the-beard-writes

[the-beard-writes]

YALL YOU’LL NEVER BELIEVE WHAT JUST HAPPENED

THE NOTEBOOK

YKNOW THE ONE

THE NOTEBOOK LIVES

TURNS OUT I THOUGHT THAT ALL OF MY NOTES ON THESE THREE CHARACTERS WERE IN ONE BOOK BUT I ACTUALLY HAVE 18 PAGES OF NOTES ON THEM IN A NOTEBOOK I JUST FOUND IN MY ATTIC

FUCK YEAH

it doesnt have the notes on the separate backstory of one of those three but its so much that i dont have to keep in my memories now

Hi! Can you tell me a little bit about the setting in your story and the magic and lore? From what I've heard so far it sounds a bit like urban fantasy but I want to know more!

AAAAA HELLO THERE

VERY EXCITED

okay so. Timing wise it’s in the present

**here is where i saved this as a draft and decided to come back to it on my computer for ease of typing then forgot for a day**

disclaimer, this exists solely in my mind (and also very vague character notes in a word doc) so forgive me if this makes no sense

sobbing violently because a few months ago i went to that doc once after not having checked it in a while and it just said "notes in notebook" so i had to update it ⤵︎

ig technically i did write part of one scene and threw it on ao3

ANYWAY

it's set at this place called West Love School for the Mythical and Magical

i had a dumb idea that it's called west love because something something gods were arguing over who would be the patron and zephyrus and aphrodite and hecate all ended up joint patrons (it's a dumb idea if for no other reason than would the gods really share)

but yeah so kids come from all around the world to go to this school (not sure yet where the school is. at first i was thinking wales but idk why)

not including the ghost children there are about 8 main characters which is part of why this wouldnt make sense

in this world, magic is sort of a willpower thing but not exactly. also "witch" is a gender neutral term as it was intended to be

so if at least one of your parents was a witch then you definitely are one, but you can be a witch without a parent being one too. this is where im a little interested to understand how it works. I think that what it is is that everyone has the capacity to be a witch, but most people arent.

maybe the non-witches do have some small magical abilities. meaning that they could have something so small and unnoticeable that they don't realize it's magic and it could change from person to person. like a person who always manages to wake up feeling well rested no matter how little sleep they get! they assume it's just normal or they're just lucky but turns out its magic! not that they'd ever realize it though

and some people without witch parents are born with such a high capacity for magic that they are a witch

children of the gods are also witches, as are mythical creatures

everyone is allowed to go to this school except for shapeshifters

they have different class levels based on placement, though. so if you weren't born to witches or you weren't raised by them then you're placed in classes to help you learn the basics that other kids who were raised by witches or taught to practice their magic as a kid would go to the school knowing

i still need to work out the logistics of how it would work so that there isnt always just an unbridgeable gap between those raised by witches and those who weren't im thinking there would be extra aid available for those who weren't raised by witches and also those who mightve been but still had a hard time learning so that they could have instructors who know how to teach this stuff in such a way that they'll be able to quickly and easily catch up to their peers i don't think their peers would be too far advanced, though because, although children are allowed to practice magic before they get to school, it's not as though they would all be experts. **here is where i saved this as a draft again and left my house for a few hours** i imagine it's like with children irl. they're taught some basics at home but the rest is left for actual school to teach them and some kids might be super far advanced but not that many (and at that point those few kids wouldn't have their own separate courses but rather be placed with the highest level of the other kids)(because there's so few of them and also what if they learned improper technique idk) **here is where i did the thing again and went to go make dinner then forgot about it**

okay actually i think this might be enough for one post

OH vampires have an open invitation to West Love when they are younger (eh. yknow what i mean. like, kids in the vampire sense) vampires can reproduce bc why wouldnt they be able to there is a vampire royal family but they're relatively chill

OH AND THIS ENTIRE THING IS EXTREMELY QUEER

also final thing, just so i can explain the tag, is they call themselves the Nobodies. (the witches) im not sure just yet if its just these main characters or all witches but this is because they have no chosen one, no prophecy, no beef with "dark" creatures (except that whole thing with shapeshifters which could be a focus point) they're just. Nobody. so they call themselves the Nobodies

[the-beard-writes]

Tips for fight scenes

If you get punched in the nose your eyes will water, a lot, even if it didn’t really hurt

Your body follows your head, your head gets pushed one way and your body will want to go that way

Getting hit in the stomach isn’t good, it hurts, getting hit in the diaphragm is worse. Causes your lungs to kinda spasm and make it hard to breathe (diaphragm is between stomach and chest)

When fighting a larger person they will have an easier time forcing you back

The jaw is the knockout button. Hit it hard enough and down for the count

Back of the head is very vulnerable, can cause serious damage if hit there

Kidney punches. They hurt. A lot.

People with experience will try to be where they are comfortable. A wrestler will try to get their opponent on the ground, a boxer will stay on their feet, etc.

Easiest counter to a kick is to get closer to whoever is throwing it, then they won’t have enough room for it to be effective

If you want realism, avoid fancy, flashy moves. They’re less practical and easier to counter.

[the-beard-writes]

Tips from a Beta Reading Writer

This one's for the scenes with multiple characters, and you're not sure how to keep everyone involved.

Writing group scenes is chaos. Someone’s talking, someone’s interrupting, someone’s zoning out thinking about breadsticks. And if you’re not careful, half your cast fades into the background like NPCs in a video game. I used to struggle with this so much—my characters would just exist in the scene without actually affecting it. But here’s what I've learned and have started implementing:

✨ Give everyone a job in the scene ✨

Not their literal job—like, not everyone needs to be solving a crime or casting spells. I mean: Why are they in this moment? What’s their role in the conversation?

My favourite examples are:

The Driver: Moves the convo forward. They have an agenda, they’re pushing the action.

The Instigator: Pokes the bear. Asks the messy questions. Stirring the pot like a chef on a mission.

The Voice of Reason: "Guys, maybe we don’t commit arson today?"

The Distracted One: Completely in their own world. Tuning out, doodling on a napkin, thinking about their ex.

The Observer: Not saying much, but noticing everything. (Quiet characters still have presence!)

The Wild Card: Who knows what they’ll do? Certainly not them. Probably about to make things worse.

If a character has no function, they’ll disappear. Give them something—even if it’s just a side comment, a reaction, or stealing fries off someone’s plate. Keep them interesting, and your readers will stay interested too.

[the-beard-writes]

im going to have a stroke

[the-beard-writes]

I love your writing tips 🫶🫶🫶tysm.....I wanted to ask how you write a black character

Writing Notes: Black Characters

What terms to use? Terms used to refer to racial and ethnic groups continue to change over time.

One reason for this is simply personal preference; preferred designations are as varied as the people they name.

Another reason is that designations can become dated over time and may hold negative connotations.

When describing racial and ethnic groups, be appropriately specific and sensitive to issues of labeling.

Race - physical differences that groups and cultures consider socially significant. For example, people might identify their race as Aboriginal, African American or Black, Asian, European American or White, Native American, Native Hawaiian or Pacific Islander, Māori, or some other race. 

Ethnicity - shared cultural characteristics such as language, ancestry, practices, and beliefs. For example, people might identify as Latino or another ethnicity.

Be clear about whether you are referring to a racial group or to an ethnic group.

Race is a social construct that is not universal, so one must be careful not to impose racial labels on ethnic groups.

Whenever possible, use the racial and/or ethnic terms that your participants themselves use. Be sure that the racial and ethnic categories you use are as clear and specific as possible.

For example, instead of categorizing participants as Asian American or Hispanic American, you could use more specific labels that identify their nation or region of origin, such as Japanese American or Cuban American.

Use commonly accepted designations (e.g., census categories) while being sensitive to participants’ preferred designation.

People of African origin. When writing about people of African ancestry, several factors inform the appropriate terms to use. People of African descent have widely varied cultural backgrounds, family histories, and family experiences.

Some will be from Caribbean islands, Latin America, various regions in the United States, countries in Africa, or elsewhere.

Some American people of African ancestry prefer “Black,” and others prefer “African American”; both terms are acceptable.

However, “African American” should not be used as an umbrella term for people of African ancestry worldwide because it obscures other ethnicities or national origins, such as Nigerian, Kenyan, Jamaican, or Bahamian; in these cases use “Black.”

The terms “Negro” and “Afro-American” are outdated; therefore, their use is generally inappropriate.

Example of bias-free language. Description of African American or Black people.

Problematic: "We interviewed 25 Afro-American people living in rural Louisiana."

Preferred: "We interviewed 25 Black people living in rural Louisiana." or "We interviewed 25 African Americans living in rural Louisiana."

Comment: “Afro-American” and “Negro” have become dated; therefore, usage of these terms generally is inappropriate. Specify region or nation of origin when possible to avoid the impression that all people of African descent have the same cultural background, family history, or family experiences. Note that “Black” is appropriate rather than “African American” to describe people of African descent from various national origins (e.g., Haitian, Nigerian).

How to Write Characters of Color Without Using Stereotypes

Creating characters that belong to a different racial group than you are can be down-right difficult.

You don't want to rely on stereotypes to describe them that can be offensive, harmful, or cliche.

In response to that apprehension, authors often avoid it; they take the easy way out and you don't describe them at all, but is that what's best?

Example. A basic and rudimentary physical descriptions of primary or secondary black characters:

she had chocolate brown skin and big, round eyes

By itself, there is nothing wrong with this description.

It's not necessary for every character to have a full, detailed description.

It's only problematic when this description is compared to the description of a primary or secondary white character:

his brown hair was in a military crew cut and he had icy blue eyes and pale skin

The white character is described more richly and the reader can form a picture in their mind, the black character's description is incomplete in comparison, therefore, the reader is forced to fill in the gaps.

Tips for writing deep character descriptions:

Find a picture of a real person who looks similar to your character (you may need more than one person) and use that as your guide.

Free write. Write out every single detail of the description. Whatever is in your mind just write it out.

Edit. Trim it down so it is more concise and note the words that you feel are stereotypical. Use a thesaurus to exchange those words for others.

You don't have to avoid all racial description. Yes it's ok for your black character to have an afro (some black people have afros).

Here's where the hard work comes in:

Remember that real person you were basing your character description on? Imagine reading your description to that person aloud. Try it. Pretend like that person is in front of you and read your description.

If you wouldn't feel comfortable saying it to that person's face then it shouldn't be on your page.

Finally, be creative and if it doesn't feel right keep editing and ask for help.

3 Warning Signs you can use for your work to determine if you should “avoid that Black character.” As in, rethink, reimagine, and rewrite.

If most of their scenes involve them giving a pep talk because they understand the main character or MC’s struggles better than anyone else due to their “unique” identity, you should avoid that Black character.

If the character has an aggressive, angry, or hypersexual* personality that constantly has to be tempered or simmered down, usually by a fairer-skinned, ‘morally superior’ individual, you should avoid that Black character.

If the character is either (A) the MC’s moral compass because they are especially good or (B) so morally corrupt that they eventually lead to their own demise, you should avoid that Black character.

*On top of Black characters often being depicted as hypersexual, there is a related issue that is almost the inverse of this: Black characters being hypersexualized, or turned into something to be observed and objectified. Sexual thoughts and actions are thrust upon them even if they are doing nothing to provoke it. In this way, their mere existence is turned into something sexual just because they are a Black person in a Black body. Descriptions associated with their body will—for absolutely no perceivable reason—begin to be described with animalistic language. For example, let’s say, in a book, that every other character smiled or smirked. But then when it gets to the Black character, it’s suddenly, “He grinned wide with his canines showing.”

In media, Black characters seem to live at the extremes of the moral spectrum.

They either live on a holy pedestal or are so far in the trenches of depravity that, at some point in the book, they have to be “put down like an animal” for the greater good of the world (which is so harmful).

In other cases, the MC has to cut all ties with them, showing that the MC has “risen above” their lowliness and corruption (usually in the form of breaking out of an abusive friendship or relationship, breaking a drug addiction, leaving ‘the hood,’ cutting ties with a gang, choosing peace over revenge, etc.).

Regardless of which extreme the Black character exists at, both serve the function of dehumanizing the character. They are pushed into the margins of humanity, either morally above or below the common person. Either way, they have reached a place beyond humanity, somewhere that is usually painted in these cases as hard to sympathize or empathize with. It often makes them two-dimensional and rigid.

Consider the moral compass Black character who will, more often than not, preach forgiveness and love at the most inappropriate times, and is ready to help wash the MC clean of their sins or warn them about what lies ahead on the “dark path” if they so choose it. And for the morally corrupt Black character, they typically spit every negative stereotype about the Black community back into readers’ faces without context, compassion, or tenderness, which is uncomfortable and heartbreaking.

Ultimately, tread carefully—carefully—in your pursuit of diverse voices in your work. If you do not take this venture with deep consideration and caution, you will run into trouble achieving the rich representation you’re aiming for in your writing. However, just caring about having better representation is important in itself.

Representation is a powerful tool that can inspire communities and amplify the voices of marginalized groups across the globe.

Reading is a tool that allows us to expand our minds and explore the world through written word. When we see ourselves represented correctly in texts, it gives us the space to imagine our futures, learn new things about ourselves, and challenge how we view the world around us.

When we see characters like ourselves become the hero of their own stories, it can give us the power to find that courage and bravery within ourselves.

But just like healthy representation can make our dreams and sense of self flourish, inaccurate or incomplete representation can limit our imaginations and impair our ability to know where and with whom we may belong.

Black people have been excluded from and misrepresented in retellings of history for centuries.

Due to hateful societies and racist conditions throughout time, much of Black history has been forgotten, denied, or stolen.

Because of this, traditional methods of research may not always show the full picture.

Sometimes, a story can capture the truth better than a graph.

Alternative Ways to Write Characters and Plots

Write multiple characters from the same group, so there isn’t one token representative. Additionally, people are often friends with those whom they can relate to. So for instance, rather than having a single gay character in a group of straight characters, a friend group might be made up of multiple LGBTQ+ individuals.

Write BIPOC characters who have agency, complexity, and the ability to fight their own battles. Instead of having a white character advocate for, speak for, and fight for people of color, give characters of color the opportunity to speak and advocate for themselves.

Give BIPOC and LGBTQ+ individuals their own character arcs, with their own goals and desires, rather than making their entire lives revolve around white and straight characters.

Run your book by a sensitivity reader. Sensitivity readers will read unpublished manuscripts and give feedback on cultural inaccuracies, biases, and stereotypes.

Don’t make your villain the sole BIPOC person in the entire story. Similarly, don’t make your villain the sole gay character or sole disabled character.

Don’t kill every BIPOC, LGBTQ+, or disabled character. This sends the message that these characters—and by extension real-life people who are members of these groups— are unimportant.

Overall, make sure that your characters are complex, realistic individuals who are not defined by stereotype.

Should white people write about people of color? "If you’re thinking about writing outside your culture and you’re afraid to get it wrong, be honest with yourself. Ask yourself why you want to do it. That’s where you start." (author Malinda Lo).

It takes much more consideration than omitting obvious, familiar stereotypes. Instead of focusing on the fact that you need to ensure that your audience knows the character is not white, focus on their inner lives.

Think of their humanity beyond the constrictions of race as a complete signifier, not as the driving force behind the character’s existence, but a puzzle piece.

If you’re not ready to acknowledge and confront your white privilege, it will certainly cloud the creation of your character.

If you are a white writer and you wish to inhabit the consciousness of a POC, do not base their narrative around noble suffering. Sometimes it’s the seemingly mundane details that make a character feel alive.

When whiteness is the standard in literature, “Otherness” becomes defined by easily available tropes and cliches. When race is involved, many writers cling to the mantra “write what you know.”

More excerpts from Malinda Lo's answer:

Anyone who wants to write outside of their culture has to remember this: Books are personal, and one person’s reaction does not mean that everybody is going to react the same way. In fact, it’s likely that every single reader will have a different reaction.

This doesn’t mean that it’s okay to blithely write whatever the hell you want about a culture that isn’t yours. Writers who are writing outside of their culture do have to work extra hard to research that culture, because they have much farther to go to get to the kind of instinctual knowledge of it that allows someone to hear my Chinese name and feel that it sounds poetic.

Writing outside your culture is a complicated endeavor that requires extensive research, being aware of your own biases and limitations, and a commitment to delving deeply into the story. However, writing any fiction requires this. There are no shortcuts to writing fiction truthfully and well. There really aren’t. The writer must put in the time so that they become confident in their decisions, and there are a million and one decisions to make when writing a novel.

If you’re a white writer who wants to write about a culture not your own, go for it. There’s no reason you shouldn’t do it. Some people will prefer that you don’t, but those people don’t speak for everyone. On the other hand, if you’re terrified of writing outside your culture, you don’t have to. There’s not necessarily any reason for you to do something that makes you that uncomfortable. I believe that writing is a personal thing, and you should write what you personally want to write.

Sources: 1 2 3 4 5 6 7 ⚜ More: References ⚜ Writing Resources PDFs

Thank you for your lovely words. I'm not exactly the best person for this question, so here are some references I found for you. Learned a lot from these as well, so thanks for the request. Hope this helps with your writing!

[the-beard-writes]

what to do if there's too much dialogue in my story? how do i fix the 'not enough action'?

also what if my story's too short? it's supposed to be a novel

How Long Should a Novel Be? If you’re writing your first novel, the general rule of thumb for novel writing is a word count in the 80,000 to 100,000 range.

While anything over 40,000 words can fall into the novel category, 50,000 is considered the minimum novel length.

Anything over 110,000 words is considered too long for a fiction novel.

Each book in J.R.R. Tolkien’s The Lord of the Rings trilogy has an enormous word count, with the longest clocking in at over 175,000 words.

Despite their ongoing success, those epic sagas are the rare exception to general word count rules.

Typically, you’ll want your novel to be much shorter.

Within the world of literary fiction, different genres follow more specific word count targets:

Thriller: A good suspense story has to keep the plot moving to keep the reader engaged. The ideal count for a mystery is a 70,000 and 90,000 word novel.

Science fiction and fantasy: Sci-fi novels are an art in world-building. The need to invent a completely new environment makes this genre longer than others. A fantasy novel will usually have 90,000 to 120,000 words.

Romance novels: Not every love story is an epic like Wuthering Heights. Romantic plots now tend to be fun, fast reads. Some are as short as 50,000 words—the perfect book for a beach vacation. The high-end romance novel word count is 100,000.

Historical fiction: Fleshing out an imagined historical world lends itself to a higher word count, so historical fiction tends to be closer to 100,000 words.

Non-fiction: There is no definitive word count guide for non-fiction books due to the many subgenres. If you’re writing a non-fiction book, be sure to look up that category to find the length of similar books. For example, memoirs are generally 80,000 to 90,00 words.

Reasons Word Count Is Important in Writing. While there are no hard and fast rules on the amount of words a book needs, there are highly-suggested guidelines in the traditional publishing industry, especially for first time authors.

Unless you’re self-publishing, you’ll need to pay attention to how many words you use to compose your first draft. Here are 3 reasons why word count is important:

Shorter novels are more marketable. A literary agent and traditional publisher are less likely to take a chance on long novels when they come from a new writer. An adult fiction book is most marketable in the suggested word count.

Longer novels are more expensive to print. Longer books increase the number of pages that need to be printed. That makes them more expensive to print and a bigger investment.

Audiences expect a certain word count. Audiences are used to a certain story length and page count, so an unknown author can attract more readers by staying in the expected range.

Too Much Dialogue. Some stories rely heavily on dialogue. Others have very little. Most strike a balance somewhere in between.

To determine what's right for your own story, consider the effect so much dialogue has on the reader's experience.

What atmosphere does it create?

How does it impact the reader's understanding of the characters or the situation?

Keep in mind the role of dialogue and its limitations.

Some dialogue-heavy fictions fail because the dialogue is used carelessly.

Make sure you're not cramming information into dialogue when it might be more appropriate in narrative.

Also, be thoughtful when considering what to include in an exchange.

Crafting a scene is all about selectivity and you should include only what's important.

Example: Post-work chitchat might be commonplace in real life, but it's not terribly exciting in fiction. If the heart of the scene is to reveal a character's insecurities about the drive, we don't need fluff taking up space.

Since there's no set formula for how much dialogue you can use, keep an eye out for these common pitfalls and consider the effect of a dialogue-heavy read in the context of your work.

This should help you figure out if you've used too much or just the right amount.

Is it possible to use too much dialogue?

Here's one answer: No, a story can't have too much dialogue. Plenty of stories, including many by Ernest Hemingway and Raymond Carver, rely heavily on dialogue.

Of course, the opposite answer is true, too: Yes, it's possible to use too much dialogue. If the dialogue is unnecessary, it's ���too much." That might happen in a story packed full of dialogue or one that has only a few lines of it. Exchanges should move the story forward and reveal something significant.

Relying on dialogue may be a stylistic choice, but an exchange shouldn't be an indiscriminate volley of words. It should have purpose.

More strategies for improving the dialogue in your own work:

Mix dialogue with narration. Long runs of dialogue can dislodge a reader from the action of a scene. As your characters talk, interpolate some descriptions of their physical postures or other activity taking place in the room. This mimics the real-world experience of listening to someone speaking while simultaneously taking in visual and olfactory stimuli.

Give your main character a secret. Sometimes a line of dialogue is most notable for what it withholds. Even if your audience doesn’t realize it, you can build dynamic three-dimensionality by having your character withhold a key bit of information from their speech. For instance, you may draft a scene in which a museum curator speaks to an artist about how she wants her work displayed—but what the curator isn’t saying out loud is that she’s in love with the artist. You can use that secret to embed layers of tension into the character’s spoken phrases.

Look to great examples of dialogue for inspiration. If you're looking for a dialogue example in the realm of novels or short stories, consider reading the great books written by Mark Twain, Judy Blume, or Toni Morrison. Within the world of screenwriting, Aaron Sorkin is renowned for his use of dialogue.

Tips for "not enough action"

Create visuals. Use action in a concise, impactful manner in order to deliver strong images for the audience. The clearer your scenes are, the more easily the audience can understand and absorb them. You don’t want readers or viewers to be hung up on seemingly impossible details or sequences that don’t flow. Visuals that get right to the point and can be quickly understood are best for conveying action.

Technical writing style. Whether you’re writing descriptive paragraphs in a novel or stage directions in a script or screenplay, you must be able to articulate the scene you envision in your head without wearing down your reader with technical drivel. Balancing specific details of your action sequences with a propulsive story isn’t easy to do. Sometimes a great action sequence doesn’t come together in a first draft, so focus your revisions on clarifying each action and providing vivid detail without besieging your reader with dull technical terms.

Striking a balance. There are no hard-and-fast rules about when and when not to blend dialogue, action, and narrative. To weave them together well is to find your story's rhythm. But there are a few questions you can ask yourself about your story, especially in the rewrite stage, that can help you know which elements are most effective for a particular scene, and which might be better used elsewhere.

Ask yourself:

Is the story moving a little too slowly, and do I need to speed things up? (Use dialogue.)

Is it time to give the reader some background on the characters so they're more sympathetic? (Use narrative, dialogue, or a combination of the two.)

Do I have too many dialogue scenes in a row? (Use action or narrative.)

Are my characters constantly confiding in others about things they should only be pondering in their minds? (Use narrative.)

Likewise, are my characters alone in their heads when my characters in conversation would be more effective and lively? (Use dialogue.)

Is my story top-heavy in any way at all—too much dialogue, too much narrative, or too much action? (Insert more of the elements that are missing.)

Are my characters providing too many background details as they're talking to each other? (Use narrative.)

Whether we're using dialogue, action, or narrative to move the story forward, any or all 3 of these elements are doing double duty by revealing our characters' motives.

Your story's dialogue can reveal motive in a way that's natural and authentic because whether we're aware of it or not, we reveal our own motives all the time in our everyday lives.

And to understand a character's motive is to understand the character.

Sources: 1 2 3 4 5 6 7 ⚜ More: References ⚜ Writing Resources PDFs

More Tips & References on Dialogue

On Narrative Pacing

Hope this helps with your writing!

[the-beard-writes]

When your Character is Sleep Deprived

Sleep Deprivation - occurs when you don’t routinely get sufficient sleep at night.

Seven to eight hours of quality sleep time is the baseline for most adults, yet the Centers for Disease Control and Prevention (CDC) estimates that one third of American adults suffer from measurable sleep loss.

This lack of sleep can lead to disruptions in everyday life, from grogginess and delayed reaction times to serious medical conditions.

Causes of Sleep Deprivation

Many factors can prevent you from getting a good night's sleep. These include:

Sleep disorders: Certain conditions like sleep apnea and restless leg syndrome can interfere with healthy sleep.

Mental health conditions: Depression and anxiety can be sources of severe sleep deprivation.

External stimuli: Loud noises, bright lights, and hot temperatures can all prevent you from getting enough sleep.

Work schedules: Shift work at night can clash with your natural circadian rhythms and trigger sleep deprivation.

Physical activity: Exercise can inhibit sleep onset if scheduled too close to bedtime.

Effects of Sleep Deprivation

The consequences of sleep deprivation can be serious. A person operating on insufficient sleep may face increased risk of the following effects.

Daytime drowsiness: A poorly rested person can go through the day feeling groggy. This can lead to drowsy driving, car accidents, mental slip-ups, and poor cognition.

Microsleep: In addition to general drowsiness, a person running on very little sleep can experience microsleep—very short bursts of unconsciousness that feel like blacking out.

Mood swings: A person overcome by sleepiness may be cranky and irritable, and they may also experience headaches that further sour their mood.

Memory issues: Poor sleep patterns that cause a person to get less sleep have the potential to affect memory recall.

Tips for Avoiding Sleep Deprivation

To ensure you get consistent and sufficient sleep duration, consider the following strategies.

Stick to a bedtime routine. Sleep difficulties can stem from inconsistent schedules and routines. Improve your sleep hygiene by creating consistent sleep habits and a bedtime routine. This may involve stretching, an evening shower, or a cup of tea.

Avoid digital screens before bed. The blue light of electronics can mimic the effects of sunlight and prevent your body from entering its natural sleep cycle. Keep digital devices out of the bedroom, and when you must use them before bed, use a blue light filter that keeps the most disruptive light out of your eyes.

Consider a natural sleep remedy. Supplemental melatonin can help you fall asleep when your routine sleep schedule has been disrupted. Take care to not build reliance on sleep medications that may dampen the restorative effects of REM sleep and non-REM sleep.

Lower the temperature of your bedroom. A nighttime room temperature of 60 to 67 degrees Fahrenheit signals to your brain that it’s time to sleep.

Practice mindful relaxation techniques. A bedtime ritual of deep breathing exercises and slow exhales can promote progressive muscle relaxation. Mindfulness can also eliminate tension while allowing your body to drift into drowsiness and get enough hours of sleep.

Monitor your health conditions. Certain medical conditions, like sleep apnea and restless leg syndrome, can impair sleep onset and deprive you of sleep over the course of the night. Seek medical advice for handling such conditions, and work with your healthcare provider to develop treatment and coping strategies.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[the-beard-writes]

sometimes you need dialogue tags and don't want to use the same four

[the-beard-writes]

My biggest tip for fanfic writers is this: if you get a character's mannerisms and speech pattern down, you can make them do pretty much whatever you want and it'll feel in character.

Logic: Characters, just like real people, are mallable. There is typically very little that's so truly, heinously out of character that you absolutely cannot make it work under any circumstance. In addition, most fans are also willing to accept characterization stretches if it makes the fic work. Yeah, we all know the villain and the hero wouldn't cuddle for warmth in canon. But if they did do that, how would they do it?

What counts is often not so much 'would the character do this?' and more 'if the character did do this, how would they do it?' If you get 'how' part right, your readers will probably be willing to buy the rest, because it will still feel like their favourite character. But if it doesn't feel like the character anymore, why are they even reading the fic?

Worry less about whether a character would do something, and more about how they'd sound while doing it.

[the-beard-writes]

Twenty-Fourth Day of Gift-Giving

Twenty-Four Touches

Softly getting hold of the other’s hand, afraid to make a mistake

A casual touch on the shoulder to acknowledge them

Foreheads pressed together, a silent way to say “I’m here”

A gentle hand holding the other’s neck while staring into their eyes

Whispering, lips almost touching the ear

A quick brush of hands, almost unnoticeable

Tracing the other’s lips with their finger

An arm sneaking around a waist, holding them close

Pressing their face into the other’s neck, hiding from the world

A hand in the other’s hair, not quite grabbing it

Sighing into the kiss, melting together at last

A swift kiss to the other’s cheek

Brushing away an unruly lock of hair

A firm handshake, professionally at first, but a second to long

Gently kissing the other’s knuckles

A tender hug, just staying together for a while

Hands rubbing together to warm them up

A firm hand grabbing the other’s elbow to guide them

Feeling for the other’s pules with their lips

A quick kiss on the crown of their hair

Sitting on the other’s lap, being hugged from behind

A slow dance, entangled with each other

Cold feet warming each other up under the blanket

A gentle kiss on the forehead, a sweet goodbye

24 Days of Gift-Giving

[the-beard-writes]

Some Old English Words

Elflock

Late 1500s

A lock of hair that looks as though it’s been tangled by elves.

In old folklore, elflocks (or fairy locks) were said to be the result of fairies or elves knotting the hair of sleeping children as they played in it during the night.

Concupiscible

15th century

Means “worthy of being desired.”

Betwixt

Means “between.”

An Old English word; first recorded before the year 950.

Brabble

Means “to argue stubbornly about trifles.”

It was first recorded in English in the late 1400s.

Comes from the Dutch brabbelen, meaning “to quarrel, jabber.”

Mickle

Means “great; large; much.”

Can refer to something that’s large in size, like a mickle storm.

But it can also refer to a great amount of something.

Bookcraft

Means “literary skill; authorship.”

It’s an archaic noun used to talk about great talents with storytelling and the written word.

Appeared in English before the year 900.

Brainish

First recorded in the 1520s.

Means “impetuous, headstrong.”

Unfriend

Unfriend isn’t just a social media term.

Its use in English actually dates back to the 1200s when it was used as a noun to refer to an enemy: The opposite of a friend is an unfriend.

Constellate

Means “to cluster together, as stars in a constellation.”

First appeared in English between 1615 and 1625.

NOTE

The phrase “old English”can mean two different things.

There’s the official term Old English, which refers specifically to the English spoken between 450 and 1150.

But there’s also old English—as in words that are considered really old because they first appeared in the 1300s, 1400s, and beyond.

There are dozens of English words that were first recorded in centuries past and then fell out of favor.

Not every word survives the passage of time, below is a mix of Old English and just plain old English words for your next poem/story.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[the-beard-writes]

an artist's list of "beautiful" words

to try to include in your next poem/story

Alexipharmic - an antidote against poison or infection

Allotheism - the worship of foreign or unsanctioned gods

Alpenglow - a reddish glow seen near sunset or sunrise on the summits of mountains

Amaranth - any of a large genus (Amaranthus) of coarse annual herbs with clusters of small flowers; a flower that never fades; a pinkish or rosy red

Balatte - a cut slab of soft white limestone providing good reflective insulation owing to its natural white color

Balneology - the science of the therapeutic use of baths

Baneberry - any of several perennial herbs (genus Actaea) of the buttercup family having acrid poisonous berries; also: one of the berries

Barchan - a moving crescent-shaped sand dune

Cardia - the opening of the esophagus into the stomach

Dealated - divested of the wings; used of postnuptial adults of insects that drop their wings after a nuptial flight

Deave - to stun or stupefy with noise; deafen; also: to bother or confuse

Knout - a flogging whip with a lash of leather thongs twisted with wire used for punishing criminals

Hebetate - to make dull or obtuse

Miserere - a vocal complaint or lament

Misericordia - amercement (i.e., punishment by a fine whose amount is fixed by the court)

Overred - to smear with red

Reflorescence - a renewed blossoming

Refluent - flowing back

Regelate - to freeze together again

Wallwort - any of several plants that grow on or in walls: such as danewort, wall pellitory, stonecrop (Sedum acre), and wall rue

If any of these words make their way into your next poem/story, please tag me, or send me a link. I would love to read them!

More: Lists of Beautiful Words ⚜ Word Lists ⚜ Writing Resources PDFs

[the-beard-writes]

Things almost every author needs to research

How bodies decompose

Wilderness survival skills

Mob mentality

Other cultures

What it takes for a human to die in a given situation

Common tropes in your genre

Average weather for your setting

[the-beard-writes]

The most important writing lesson I ever learned was not in a screenwriting class, but a fiction class.

This was senior year of college.  Most of us had already been accepted into grad school of some sort. We felt powerful, we felt talented, and most of all, we felt artistic.

It was the advanced fiction workshop, and we did an entire round of workshops with everyone’s best stories, their most advanced work, their most polished pieces. It was very technical and, most of all, very artistic.

IE: They were boring pieces of pretentious crap.

Now the teacher was either a genius OR was tired of our shit, and decided to give us a challenge.  Flash fiction, he said. Write something as quickly as possible.  Make it stupid.  Make it not mean a thing, just be a quick little blast of words. 

And, of course, we all got stupid.  Little one and two pages of prose without the barriers that it must be good. Little flashes of characters, little bits of scenarios.

And they were electric.  All of them. So interesting, so vivid, not held back by the need to write important things or artistic things. 

One sticks in my mind even today.  The guys original piece was a thinky, thoughtful piece relating the breaking up of threesomes to volcanoes and uncontrolled eruptions that was just annoying to read. But his flash fiction was this three page bit about a homeless man who stole a truck full of coca cola and had to bribe people to drink the soda so he could return the cans to recycling so he could afford one night with the prostitute he loved.

It was funny, it was heartfelt, and it was so, so, so well written.

And just that one little bit of advice, the write something short and stupid, changed a ton of people’s writing styles for the better.

It was amazing. So go.  Go write something small.  Go write something that’s not artistic.  Go write something stupid. Go have fun.

[the-beard-writes]

How to Write a Ruthless Character

A ruthless character is all about the endgame. They don’t care how they get there, lying, cheating, using others, it’s all fair game as long as they win. When writing them, show how they can cut off any distractions or emotions, making decisions that others would hesitate over.

These characters don't let feelings get in the way. Compassion, guilt, regret? Nah, they don’t have time for that. Show how they can turn off their emotions and make choices purely based on logic. They’ll do things that seem heartless to everyone else, but for them, it’s just another part of the plan. It’s not that they don’t feel anything, they just choose not to.

Boundaries? What boundaries? A ruthless character doesn’t care about rules unless they can bend them to get ahead. They’ll do things no one else dares, crossing lines others are too scared to even approach. The more uncomfortable their actions make people, the more it emphasizes just how far they’re willing to go. For them, pushing limits is just another day.

They don’t act on impulse. Every move they make is planned, and every risk they take is calculated. They weigh the pros and cons before acting, and they’re always three steps ahead of everyone else. Writing a ruthless character means showing that they’ve already figured out how to win while everyone else is still trying to figure out the rules.

Betrayal is their go-to move when things get tough. Friends, allies, even people who trust them, no one is safe. They’ll turn on anyone if it benefits them. And the best part? They’ll sleep just fine afterward. Show how others react to their betrayals, shocked, hurt, furious, while your ruthless character shrugs it off like, “It had to be done.”

if you have any questions or feedback on writing materials, please send me an email at Luna-azzurra@outlook.com ✍🏻

[the-beard-writes]

Some Cardiology Vocabulary

for your next poem/story

Ablation – Elimination or removal.

Annulus – The ring around a heart valve where the valve leaflet merges with the heart muscle.

Arrhythmia – (or dysrhythmia) An abnormal heartbeat.

Autologous – Relating to self. For example, autologous stem cells are those taken from the patient’s own body.

Bruit – A sound made in the blood vessels resulting from turbulence, perhaps because of a buildup of plaque or damage to the vessels.

Cardiac – Pertaining to the heart.

Cardiomegaly – An enlarged heart. It is usually a sign of an underlying problem, such as high blood pressure, heart valve problems, or cardiomyopathy.

Carotid artery – A major artery (right and left) in the neck supplying blood to the brain.

Claudication – A tiredness or pain in the arms and legs caused by an inadequate supply of oxygen to the muscles, usually due to narrowed arteries or peripheral arterial disease (PAD).

Commissurotomy -A procedure used to widen the opening of a heart valve that has been narrowed by scar tissue.

Digitalis – A medicine made from the leaves of the foxglove plant. Digitalis is used to treat congestive heart failure (CHF) and heart rhythm problems (arrhythmias).

Endocardium – The smooth membrane covering the inside of the heart. The innermost lining of the heart.

Infarct – The area of heart tissue permanently damaged by an inadequate supply of oxygen.

Jugular veins – The veins that carry blood back from the head to the heart.

Maze surgery – A type of heart surgery that is used to treat chronic atrial fibrillation by creating a surgical “maze” of new electrical pathways to let electrical impulses travel easily through the heart. Also called the Maze procedure.

Myocardium – The muscular wall of the heart. It contracts to pump blood out of the heart and then relaxes as the heart refills with returning blood.

Palpitation – An uncomfortable feeling within the chest caused by an irregular heartbeat.

Pericardium – The outer fibrous sac that surrounds the heart.

Regurgitation – Backward flow of blood through a defective heart valve.

Septal defect – A hole in the wall of the heart separating the atria or in the wall of the heart separating the ventricles.

Sources: 1 2 3 4 ⚜ More: Word Lists

[the-beard-writes]

10 Non-Lethal Injuries to Add Pain to Your Writing

New Part: 10 Lethal Injury Ideas

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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