Hey there, thanks for the question! I speak English as a second language; most English speakers I encounter aren’t native (yes, including fictional people); thus, this is a concern I’ve explored personally when I write.
I think the core principle regarding accent writing is this: it shouldn’t be distracting.
For the same reasons why Stephen King prescribes the basic dialogue tag “said” rather than fancier alternatives like “whispered”, “shouted” or “screeched”, dialogue must be first and foremost easy to read. It must flow like a real conversation – the pace and tone are a lot more important than how specific words are being pronounced by the character.
Focus on what effect the accent has:
Using adjectives to describe their voice in general. Different types of English (American, British, Australian, etc.) will give off a different vibe, also partly dependent on how your character speaks in general:
Lilting: Having a smooth rise and falling quality; sing-song like. Welsh accent is often described as singing.
Posh: from a high social class. This is the term generally used to describe the upper-class British accent.
Nasal: this happens when the sound goes through somebody’s nose when they’re speaking. North American accents are more nasal than, say, British pronunciations.
Brash: harsh, loud, indicative of sounding a little rude.
Slur: speaking indistinctly; words merging into one another.
Using metaphors.
Her voice was cotton and fluffy clouds.
When he spoke, the ‘r’s scratched the insides of his throat.
Mentioning their accent with a brief example(s).
“Would you like to drink some wine?” she said, though her Indian accent gave extra vibration to her ‘w’s and ‘r’s, making the words sound more like ‘vould you like to drrrink some vine’.
“I want some chocolate.” His syllables were choppy and ‘l’s rather flat, saying ‘cho-ko-lit’.
Some Tips:
Don’t phonically spell out everything. Perhaps give a few examples in the beginning, but stick to standard English spellings.
Pay attention to word choice, slang, and colloquialisms.
An Australian person would say “tram”, not “trolley; “runners” instead of “sneakers”
A Canadian may refer to a “fire hall” – what Americans call a firehouse or fire station
If your character comes from a non-Enligsh background:
Use vocabulary from other languages.
“What time was the exam, ah? Two o’clock? Jiayou!” → putting “ah” or “la” at the end of sentences + Jiayou means “break a leg” in Singlish.
“I can’t believe that 4-year-olds have their own SNS accounts now.” → “SNS” is short for “social networking service”, a term used to refer to social media in Korea. This would a subtle difference – even though it isn’t technically Korean at all!
Transpose grammar from different languages.
For example, in French, plural nouns take plural adjectives (whereas in English, you would speak of ‘white cars’, not ‘whites cars’).
─── ・ 。゚☆: *.☽ .* . ───
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Earth has no idea why humans think global warming hurts her. In fact she is excited! Its been a while since the last extinction. She was already starting to get tired of mammals.
by Writerthreads on Instagram
A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!
You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.
Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.
Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.
Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.
The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.
Hope these tips help in your writing!
Your job is to guard a button that no one may push. Things get complex when both legendary heroes and villains arrive to attempt to push the mysterious button. Everyone seems to have a different idea about what the button does, but they all want to push it.
You would think that the God of Death has no respect for life. However, nothing could be farther from the truth. In fact, out of all the gods, it is the God of Death who has the most respect for life, for all too often have they been forced to watch mortals throw their lives away.
Your old friend, Mary Sue, appears perfect, but actually has the ability to manipulate time and constantly rewinds it in order to give the appearance of perfection, with zero consequences. You, however, can secretly remember every single previous iteration.
19 points
What’s your final score? 👀
Today is another day of your life
Is a day where you wake up
With a plan on your day
Or without any
Yes it's just a simple day
Like any other day
But just know
That do not hesitate
To do whatever comes into your mind
Cause this day is going to end
To never come back again
One day I will leave
Far away from here
In a place where is just me
My heart and the shining stars
Sunset and a glass of wine
Are everything I remind
When I look at your eyes
While I know what to find
Touching those soft little thighs
Love and passion
Every night
While we fight in our bed
When I want you to spread your legs
And you look at me with your face red
Are everything I never regret
You pretend to be a small-time villain. At most, you annoy the local supers, but your crimes never hurt anyone. To you it's all good fun. Things change when a truly sadistic supervillain invades your turf and murders a few of the supers. No one has seen the extent of your true powers until now.
The aliens you've seen while living out in the woods have rarely been "friendly," but always benign. You have your space, they have theirs, rarely interacting... which is why you knew something was wrong when you found advanced defenses around your house and a hand-drawn warning to stay inside.
Too many beds
Accidentally kidnapping a mafia boss
Really nice guy who hates only you
Academic rivals except it’s two teachers who compete to have the best class
Divorce of convenience
Too much communication
True hate’s kiss (only kissing your enemy can break a curse)
Dating your enemy’s sibling
Lovers to enemies
Hate at first sight
Love triangle where the two love interests get together instead
Fake amnesia
Soulmates who are fated to kill each other
Strangers to enemies
Instead of fake dating, everyone is convinced that you aren’t actually dating
Too hot to cuddle
Love interest CEO is a himbo/bimbo who runs their company into the ground
Nursing home au
Part IV
tightness around their eyes
pinched mouth
sour expression on their face
crossed arms
snorting angrily
turning their eyes upward
shaking their head
fast breathing
chest heaving
trembling of their hands
weak knees, giving in
tears flowing down their face uncontrollably
laughing while crying
not being able to stand still
tension leaving their body
shoulders dropping
standing still
opening mouth
slack jaw
not being able to speak correctly
slowed down breathing
wide eyes open
softening their gaze
staring unabashingly
vacant stare
looking down
turning their head away
cannot look at another person
putting their head into their hands
shaking their head
blushing
looking down
nervous smile
sharp intake of breath
quickening of breath
blinking rapidly
breaking eye contact
trying to busy their hands
playing with their hair
fidgeting with their fingers
opening mouth without speaking
Part I + Part II + Part III
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please please please please reblog if you’re a writer and have at some point felt like your writing is getting worse. I need to know if I’m the only one who’s struggling with these thoughts
Future cultures having no idea what we mean when we talk about "stuffed animals" and future historians having to constantly shoot down the popular understanding with "no, they did not constantly slaughter wild and domestic animals just so they could carry their stuffed skins around as playthings. no that's not a thing - no they were literally just toys. yes just like the ones you grew up with"
Secret bunkers full of time machine repair equipment are placed throughout history by time travelers just in case someone gets stuck in the wrong time. You are tasked with manning one of these bunkers
Love how tumblr has its own folk stories. Yeah the God of Arepo we’ve all heard the story and we all still cry about it. Yeah that one about the woman locked up for centuries finally getting free. That one about the witch who would marry anyone who could get her house key from her cat and it’s revealed she IS the cat after the narrator befriends the cat.
hey did you know that uhh
i. the monster's body is a cultural body
ii. the monster always escapes
iii. the monster is the harbinger of category crisis
iv. the monster dwells at the gates of difference
v. the monster polices the borders of the possible
vi. fear of the monster is really a kind of desire
vii. the monster stands at the threshold… of becoming
“Time travel paradoxes don’t happen, they just spawn a new timeline you can travel to.” “Wait, does that mean I can go back to caveman times and colonize the fresh earth without consequence?”
Centuries into a generation ship’s journey, the ship has a constant plethora of tiny issues and malfunctions overlooked by most of the crew’s mechanics in favour of the larger issues. In your off-time, you decide to start fixing some of these minor issues and discover some interesting functions.
“i’m a fearsome indestructible monster of lore whose one shocking weakness is fire” buddy everyone’s weakness is fire
Thank you I was trying to think what it would take for them to smell like that did that mean they had a layer of bacteria on their skin. This is so much cooler of an idea
Humans are 1000x more sensitive to the smell of petrichor (that smell you get with rain) than sharks are to blood, to no apparent evolutionary advantage. You’re privileged to be a part of the first welcoming committee to meet our new Non-Human arrivals in person. They smell like petrichor.
Love this
A dragon has been demanding tribute of gold from a small village for years. And when they finally hire a slayer to deal with it, the slayer finds a dragon thats barely a hatchling
I'll never get into art school with these distractions...
By occultbookstores
I was also thinking that you must be Hitler
You are at the center of a time traveling war. For every assassin sent back to the past to murder you, another warrior is sent to protect you and kill the assassin before they get a chance. As the bodies pile up, you still don’t have the slightest clue why you’re so important to these people.
This particular Dark Lord has a nasty habit of not executing subordinates for failure. This is starting to become a problem for the heroes, as their foes are starting to learn what works and what doesn’t.
Thanks this looks helpful.
show, don't tell:
anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking
frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping
sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps
happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking
boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails
fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands
disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm
tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile
confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions
A human crash lands on an alien world and has to fight off the individuals hunting them. The “hunters” are actually an underfunded wildlife rescue team who are very worried about this human’s safety.
You are an ancient, sentient cursed sword known for corrupting even the most valiant and well-intentioned of heroes. However, you cannot corrupt the most recent hero whose hands you have fallen into - not because of their purity of heart, but because of their incorruptible cynicism.
Okay this sounds like fun I'm going to try this sometime. I add this excellent example below
---------------------------------
gaymedievaldruid
The world seemed dark, even as he was so close to the answer. Rain pelted his coat, and he reflected on its aptness, feeling it even through his wide collar. His enemy was before him, and it had what he wanted.
Some were callous- they claimed that all he wanted was the reward- the praise, the infamy. Not so. He enjoyed the chase just as much.
The creature before him was something of an anomaly. He'd known it's like before- only briefly, however. This one it felt like he'd known forever. It taunted him, goaded him, held his prize above his head- let him have it so many times before, before snatching it away. Well, he wouldn't let that happen again. This time, when it made a mistake, when it let his prize slip from its grasp, he would be ready.
And he would not let go.
Describe a dog going to fetch a stick, but in the style of a noir crime thriller.