ajaxmustdie - Tumblr blog

ajaxmustdie · 1 month

Note

your vocab is really rich, what's ur secret

oh! uhm... excellent question!

Read! And every time you stumble upon a word you've never noticed before or know but don't often use, put it in a list, write down its meanings, and try using it the next time you write! (I'll put my list after the cut)

Read different things! Different authors and different styles, especially poetry! I mean, if you're looking to fatten your vocab, reading poetry is one of the best ways to do it. Poetic writers must search far and wide for the perfect words to create rhymes and rhythms and audibly pleasing sentences---they practically do all the work for you! Honestly, I am so serious about this. One of the best things you can do is buy a fat compendium of poetry with all different authors and eras. Get you some Edgar Allen Poe, Sylvia Plath, Emily Dickinson, and Shakespeare if you want to hurt your head. Also! The same goes for music! Try listening to the lyrics---you'll probably hear some words you've never thought of using in your writing.

Here's a cheap trick for bilinguals---write something in your own language and put it through Google Translate. Honestly, I've found so many words just by doing this.

Every time you feel you've used a word too much, or anytime a word bores you to read, search up its synonyms and try using something you've never used before---don't stop the search until you're satisfied. Sometimes, it takes me more time to find just one word than it takes to write an entire post. Not only does this enrich your vocab, but you've probably just written a whole other sentence with newer meanings and more nuance!

Make your own synonym lists! Seriously! Because you can only find that many creative synonyms by searching up "word+synonyms."

Additionally! Think outside the box! Often, the best synonyms are those words that aren't actual synonyms at all. If you read poetry, you'll see poets use unorthodox words in place of something all the time---it's called a metaphor. Take flesh, for example---you can use fat, meat, muscle, brawn, beef---but you can also use cake, down, plume, pillow, softness, etc... I find this one especially useful for writing erotica, as you have to describe a lot of the same actions and body parts over and over and still make it interesting. (I'll add my synonyms list after the cut)

Also! This one is trickier, but instead of using words and synonyms, try making sentences that can replace the word instead---such as longer metaphors and fuller descriptions! This aligns with the literary device of "showing vs. telling." Of course, outright telling has its uses too and should not be disbarred entirely from writing, but often, it's showing that persuades the reader more. For example, instead of saying nervous, make sentences that describe how the character in question showcases nervousness---does their throat close up, do they sweat, do their eyes go wide, do they stutter, do they fiddle with their fingers, pick their nails, bite their lip, kick the ground, hunch their shoulders, look away, blush, flush, cry, run away or do they feel stuck? Describing these things helps the reader better understand the type of nervousness the character is experiencing. Hence, it makes for not only more interesting writing but also clearer writing!

A similar literary device is "focus and expanding," which slows down the reading or puts focus on certain aspects of the text by describing something to a great extent. If, say, this nervousness the example character is experiencing is of great significance, then that's what the readers' takeaway should be. But the reader won't think too much of it if the text simply states that they're nervous without underlining it. Luckily, there are plenty of ways of doing that, firstly through showing vs. telling, such as in the examples above, then metaphorically, such as "the ground seemed to swallow him up, down the guzzle of a monster with an appetite for disaster---darkness ensued like a storm cloud, cold and clawing with a weight heavy enough to nail him to the spot---all eyes were on him, unblinking and all-seeing, no matter what, he couldn't escape, he was stuck, glued to the ground by the soles of his shoes." I mean, the options are truly endless. These metaphors piled together are also a form of focusing and expanding, but you can take it even further than that by focusing on a small detail and giving it significance. For example, say the character is sweating because he's so nervous---you might focus on a single droplet of sweat instead of everything else, "A chill ran down his back. No, not a chill--sweat. Cold and creepily tracing the rigid bones of his spine. He can't move--if he moves, then they'll see. The sweat will seep into his shirt, and everyone will know what a sweaty and pathetic wreck he is. So, he can't move. No, yes, leave it alone. The droplet continues, running down the cold skin of his clammy back, sliding undeterred until meeting the band of his boxers and disappearing in the fibers. He swallows thickly and sighs with relief--only for another to pill at his nape, tracking the same course as the former. A vicious cycle is forming. He needs to get out of there!" And that's focus and expanding, folks! Focusing on something minuscule and expanding it by using it to describe what the character is feeling. It's a way to have a fresh take on something that's been written a thousand times before, such as "he was nervous."

Anyway, I might have gone a little above and beyond, but really, all these literary devices are ways of "expanding vocabulary" or at least giving an impression of it.

NEW WORDS

Manically---like a maniac

Despotic---like a dictator, having unlimited power over someone, often using it unfairly and cruelly

Chasm---a deep fissure, like a ravine, wound, or metaphorical rupture

Shunts---track-change basically, scoots to the side

Dearth---a scarcity or lack of something, a shortage

Raucous---making a harsh or loud noise

Innocuous---not harmful or offensive---harmless and safe, but also bland and unremarkable, maybe even a little boring

Lanyard---the woven necklace of a festival pass

Gossamer---fine spiderwebs, almost mesh

Cossetted---care for and protect in an overindulgent way

Beribboned---decorated with many ribbons

pupil-fat---cool way of saying enlarged pupils

Chitters---snickers, like a bird

Decadent---corrupt, depraved

Blotting---either soak up and absorb, or stain, or obscure

Barbell---a bar “pole” with attachments on each side

Bunting---of animals, when they butt or rub their head against you

Garnet---red

Cherubic---angelic, plump cuteness, quality of a child

Haunches---hips

Sodden---soaking

Waxing poetic---speaking in a flowery or poetical fashion

Inkwell---a container for ink---a dark well

Rend---tear in two, or more pieces

Ebb---recede, go back, like a tide wave

Webbed---like a duck's feet

Cloying---sickly sweet

Saccharine---oversweet

Apple of your cheek

Swathes---wrap, swaddle

Shroud---obscure something

Moonstone---to describe something grey and dusty, but pretty

Kinked---tangled, messy

Leaden---heavy, dull, slow or the colour of lead, grey

Stygian---devoid of light and brightness, hellish

Flaxen---of hair, champagne colored---ashy blonde

Tepid---lukewarm

SYNONYMS

Related to sucking cock:

Swallow

Glug

Drink

Eat

Guzzle

Receive

Take

Suck

Suckle

Slobber

Gargle

Gurgle

Drool

Gulp

Gobble

Stuff

Glut

Choke

Gag

Lap

Lick

Kitten-lick

Slurp

Allow entry

Related to kissing:

Kiss

Lock/brush lips

Tongue-feed

Suck faces

Smooch

Peck

Snog

Canoodle

Related to biting:

Bite

Graze

Nip

Nibble

Sink teeth into

Chomp

Related to crying:

Whimpering

Mewling

Bleating

Whining

Snivel

Sniffle

Cry

Sob

Bawl

Hiccup

Spluttering

Blubbering

Coughing

Croaking

Related to pre-cum:

Ooze

Leak

Weep

Well

Drip

Dribble

Flow

Drain

Bleed

Sweat

Seep

Pill

Pearl

Cry

Related to fear and panic:

Hysterical

Wild

Manic

Uncontrolled

Unrestrained

Frantic

Frenzied

Restless

Hectic

Sporadic

Swivel-eyed

Related to screaming:

Scream

Yell

Wail

Yelp

Yip

Yammer

Squawk

Howl

Squeal

Shriek

Related to moaning:

Moan

Whine

Yelp

Purr

Hum

Croon

Related to overstimulated moaning:

Mumble

Croon

Warble

Quaver

Burble

Bumble

Hum

Slur

Ramble

Mutter

Whisper

Stammer

Stutter

Scramble

Jumble

Muddled

Babble

Blubbered

Splutter

Blurt

Related to groaning:

Groan

Grunt

Growl

Grumble

Grouch

Hiss

Guttural

Feral

Rusty

Throaty

Wet

Sloppy

Related to angry noises:

Howl

Roar

Bark

Grizzle

Grump

Related to surprise or fear:

Gasp

Gulp

Choke

Suck in a sharp breath

Flinch

Jump

Jostle

Wince

Hiss

Pull back

Related to comforting:

Coo

Fuss

Comfort

Hush

Shush

Tsk

Mollycoddle

Nurse

Cuddle

Babying

Consoling

Soothe

Loving

Smothering

Hug

Hug tight

Cocoon

Snuggling

Swaddling

Rock back and forth with

Cosseting

Petting

Overwhelm

Related to begging:

Beg

Pleading

Pray

Bargain

Related to soreness and pain:

Ache

Sore

Throb

Swollen

Fattened

Welted

Related to taking cock inside entrance:

Swallow

Receive

Take

Suck inside

Stuff

Fill

Allow entry

Submit to

Ease inside

Bully inside

Squeeze inside

Force inside

Push

Pry

Related to how the hole squeezes:

Kissing

Fluttering

Hugging

Pressing

Squishing

Squeezing

Tightening

Pulsing

Related to a wet hole:

Slush

Squelch

Squishy

Creamy

Sloppy

Wet

Soaked

Slosh

Sop

Cry

Slick

Weep

Drool

Gush

Swollen

Velvety

Gummy

Cotton

Silken

Satiny

Related to thrusting:

Squeeze into

Pound

Jam

Ram

Rut

Loll

Rock

Thrust

Stuff

Bottom out

Fill

Fit

Nestle

Cram

Prodding

Poking

Kissing

Hammering

Jack-hammer

Smack

Slap

Ream

Related to pleasure:

Ecstatic

Opium-eyed

Euphoric

Elated

Thrilled

Blissed-out

Rapturous

High

Cloudy

Numb

Related to overstimulation:

Overstimulated

Outdone

Aching

Burning

Sweating

Feverish

Delirious

Febrile

Numb

Immobile

Dazed

Dull

Related to being dumb, high, or overstimulated:

Ditzy

Dumb

Clumsy

Silly

Foolish

Giddy

Brainless

Dizzy

Fuzzy

Dopey

Whimsical

Fickle

Featherbrained

Daft

Hare-brained

Awkward

Graceless

Blundering

Bumbling

Klutzy

Clueless

Cloddish

Dense

Related to the body and the flesh:

Tender

Supple

Soft

Creamy

Plush

Doughy

Cakey

Downy

Pillowy

Malleable

Squeezable

Biteable

Pliable

Touchable

Putty

Plume

Related to cuteness:

Cute

Cherubic

Adorable

Sweet

Soft

Precious

Darling

Lovable

Endearing

Baby

Related to weak or smallness:

Breakable

Brittle

Weak

Fragile

Dainty

Delicate

Frail

Flimsy

Vulnerable

Petite

Small

Little

Tiny

Feeble

Defenseless

Powerless

Helpless

Worthless

Hopeless

Related to struggling:

Struggle

Winding

Striving

Straining

Toiling

Playing

Wriggle

Wiggle

Twist

Shake

Tremor

Shiver

Quake

Related to men:

Vulgar

Loud

Oafish

Rough

Rude

Rustic

Gruff

Gross

Doltish

Barbaric

Bearish

Beastly

Churlish

Coarse

Swinish

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ajaxmustdie · 1 month

Note

any more writing advice? the last one was so helpful!

oh yeah, for sure!

I covered improving language and wording in the last post.

In this post, I'll first focus on constructing balanced sentences and text and then move on to more fundamentals of story writing, mainly the power of persuasion.

Alternate the length of your sentences. Here’s an example from an old post of mine: “He’s bad. He doesn’t try to be, but he’s lost count of how many times he’s promised to be better, only to break someone's heart. He’s controlling and possessive, prone to jealousy and harsh words. He can’t handle seeing something that’s supposed to be his with someone else—be it a friend, a coworker, or even the fucking cashier at the supermarket. He just can’t accept it. In his rational, he knows it’s beyond stupid, but his gut still fizzles with rage, and his heart twists and hardens up like a fist—he just can’t help it. His emotions are stronger than his reason.” Notice how the sentences alternate from short to long, then longer and short again? This gives it that rhythm that makes it smoother to read. If all the sentences were long, it would be tedious and tiring to read, and if all the sentences were short, it would feel bumpy, like someone was constantly hitting the breaks.

Additionally, if we take the same example and you’re like me and enjoy running sentences, you’ll want to create this rhythm with pauses such as em dashes and commas to help the reader slow down. Em dashes are also perfect for introducing a character's thoughts, like this: “Manicured hands tussled in his pretty white locks, pulling on him while sucking each other’s faces, leeching off the feeling of his hands grabbing your waist—oh god, it feels good to be wanted again.”

Another standard piece of advice is to avoid starting your sentences with the same word. Especially when you’re writing actions, it’s easy to fall into the habit of “He did this. He did that. He said this. You reacted like this. You responded like that. You then did this.” but as you’re getting annoyed reading this, it’s safe to say it’s not a very good habit. Example: “C’mon—you’re angry, aren’t you?” he asks with a quirked brow. He pauses for a moment, then states, “What better way to stick it to him than fucking the hottest guy around?” You’re stunted by this. You suppose that had been exactly what your objectives were tonight, unknowingly and much to your shame. You can at least find some mediocre solace in your next words. “I’m not that kinda girl,” you confess. It’s kind of awkward to read, right? Here it is again, fixed: “C’mon—you’re angry, aren’t you?” he asks with a quirked brow. “What better way to stick it to him than fucking the hottest guy around?” It stunts you. Suppose that had been your exact objectives tonight, unknowingly and much to your shame. At least you can find some mediocre solace in your next confession, for as it turns out, “I’m not that kinda girl.” It’s smoother, isn’t it? It’s essentially the same sentences relaying the same actions and inner thoughts, but with rearranged words making it just the right amount of different.

Also, trust your reader! In the same example, you can see that unnecessary sentences and words have been scrapped as they’re already implied by context. Let your readers read between the lines! Too much explanation becomes tedious, especially when that information isn’t all that important.

Additionally, in the same spirit, you need to be careful where you put your details. Of course, you can approach a scene by vividly explaining everything, from character A’s freckles to the tiny scar they have on their chin or the fact that they have pierced ears but aren’t wearing any earrings. All of that detail is nice, and there are times to get into it, but if it serves no purpose to the current scene then it shouldn’t be brought up. If said character A is being observed by character B, then those descriptive details serve a purpose. But if character A is at home, then those details become redundant. Your reader is always looking for clues, so when the writer throws in details and descriptions that serve no value, it’s only going to confuse the reader—worst case, even pull them out of the story. “Character A is as kind as she is beautiful—everybody who knows her loves her. Oh, and she has a dog.” Unless that dog serves a purpose in the story, it’s an unnecessary detail. The same goes for giving your characters specific outfits and such. Facts without further value should be taken away. They only serve to distract the reader and distort the writing.

This next tip is kind of complex, but it pertains to a story’s power of persuasion. It goes without saying that any story’s main goal is to convince the reader of its characters and plot integrity and credibility. In layman's terms, shit has to make sense. For example, you can’t introduce character A as a bully without reason, nor can you suddenly give them an unexplained or inconsistent soft side. Even though we enjoy bullies with a soft side. You need to sell us the narrative and answer our curiosities. Why is he a bully? Why is he nicer to character B? What makes character B special? Try to fill as many plotholes as you can, and if not, then address their absurdity or try to avoid making them in the first place. Examples of this: Filling the plothole—A bullies because of his inferiority complex caused by his obvious lack of academic skill, but B is A’s childhood friend and is therefor the only one spared. (Here, everything is given a reason behind it.) Addressing the plothole—B doesn’t know why A bullies the way he does nor why he’s different with them… he’s just always been that way. (Here, things are still shrouded in mystery, but since we’re seeing it from B’s perspective, it makes sense that we wouldn’t know the whole story.) Avoiding the plothole—A’s a born bully. Growing up the way he did, it would be surprising if he ended up any different. A doesn’t treat B any different—they’re just another loser making themselves an easy target. However, unexpectedly, B fights back. A is flabbergasted by this new development. An interest in B blossoms in A. (This one is similar to filling the plothole, but instead of providing backstory, it makes a plot out of what would have been a pothole.)

I tend to see plotholes like this in a lot of character-x-reader fanfics. They usually stem from a writer's decision to treat the reader as someone special without giving them any characteristics or extraness that would make them special in that universe. “Character A was captivated by readers beauty in a single glance,” isn’t very convincing or satisfying or any amount of original. Of course, it depends! Though there are exceptions, usually, banking the entirety of character A’s obsession with reader on their looks is relatively boring and questionable. Again, in laymen’s terms, it just doesn’t make much sense—after all, there are a million other fish in the sea. What makes the reader's beauty any different from any other person on the street? This is the unanswered question readers will be left with. Even though it would be nice to believe my beauty trumps everyone else's—it isn't very believable. As such, the story loses it's power of persuasion. So! Make the reader special in ways that would make them different in the universe you’re writing—and not something so superficial or unconvincing such as their unmatched looks. That being said, it doesn’t need to be anything groundbreaking and nor should it, as that as well can break the fragile element of believability we’re trying to maintain. Don’t make reader the most special person in the world—that’s cringe and otherwise unconvincing. Avoid this by lowering the bar and making them special to character A specifically, not the entire universe.

Here are some examples of this with characters from fandoms:

BNHA To Bakugou, Deku, and Overhaul, a quirkless reader would be special. To Shinso and Aizawa, a reader with a cat quirk would be special. To Shigaraki, a reader with a nullification quirk would be special. To Hawks, a reader with a bird quirk would be special. To any of the characters, a reader with a quirk that compliments, contrasts, or is similar would be special.

JJK To Gojo, Sukuna, and Mahito, for different reasons, a reader with a nullification technique would be special. To Geto, a reader without cursed energy (monkey) would be special. To any of the characters, a curse reader would be special. Especially if you make them compliment the characters. Example text here.

Here are some other classic examples:

Childhood friends Rivals Roommates Neighbors Brother or sister's friend Classmates Coworkers B works at a place A frequents Assignment partners Arranged marriage

Also, dynamic contrasts work well:

Royalty x commoner Jock x nerd Boss x secretary Beauty x beast

More examples of tropes here

Now, I’m not saying a reader has to be made special. Character A can like them for any dull reason, such as accidentally bumping into them on the street. But! If you’re going to preach about how special the reader is, then there had better be a better reason than “they’re prettier and kinder than everyone else,” as that feels superficial, boring, and most importantly, unbelievable.

I suppose, especially when it pertains to this, believability is a lot related to what's relatable. If your reader-character is the kindest, most beautiful person in the world, then your readers' relatability to that character is most likely drastically stretched. And maintaining the power of persuasion becomes hard.

Again, there are exceptions to this! Sometimes it works! Sometimes, that's the fantasy, and it's done perfectly!

But! Just food for thought, you can always ask yourself, “Is this convincing? Do the characters and their actions make sense? Are there any details that are there just for fun? Do they serve a purpose? Does anything feel out of place, awkward, or cringe?”

Asking these questions and altering your story depending on the answers will help you maintain your story's power of persuasion, which tends to separate good writing from unfinished writing riddled with plotholes and tedious information.

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