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writersintuitioninstinct · 9 months ago

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10 Subtle Ways to Show Love Without Saying “I Love You”

Subtle gestures can convey deep affection and understanding without the need for words. Here are 10 subtle ways to reveal just how much your character cares, without using words:

1. Surprising Them with Their Favorite Snack

Character A notices Character B eyeing their favorite treat at a store/party, and later surprises them with it, showing they're paying attention to the little things.

2. Fixing Something Without Being Asked

When B's favorite [object] breaks, A quietly repairs it and leaves it for them to find. This doesn't have to be about objects, e.g. issues like not having a ride home and A picks them up without B asking.

3. Leaving a Hidden Note

A slips a small note into B's bag or coat pocket, something sweet or funny; could be good after a minor fight, or if B has a dangerous career.

4. Covering Them with a Blanket

B falls asleep on the couch, and A drapes a blanket over them gently. Again, cute if it's after a fight.

5. Warming Their Hands with Theirs

On a chilly day, A takes B’s cold hands into their own without a word, offering warmth and comfort.

6. Offering Their Jacket

As B shivers in the cold, A instinctively hands over their jacket without waiting to be asked. Post-fight cuteness x3

7. Cleaning Up After a Tough Day

B comes home exhausted, and A has already tidied up the space. Great if they're married with kids.

8. Brushing Something Off Their Face

When B has a strand of hair or speck of dust on their face, A gently brushes it away; a classic, intimate action.

9. Waiting Up for Them to Get Home

A stays up late just to make sure B gets home safely, greeting them with a warm smile or a cup of tea when they walk in.

10. Running an Errand They Dislike

Knowing B dreads a particular chore or errand, A does it for them without making a big deal, or when they’re stressed/sad.

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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writersintuitioninstinct · 9 months ago

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Writing Description Notes:

Updated 9th September 2024 More writing tips, review tips & writing description notes

Facial Expressions

Masking Emotions

Smiles/Smirks/Grins

Eye Contact/Eye Movements

Blushing

Voice/Tone

Body Language/Idle Movement

Thoughts/Thinking/Focusing/Distracted

Silence

Memories

Happy/Content/Comforted

Love/Romance

Sadness/Crying/Hurt

Confidence/Determination/Hopeful

Surprised/Shocked

Guilt/Regret

Disgusted/Jealous

Uncertain/Doubtful/Worried

Anger/Rage

Laughter

Confused

Speechless/Tongue Tied

Fear/Terrified

Mental Pain

Physical Pain

Tired/Drowsy/Exhausted

Eating

Drinking

Warm/Hot

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writersintuitioninstinct · 9 months ago

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subtle ways to include foreshadowing

one character knowing something offhandedly that they shouldn't, isn't addressed until later

the crow rhyme

colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?

write with the ending in mind

use patterns from tragic past events to warn of the future

keep the characters distracted! run it in the background until the grand reveal

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh

anyways add anything else in the tags

#foreshadowing #writing tips #lyralit #writing #writing prompts #writerblr #writing blog #prompt list #foreshadow #writers #writblr #writers block #writing ideas #creative writing

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writersintuitioninstinct · 9 months ago

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Writing References: Character Development

50 Questions ⚜ Backstory ⚜ Character-driven Story

Basics: How to Write a Character ⚜ A Story-Worthy Hero

Basics: Character-Building ⚜ Character Creation

Types of Characters: Key Characters ⚜ Literary Characters ⚜ Flat & Round Characters ⚜ Morally Grey ⚜ Narrators ⚜ Allegorical Characters ⚜ Archetypes ⚜ Stereotypical Characters

Worksheets: Backstory ⚜ Character ⚜ Kill your Characters ⚜ Antagonist; Villain; Fighting ⚜ Change; Adding Action; Conflict ⚜ Character Sketch & Bible ⚜ Protagonist & Antagonist ⚜ Name; Quirks; Flaws; Motivation ⚜ "Interviewing" your Characters ⚜ "Well-Rounded" Character

Personality Traits

5 Personality Traits (OCEAN) ⚜ 16 Personality Traits (16PF)

600+ Personality Traits ⚜ 170 Quirks

East vs. West Personalities ⚜ Trait Theories

Tips/Editing

Character Issues ⚜ Character Tropes for Inspiration

"Strong" Characters ⚜ Unlikable to Likable

Tips from Rick Riordan

Writing Notes

Binge ED ⚜ Hate ⚜ Love ⚜ Identifying Character Descriptions

Childhood Bilingualism ⚜ Children's Dialogue ⚜ On Children

Culture ⚜ Culture: Two Views ⚜ Culture Shock

Dangerousness ⚜ Flaws ⚜ Fantasy Creatures

Emotional Intelligence ⚜ Genius (Giftedness)

Emotions (1) (2) ⚜ Anger ⚜ Fear ⚜ Happiness ⚜ Sadness

Emotional Universals ⚜ External & Internal Journey

Goals & Motivations ⚜ Grammar Development ⚜ Habits

Facial Expressions ⚜ Jargon ⚜ Swearing & Taboo Expressions

Happy/Excited Body Language ⚜ Laughter & Humor

Health ⚜ Frameworks of Health ⚜ Memory

Mutism ⚜ Shyness ⚜ Parenting Styles ⚜ Generations

Psychological Reactions to Unfair Behavior

Rhetoric ⚜ The Rhetorical Triangle ⚜ Logical Fallacies

Thinking ⚜ Thinking Styles ⚜ Thought Distortions

Uncommon Words: Body ⚜ Emotions

Villains ⚜ Voice & Accent

Writing References: Plot ⚜ World-building

#writing reference #character building #writing tips #writing advice #character inspiration #writeblr #dark academia #spilled ink #literature #writing prompt #creative writing #fiction #writers on tumblr #story #novel #light academia #writing resources

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writersintuitioninstinct · 9 months ago

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Writing Tips Master Post

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Character Voices

Creating Distinct Characters

Suicidal Urges/Martyr Complex

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Building Tension

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Consider Before Killing Characters

Foreshadowing

Narrative:

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (+ More)

Transitions

Pacing

Writing Prologues

Dialogue Tips

Writing War

Writing Cheating

Worldbuilding:

Worldbuilding: Questions to Consider

Creating Laws/Rules in Fantasy Worlds

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Writer help:

Losing Passion/Burnout

Overcoming Writer's Block

Fantasy terms:

How To Name Fantasy Races (Step-by-Step)

Naming Elemental Races

Naming Fire-Related Races

How To Name Fantasy Places

Ask games:

Character Ask Game #1

Character Ask Game #2

Character Ask Game #3

Miscellaneous:

1000 Follower Post

2000 Follower Poll

Writing Fantasy

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writersintuitioninstinct · 9 months ago

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How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

#creative writing #writers block #writblr #writers on tumblr #writing #writers and poets #writerscommunity #fanfic writing #writeblr #writing advice

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writersintuitioninstinct · 9 months ago

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Do you have any advice for a character who has a sort of sacrificial lamb complex? A savior complex but not as in a hero to save the day, but as in they don't believe they deserve to save themselves?

How to Write a Sacrificial Character

Backstory and Motivation

Traumatic Past: Explore the character’s history. Perhaps they’ve experienced abandonment, betrayal, or loss, leading them to internalize the belief that their worth is tied to suffering for others.

Family Expectations: They may come from a family that emphasizes self-sacrifice or has a history of martyrdom, teaching them that their own needs are secondary to others.

Guilt and Responsibility: The character might feel an overwhelming sense of guilt for past failures, believing that they owe it to others to endure hardship or take on burdens.

Internal Conflict

Self-Worth Issues: Illustrate their struggle with self-worth. They might dismiss compliments or feel undeserving of happiness, using phrases like “I don’t deserve this” or “I have to earn my place.”

Desire for Connection: While they may push others away, they also yearn for connection and love, creating an internal tug-of-war between wanting to be saved and believing they are unworthy of it.

Sacrificial Actions

Small Acts of Sacrifice: Show them making small sacrifices for friends or loved ones, like skipping meals or taking on additional work, which reinforces their belief that they should suffer for others’ well-being.

Dramatic Moments: Create pivotal scenes where they are put in a position to sacrifice themselves for someone else—physically or emotionally. This can highlight their motivations and lead to significant character development.

Interactions with Others

Supportive Characters: Introduce characters who try to save or help them, but the sacrificial character resists, believing their problems aren’t worth the effort. This can create tension and deepen their internal struggle.

Small Acts of Kindness: Have moments where others go out of their way to help them, reinforcing that they are worthy of care and support. This can include simple gestures, affirmations, or sacrifices made on their behalf.

Conflict with a Mentor or Friend: A mentor figure might challenge this belief, encouraging them to see their value and fight for themselves, leading to moments of growth and resistance.

Gradual Change

Moments of Clarity: Show them having fleeting moments of realization where they understand their self-worth, possibly triggered by a significant event or dialogue with another character.

Catalyst for Change: Introduce a scenario where they must choose between self-sacrifice and self-preservation, forcing them to confront their beliefs head-on.

Life-Altering Experience: Put the character in a situation that forces them to confront their fears, such as a near-death experience or a pivotal choice between saving themselves or others. This moment can act as a wake-up call to their worth.

Acts of Courage: Have them step up in a crisis, leading to a moment where they save someone else and realize their capability and value. This can help them see that they have something to offer.

Turning Point: Create a climactic moment where the character realizes they deserve to save themselves, possibly triggered by witnessing someone else sacrifice themselves for them, prompting a realization of their worth.

Final Confrontation: In the final confrontation (with a villain or personal demon), let them stand up for themselves, verbalizing their worth and challenging the beliefs that have held them back.

Symbolism and Themes

Recurring Motifs: Use symbols that represent sacrifice and self-worth, like broken mirrors (self-perception) or shadows (their past). These can help reinforce their internal struggles visually throughout the narrative.

Redemption Arc: If they ultimately find a way to save themselves or allow others to save them, showcase this as a powerful moment of growth, suggesting that self-worth and love are intertwined.

Emotional Depth

Show Vulnerability: Allow the character to express their fears and doubts, whether through dialogue, journaling, or introspection, making their internal battles relatable and poignant.

Balance with Humor: If appropriate for your story, consider moments of humor or lightness to juxtapose their darker thoughts, showing that they are more than their complex.

#writing advice #reference

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writersintuitioninstinct · 9 months ago

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Writing Notes: Children's Dialogue

Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.

BABBLING

Babbling begins at about 6 months and is considered the earliest stage of language acquisition

By 1 year babbles are composed only of the phonemes used in the language(s) they hear

Deaf babies babble with their hands like hearing babies babble using sounds

FIRST WORDS

After the age of one, children figure out that sounds are related to meanings and start to produce their first words

Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning

Example: "Up" is used to indicate something in the sky or to mean “pick me up”

Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”

WORD MEANINGS

When learning words, children often overextend a word’s meaning

Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)

They may also underextend a word’s meaning

Example: Using the word dog to refer only to the family pet, as if dog were a proper noun

The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts

SYNTAX

At about two years of age, children start to put words together to form two-word utterances

The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:

Example: "mommy sock" = subject + object or possessive

NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development

The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection

Examples: "He play little tune" or "Andrew want that"

Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development

By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:

Examples: "He was stuck and I got him out" / "It’s too early for us to eat"

After 3;6 children can produce wh-questions, and relative pronouns

Sometime after 4;0 children have acquired most of the adult syntactic competence

PRAGMATICS

Deixis: Children often have problems with the shifting reference of pronouns

Children may refer to themselves as "you"

Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about

AUXILIARIES

In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences

Examples: "I ride train?" / "I not like this book"

As children acquire auxiliaries in questions and negative sentences, they generally use them correctly

SIGNED LANGUAGES

Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage

When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules

IMITATION, REINFORCEMENT, ANALOGY

Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation

Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"

Children cannot imitate adults fully while acquiring grammar

Example:

Adult: "Where can I put them?" Child: "Where I can put them?"

Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it

NOTE: Children May Resist Correction

Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.

Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy

But while analogy may work in some situations, certainly not in all situations:

– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.

Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age

BIRTH ORDER

Children’s birth order may affect their speech.

Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.

They favor different words than their siblings.��

Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.”

The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.

MOTHER'S LEVEL OF EDUCATION

Children may adopt vocabulary quite differently depending on their mother’s level of education.

In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).

The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.”

BOYS / GIRLS

One area of remarkable consistency across language groups is the degree to which the language of children is gendered.

The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”

Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”

Tips for Writing Children's Dialogue (compiled from various sources cited below):

Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.

Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.

Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence.

Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.

Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.

Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).

Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.

Sources and other related articles: 1 2 3 4 5 6 7 8 9 10

Writing Notes: On Children ⚜ Childhood Bilingualism More: Writing Notes & References

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writersintuitioninstinct · 9 months ago

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10 Flaws to Give Your Perfect Characters to Make Them Human

If you're tired of the usual vices like arrogance or impatience, here are some unique (or at least less basic) character flaws to give your perfect characters:

Pathological Altruism

A character so obsessed with helping others that they end up doing more harm than good. Their inability to let others grow or face consequences creates tension.

2. Moral Narcissism

A character who sees themselves as morally superior to others, constantly justifying selfish or harmful actions because they believe they have the moral high ground.

3. Chronic Self-Sabotage

A character who intentionally undermines their own success, perhaps due to deep-seated feelings of unworthiness, pushing them into frustrating, cyclical failures.

4. Emotional Numbness

Rather than feeling too much, this character feels too little. Their lack of emotional response to critical moments creates isolation and makes it difficult for them to connect with others.

5. Fixation on Legacy

This character is obsessed with how they’ll be remembered after death, often sacrificing present relationships and happiness for a future that’s uncertain.

6. Fear of Irrelevance

A character-driven by the fear that they no longer matter, constantly seeking validation or pursuing extreme measures to stay important in their social or professional circles.

7. Addiction to Novelty

Someone who needs constant newness in their life, whether it’s experiences, relationships, or goals. They may abandon projects, people, or causes once the excitement fades, leaving destruction in their wake.

8. Compulsive Truth-Telling

A character who refuses to lie, even in situations where a lie or omission would be the kinder or more pragmatic choice. This flaw causes unnecessary conflict and social alienation.

9. Over-Identification with Others' Pain

Instead of empathy, this character feels others' pain too intensely, to the point that they can’t function properly in their own life. They’re paralyzed by the suffering of others and fail to act effectively.

10. Reluctant Power

A character who fears their own strength, talent, or influence and is constantly trying to shrink themselves to avoid the responsibility or consequences of wielding it.

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writersintuitioninstinct · 9 months ago

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The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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