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Writing Notes: Fictional Poisons

Not everything we have in our world will fit the stories you're writing.

If none of these options work for you, the best call may be to invent your own fictional poisons.

There are 5 key points you need to think about when creating a poison for your story:

Where it’s sourced from: This can help if you’re looking to add in an interesting plot point or some foreshadowing of the upcoming poisoning.

How the poison works: Understanding its capabilities and limitations can help you describe its effects on the page.

What can counteract it: In case you want to give your character a fighting chance.

The symptoms of the poisoning: Describe it in all its gory detail!

And how long it takes to have an effect.

Besides that, there are all the cultural aspects around your poisons: How do your characters get access, and what will people think of them using it?

It’s also worth noting that the success of a poisoning is somewhat determined by how common they are.

Example: If you’re dealing with a setting like Ancient Rome, there’s probably a whole class of people who have food and drink tasters to prevent exactly this kind of thing.

Source Writing Notes: Poison

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4 Strategies to Avoid Wordiness

Wordiness is when a sentence contains words that, if removed (or replaced with a shorter alternative), convey the same message and remain grammatically correct. It may happen when you use more words than necessary within a sentence, especially short, vague words that do not add much meaning.

Omit unnecessary words by using a "who does what" construction (Take out: it is, there is, there are, which, that, this, and self-references such as in my opinion, I think, it seems to me.)

Wordy: It was a night that was dark and freezing when the ship Titanic was struck by an iceberg.

Better: An iceberg struck the Titanic on a dark and freezing night.

Avoid too many abstract and difficult words

Wordy: “Conservatism is the paradigm of essences toward which the phenomenology of the world is in continuing approximation” (William Buckley, Jr.).

Better: Conservativism is the belief in absolute values whose expression change with the times.

Shorten sentences by rearranging ideas

Wordy: The president of the school board that presides over Dade County schools is accepting of the participation of students in alternative classes of their choice.

Better: The Dade County School Board president allows student to choose electives.

Omit repetitious words and ideas

Wordy: The cookies are baking in the oven. The cookies are chocolate chip.

Concise: The chocolate chip cookies are baking in the oven.

Notice how the wordy phrases below can be reduced to one or two words:

along the lines of = like

as a matter of fact = in fact

at all times = always

at the present time = now, currently

at this point in time = now, currently

because of the fact that = because

by means of = by

due to the fact that = because

for the purpose of = for

for the reason that = because

have the ability to = be able to

in the nature of = like

in order to = to

in spite of the fact that = although, though

in the event that = if

in the final analysis = finally

in the neighborhood of = about

until such time as = until

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Writing Reference: Types of Castles

As time went on, new technologies became available for attack and defense. Different types of castle were built to match them.

Motte and Bailey

Most common in: 10–11th century

Construction: wooden castle built on a mound (motte), surrounded by a fortified enclosure (bailey)

Strengths: quick and cheap to build

Weaknesses: vulnerable to attack by battering rams and fire

Concentric Defenses

Most common in: 12–15th century

Construction: central fortress, or keep, surrounded by layers of stone walls

Strengths: long lasting and very hard to break into

Weaknesses: took a long time to build; defenders could become trapped inside; vulnerable to cannon fire

Star Forts

Most common in: 16–20th century

Construction: stone or concrete

Strengths: angles deflect cannon fire, and allow defenders to fire on enemies from several sides

Weaknesses: modern high explosives

Castles were built all across the world, ranging from simple wooden enclosures to vast stone palaces.

A large number were built by feudal lords in Europe, who needed a place to keep their families and treasures safe from rivals while they were away at war.

The Crusaders depended on castles to protect their settlements in the Holy Land, where they might come under attack at any time.

With towering stone walls bristling with arrow slits, murder holes, and other defenses, castles were a formidable obstacle to any medieval invader.

At the center of the castle was the keep, a tall tower where the lord and his family made their home, and which could be defended even if the rest of the castle fell.

Around the keep were wards, open areas where the castle’s other inhabitants lived and worked, all protected by stone walls

Source ⚜ More: Parts of a Castle More References: Medieval Period

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how to write characters with muteness/mutism? (i hope i'm using the right words)

Both words may be used :) Mutism seems to be the more frequently used term in research and clinical settings.

Character Development: Mutism

Mutism - an inability or unwillingness to speak, resulting in an absence or marked paucity of verbal output

It is a common clinical symptom seen in psychiatric as well as neurology outpatient department

It rarely presents as an isolated disability and often occurs in association with other disturbances in behavior, thought processes, affect, or level of consciousness

The condition may also be voluntary, as in monastic vows of silence or the decision to speak only to selected individuals

Mutism occurs in a number of conditions, both functional and organic, and a proper diagnosis is important for the management

To write your character with mutism, you may want to begin with their backstory. Below are some types of mutism you could consider.

Types of Mutism

Selective mutism - having the ability to speak but feeling unable to, often because of social anxiety and debilitating shyness

Organic mutism - caused by brain injury, such as with drug use or after a stroke

Cerebellar mutism - caused by the removal of a brain tumor from a part of the skull surrounding the cerebellum, which controls coordination and balance

Aphasia - occurs when people find it difficult to speak because of stroke, brain tumor, or head injury

Additional definition: Selective mutism is characterized by a consistent failure to speak in social situations in which there is an expectation to speak (e.g., school) even though the individual speaks in other situations. The failure to speak has significant consequences on achievement in academic or occupational settings or otherwise interferes with normal social communication.

After determining the possible type/s and/or causes of your character's mutism, below are some characteristics and behaviours. Choose which ones are appropriate for your character. Also determine the frequency and the degree in which these occur.

Some Characteristics of People with Mutism

Social anxiety or shyness outside of the home

Silence that interferes with work or school

Mutism that can't be explained by trouble with language skills

Having experienced trauma

Suddenly becoming silent after speaking regularly

For organic or cerebellar mutism, not being able to speak despite wanting to

For aphasia, mutism can come with difficulty reading, telling time, understanding numbers, and writing

Being silent in social situations outside of the home

Paralyzing anxiety

Using nonverbal communication when spoken to

Asking others to speak for them

Interruptions in daily well-being because of mutism

Is caused by intense anxiety or social phobia

The symptoms interfere with school or work

Difficulty connecting

For Selective Mutism:

Ability to speak at home with family or people they are comfortable with

Fear or anxiety around people they do not know well

Inability to speak in certain social situations

Shyness

This pattern must be seen for at least 1 month to be called selective mutism. (The first month of school does not count, because shyness is common during this period.)

Note: In selective mutism, the child can understand and speak, but is unable to speak in certain settings or environments. Children with mutism never speak. Selective mutism falls under the "Anxiety Disorders" category.

Sample Case Report from this article

A 35-year-old married male was brought by police personnel with chief complaints of not speaking for the last 3 months. The patient had been under trial for the last 6 months for the alleged charge of setting fire in a cowshed. He would not interact with any of the jail inmates. He would however ask for food by non-verbal communication/gestures and would perform all his daily chores normally as reported. He was asked to follow up with family members. History reviewed from wife and elder brother reveled history of 18 years history characterized by violent abusive behavior, wandering behavior, irritability, decreased sleep, restlessness, muttering to self, and at times reporting that other would harm him, associated with withdrawn behavior and socio-occupational dysfunction. On one occasion, he became mute also and did not talk for a period of around 4 months associated with sadness of mood and decreased interest in surroundings. 6 months back, he had symptoms of muttering to self, would often roam about naked and get irritable on minor issues. No other significant history was obtained. MSE revealed decreased PMA, rapport not established, eye to eye contact could not be maintained, he was mute and would communicate nonverbally appropriately. His affect was blank with no facial expressions. All his routine investigations were within normal limits. A diagnosis of schizophrenia was entertained, and he was started on risperidone 6 mg per day and lorazepam 4 mg per day. Gradually the patient started showing improvement in symptoms.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References

If this inspires your writing in any way, do tag me, or send me a link. I would love to read your work!

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Writing Notes: On Laughter & Humour

Just a few notes on laughter and humour that I compiled to help with writing about characters laughing or joking or having a sense of humour. References I used are included at the end.

Most of the laughter we produce has nothing to do with humour.

We use laughter for various communicative functions, such as to show agreement and understanding or to ease social tension.

Laughter is also a form of conversational punctuation, often occurring at the end of sentences and phrases.

Laughter vs Humour

“Humor is an evoked response to storytelling and shifting expectations. Laughter is a social signal among humans. It’s like a punctuation mark.” (Carl Marci, MD, an assistant professor of psychiatry at Harvard Medical School and the director of social neuroscience in the Psychotherapy Research Program at Massachusetts General Hospital)

Humans have 2 Distinct Types of Laughter

Duchenne laughter: an involuntary, reactive, and emotional response. External events and positive emotions drive this laughter.

Non-Duchenne laughter: more voluntary, controlled, and deliberate. Although Non-Duchenne laughter is used more in conversational settings, it is sometimes referred to as “the dark side of laughter” as it is sometimes used to mock and degrade others.

Different Types of Laughter

Tickling

Taunting

Sniffing

Schadenfreude: Expressing pleasure about someone's misfortune

Through nasal cavity

Nasal cavity open

Laughter phrases

Joyful/friendly

Inhalation and voiced

Inhalation and exhalation

Fricative: Involves friction from the throat, with strong consonant sounds and grunts or pants

Vowel-oriented: Laughter is usually of longer duration and employs song-like properties. Typically begins with a "ha/he/ho" sound.

Cough-like

Affiliative: Expresses mirth, social bonding, and cooperation. It is a sign of social acceptance.

De-escalative: Relieves discomfort and dissipates the stress in the room. (E.g., Laughing at an inappropriate joke signifies that no offense was taken and is meant to assuage social interactions. It also signifies to others that it is okay to laugh, and the environment is non-threatening.)

Power laughter: An expression of superiority. It reinforces the power dynamics of social interactions and conveys mockery. (E.g., bosses often use this type of laughter with employees who are less powerful.)

Humans Experience the Humour of a Joke in 3 Phases

The listener encounters some type of incongruity: a punch line that seems out of place compared with the joke’s set-up.

Following a cognitive construct called surprise and coherence, the listener tries to resolve this incongruity.

The listener’s brain determines the joke’s sense—or lack thereof—and decides whether or not the joke is funny.

“The body sends a signal to the brain that says, ‘Hey, that’s clever, that’s worth it,’ and we laugh.” (Carl Marci)

Instead of "laugh" you may write:

VERBS: chuckle, giggle, express mirth, roar with laughter, chortle, guffaw, snicker, titter, snigger, cackle, break up, split one's sides, roll in the aisle, howl

NOUNS: guffaw, giggle, chortle, burst of laughter, roar, cackle, peal of laughter, mirth, glee, snicker, snigger, horselaugh, belly laugh, ha-ha, ho-ho

Sources & related articles: 1 2 3 4 5 6 ⚜ More: Writing Notes & References

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them! Writing Resources PDFs

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Writing Notes: Grammar Development

The learning of grammar is an almost imperceptible process, and it happens so quickly. From the time when parents listen out eagerly for their child’s first word to the time when they plead for peace and quiet is a matter of only 3 or 4 years – and in that time children master the grammar of the language.

Stages of Grammatical Growth

HOLOPHRASTIC STAGE

The earliest stage is hardly like grammar at all, as it consists of utterances which are just one word long, such as:

Gone, Dada, Teddy, and Hi.

About 60% of these words have a naming function.

About 20% express an action.

Most children go through this stage from about 12-18 months.

It is often called a holophrastic stage, because the children put the equivalent of a whole sentence into a single word.

STAGE 2

The next stage looks more like ‘real’ grammar, because two words are put together to make primitive sentence structures.

"Cat jump" or "Cat jumping" seems to express a Subject + Verb construction.

"Shut door" seems to express a Verb + Object construction.

Other sequences might be more difficult to interpret (e.g., "mummy off").

But on the whole we are left with the impression that, by the end of this stage (which typically lasts from around 18 months until 2), children have learned several basic lessons about English word order.

STAGE 3

The next step is the ‘filling out’ of these simple sentence patterns – adding extra elements of clause structure and making the elements themselves more complex.

The 3-element "Daddy got car" and the 4-element "You go bed now" show this progress, as does (at a more advanced level) "My daddy put that car in the garage".

To get to this point, and to be able to ring the changes on it (such as by asking a question – "Where daddy put the car?") takes up much of the third year.

STAGE 4

At around 3 years, sentences become much longer, as they start stringing their clauses together to express more complex thoughts and to tell simple stories.

"And" is the word to listen out for at this stage.

Other common linking words at this stage are:

Because (’cos), so, then, when, if, and before.

This stage takes 6 months or so for the basic patterns of clause sequence to be established.

STAGE 5

This takes us towards the age of 4.

Children typically do a great deal of ‘sorting out’ in their grammar.

A child aged 3½ might say, "Him gived the cheese to the mouses".

By 4½, most children can say "He gave the cheese to the mice".

What they have done is learn the adult forms of the irregular noun and verb, and of the pronoun.

As there are several dozen irregular nouns and several hundred irregular verbs, and all kinds of other grammatical irregularities to be sorted out, it is not surprising that it takes children the best part of a year to produce a level of English where these ‘cute’ errors are conspicuous by their absence.

STAGE 6

After 4½, there are still features of grammar to be learned, such as the use of sentence-connecting features and complex patterns of subordination.

The process will continue until the early teens, especially in acquiring confident control over the grammar of the written language – at which point, the learning of grammar becomes indistinguishable from the more general task of developing an adult personal style.

NOTE

Grammar learning is a continuous process, but it is possible to spot certain types of development taking place at certain stages.

It is impossible to quantify such matters in any sensible way, but most children, when they attend their first school, give the impression of having assimilated at least three-quarters of all the grammar there is to learn. By making regular recordings every 6 months or so from around age 1, it is easy to see how their grammar grows, and the childish errors they make give an indication of the distance they have left to travel, before they reach adult ability levels.

Source ⚜ Notes & References More: Children ⚜ Children's Dialogue ⚜ Childhood Bilingualism

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Writing Notes: Emotions

Definitions in Psychology (Anger; Anticipation; Anxiety; Contempt; Desire; Disgust; Distress; Fear; Guilt; Happiness; Interest; Joy; Pain; Pleasure; Rage; Sadness; Shame; Sorrow; Surprise; Terror; Wonder)

Anger

An emotion characterized by tension and hostility arising from frustration, real or imagined injury by another, or perceived injustice.

Can manifest itself in behaviors designed to remove the object of the anger (e.g., determined action) or behaviors designed merely to express the emotion (e.g., swearing).

Distinct from, but a significant activator of, aggression, which is behavior intended to harm someone or something. Despite their mutually influential relationship, anger is neither necessary nor sufficient for aggression to occur.

Anticipation

Looking forward to a future event or state.

Sometimes with an affective component (e.g., pleasure, anxiety).

Anxiety

An emotion characterized by apprehension and somatic symptoms of tension in which an individual anticipates impending danger, catastrophe, or misfortune.

The body often mobilizes itself to meet the perceived threat:

Muscles become tense, breathing is faster, and the heart beats more rapidly.

May be distinguished from fear both conceptually and physiologically, although the two terms are often used interchangeably.

Considered a future-oriented, long-acting response broadly focused on a diffuse threat, whereas fear is an appropriate, present-oriented, and short-lived response to a clearly identifiable and specific threat.

Contempt

An emotion characterized by negative regard for anything or anybody considered to be inferior, vile, or worthless.

Desire

A strong feeling of wanting or needing something.

Can be a motivating force that drives behavior and influences decision-making.

Can be related to a wide range of things, such as material possessions, experiences, relationships, or personal goals.

Often considered to be an emotion, and it can be accompanied by physical sensations such as an increased heart rate or butterflies in the stomach.

However, it can also be more cognitive in nature, driven by thoughts and beliefs rather than just emotional reactions.

Disgust

A strong aversion.

For example, to the taste, smell, or touch of something deemed revolting, or toward a person or behavior deemed morally repugnant.

Distress

A negative emotional state in which the specific quality of the emotion is unspecified or unidentifiable.

For example, stranger anxiety in infants is more properly designated stranger distress because the infant’s negative behavior, typically crying, allows no more specific identification of the emotion.

Fear

A basic, intense emotion aroused by the detection of imminent threat, involving an immediate alarm reaction that mobilizes the organism by triggering a set of physiological changes.

These include rapid heartbeat, redirection of blood flow away from the periphery toward the gut, tensing of the muscles, and a general mobilization of the organism to take action.

Fear differs from anxiety in that the former is considered an appropriate short-term response to a present, clearly identifiable threat, whereas the latter is a future-oriented, long-term response focused on a diffuse threat.

Some theorists characterize this distinction more particularly, proposing that fear is experienced when avoiding or escaping an aversive stimuli and that anxiety is experienced when entering a potentially dangerous situation (e.g., an animal foraging in a field where there might be a predator).

Whatever their precise differences in meaning, however, the terms are often used interchangeably in common parlance.

Guilt

A self-conscious emotion characterized by a painful appraisal of having done (or thought) something that is wrong and often by a readiness to take action designed to undo or mitigate this wrong.

It is distinct from shame, in which there is the additional strong fear of one’s deeds being publicly exposed to judgment or ridicule.

Happiness

An emotion of joy, gladness, satisfaction, and well-being.

Interest

An attitude characterized by a need or desire to give selective attention to something that is significant to the individual:

Such as an activity, goal, or research area.

Joy

A feeling of extreme gladness, delight, or exultation of the spirit arising from a sense of well-being or satisfaction.

The feeling of joy may take two forms: passive and active. 

Passive joy involves tranquility and contentment with things as they are. 

Active joy involves a desire to share one’s feelings with others. It is associated with more engagement of the environment than is passive joy.

The distinction between passive and active joy may be related to the intensity of the emotion, with active joy representing the more intense form.

Both forms of joy are associated with an increase in energy and feelings of confidence and self-esteem.

Pain

An unpleasant sensation resulting from damage to nerve tissue, stimulation of free nerve endings, or excessive stimulation (e.g., extremely loud sounds).

Physical pain is elicited by stimulation of pain receptors, which occur in groups of myelinated or unmyelinated fibers throughout the body but particularly in surface tissues.

Pain that is initiated in surface receptors generally is perceived as sharp, sudden, and localized; pain experienced in internal organs tends to be dull, longer lasting, and less localized.

Although pain is generally considered a physical phenomenon, it involves various cognitive, affective, and behavioral factors: It is an unpleasant emotional as well as sensory experience. It may also be a feeling of severe distress and suffering resulting from acute anxiety, loss of a loved one, or other psychological factors (see psychic pain).

Because of these various factors, as well as previous experience in pain response, individual reactions vary widely.

Psychologists have made important contributions to understanding pain by demonstrating the psychosocial and behavioral factors in the etiology, severity, exacerbation, maintenance, and treatment of both physical and psychic pain.

Pleasure

The emotion or sensation induced by the enjoyment or anticipation of what is felt or viewed as good or desirable.

Rage

Intense, typically uncontrolled anger.

Usually differentiated from hostility in that it is not necessarily accompanied by destructive actions but rather by excessive expressions.

In nonhuman animals, rage appears to be a late stage of aggression when normal deterrents to physical attack, such as submissive signals, are no longer effective.

Generally includes rapid respiration; thrusting and jerking of limbs; and clawing, biting, and snarling.

Sadness

An emotional state of unhappiness.

Ranges in intensity from mild to extreme.

Usually aroused by the loss of something that is highly valued (e.g., by the rupture of a relationship).

Shame

A highly unpleasant self-conscious emotion.

Arising from the sense of there being something dishonorable, immodest, or indecorous in one’s own conduct or circumstances.

Typically characterized by withdrawal from social intercourse:

For example, by hiding or distracting the attention of another from one’s shameful action—which can have a profound effect on psychological adjustment and interpersonal relationships.

May motivate not only avoidant behavior but also defensive, retaliative anger.

Psychological research consistently reports a relationship between proneness to shame and a host of psychological symptoms, including depression, anxiety, eating disorders, subclinical sociopathy, and low self-esteem.

Theorized to play a more positive adaptive function by regulating experiences of excessive and inappropriate interest and excitement and by diffusing potentially threatening social behavior.

Sorrow

A more "intense" emotion than sadness.

Can be caused by a past event (somebody's death, some other great loss).

Implies a long term state, possibly resulting from a past event, or from a past discovery of a long-term condition (e.g. childlessness or an incurable disease of one's child or spouse).

May have its roots in the past, but the stress is an ongoing, long-term state.

Surprise

An emotion typically resulting from the violation of an expectation or the detection of novelty in the environment.

Considered by some theorists to be one of the emotions that have a universal pattern of facial expression.

The physiological response includes raising or arching the eyebrows, opening the eyes wide, opening the mouth wide in an oval shape, and gasping.

Terror

Intense and overwhelming fear.

Wonder

An emotional state that arises when individuals encounter something surprising, unexpected, or profoundly beautiful.

This experience can lead to a heightened state of awareness and a desire to understand or explore the phenomena further.

Wonder is considered a positive emotion that can enhance cognitive functioning, creativity, and overall well-being.

Components of Wonder

Awe: A feeling of reverence and amazement, often in response to something grand or sublime.

Curiosity: A strong desire to learn or know more about the object of wonder.

Admiration: A sense of appreciation for the beauty, complexity, or uniqueness of the experience.

Surprise: An unexpected element that challenges preexisting knowledge or assumptions.

Transcendence: A feeling of being connected to something larger than oneself, often evoking a sense of humility and perspective.

Sources: 1 2 3 ⚜ More: Writing Notes & References ⚜ On Emotions

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Writing Notes: The Five-Factor Model of Personality

Culture is transmitted to people through language, as well as through social norms which establish acceptable and unacceptable behaviors which are then rewarded or punished (Henrich, 2016; Triandis & Suh, 2002).

With an increased understanding of cultural learning, psychologists have become interested in the role of culture in understanding personality.

The 5 Personality Traits According to this Model

OPENNESS TO EXPERIENCE

Refers to a person's imagination, feelings, actions, ideas

LOW score: More likely to be practical, conventional, prefer routine

HIGH score: More likely to be curious, have a wide range of interests, be independent

CONSCIENTIOUSNESS

Competence, self-discipline, thoughtfulness, goal-driven

LOW: Impulsive, careless, disorganized

HIGH: Hardworking, dependable, organized

EXTROVERSION

Sociability, assertiveness, emotional expression

LOW: Quiet, reserved, withdrawn

HIGH: Outgoing, warm, seeks adventure

AGREEABLENESS

Cooperative, trustworthy, good-natured

LOW: Critical, uncooperative, suspicious

HIGH: Helpful, trusting, empathetic

NEUROTICISM

Tendency toward unstable emotions

LOW: Calm, even-tempered, secure

HIGH: Anxious, unhappy, prone to negative emotions

Applicability

The idea that personality can be described and explained by five traits (OCEAN) has important implications, as does the fact that most personality tests were constructed and initially tested in Western countries.

Western ideas about personality may not apply to other cultures (Benet-Martinez & Oishi, 2008).

2 Main Cultural Approaches for Researching Personality

Etic traits - considered universal constructs that are evident across cultures and represent a biological bases of human personality. If the Big Five are universal then they should appear across all cultures (McCrae and Allik, 2002).

Emic traits - constructs unique to each culture and are determined by local customs, thoughts, beliefs, and characteristics. If personality traits are unique to individual cultures then different traits should appear in different cultures.

Using an Etic Framework

Cross cultural research of personality uses an etic framework and researchers must ensure equivalence of the personality test through validation testing.

The instrument must include equivalence in meaning, as well as demonstrate validity and reliability (Matsumoto & Luang, 2013).

Example: The phrase feeling blue is used to describe sadness in Westernized cultures but does not translate to other languages.

Differences in personality across cultures could be due to real cultural differences, but they could also be consequences of poor translations, biased sampling, or differences in response styles across cultures (Schmitt, Allik, McCrae, & Benet-Martínez, 2007).

Personality Test/Measure Used: The NEO-PI

Most of the cross-cultural research on the Five-Factor Model (FFM) and Big Five (OCEAN) has been done using the NEO-PI (and its subsequent revisions; i.e., it is an assessment tool developed to measure the 5 dimensions of personality according to the FFM) which has demonstrated equivalence, reliability and validity across several cross-cultural studies (Costa & McCrae, 1987; McCrae, Costa & Martin, 2005).

Research using the NEO-PI found support for the entire Five-Factor Model in Chinese, Dutch, Italian, Hungarian, German, Australian, South African, Canadian, Finnish, Polish, Portuguese, Israeli, Korean, Japanese, and Filipino samples, in addition to other samples (McCrae, Costa, Del Pilar, Rolland, & Parker, 1998).

NOTE

Personality tests rely on self-report which is susceptible to response bias like socially desirability responding.

To evaluate this possibility, McCrae and colleagues (2005) recruited students from 50 cultural groups and modified the NEO-PI to be in the third person (i.e., he, she, his, her):

The research participants were asked to complete the form on someone else that they knew very well (McCrae et al., 2005).

The same 5 factors emerged in this study.

These results provided empirical support for the FFM and for the use of self-report instruments when conducting cross-cultural personality research.

There was no reason for the students to respond in a desirable way because they were answering questions about someone else.

Sources: 1 2 ⚜ Writing Notes & References

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Writing Notes: Morally Grey Characters

Morally grey characters - operate beyond the dichotomy of good versus evil.

These characters will usually make the choice to pursue their own ambitions over those of the greater good or evil.

Because their goals are removed from these qualities, they could be inherently good or bad, so long as they serve the character's ultimate purposes.

However, that’s not to say that morally grey characters don’t aim to make the world better (or worse) in some way.

They may have a larger goal that they’re striving to achieve.

Example: Immortality for all or taking down a corrupt government.

But this doesn’t necessarily mean morally grey characters won’t see others suffer, regardless of intent.

They are often described as being reserved and unfeeling—a dramatic outward expression for characters whose inner selves are anything but, yet appropriate to exemplify the secrets they keep locked away.

The beauty of morally grey characters is that they don't fit into a mold like many other character tropes, which makes them instantly feel more real.

Tips to Writing Morally Grey Characters

Your morally grey characters should still feel like a living, breathing person and not just a caricature of one. In order to realistically portray them, there are 4 important things to consider:

1. What is your morally grey character's life's mission?

This needs to become their guiding belief, their driving force.

These characters are very goal-oriented.

More than anything else, this is why they make the choices that they do, for better or worse.

2. How far are they willing to go to achieve their goals?

They are unique in that they are capable of making hard decisions that most of us might otherwise struggle with, and they often seem to do so with ease.

What matters is achieving their goals—not necessarily how they go about doing so.

3. They need to still have a system of core values to abide by.

Even morally grey characters have an internally consistent scale of, well, morality (albeit on their own terms).

Give your character a code to live by that even they wouldn’t break.

4. What is their role in your story?

Don’t create morally grey characters just for the sake of it.

Whether their storyline is part of the main plot, or whether they have subplots that influence the overall story, there needs to be a point to it all regardless.

Morally Grey Character or Villain?

What may differentiate a morally grey character from a true villain are the following 3 things.

Recognition: Your morally grey character should recognize that their choices can cause harm, intentionally or otherwise.

Remorse: Following that recognition, and often as a result of it, they must understand and experience remorse.

Redemption: Finally, when even they feel things have gone too far, your morally grey character must seek redemption however that manifests itself in your story.

Source ⚜ Writing Notes & References

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Hey, there. Can you help me with this? I am stuck on creating with this motivation for my WIP.

Those who seek death shall live, and those who seek lives shall die How do you create a character with this type of character motivation? either is an important side character, villain, mentor, or even main character?

Hi! Some writers like to use character tropes as inspiration when they get stuck with a certain idea. Here are some examples I found for you that you can use as a guide. And alter as needed for your story:

"Death Seeker" Trope

At some point in the past, some characters have had a traumatic experience, found themselves dishonored, committed a crime they could not repay, lost everything worth living for, caught an incurable disease or just became bored with continued existence.

For whatever reason, rather than turning to suicide, they went off seeking battles to fight, hoping to find an enemy who would kill them, and achieve an honorable, heroic, awesome, or otherwise acceptable death, sometimes going as far as outright surrendering and offering their life to their enemies. 

Martyrdom Cultures may regard such a character as a role model, even if upon closer examination they might seem like a Martyr Without a Cause.

In cases of cruel Irony, the characters who snap out of it and find something to live for often end up dying or getting killed shortly afterwards anyway.

A real life example:

Jeffrey Dahmer frequently expressed his wish to die for his crimes while in prison. When he was attacked by another prisoner who attempted to slit his throat, he refused to press charges and requested to be returned to the general prison population. Only a few months later, he was beaten to death by another prisoner. His last words were, reportedly: "I don't care if I live or die — go ahead and kill me."

"I Cannot Self-Terminate" Trope

Perhaps they've just been wounded in a vital area and know they are going to die slowly and in agony, and just want to die with dignity/end the pain quickly. Perhaps they are prisoners and being tortured, and the hero cannot break them free but could shoot them.

In any case, while they're ready or even eager to die, they cannot do it on their own. This can also count as a Heroic Sacrifice, sometimes.

If the character is robotic, this may occur due to influence from Asimov's Laws. Specifically, the Third Law states that a robot may not harm itself, or through inaction allow itself to be harmed, unless doing so is required to uphold the First or Second Law. Even when not following the hierarchical laws of robotics, it could still occur if a robot is simply programmed for self-preservation.

The victim may plead for death even when it is possible for them to be saved, owing to the pain. The hero is likely to override that, often saying No One Gets Left Behind.

Accidental Murder: Occurs when a situation that wasn't intended to be lethal ends with the death of someone anyway.

Anyone Can Die: This is easily defined as definite Truth in Television, because all living organisms are mortal and are bound to, by statistics at least, eventually die for any number of reasons, with no fiction writers to determine how it happens. When used poorly or too frequently, this trope can cause Too Bleak, Stopped Caring, possibly with audiences uttering the Eight Deadly Words, as the audience won't see any point in getting attached to characters that they expect to die sooner or later. A good way to check if this trope applies is to see if who survives is an important plot point, rather than only how they survive.

Cheated Death, Died Anyway: When a character narrowly escapes death on occasion (and perhaps more than one occasion), only to die shortly thereafter anyway…in a completely different way. Exactly how close the two incidents have to be varies, so the important factor in this trope is the presence of irony. This can apply in a matter of minutes, months, or even (in rare cases) years; the deciding factor is the Bait-and-Switch element of the death.

Death Is the Only Option: The only way to achieve victory is to die.

Forgiveness Requires Death: In order to be forgiven of their crimes, the character must die.

Heroic Sacrifice: Sacrificing your own life for the greater good.

Jumping on a Grenade: Sacrificing oneself by using one's own body as a shield against a deadly threat in hopes of sparing others.

Metaphorical Suicide: A despondent character willingly resigns themself to a fate similar to death without actually dying.

The Problem with Fighting Death: …is that even if you win, you'll still eventually lose. Killing or imprisoning Death might not offer protection either, as his sister Entropy goes around making everyone grow old and wish to die while Death Takes a Holiday or cause a plague of ghosts as the souls of the dead get stuck on Earth. This is the problem with fighting Death, Hades, The Devil, Psychopomps, Anthropomorphic Personifications or even God; you just can't win. However, a draw may be possible with creativity. If all that matters is that there be a Death, then replacing him with someone friendlier or someone with whom deals can be struck and honored can be a way to go. This can be done by appealing to someone higher on the divinity ladder, getting someone else to kill and replace Death (or doing so yourself, if you're willing to accept the job for the rest of eternity), and flying out of Hell are all possibilities. In this way, one can say Living Forever Is Awesome.

Who Wants to Live Forever?: If an immortal being grows so sick of eternal life that they just want it to end already.

Sources: 1 2 3 4 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Hope this helps inspire your writing! You can look through the sources for more information on each trope.

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Writing Notes: Plot Holes & Other Structural Issues

Create chapter maps to find the main issues within your manuscript.

This method is faster than reading through your entire manuscript without knowing what you’re looking for.

Examine your chapter maps for the following…

Plot Issues

Would these events really happen?

Does the inciting incident happen early enough to grab the reader?

Are there errors in the chronology of events?

Are you able to trace the plot arcs throughout the whole manuscript? For example, is there a storyline that just drops off mid-way through?

Can you follow all your subplots to the end?

Are the events well-linked? Are there any holes in the plot that need to be filled?

How is the manuscript structured? Chapters, parts, various different sections? Is it working in this format?

Can something be done to strengthen how it’s presented to the reader?

Is there enough conflict?

Have you made the stakes high enough?

Why are these events happening?

Have you adequately described what set them in motion?

Does each individual event progress the story?

Is the plot complicated enough to sustain the story until the last page?

Is the plot too complex?

Character Issues

Whose story is this? Who is telling it? Is it engaging enough?

Do you believe the characters’ motivations? Are these clear enough?

Are the support/minor characters sufficiently developed? Is there a character you’d like to see become more prominent? Is there room for a new subplot or point of view? How would this affect the current structure of your novel?

Is the development of your characters limited by the point of view you have chosen for your novel? For example, if you’ve used a child’s point of view but need to explain something complicated, how can you resolve this?

What are the reasons behind your protagonist’s decisions? Do these link back to their original motivations?

Do the characters talk in a believable way? Does this reflect their background?

Is the reader given enough reason early on to care about your characters and what happens to them later?

Do your characters change and develop in conjunction with their experiences?

Does the reader see your protagonist at their best and their worst?

Have you made your characters as in-depth as possible? Where could you add in more backstory?

Do the backstories of your characters affect the plot? How? Make sure this is worked in throughout the novel.

Do the relationships in the narrative progress realistically?

What else can you do to make things difficult for your protagonist?

Does the reader experience a range of authentic emotions due to the characters and their interactions?

Would the character really react in this way to an event?

Is each character the appropriate choice for the role they play in the narrative?

Do you have both likeable and unlikable characters?

Is your protagonist active enough?

Are the traits of your characters distinctive and consistent throughout the novel?

Are the descriptions of the characters consistent throughout? For example, you don’t want a character’s hair to be red in Chapter 1, but blonde in Chapter 11 without any reason.

Setting Issues

Is there a strong sense of place? Are there elements of history and culture? How can these factors be developed further?

Does the setting suit the events that are occurring?

Does the setting create a sense of intrigue? Enough that the reader wants to spend time here?

Are the settings described using multiple senses?

Do you favour one sense in particular? Make sure you even this out.

Are the settings logical in terms of their relation to one another?

Are the details of the setting such as climate and conditions realistic? Does more research need to be done?

Does the setting require fact-checking?

Would a different setting be more effective?

Are the settings consistent throughout the novel? Such as the number of rooms in a house, or the position of a window?

Pacing Issues

Consistency of pacing: do the subplots, climaxes, and tension work in the current order?

Is the speed at which events unfold suitable to your genre and target reader?

Are the major events in the novel given the weight they need and deserve?

Is there enough description in the manuscript that the reader feels grounded within your world?

Is there so much description that the story lags?

What are the turning points of the narrative?

How can the tension be built further in these sections?

Examine the beginning and end of the manuscript by themselves: are they gripping enough? Do they convey enough information without giving everything away? Are they effective in terms of the author’s intentions?

Are there too many action scenes in a row?

Are there passages bogged down by too much detail?

Other Issues

Is the story accessible to the reader? Can the reader relate?

Does each chapter start and end with a hook?

Are the tone, content and language appropriate for the target reader?

Is the point of view maintained throughout the various scenes? Is it consistent?

Is there one element of the story that overwhelms the rest? Try to even things out.

Are character thoughts, actions, and dialogue balanced out with setting and description?

Source ⚜ Writing Notes & References More: On Editing

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The Shapes of Stories

by: Kurt Vonnegut

Vonnegut: The people who can afford to buy books and magazines and go to the movies don’t like to hear about people who are poor or sick, so start your story up here [indicates top of the Good Fortune—Ill Fortune axis]. You will see this story over and over again. People love it, and it is not copyrighted. The story is ‘Man in Hole,’ but the story needn’t be about a man or a hole. It’s: somebody gets into trouble, gets out of it again [draws line A]. It is not accidental that the line ends up higher than where it began. This is encouraging to readers.

More Examples: Boy meets Girl & Cinderella

Kafka:

Vonnegut: Now there’s a Franz Kafka story [begins line D toward bottom of G-I axis]. A young man is rather unattractive and not very personable. He has disagreeable relatives and has had a lot of jobs with no chance of promotion. He doesn’t get paid enough to take his girl dancing or to go to the beer hall to have a beer with a friend. One morning he wakes up, it’s time to go to work again, and he has turned into a cockroach [draws line downward and then infinity symbol]. It’s a pessimistic story.

Hamlet:

Writing Notes & References

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Writing Notes: Logical Fallacies

A logical fallacy occurs when an argument is not adequately supported.

This can be the result of errors in reasoning, a lack of evidence, the author’s use of irrelevant points, or other reasoning moves that do not logically support the argument.

Advertisers, salespeople, politicians, and others might use logical fallacies to manipulate you.

Argument to the People (Appealing to Stirring Symbols)

Involves using a visual symbol (the American flag, pictures of babies, “Support the Troops” bumper sticker, etc.) of something that much of the public finds hard to reject but that has little relevance to the argument.

Example: Political candidates often use the American flag and other patriotic symbols in TV ads to appeal to and persuade citizens to vote for them.

Appeal to Pity (Ad misericordiam)

A verbal version of Argument to the People.

Example: A political candidate may tell stories about their life that are not connected to their platforms.

Like Arguments to the People, Appeals to Pity are fallacious if they are irrelevant to the argument in question; pity for the candidate should not be a reason why citizens vote for them.

In some cases—for example, when soliciting money for people whose incomes are below the federal poverty threshold or for the Humane Society—appeals to pity may be legitimately used.

Erroneous Appeal to Authority

Example: Years ago, a commercial for Bufferin Aspirin used Erroneous Appeal to Authority by featuring people on the street lining up to ask Angela Lansbury, a popular actress at the time with no medical authority whatsoever, questions about the pain reliever.

Ad Hominem (“to the person”)

Involves a personal attack on the character of the opponent rather than on the argument itself.

Example: Criticizing a restaurant because the chef is “too skinny,” rather than focusing on the merits of the restaurant’s food, service, atmosphere, or other relevant aspect is an ad hominem attack.

However, an ad hominem argument that is relevant to the issue (“Rinalda Gooch will not make a good President because she faints every time she tries to make a speech”) is not a logical fallacy.

Shifting the Issue (Red Herring)

Refers to the arguer’s changing the subject to avoid dealing with an unpleasant aspect of the argument.

Example: When a reporter questioned candidate Stone about her past marijuana use, she responded, “Why haven’t you asked my opponent about his drinking?”

Hasty Generalization

Means to argue on the assumption that an entire group shares the same traits as one or two examples of that group.

Example: “Women should not be considered for high political office because they’re too emotional to make thoughtful decisions.”

Appeal to Popularity (Bandwagon)

An argument based on the premise that an idea or product has merit just because it is popular.

Example: “All the cool kids are wearing Stinko sneakers this season,” the saleswoman told the boy. “You don’t want to be left out, do you?”

Begging the Question

Involves “supporting” an argument by stating the argument in different words.

Example: “We need to bomb evildoers because they are guilty of horrendous acts,” basically restates the claim (evildoers are people who do evil) instead of stating a reason why bombing the “evildoers” is a good thing to do.

Post Hoc, Ergo Propter Hoc

An argument that uses Post Hoc, Ergo Propter Hoc (“after this, therefore because of this”) illogically suggests that because one event followed another, the first event caused the second to occur.

Example: “The fact that students cut their hair over the weekend and their test scores were higher on Monday shows that shorter hair leads to good grades.”

False Dilemma or Dichotomy (Either/Or)

This argument attempts to sway opinion by making it seem as if the only alternative to a proposed argument is one that is obviously unacceptable.

Example: “We must fight the enemy in their land so they don’t follow us to ours” suggests -- but does not attempt to show -- that one country’s aggression is the only way to decrease another country’s aggression.

The Slippery Slope

This argument attempts to dissuade people from taking or allowing a specific action because it might cause a particular condition to spiral out of control – no matter how far-fetched.

Example: “Legalizing same-sex marriage could lead to legalizing marriage between people and their pets!”

If these notes are helpful in your writing, do tag me, or send me a link to your work. I would love to read it!

Writing Notes & References

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Writing Reference: Alchemy

Some scholars say alchemy comes from the Greek cheo, meaning “I pour” or “I cast,” since much of alchemy has to do with the working of metals.

But many believe the word comes from the Egyptian Khem, meaning “the black land” (land with black earth), and see that as indicating Egypt as alchemy’s place of origin:

The Arabic article al was added to Khem to give alchemy.

Alchemy is an ancient art, at the heart of which lies the manufacture of a mysterious substance called the Philosopher’s Stone.

Later, as the science (some call it a pseudoscience) progressed, the article was again dropped, to become chemistry.

Alchemy certainly is the early history of chemistry.

The Philosopher's Stone - the highly desirable and legendary object that is said to transform base metals—such as lead—into gold.

However, the gold in this instance symbolizes not just the valuable metal, but enlightenment and eternal life, and Alchemists are concerned with their own spiritual and personal development as well as the pursuit of the seemingly unattainable goal.

The Chinese differentiate these different kinds of alchemy as nei-tan (the alchemy of spiritual transformation) and waitan (the straightforward “lead-into-gold” type).

The motto of the Alchemists is Solve et Coagula, meaning “Solution and Coagulation.”

The work of the early Alchemists was necessarily a secretive and clandestine matter, and its secrets are still held within a rich encrustation of symbols, pictures, oblique references, double meanings, and riddles.

Alchemical symbolism features animals, birds, colors, and parables as well as archetypal symbols such as the Cosmic Egg.

The key tenets of alchemy are encompassed in something called the Smaragdina Tablet, or the Emerald Tablet.

The tablet is said to have been found by Alexander the Great in the tomb of Hermes Trismegistus (Hermes the Thrice Great) who is the founder of all things alchemical.

The Alchemical Tradition exists/existed in Ancient Egypt, China, and India, but its most recent incarnation was in medieval Europe.

Those who dabbled in alchemy include the famous and the infamous, such as John Dee (astrologer to Queen Elizabeth I), Paracelsus, Albertus Magnus, Christian Rosenkreuz, Nicholas Flamel, and Isaac Newton.

Some of the chemical treatises are befuddling to even the most learned of scholars, but the very word “alchemy” is almost in itself a symbol, conjuring up images that are magical, mystical, and marvelous.

Sources: 1 2 3 4 ⚜ Writing Notes & References

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Writing Notes: Mystical Items & Objects

A Quick Guide to Creating Fictional Items

STEP 1: Give Your Item Purpose 

Crafting memorable items and artifacts demands purpose and intention.

And luckily for writers, there are countless routes you can take.

Symbolism: Embed deeper meaning with an item that represents your story’s themes, like a shattered mirror in a narrative about fractured realities or identities.

MacGuffin: Introduce items that ignite the central conflict or quest, becoming the catalyst for your story’s unfolding events.

Enhancement or Protection: Equip characters with items that empower their abilities or shield them from peril, exemplified by a cloak granting invisibility in dire situations.

Foreshadowing: Introduce an item early on that will play a crucial role later, subtly hinting at its significance without giving everything away.

Progression: Propel the plot or character development with items that carry them from one stage to the next, such as a mystical map revealing hidden worlds.

Misleading (Red Herring): Employ an item to divert attention, creating suspense and keeping readers on their toes with false leads or assumptions.

By carefully considering these categories, you can ensure that your item serves a meaningful role in your narrative.

STEP 2: Give Your Item a Backstory

Delving into the past of your fictional item adds layers to its meaning and significance, creating a story of its own that complements the main plot.

Consider the creator: was it forged by ancient beings, crafted in a moment of desperation, or is its origin shrouded in mystery?

Reflect on its journey: has it been a catalyst in significant historical events, or perhaps changed hands through various intriguing characters?

Ponder its mythology: what tales and legends has it spawned, and how do they influence those who encounter it?

By carving out a detailed history, your fictional item evolves from a mere object to a vital and captivating component of your narrative.

STEP 3: Describe Your Item

The ability to create a clear and compelling mental image of your fictional item in the minds of your readers is paramount. Examples:

The Lament Configuration from Hellraiser boasts an ornate gold filigree, clearly harboring dark magic.

In contrast, the Alethiometer from His Dark Materials seems simple enough, yet hides its ability to unveil cosmic truths.

Meanwhile, the black monolith from 2001: A Space Odyssey stands as a minimalist enigma, prompting viewers to question its purpose.

A memorable item can create a lasting impact, ensuring your story resonates with the audience long after they've turned the final page or the credits have rolled.

STEP 4: Consider Its Powers and Limitations

Navigating the balance of power and limitation is crucial when conceptualizing a fictional item.

Explore its strength and scope: What phenomenal feats can it perform, and where does its influence wane?

Understand its accessibility: Who is deemed worthy or capable of wielding such power, and what proficiency or awareness is necessary?

Acknowledge the stakes: Are there perils or repercussions tied to its usage?

By defining these aspects clearly, your item becomes a well-integrated, credible element of your world.

NOTE: Steer clear of making your item omnipotent to maintain narrative tension, and adhere to established rules (i.e. limitations) to prevent inconsistencies.

STEP 5: Give It a Name

The final touch in bringing your fictional item to life is bestowing upon it a fitting name.

Opt for the classic and straightforward: think “The Amulet of Fate,” aligning directly with its purpose or powers.

If you’re feeling whimsical, embrace the quirky—think of the real-world “whatchamacallit” candy bar or the playful “thingamajig”.

Or, simply state it as it is, calling a sword a sword (especially for mundane magical items where you may not want to reveal their powers).

Should you choose a particularly unique name, ensure you provide enough context for readers to grasp its significance.

ADVANCED TECHNIQUES

Now that you've laid the foundational work, elevate your item from intriguing to unforgettable by considering the following:

Mix and Match Types. By intertwining the ordinary with the extraordinary, your item takes on a life of its own and sets itself apart with ease.

Build Lore Around It. Trace your item’s journey to acknowledge how time has warped perceptions or fostered myths and misconceptions.

Use History and Mythology as Inspiration. Enrich your story by pulling from history and mythology, tapping into a wellspring of real-world intrigue.

Ultimately, do what best works for you as the writer. You may rearrange some of these steps, and tweak them to suit your writing process and style.

Source ⚜ Writing Notes & References More: On Mystical Items & Objects

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A Writer on Writing: Ursula K. Le Guin

Ursula K. Le Guin:

5 Principal Elements of a story that must work in "one insoluble unitary movement"

The patterns of the language — the sounds of words.

The patterns of syntax and grammar; the way the words and sentences connect themselves together; the ways their connections interconnect to form the larger units (paragraphs, sections, chapters); hence the movement of the work, its tempo, pace, gait, and shape in time.

The patterns of the images: what the words make us or let us see with the mind’s eye or sense imaginatively.

The patterns of the ideas: what the words and the narration of events make us understand, or use our understanding upon.

The patterns of the feelings: what the words and the narration, by using all the above means, make us experience emotionally or spiritually, in areas of our being not directly accessible to or expressible in words.

Balancing the 5 Elements

There is a relationship, a reciprocity between the words and the images, ideas, and emotions evoked by those words:

the stronger that relationship, the stronger the work.

To believe that you can achieve meaning or feeling without coherent, integrated patterning of the sounds, the rhythms, the sentence structures, the images, is like believing you can go for a walk without bones.

The Imagination

Imagery takes place in “the imagination,” which I take to be the meeting place of the thinking mind with the sensing body…

In the imagination we can share a capacity for experience and an understanding of truth far greater than our own.

The great writers share their souls with us — “literally.”

The intellect cannot do the work of the imagination;

the emotions cannot do the work of the imagination; and

neither of them can do anything much in fiction without the imagination.

Where the writer and the reader collaborate to make the work of fiction is perhaps, above all, in the imagination.

In the joint creation of the fictive world.

Making a Story Alive

The writer cannot do it alone.

The unread story is not a story; it is little black marks on wood pulp.

The reader, reading it, makes it alive: a live thing, a story.

It comes down to collaboration, or sharing the gift: the writer tries to get the reader working with the text in the effort to keep the whole story all going along in one piece in the right direction (which is my general notion of a good piece of fiction). In this effort, writers need all the help they can get. Even under the most skilled control, the words will never fully embody the vision.

Even with the most sympathetic reader, the truth will falter and grow partial. Writers have to get used to launching something beautiful and watching it crash and burn. They also have to learn when to let go control, when the work takes off on its own and flies, farther than they ever planned or imagined, to places they didn’t know they knew.

All makers must leave room for the acts of the spirit.

But they have to work hard and carefully, and wait patiently, to deserve them.

Source

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Writing Notes: Humor

Humor is all about word choice, set up, and timing. Spend time finding different, unique ways to highlight the humor in the situation.

Use metaphors and similes to describe people, scenes, and events. You can evoke a funny image through comparison.

Avoid potty humor at all costs, unless your reader is under the age of 10. Potty humor doesn't resonate with most readers.

Use details to bring out the absurdity of a moment.

Take cues from real life. Don't be afraid to exaggerate actual events from your own life and insert them into your stories.

Avoid over explaining. If you have to explain why something's funny, it's not funny.

Don't sacrifice your story just to be funny. All funny, all the time doesn't always work. It can become very "onenote." You need to balance your storytelling with moments of seriousness, even if it's a funny story.

Be prepared -- you will offend. Humor is subjective. Your brand of humor will be offensive to someone, so go in knowing that not everyone will like it.

Let the reader in on the joke. Don't alienate the reader by writing a joke that the reader doesn't understand.

Edit in the humor. Remember not to try too hard in the first draft. It's during the editing process where you can polish up any humorous moments to perfection.

Source ⚜ Writing Notes & References