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I'm sorry about mas liking/rebloging your stuff, I'm currently writing and I find them useful, so I'm rebloging them.

i get so many messages like this and usually don't respond as a result but as a friendly reminder - i do not mind mass notifs! ever! pls reblog and like as much as you want. that's what it's there for :)

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ೃ༄ ways to kiss ˚◞♡ ⃗

[ sweet ] for a gentle kiss

[ tip-toe ] for a kiss on the forehead

[ blush ] for a kiss on the cheek

[ scrunch ] for a kiss on the nose

[ rough ] for a kiss fuelled by more than affection

[ knuckles ] for a kiss on the hand

[ adore ] for a kiss on the stomach/thighs

[ tipsy ] for a drunken kiss

[ euphoric ] for a celebratory kiss

[ sleepy ] for a half-awake kiss

[ cuddle ] for a kiss while in close proximity

[ regretful ] for a kiss meant to apologise

[ shush ] for a kiss to silence the other party

[ comfort ] for a kiss to reassure

[ want ] for a kiss to lead to something more

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miss you if you ever check ur tags and see this

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i fucked around and forgot how to write in past tense lmao

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how to write convincing dialogue

did you know that show, not tell applies to dialogue, too? while dialogue can be used to further your narrative, it can also be used to showcase your characters. here's how:

-what is your character hiding? most people don't say things at face value. they hide what they mean within their words and tone, but in writing, you can't verbally hear the character's tone. ways to convey non-verbal tone include: contradictions between words and actions, context behind the words (ie. the scenario, character's actions and feelings), syntax (ie. fragments, repetition, awkward phrasing). also consider who the character is hiding information from: is it the reader? the characters? both?

-favorite words or phrases. does your character use a certain phrase or word a lot? do they often put their prepositions at the beginning or the end of the sentence? these are questions to ask when you're arranging the syntax of the dialogue. everyone has a specific way of talking. make sure you give each character a distinguishable voice.

-personality. this is how you can create a distinguishable voice. is your character confident? are they shy or hesitant? do they repeat the phases of others because they have nothing to add to the conversation? are they confrontational or do they beat around the bush? ask questions like these. if your character is confident, they may make bold statements and appear sure of themselves unlike shy characters who use words such as "maybe" or "should" or "think." to boil it down, think active wordage versus passive.

-observe others. don't look solely at television or other books. sit at your local coffee shop and listen in on conversations, then try and break it down. are they hiding anything? do they frequently use any words or phrases? how would you describe their personality? the better you get at breaking down conversations, the better you can create convincing ones, whether shallow, deep, or as a narrative device, because even if you use your dialogue to move your narrative along, it should still be compulsively convincing.

one way to tell if you've ticked all these boxes is if you can tell who is speaking without any tags.

happy writing! if you have any questions about how to implement any of these tips, our ask box is always open.

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Little tips and tricks for improving descriptions

Full disclaimer that my advice is never gospel. These are just things that have helped me improve my descriptions and so I thought I'd share if other people want to as well. I also think these can be employed regardless of writing style.

Be intentional with your word choice. Know when you want to use red or scarlet or carmine and don't be afraid to use unconventional words if you think they fit. Sometimes saying "the blood is red" is all that's needed and perfectly acceptable. But carmine might provoke a clearer image. You can also use word choice to show off character and setting. One character might pay particular attention to the family crest on someone's cufflinks while another might gloss over such details.

Expand on your premise. If we're meant to be in an opulent manor then referencing the intricate iron balustrade on the grand staircase gives the house much more character than simply saying "the manor was opulent." You can do the latter but the former gives us something a little extra to chew on and, in my opinion, brings us much more into the scene.

If you don't know how to describe something, look it up. I do this often with clothes, objects, and architecture. For example, I search up "vases" on websites like 1stdibs and study the descriptions and word choices used and employ them in my own words to make sure I'm using the correct terminology. Also searching "anatomy of the...." is another good way to bridge the terminology gap. Obviously not everyone is going to know what ribbed vs embossed vs chased means but they can always look it up themselves and they might learn something new!

Study art and images for inspiration. If you're someone who has a lot of trouble visualising things yourself then using aids is perfectly fine. Try a trick of finding an image you like and placing it by your word doc or simply pasting it inside while you're typing so you have something to refer to. I like to call this "word tracing". If I want to conjure the image of a pretty garden then studying the image of a garden and seeing what makes it pretty helps. Perhaps there's an elegant copse of willow trees or tumbling garlands of wisteria, etc.

To avoid static descriptions, be dynamic. General rule of thumb is don't just write paragraphs and paragraphs of descriptions as it'll cause the eyes to gloss over. But try to make descriptions come alive as much as possible to bring people into a scene. If someone is taking a seat on the chair then how does the chair feel? Is it upholstered in silk or velvet or leather? Does it creak from age? Does it smell of varnish? Is there a notable pattern of the fabric or engraving on the wood?

Employ the five senses. I touch on this a little in the previous point but try not to just focus on what the characters are seeing but also what they're tasting, smelling, hearing and touching. If there's fire crackling in a hearth then they'll be able to feel the heat, they might be able to smell fragrant smoke. Do they like the smell or is it too pungent? Can they hear the embers spitting? These are things you can also weave through conversations between characters to keep these scenes from being too bare bones.

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Writing Realistic Characters - part 2

- Journal from their perspective. It can be hard to write compelling, realistic motivation for characters if you don’t understand them yourself. By journalling from their perspective, even if the content of the journal isn’t included in your story, you’ll essentially be thinking as the character. This should help you understand who they are and how they make choices and react to things, like a real person would.

- Answer “character questions”, but be careful when using lists found online. The internet is full of lists of questions for writers to answer when building characters, but not all of them are actually that important or useful. The fact is, it really doesn’t matter what a character’s favourite colour, animal or day of the week is (unless it’s relevant to your story… but it usually isn’t). When looking for question lists online, or making your own, focus on questions that have to do with your character’s personality, such as how they’d react to a situation or which values matter more to them.

- Make character charts! I can’t stress this enough — character charts are incredibly useful tools for writers and I don’t know what I’d do without them. They’re a great way to keep track of important information about your characters in an organized way that’s easy to access when you need to quickly check a detail. I’d also strongly recommend making your own charts, not using templates online (I find it a lot easier to stay organized when I’m using my own organizational system). If you need a place to start, though, I normally create charts with 4 categories: role (protagonist, antagonist, etc.), name, identities (gender, ethnicity, sexual orientation, etc.), and description (just a brief few sentences about them). You can also make personality charts with things like their greatest flaw, greatest strength, story goals, etc.

- Come up with a few detailed memories/anecdotes from their past. Think of them as mini-stories you can drop into your main story to build a more realistic life around the character. These don’t have to be crucial to the plot, and should be brought up in a natural way, such as in conversation with another character or in the main character’s thoughts. For example, your MC’s best friend might compliment her necklace, and she tells them how her sister gave it to her as a birthday present before moving away. You can also use these anecdotes to drop in important information in a non-obvious way. Continuing the example above, the MC could mention that her sister has the same design necklace, but in green. Later, this becomes a clue, when she finds the green necklace outside the villain’s lair.

- Keep a record of their backstory. This one doesn’t really need much explaining… Just keep notes of your character’s backstory as you come up with it so you don’t risk inconsistencies, which tend to break down realism. 

- Remember that the reader can’t see what’s in your head. Your characters may be fully developed, realistic people in your head, but that makes it easy to forget that your readers don’t automatically understand them the way you do — they only know what’s on the page. Asking other people to read your work can help you understand how your characters come through to an audience, but if you don’t want to do that, just re-reading it yourself is also helpful. If you do the latter, though, go through an entire chapter at a time, the way a reader would, not small sections.

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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

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“All her grace was in her vagueness. Her voice was soft, her manner languid, her features blurred and dreamy;”

— Donna Tartt, from The Little Friend

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“I desire a love so beautiful that it surpasses the word itself. A love felt so deeply it makes a fool out of the definition. A love so grand that a new word must be invented just to describe our intricate connection.”

— Lynette Simeone 

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the older i get, the more i need time & personal space to be as boring as possible

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Chelsea Hodson // Saeed Jones

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Quick editing tip: Passing time

Hey all, here’s a quick tip about showing the passage of short amounts of time in a scene. I see a lot of beats like this:

She hesitated

He paused

A few seconds later

There was a long silence

He waited for her to answer

She didn’t respond

Instead of telling us there’s a brief moment of silence or pause in your scene, try showing us by creating the feeling that time has passed through action, description, or inner monologue. Here are a few examples.

Before:

“Are you coming or not?”

He waited for her to answer, but she didn’t respond.

“Clare? Did you hear me?”

“Huh?”

After:

“Are you coming or not?”

Clare scrolled through her phone, her face illuminating with a eerie blue glow.

“Clare? Did you hear me?”

“Huh?”

Before:

Jared lingered at the suspect’s front gate. If this guy didn’t answer Jared’s questions, he was screwed.

“Hey you!” a voice shouted. “Get off my property!”

Jared hesitated. Finally, he turned to face the man. “I’m afraid I can’t do that.”

After:

Jared lingered at the suspect’s front gate. If this guy didn’t answer Jared’s questions, he was screwed.

“Hey you!” a voice shouted. “Get off my property!”

Jared patted his holster. He had a gun, but he certainly didn’t want to use it. Taking a deep breath, he turned to face the man. “I’m afraid I can’t do that.”

Not only does creating a pause instead of describing a pause allow your reader to feel the moment more vividly, it gives you a chance to explain what exactly that pause is about. People hesitate, pause, don’t respond, etc. for all kinds of reasons. Give us as much insight as you can into your weird quiet moment.

Of course, you don’t need to do this every single time. Sometimes it’s fine to say “he paused” or “the room was quiet for a moment”—it could be the best choice for that scene. But look back through your draft and see if you’ve used those “telling” descriptions more often than you needed to. If so, try to create the feeling of a pause—perhaps one that gives the reader a bit more information—using these techniques.

Hope this helps!

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“my characters deserve a break” I say as I make things even worse for them

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Words to describe facial expressions

Absent: preoccupied 

Agonized: as if in pain or tormented

Alluring: attractive, in the sense of arousing desire

Appealing: attractive, in the sense of encouraging goodwill and/or interest

Beatific: blissful

Black: angry or sad, or hostile

Bleak: hopeless

Blinking: surprise, or lack of concern

Blithe: carefree, lighthearted, or heedlessly indifferent

Brooding: anxious and gloomy

Bug eyed: frightened or surprised

Chagrined: humiliated or disappointed

Cheeky: cocky, insolent

Cheerless: sad

Choleric: hot-tempered, irate

Darkly: with depressed or malevolent feelings

Deadpan: expressionless, to conceal emotion or heighten humor

Despondent: depressed or discouraged

Doleful: sad or afflicted

Dour: stern or obstinate

Dreamy: distracted by daydreaming or fantasizing

Ecstatic: delighted or entranced

Faint: cowardly, weak, or barely perceptible

Fixed: concentrated or immobile

Gazing: staring intently

Glancing: staring briefly as if curious but evasive

Glazed: expressionless due to fatigue or confusion

Grim: fatalistic or pessimistic

Grave: serious, expressing emotion due to loss or sadness

Haunted: frightened, worried, or guilty

Hopeless: depressed by a lack of encouragement or optimism

Hostile: aggressively angry, intimidating, or resistant

Hunted: tense as if worried about pursuit

Jeering: insulting or mocking

Languid: lazy or weak

Leering: sexually suggestive

Mild: easygoing

Mischievous: annoyingly or maliciously playful

Pained: affected with discomfort or pain

Peering: with curiosity or suspicion

Peeved: annoyed

Pleading: seeking apology or assistance

Quizzical: questioning or confused

Radiant: bright, happy

Sanguine: bloodthirsty, confident

Sardonic: mocking

Sour: unpleasant

Sullen: resentful

Vacant: blank or stupid looking

Wan: pale, sickly

Wary: cautious or cunning

Wide eyed: frightened or surprised

Withering: devastating

Wrathful: indignant or vengeful

Wry: twisted or crooked to express cleverness or a dark or ironic feeling