minute later, she was wearing it. Five minutes later, she was breathing again.
This isn’t about grand declarations. It’s about the kind of love that doesn’t demand to be acknowledged. The kind that waits. That steadies. That speaks fluent silence.
Use this when:
You want to show love without “I love you”
You’re building intimacy through actions, not words
Your characters aren’t the touchy-feely, talk-it-out types
⇢ Emotional Whiplash (When Conflict Turns Intimate Too Fast)
This is the classic “We were fighting five seconds ago and now I want to kiss you” moment. Because nothing stirs up feelings like frustration mixed with closeness. When characters clash, especially if there’s emotional history or denial involved, it creates heat. They’re already fired up. Already in each other’s space. Now throw in a little vulnerability and BAM, you’ve got magnetic chaos.
“Why do you care what I do?” she snapped, stepping closer. “Because I...” He bit the word back, jaw tight. His fists clenched at his sides. She stared, breath caught in her throat. “Because I do,” he said finally, quieter this time. “More than I should.”
Enemies to lovers. Friends to what even are we. That line-blurring, heart-pounding tension where the air is thick and the truth almost slips out, that’s where this trope lives (I Love It).
Use this when:
You want chaos, angst, and chemistry all at once
Your characters are in denial and one good argument away from kissing
You want something to break open and then immediately regret it
Character Development : A Collection of Resources
Patreon || Ko-Fi || Masterlist || Work In Progress
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Resources
Resources For Creating Characters
Resources For Describing Characters
Resources For Writing The Mafia
Resources For Writing Royalty
Commentary on Social Issues In Writing
General Tips
Guide to Character Development
How To Fit Character Development Into Your Story
Tips on Character Consistency
Designing A Character From Scratch
Making characters for your world
Characters First, Story Second Method
Understanding Your Character
Tips on Character Motivations
31 Days of Character Development : May 2018 Writing Challenge
How To Analyze A Character
Alternative Method of Character Creation
Connecting To Your Own Characters
Interview As Your Characters
Flipping Character Traits On Their Head
Character Driven vs. Plot Driven Stories
Traits
Tips On Writing About Mental Illness
Giving Your Protagonists Negative Traits
Giving Characters Distinct Voices in Dialogue
Giving Characters Flaws
Making Characters More Unique
Keeping Characters Realistic
Archetypes
Writing Good Villains
Creating Villains
Guide to Writing The Hero
Positive Character Development Without Romanticizing Toxic Behavior
Tips on Writing Cold & Distant Characters
Balancing Multiple Main Characters
Creating Diverse Otherworld Characters
Foreshadowing The Villain
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Masterlist | WIP Blog
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there’s nothing purer or better than how much kids enjoy being picked up and then hurled at soft surfaces
Questions to ask yourself when writing an Autistic character
In media, canonically autistic characters are commonly portrayed as false stereotypes about autism, or they convey false/outdated information.
For anyone writing an autistic character, there should be many questions to ask about that character. As someone who has ASD, I really like to see well written autistic characters. Here I have compiled some questions that I use when starting a new character. I have also included links on terms that may be unfamiliar for those just starting out. This list is just a handful of questions, so make sure to continue researching.
General
1. How and/or when were they diagnosed as Autistic?
2. Do they view their autism as a disability? Why or why not?
3. What are some things they like and/or dislike about being autistic?
Support Needs
4. What are their support needs?
5. Do they struggle with executive dysfunction?
6. What kind of tasks are difficult for them?
7. What kind of tasks are they really good at?
8. What kind of accommodations do they have? (Specifically in a school or work environment)
Communication
9. What are their speech habits? Are they fully-verbal, semi-verbal, non-verbal, or does it vary?
10. Do they use echolalia and/or palilalia to communicate?
11. Do they use echopraxia to communicate?
12. Do they use AAC to communicate? If so, which type(s)?
Associated Conditions
13. Do they have/struggle with any kind of agnosia(s)?
14. Do they have/struggle with Alexithymia?
15. Do they have any other common or associated conditions?
Sensory and Stimming
16. Are they a sensory-seeker or sensory-avoidant?
17. What sensations do they like?
18. What sensations do they hate?
19. Describe a place that would be sensory-heaven for this character
20. Describe a place that would be sensory-hell for this character
21. What do they do to stim? Favorite stims? Least favorite stims?
22. Do they use echolalia, echopraxia, etc. for stimming?
Overload, Meltdown, Shutdown & Burnout
23. What puts this character into sensory overload?
24. What are meltdowns like for them? (What are signs a meltdown is starting? Do they seek or avoid comfort? How do they recover?)
25. What are shutdowns* like for them? (What are signs a shutdown is starting? Do they seek or avoid comfort? How do they recover?)
26. What is autistic burnout like for them? (What are signs burnout is coming? How long does it last? What kinds of support do they need? How do they recover?)
Special Interests
27. What are their special interests?
28. What kinds of topics can they infodump about?
Social
29. Does their family know? Are they supportive?
30. Do their friends know? Are they supportive?
31. What aspects of socializing are hard for them?
32. Are they very aware of their social difficulties (i.e. anxious and shy about socializing in fear of messing up) or are they less sensitive to their difficulties (i.e. unafraid/unaware of social mistakes, feels no anxiety to socialize)
*This link should take you to a playlist of videos that covers a lot of the topics talked about in this list. I highly recommend watching them!
Thank you for sticking it out to the end. I hope this helps!
How to Write a Synopsis
When querying literary agents or submitting to traditional publishers, you usually need a one-to-five page summary of everything that happens in your book.
I’m gonna be honest and say that this is my least favorite part of the process and I don’t at all profess to being good at it. I hate it, but I thought I’d share my process and a few tips to hopefully make the process a little less painful for you.
1. STEP ONE: The List
Go through your book chapter by chapter and jot down the important things that happen in each.
Everything that drives the plot or character development needs to be included. Remember that your synopsis contains all the spoilers. All the plot twists and character deaths. And definitely how the book ends.
You should use your discretion re the amount of detail for each scene. You don’t have to set out what happens or what the characters say step for step. You can just say something like: A and B talk about their fears for the future and discover they have more in common than they thought.
Think: what does the reader of the synopsis need to know to understand the rest of the synopsis?
2. STEP TWO: The Synopsis
Now that you have a list of notable events, you can start typing up your synopsis.
I suggest making each chapter a paragraph.
Usually, agents and publishers want single-spaced synopses, but be sure to check their individual guidelines.
When referring to a character for the first time, it’s good to put their name in all caps. Then, from the second mention onward, only the first letter should be upper case.
No matter the tense or POV of your novel, your synopsis should be in third person and present tense.
It’s important to understand that your synopsis is also a piece of writing on which you can be judged. It’s not just a list of events. You need to write well and employ the techniques you used in writing your novel.
Vary your sentence length and structure, use strong words, use connectors and emotive language. Very importantly, allow your voice to come through.
Think of how you tell a children’s story. It’s basically relaying a simple sequence of events, but you don’t just list them monotonously.
See your synopsis as a story in and of itself to some degree.
3. STEP THREE: Edit
Just like with your book, your first draft is not your final draft.
Go through the document at least twice once you’re done to check for bad writing, typos, inconsistencies etc.
Polish that synopsis till it shines.
4. STEP FOUR: Feedback
Try to get feedback on your synopsis from someone who has read your book and someone who hasn’t.
Ask the person who has read the book whether they think you covered all the important points and whether they think it captures the book well.
Ask the person who hasn’t read the book whether they found the synopsis at least somewhat interesting and whether they could follow the plot. Let’s be honest, your synopsis isn’t going to be your most riveting piece of writing, but it at least needs to be moderately entertaining and coherent.
Edit the synopsis based on their feedback.
5. STEP FIVE: Final Proofread
Do a final check for typos and you’re good to go!
Reblog if you found this post useful. Comment with your own tips. Follow me for similar content.
Free downloads for fiction writers!
Hello dears! My site is undergoing some serious construction, and in the process I’ve been adding/changing some of the free downloads I have available for fiction writers. (And adding cute lil’ pictures to go with them! Awwww!) Take a looksie if you like <3
Get access to my Little Fiction Writing Toolkit right here.
Love,
Bucket
I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!
(save the images to zoom in on the pics)
How to write Panic and Anxiety Attacks
TW: Mention of mental illness, anxiety and panic attacks.
I have had several anxiety and panic attacks. I know how terrible they are. Hopefully, this may be helpful
Difference
(Credit to the owner of the image)
One of the major differences between anxiety and panic attacks is that anxiety attacks are caused due to the disease called anxiety while panic attacks are sudden and may happen to a person who has never ever had anxiety.
Keywords: -Panic attacks: Sudden -Anxiety attacks: Prolonged and Gradual (easier to control)
Symptoms/Feeling
->Normal/Mild
Pain in chest
Breathing difficulty
Shaky Limbs
Mild Dizziness
Slight nausea
Need to go to the toilet
Hot flushes
->Severe
Severe nausea
Vomiting
Acidity
Fainting
Dark spots in vision
Extreme trembling
Suicidal Ideation
Dialogues you can use (mostly for panic)
"I can't breathe!"
"This is not normal! NOT NORMAL"
"I AM GOING TO DIE"
"I don't know what's happening!"
"My chest hurts"
"I feel like I am going to puke."
"I don't want to die."
"YOU ARE TELLING ME TO BREATHE? WOW! I WOULD HAVE DONE THAT IF I WERE ABLE TO "
"Help me."
Response/Comfort
"You are doing amazing!"
"I am so proud of you!"
"Breathe for me, please"
"You are okay, you are safe"
"You can get through this."
"Concentrate on your breathing "
"I want you to look at me and forget everything else"
"Focus on my voice."
Remember that oftentimes a person having a panic attack does not like to be touched, so it's best to ask for consent first
"Can I hold your hand?"
"Is it okay if I envelop my arms around you?"
"Are you comfortable? "
"I am going to put my hand around your ears, is that okay?"
Control
The most common grounding technique for anxiety/panic attacks is the 54321 method. In this, you identify…
5 things you can see
4 things you can feel
3 things you can hear
2 things you can smell
1 thing you can taste
Hope this was helpful
The Author Speaks: All My Original Writing Content
For your convenience, a masterpost of all (or most) of my original posts so far. It will obviously be updated as I create and add more!
Enjoy, and thank you for reading! <3
The Basics: Plotting, Descriptions, and More
The Dos and Don’ts of Beginning a Novel
How to Write Good Dialogue
Notes on Chapters
My Top Tips for Sticking to That Damn WIP
How to Avoid Purple Prose
The Objective Correlative
Tips for Visual Thinkers
5 Ways to Name Your Novel
Romance
How to Write a Kiss Scene
How to Write a (Healthy) Romance
Mythology
Angelic Cheat Sheet
Irish Mythology Resources
Academia
Masterpost for Writing Academic Essays
Horror
My #1 Tip For Writing Horror
Monster of the Week
Werewolves
Vampires
Zombies
Characterization
How to Get to Know Your Characters
Male Protagonists to Avoid in Your Writing
Female Protagonists to Avoid in Your Writing
More Female Protagonists to Avoid in Your Writing
The Importance of Antiheroes
How to Write Strong Female Characters
The Many Faces of the Strong Female Character
The Traits of a Likable Hero
The Secret to a Relatable Villain
Types of Unreliable Narrators
How to Write (or Avoid) Abusive Parents
The Dos and Don’ts of Writing Smart Characters
Reference Masterposts
Depicting Deaf, Blind, or Mute Characters
Depicting Amputees
Depicting Wheelchair Users
Depicting Jewish Characters
Depicting Black Characters
Depicting ADHD
Depicting Autism
Depicting Trans Women
Depicting Trans Men
Depicting Nonbinary and Genderfluid Characters
Depicting Asexual Characters
Depicting Drug Addiction
Depicting Eating Disorders
Depicting Obsessive Compulsive Disorder
Depicting Schizophrenia
Worldbuilding Masterpost
Publishing Resources:
Places to Post Original Fiction
Marketing Masterpost
My Published Fiction:
Gentlefolk - A timid woman faces her deepest fears in order to try and reclaim her stolen child from charismatic local Nature Gods. Only to discover that everything she’s been taught about them might be wrong.
The New Gods - Society is populated by gods, new and old. Some are more frightening than others.
Gunpowder Sigil - In a windblown Western town, a young girl conducts a summoning ritual for a spectral gunslinger. Magical realism meets the Western.
The Undertaker’s Apprentice - A lovesick undertaker in training goes on a disastrous first date, with a corpse as a third wheel.
The Young Immortal - A relatively youthful member of the immortal community reflects on his first century of life and his relationship with his oft-reincarnated soulmate.
The Bear - An anxiety-ridden young man with a talent for avoiding his problems decides not to acknowledge the grizzly bear trapped in his bedroom during a busy a day.
Strange New Worlds Anthology - A compilation of my short fiction, including previously published and previously unseen works. Set to release in 2022.
Happy writing, everybody!
Character’s rooms say a lot about them
Whenever I show a character’s room for the first time, I always find myself thinking long and hard about it.
So much so, I often avoid it out of fear of getting it wrong.
I think it’s a very important insight into a character and there are so many small details we can use.
Is there bed made or a mess?
Is the room tidy or a mess?
Do they have posters up on the walls?
Are there photos anywhere? If so, of whom? Friends? Family? Random places they’ve visited?
What useless junk is there? A snow globe from a visit to the zoo? Some figurines from a show they liked as a kid?
What not useless junk is there?
Do they have a hobby and where can we see that in their room?
Do they have a large or small desk?
How big is their closet? Is it an open or closed design?
Is the window open?
Are there plants by the window?
Are the curtains pulled?
Where are their dirty clothes kept? Thrown on the floor or in a laundry basket?
Are there any empty bowls or dirty plates? This tells us a character comes to their room to eat. Why? To avoid others or because they don’t want to be away from their work?
There is so much you can tell about a character from their room! It’s kind of intimidating but also amazingly fun to think about.
As usual, check out my socials and book here.
Maybe I’ll do a full post going into detail about character’s rooms. I’ve been doing a lot of shorter posts lately, I’m kind of going through a bit of brain fog. It makes sense. I’m on a restricted diet (for health reasons, not weight related or anything) so I’m a little hungry, I’ve managed to somehow get into a schedule of waking up at 8am, leaving home at 9am and not getting back until 10pm. University plus apprenticeships was maybe not my brightest idea. But oh well, thankfully I enjoy my apprenticeship and my university course. Plus I’m finding just enough time over the weekend to keep up with Tumblr and TikTok.
I’ve said this plenty of times before but, if you have any questions, request for writing advice, anything! Right now they’re more aprecitated than ever because you’re saving me having to actually think of a post! (Although I do have about nine posts in queue so if my answer takes a while, blame my efficiency!)
Writing With No Motivation
I wrote my first draft in three months. All 110,000 words of it. I have ADHD, so concentration isn’t easy for me and during this time I was working a full time job. I wrote in evenings and on weekends, and you can bet I didn’t feel motivated to write every single day, but I did and I’m here so tell you how.
1. Have a set time to write.
I committed myself to an hour of writing daily in which I would bash out 1,000 words. Getting into a routine helped me write even when I didn’t really feel like it, I just became used to writing at this time every day. If you can’t do 1,000 words in an hour, that’s okay. Set a time goal instead of a word count goal, I find that allows me to put extra energy into concentrating as I know when it will end.
2. Remove distractions from sight.
Object permanence is a myth. Put your phone in the next room, or under your pillow when you’re at your desk, put it on absolute silent. Get noise-cancelling headphones to block out kids/siblings. If you get an impulse to do something, write it down and do it after. Turn your wifi off and only turn it back on for research purposes.
3. 20 minute sprints
On days when you really don’t feel like writing, set a 20 minute timer and a minimum word count of 200 words. Bash that out and if you’re not in the flow after 20 minutes, stop, but you might find you are, so carry on until it ends! Remember, any no. of words a day is better than 0.
4. Get a Concentration Candle
The candle is only allowed to be lit while you’re concentrating. If you get distracted, you have to blow it out and that’s kinda sad. Also if it’s scented you’ll start to associate the smell with concentrating and writing and that will help you feel ventured and focused. Idk why this works so well, but it really does, trust me.
5. Work out where the scene/chapter/act/story is going.
One of my biggest deterrents for writing is not knowing what to put on the page next. I struggle to do both pretty words and developing a good plot at the same time. So I block out the scene, I plot, I get excited about the rest of the book, I make sure this scene or chapter is important! This never fails to motivate me.
I hope this has helped! Feel free to add to this!
[if reposting to Instagram please credit @isabellestonebooks]
Tips for Writing a Difficult Scene
Every writer inevitably gets to that scene that just doesn't want to work. It doesn't flow, no matter how hard you try. Well, here are some things to try to get out of that rut:
1. Change the weather
I know this doesn't sound like it'll make much of a difference, but trust me when I say it does.
Every single time I've tried this, it worked and the scene flowed magically.
2. Change the POV
If your book has multiple POV characters, it might be a good idea to switch the scene to another character's perspective.
9/10 times, this will make the scene flow better.
3. Start the scene earlier/later
Oftentimes, a scene just doesn't work because you're not starting in the right place.
Perhaps you're starting too late and giving too little context. Perhaps some description or character introspection is needed before you dive in.
Alternatively, you may be taking too long to get to the actual point of the scene. Would it help to dive straight into the action without much ado?
4. Write only the dialogue
If your scene involves dialogue, it can help immensely to write only the spoken words the first time round.
It's even better if you highlight different characters' speech in different colors.
Then, later on, you can go back and fill in the dialogue tags, description etc.
5. Fuck it and use a placeholder
If nothing works, it's time to move on.
Rather than perpetually getting stuck on that one scene, use a placeholder. Something like: [they escape somehow] or [big emotional talk].
And then continue with the draft.
This'll help you keep momentum and, maybe, make the scene easier to write later on once you have a better grasp on the plot and characters.
Trust me, I do this all the time.
It can take some practice to get past your Type A brain screaming at you, but it's worth it.
So, those are some things to try when a scene is being difficult. I hope that these tips help :)
Reblog if you found this post useful. Comment with your own tips. Follow me for similar content.
Resources For Describing Characters
Physical Appearance
Arms
Athletic Build
Back
Butts
Cheeks
Chest
Chins
Curvy Build
Ears
Eyebrows
Eyes
Faces
Facial Hair
Feet
Fingernails
Fingers
Hair
Hands
Head
Hips
Jaws
Knees
Legs
Lips
Muscular Build
Neck
Noses
Shoulders
Slender Build
Sickly Build
Skin
Stocky Build
Stomach
Teeth
Toenails
Toes
Underweight Build
Character Traits
Affectionate
Ambitious
Bossy
Brave
Calm
Cautious
Charismatic
Clever
Conceited
Courageous
Creative
Critical
Curious
Determined
Diplomatic
Dishonest
Disorganized
Eccentric
Excitable
Friendly
Funny
Generous
Glamorous
Guarded
Honest
Impulsive
Independent
Intelligent
Just
Kind
Loyal
Manipulative
Mature
Modest
Mysterious
Naïve
Optimistic
Prejudiced
Persistent
Proper
Responsible
Sensitive
Sentimental
Serious
Shy
Reckless
Stingy
Stubborn
Talented
Thoughtful
Thrifty
Visionary
Wise
Witty
Worry Wart
Wounded
Talents & Skills
A Knack for Languages
A Knack for Making Money
A Way with Animals
Archery
Astral Projection
Astrological Divination
Baking
Basic First Aid
Blending In
Carpentry
Charm
ESP (Clairvoyance)
Empathy
Enhanced Hearing
Enhanced Sense of Smell
Enhanced Taste Buds
Farming
Fishing
Foraging
Gaining the Trust of Others
Gaming
Gardening
Good Listening Skills
Haggling
Herbalism
Hospitality
Hot-Wiring a Car
High Pain Tolerance
Knife Throwing
Knowledge of Explosives
Lip-Reading
Lying
Making People Laugh
Mechanically Inclined
Mentalism
Mimicking
Multitasking
Musicality
Organization
Parkour
Photographic Memory
Predicting the Weather
Promotion
Psychokinesis
Reading People
Regeneration
Repurposing
Sculpting
Self-Defense
Sewing
Sharpshooting
Sleight-of-Hand
Strategic Thinking
Strong Breath Control
Super Strength
Survival Skills
Swift-footedness
Talking With The Dead
Throwing One’s Voice
Whittling
Wilderness Navigation
Wrestling
Elemental Abilities
Miscellaneous
Voices
Voice Types
Speech Patterns
Speech Impediment
List of Character Flaws
List of Archetypes
Hairstyles
Describing Body Types & How They Move Around
Secrets To Give Your Character
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Hi, so I've finished a short story, a first draft you could say, but there are still some kinks in it that I want to iron out. What is stopping me is that it seems just such a huge job, I wouldn't know where to start. And so I keep making excuses. (Chances are I'll use this as an escuse as well, that I'll wait until I hear your answer.) Any tips on where to start?
Procrastination & The Editing Stage...
Procrastination is typically a symptom of anxiety and perfectionism. Before you ask how you solve the problem, you should figure out why you’re having it in the first place. This is an immensely helpful practice in the long run. Ask yourself why you’re so anxious to start examining your own work and test various possible exercises that could soothe this anxiety long enough to get started.
Editing is understandably very intimidating. It’s daunting to have to sit down and actively look for flaws (or as I like to say, room for improvement) in your own work. Writing is a practice in vulnerability sometimes editing can feel like critiquing your own emotions. In order to edit well, you have to detach from your own connection to the content and view it objectively. If you’re having trouble with this, I recommend putting literal distance between yourself and the writing.
Let it sit physically and mentally away from you for a few months and then come back to it with fresh eyes and preferably a second project in the foreground of your writing time. This will allow you to see it as a story rather than a part of you, and therefore you will find it easier to criticize.
I have a few posts and tips that touch on the subject of procrastination and approaching work you’re intimidated by that expand upon the topic:
Stop Getting Too Attached When Writing
Healthy Forms of Motivation
How To Have A Productive Mindset
How To Fall In Love With Writing
Writing Through Mental Health Struggles
Dear Writers Who Are Hesitant To Start Writing
“All First Drafts Are Crap” -- My Thoughts
Getting Back To Writing After A Long Hiatus
Why “Burnout” Is Oay - The Creative Cycle
Wanting To Finish A Story You’ve Fallen Out of Love With
How To Use Beta-Reader Feedback
How To Actually Get Writing Done
Writing On A Schedule
Coming Back To A Story After A Break
Coming Back To A Story You’ve Grown Since
How To Prevent Getting Stuck
Sticking To A Story (Working on Multiple Projects)
Writing Your Way Through The Plot Fog
Get Back Into The Stride of Writing
When you are finally ready to start editing, perhaps a few of these resources may be helpful to you:
Step-By-Step : Editing Your Own Writing
Improving Flow In Writing
Constructive Criticism : How To Give & Receive
How To Make A Scene More Heartfelt
How To Perfect The Tone
Editing & Proofreading Cheat Sheet
A Guide To Tension & Suspense
What To Change Draft-By-Draft
Dialogue Punctuation
Finding And Fixing Plot Holes
On Underwriting
Denoting Flashbacks
Ultimate Guide To Symbolism
Expanding Scenes
Naming Stories
Tips on Descriptions
Tips on Balancing Development
Tips on Connecting Chapters
Tips On Dialogue
Using Vocabulary
Balancing Detail & Development
Showing Vs Telling
Writing The Middle of Your Story
–
Masterlist | WIP Blog
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when people talk about writing ‘the next Lord of the Rings’ they think it’s all about the wars and the languages and the histories, and Aragorn brooding in the corner of an inn and the Balrog roaring in Moria and the ruins of Isengard, and that’s how we got Game of Thrones and several dozen cheap fantasy knock-offs every year, not to mention whatever nonsense the Amazon show is going to produce
but Tolkien’s wars and languages and histories stemmed from his love of creating - of words and history and mythos - and that love infuses into everything he writes, and if you miss that then there’s no way in hell you can replicate it
and the people who want to write the next Lord of the Rings because they want to write the next epic don’t get that the story is about the hobbits’ soft and simple lives and Bilbo’s poetry and Sam’s love language being food and Eowyn discovering hope after depression and Gandalf making fireworks for hobbits even if he is a literal angelic being, and Aragorn weeping over Boromir’s body and Theoden’s kindness to Merry, and Beregond betraying his most prized orders to save Faramir, and the unlikely friendship between Gandalf and Pippin, and the even unlikelier friendship between Legolas and Gimli, and Sam and Frodo singing to each other in Mordor, and Boromir sacrificing himself for the hobbits, and Sam’s simple love for Rosie, and the restoration of the Shire, and the friendship of the Fellowship surviving down through the ages, and peace after war and hope in darkness, and the love between a gardener and a gentleman pacifist being literally the only thing that saves Middle Earth
and that is why people who try to recreate Lord of the Rings by starting with war always get it wrong. you have to start with the love, or it’s nothing: just another empty history
This is legitimately good advice and works for almost everyone, but I do want to add that when an author believes that reworking a piece is worth it, we end up with such treasures as The Code by @adurowrites
As someone who reads favorite fanfics over and over again, it's always a treat when an author posts a new and improved version, especially when they give the reader insight into their rewriting and editing process
You don't owe it to anyone to redo your old work simply because it isn't as skillfully written as your newer stuff, but if you yourself want to engage in the endeavor and you think that it'll be good for you, go for it! And let me know afterwards because I want to read it
I know you said at one point that towards the sun was a multi year project (or at least I’m p sure u did? ig if I’m wrong just ignore this ask fjigjgjg), and I wondered something. What if by the time you get to the end, you’ve improved your writing so much that you’re not satisfied with the beginning anymore?
That is actually a normal part of writing! If you can see places to improve your old work, then you have improved since you wrote it. So like. It's a good thing when that happens.
Little edits like typos, or things like the Towards the Sun edit to remove icky blind stereotypes, are almost always worth fixing. The former is quick and easy (and bugs me on a visceral level), the latter is basic decency.
Big edits, like large plot or character arc changes, are almost never worth doing. Especially in fanfiction, where most readers aren't going to see those edits because they read the chapter months ago and ain't coming back.
AKA: I'll be leaving older stuff alone. Everyone can see the post date, if it's not as good as my newer stuff there's a pretty self-explanatory reason.