cathedralreims - Tumblr blog

[cathedralreims]

On Jew-Coding

thinking about like, jew-coding, and how often people point to whatever greedy little assholes exist in any given media property and go ‘those are an antisemetic depiction of jews’ and it’s like, thanks, i guess, but why were you connecting those two dots in the first place, so here we go! quick and messy guide to checking if a character is jew-coded in a Good or Bad way.

BAD JEW-CODING i.e, if this makes you think a character is jewish, you’re the asshole here (and possibly so is their writer):

-ugly little creature

-greedy

-thick accent

-mercantile and mercenary

-hateful

-conniving / scheming / tricksy

-cowardly

-unusually ‘swarthy’/ oddly colored

-big strident violent females and cringing wimpy little males

shadow council of beardy elders

-from new york (solidarity shout out to italians)

NEUTRAL JEW-CODING i.e, these are just common characteristics of many jews you can meet in real life:

-short

-curly hair

-regarded with confusion and suspicion by Normal Folks

-from new york

GOOD JEW-CODING i.e these character traits reflect real jewish values and which jewish people will themselves enthusiastically Vibe With:

-argumentative, curious, always searching and questioning

-kvetching, i.e, extended but humorous bitching about every last little thing

-sardonic and mocking sense of humor / punches up (and well above their weight class)

-extremely difficult to control and suppress, refusing to play by rules that don’t serve them

-defiant, rebellious, even spiteful towards agents of authority

-involved in arts, crafts, science, and social reform, multidisciplinary

-surviving and even thriving in a marginalized social status

-creative and incredibly annoying nonviolent resistance

-believes in restitution, not redemption, i.e transgressors should attempt to fix what they have broken rather than be forced to suffer an equal amount to the harm they have dealt

-plays with binaries but doesn’t take them very seriously; fluid and creative approach to if/then black/white good/bad dichotomies

-values wealth specifically as a way to safeguard life, health, safety, and justice; does not ever value material goods above a sentient life

-quietly but perpetually Big Mad

-from new york if it’s funny

[cathedralreims]

Unreliable narrators need to add something to the story. They aren’t an excuse for poor storytelling and inconsistencies.

[cathedralreims]

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

[cathedralreims]

do you have any writing exercises for describing locations? :)

Use all the senses. What does the place look, sound, smell, and feel like? What kind of props, furniture, color, scheme, or plant life is there? How does it make you or your character feel/react? After you’ve done this, trim the details that only clutter your story.

Describe a place you’ve been that you remember well. For me it’s a section of country road I found breathtaking as a kid and have never stopped loving.

Look around you and find something, or several things, to focus on. Describe them down to their finest detail; the water stains on a steel drinking fountain, the uneven grain of a faux wood door, the alien-looking stereo system, or the dust bunny hanging from a wall vent.

In any location, ask yourself “If was kidnapped and held captive here but found a phone, how would I describe where I was to the police?” Look for exits, objects you could use to break windows or pick locks, survival supplies, and information that would tell you where you are.

In any location, ask yourself “If I was on the run from the police or Big Brother, what in this area would get me caught?” Look for cameras, spies, sensors, and anything on you personally that could be tracking you (same rules apply if you’re planning to hypothetically commit a crime).

In any location, imagine you’re answering questions for a space alien, time traveler, or foreign immigrant about your surroundings.

In your home/bedroom, imagine you’re an investigator or that you have amnesia and must learn about yourself from your personnal belongings. Describe what you see and what it might say about you to someone who doesn’t have you there to explain it.

These are all the exercises I’ve practiced personally that I can remember. Hope you find them useful!

+ HEY, Writers! other social media: Wattpad - Pinterest - Goodreads

+ Support HEY, Writers! and Buy Me A Coffee?

[cathedralreims]

Words to describe facial expressions

Absent: preoccupied 

Agonized: as if in pain or tormented

Alluring: attractive, in the sense of arousing desire

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

Beatific: blissful

Black: angry or sad, or hostile

Bleak: hopeless

Blinking: surprise, or lack of concern

Blithe: carefree, lighthearted, or heedlessly indifferent

Brooding: anxious and gloomy

Bug eyed: frightened or surprised

Chagrined: humiliated or disappointed

Cheeky: cocky, insolent

Cheerless: sad

Choleric: hot-tempered, irate

Darkly: with depressed or malevolent feelings

Deadpan: expressionless, to conceal emotion or heighten humor

Despondent: depressed or discouraged

Doleful: sad or afflicted

Dour: stern or obstinate

Dreamy: distracted by daydreaming or fantasizing

Ecstatic: delighted or entranced

Faint: cowardly, weak, or barely perceptible

Fixed: concentrated or immobile

Gazing: staring intently

Glancing: staring briefly as if curious but evasive

Glazed: expressionless due to fatigue or confusion

Grim: fatalistic or pessimistic

Grave: serious, expressing emotion due to loss or sadness

Haunted: frightened, worried, or guilty

Hopeless: depressed by a lack of encouragement or optimism

Hostile: aggressively angry, intimidating, or resistant

Hunted: tense as if worried about pursuit

Jeering: insulting or mocking

Languid: lazy or weak

Leering: sexually suggestive

Mild: easygoing

Mischievous: annoyingly or maliciously playful

Pained: affected with discomfort or pain

Peering: with curiosity or suspicion

Peeved: annoyed

Pleading: seeking apology or assistance

Quizzical: questioning or confused

Radiant: bright, happy

Sanguine: bloodthirsty, confident

Sardonic: mocking

Sour: unpleasant

Sullen: resentful

Vacant: blank or stupid looking

Wan: pale, sickly

Wary: cautious or cunning

Wide eyed: frightened or surprised

Withering: devastating

Wrathful: indignant or vengeful

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

[cathedralreims]

so I’m looking at short story publishers (fantasy)

Tor, cream of the crop. 25 cents a word. Stories can be read for free (YES). Slowish response time at ~3 months. Prefer under 12k, absolute maximum is 17.5k. Don’t bother if it’s not highly professional quality. SFWA qualifying.

Crossed Genres. 6 cents a word. Different theme each month (this month’s is “failure”). Submissions must combine either sci-fi or fantasy with the theme. Response time 1 month. 1k-6k, no exceptions. SFWA qualifying.

Long Hidden, anthology from CG. 6 cents a word. 2k-8k, no exceptions. Must take place before 1935. Protagonist(s) must be under 18 and marginalized in their time and place. Must be sci-fi/fantasy/horror. Deadline 30 April. Response by 1 October.

Queers Destroy Science Fiction. Sci-fi only right now, author must identify as queer (gay, lesbian, bi, ace, pan, trans, genderfluid, etc, just not cishet). 7.5k max. Deadline 15 February. Responses by 1 March. You can submit one flash fiction and one short story at the same time. (My network blocks the Lightspeed site for some reason, so I can’t get all the submission details. >_>) Probably SFWA qualifying?

Women in Practical Armor. 6 cents a word. 2k-5k. Must be about 1) a female warrior who 2) is already empowered and 3) wears sensible armour. Deadline 1 April. Response within three months.

Fiction Vortex. $10 per story, with $20 and $30 for editor’s and readers’ choice stories (hoping to improve). Speculative fiction only. Imaginative but non-florid stories. 7.5k maximum, preference for 5k and under. (I kind of want to support them on general principle.)

Urban Fantasy Magazine. 6 cents a word. 8k max, under 4k preferred. Must be urban fantasy (aka, the modern world, doesn’t need to be a literal city). 

Nightmare. 6 cents a word. 1.5-7.5k, preference for under 5k. Horror and dark fantasy. Response time up to two weeks. SFWA and HWA qualifying.

Apex Magazine. 6 cents a word. 7.5k max, no exceptions. Dark sci-fi/fantasy/horror. SFWA qualifying.

Asimov’s Science Fiction. 8-10 cents a word. 20k max, 1k minimum. Sci-fi; borderline fantasy is ok, but not S&S. Prefer character focused. Response time 5 weeks; query at 3 months. SFWA qualifying, ofc.

Buzzy Mag. 10 cents a word. 10k max. Should be acceptable for anyone 15+. Response time 6-8 weeks. SFWA qualifying.

Strange Horizons. 8 cents a word. Speculative fiction. 10k max, prefers under 5k. Response time 40 days. Particularly interested in diverse perspectives, nuanced approahces to political issues, and hypertexts. SFWA qualifying. 

Fantasy and Science Fiction. 7-12 cents a word. Speculative fiction, preference for character focus, would like more science-fiction or humour. 25k maximum. Prefers Courier. Response time 15 days.

Scigentasy. 3 cents a word. .5-5k. Science-fiction and fantasy, progressive/feminist emphasis. Fantastic Stories of the Imagination. 15 cents a word. 3k maximum. Any sci-fi/fantasy, they like a literary bent. (psst, steinbecks!) They also like to see both traditional and experimental approaches. Response time two weeks. 

Beneath Ceaseless Skies. 6 cents a word. 10k maximum. Fantasy in secondary worlds only (it can be Earth, but drastically different—alternate history or whatever). Character focus, prefer styles that are lush yet clear, limited first or third person narration. Response time usually 2-4 weeks, can be 5-7 weeks. SFWA qualifying.

Clarkesworld. 10 cents a word up to 4000, 7 afterwards. 1-8k, preferred is 4k. Science-fiction and fantasy. Needs to be well-written and convenient to read on-screen. Appreciates rigour. No talking cats. Response time 2 days. SFWA qualifying.

Orson Scott Card’s Intergalactic Medicine Show. 6 cents a word. Any length. Science-fiction and fantasy (along with fantastic horror). Good world-building and characterization. Clear straightforward prose. Response time three months. Yes, OSC is editor-in-chief. SFWA qualifying.

Interzone. Sub-pro rates if anything (but highly respected). 10k max. Short cover letter. Science-fiction and fantasy.

[cathedralreims]

I have a mute character in the story I’m writing and one of my beta readers suggested I use italics when they sign so that I don’t have to keep peppering “they signed” or “their hands flashed” throughout the piece.

But like…I always read italics in a different tone like they’re thoughts. It seems quieter than using normal quotations which makes what they say look less significant on the page than other character’s dialogue.

I really don’t think my audience needs me to use completely different punctuation around a mute character. There’s no need to act like they’re speaking a different language since their muteness isn’t a focal point in the story.

So really this reader’s comment has done the complete opposite of what they intended. Now I’m actively taking out as many of my “hands flashed” notations as possible and just writing in normal body language because, clearly, the other characters understand them and my audience doesn’t need to be coddled.

[cathedralreims]

Tips on writing sign language

Disclaimers: while I have been learning ASL (American Sign Language, I am not yet fluent. Also, I am not deaf. Both of these things being said, I have been learning ASL for nearly a year and I’ve been doing independant research about the language itself and the Deaf community. What I’ve listed below are things that I have learned from my own personal experience signing, what I’ve learned in my ASL class, and what I’ve learned from my independant research.

1) When you write signed dialogue, use quotation marks and everything else you would use for any other type of dialogue. Yes, I know they didn’t do that in the Magnus Chase series, but many Deaf readers were made uncomfortable at the choice to depict sign language as not speech. Establish early on that the character signs and then use tags such as “xe signed,” or “hir motions were snappy with irritation.”

2) Without facial expressions, someone’s signs are going to be almost meaningless. All of the grammar is in the face, as are some descriptors. For example, if you can’t see a character’s face, and you’re only looking at their hands, the signs would be the same for the statement “Xe doesn’t have dogs.” and the question “Does xe have dogs?” 

3) There is no such thing as fluent lipreading. The best lipreaders in the world can only understand about 70% of what’s being said, and factors such as darkness, the presence of mustaches, lack of context, and a bunch of other common things can easily lower that ability. If someone’s lipreading, they’re taking little pieces of what they can lipread, and stitching together context and other details to get a general picture of what’s going on, but there’s still always going to be holes.

4) If you’re writing a character who can’t hear, know the difference between deaf (lowercase d) and Deaf (uppercase D). The medical term for not being able to hear anything is deaf. People who use their deafness as part of their identity are referred to, and refer to themselves as Deaf. They are part of the Deaf community.

(more tips below cut)

Keep reading

[cathedralreims]

me every time i spend over $50 on something, no matter how worthy of my money it is: oh god. what have i done. what have i just done. what have i

[cathedralreims]

Words for Skin Tone | How to Describe Skin Color

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“ 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[cathedralreims]

Body Language Cheat Sheet for Writers

As described by Selnick’s article:

Author and doctor of clinical psychology Carolyn Kaufman has released a one-page body language cheat sheet of psychological “tells” (PDF link) fiction writers can use to dress their characters.

[cathedralreims]

something to remember when writing characters who use they/them pronouns:

an issue i see a lot in various excerpts when using the singular they pronoun is unintentional pluralization! changing ‘themself’ to ‘themselves’ isn’t grammatically correct when referring to a singular they-using character

instead of saying ‘they took it upon themselves to help’, say ‘they took it upon themself to help’

instead of saying ‘they themselves were well known in the area’, say ‘they themself were well known in the area’

instead of saying ‘they did it by themselves’, say ‘they did it by themself’

thank you for reading! the singular they is not ungrammatical, but the way some authors use it is, and it’s important to use it as correctly as you would any other pronoun

[cathedralreims]

Tips on writing sign language

Disclaimers: while I have been learning ASL (American Sign Language, I am not yet fluent. Also, I am not deaf. Both of these things being said, I have been learning ASL for nearly a year and I’ve been doing independant research about the language itself and the Deaf community. What I’ve listed below are things that I have learned from my own personal experience signing, what I’ve learned in my ASL class, and what I’ve learned from my independant research.

1) When you write signed dialogue, use quotation marks and everything else you would use for any other type of dialogue. Yes, I know they didn’t do that in the Magnus Chase series, but many Deaf readers were made uncomfortable at the choice to depict sign language as not speech. Establish early on that the character signs and then use tags such as “xe signed,” or “hir motions were snappy with irritation.”

2) Without facial expressions, someone’s signs are going to be almost meaningless. All of the grammar is in the face, as are some descriptors. For example, if you can’t see a character’s face, and you’re only looking at their hands, the signs would be the same for the statement “Xe doesn’t have dogs.” and the question “Does xe have dogs?” 

3) There is no such thing as fluent lipreading. The best lipreaders in the world can only understand about 70% of what’s being said, and factors such as darkness, the presence of mustaches, lack of context, and a bunch of other common things can easily lower that ability. If someone’s lipreading, they’re taking little pieces of what they can lipread, and stitching together context and other details to get a general picture of what’s going on, but there’s still always going to be holes.

4) If you’re writing a character who can’t hear, know the difference between deaf (lowercase d) and Deaf (uppercase D). The medical term for not being able to hear anything is deaf. People who use their deafness as part of their identity are referred to, and refer to themselves as Deaf. They are part of the Deaf community.

(more tips below cut)

Keep reading

[cathedralreims]

Kisses I want to write about:

Goodbye kisses: Lingering and hard for longer times apart. Ones that curve A’s body against B’s and cause hands to splay against backs. Or short pecks, maybe not even completely on the mouth for short trips to the grocery store. Hello kisses: After long periods apart, these can include A picking up B and spinning them around. Fingers pressing into cheeks, palms cupping necks, and breathless laughs when they finally come up for air. Breathless kisses: A series of short pecks because they need the closeness but they also need air, so. Sometimes smiles come in between, or sometimes its just breath, gasping for the sole purpose of being able to kiss again. Heated kisses: Breath huffing into mouths, angrily or passionately. Hands grabbing at clothing and pulling each other closer. First kisses: Hesitant and nervous. Lips hover inches from each other for a few seconds before they just barely brush. It’s just a soft press, but it ignites their entire bodies. Pinkies link afterwards, still wanting to be close, and each looks down, smiling softly. After sex kisses: Lazy, slow presses. Limbs pressed together, chests heaving. Soft murmurs about what to do for dinner later, fingers trailing down backs, tracing lazy patterns. B rolling onto their back and A trailing their lips down their neck, kissing their shoulder, their chest, anywhere they can think of, memorizing B. Morning kisses: Barely awake kisses that usually end up on jaws or cheeks because A is too tired to land it properly. B makes a sleepy sound and rolls into A, nuzzling their face into their neck, ankles hooking together, while A drapes their arms around B and they fall back asleep for a while. Post-break up kisses: Soft and slow. Hands on each other’s arms in a way that neither can tell if the other is pushing away or pulling closer. The kiss ends with their foreheads pressed together, neither wanting it to be true that this is happening. Christmas kisses: More smile than actual kiss. A holds mistletoe above their heads while B rolls their eyes, but pulls A down by the collar of their ugly Christmas sweater for a heated kiss. A takes B by the waist and walks forward until they are around the corner, away from the prying eyes and hoots of the rest of their friends and family. Comforting kisses: B walks into find A sitting on the bed, shoulders shaking, cheeks wet. A looks up, face looking stricken for a moment. B is shocked, and quietly says A’s name. At this, A breaks, face crumpling, and only barely has time to reach both hands out for B before B is there, kneeling at A’s feet. B takes A’s hands first, kissing their knuckles and palms. Then B reaches up to hold A’s face, pressing soft kisses around their cheeks, their lips, murmuring “it’s okay” and “you’re alright” and “I’m here” in between. “I thought I lost you” kisses: The breath is knocked out of both of them with the force that they collide with. Hands grip the back of t-shirts and palms are pressed up and under shirts, holding them close, feeling the warmth of their skin. Palms are pressed to cheeks, thumbs swiping away tears until their mouths collide messily, the world seeming to disappear around them. “We can’t do this” kisses: Fists clenched, hands shoved into pockets. Brows low or brought together, jaws clenched. A feeling like a magnetic pull between them. Their foreheads press together, their lips brush, just barely, until B pulls away with a shaking exhale, forehead dropping into A’s neck. “Come to bed” kisses: A has their hands on B’s neck, murmuring the phrase softly. A’s hands slide down B’s arms to their hands, lacing their fingers together and slowly starting to pull B towards their bedroom. A continues to pepper B with kisses all the while, trailing them down their jaw and neck. “You look beautiful” kisses: Just a soft press of lips to the temple, resting them there for a moment, then smiling down and telling them as much. “I’ll be right back” kisses: A puts their hands on B’s shoulders from behind them, where they are sat on the couch. He leans down and around, while B turns his head a little, accepting the quick peck. “I missed you” kisses: Long and relentless, holding their body close, arms wrapped completely around their waist. A burying their head in B’s neck and pressing kisses there too. Angry kisses: Hard, gripping. Fists in clothes, shoving each other against walls. Fingers digging into hips. But the kisses always melt away from that. They turn into brushes of lips between shaking breaths, until they’re out of energy and are left just standing there, holding each other, fingers carding through hair. Sad kisses: Almost not a kiss at all. Just holding onto each other tightly, A’s lips pressed to B’s temple, whispering soft words, desperately trying to provide whatever comfort they can. In the dark kisses: The movie plays in the background, but A and B are hardly paying attention from the back row. They kiss soundlessly, long and soft, fingers locked. A’s arm is thrown behind B’s seat, wrist bent to curl their fingers into B’s hair. Dying kisses: A holds B in their arms, panicked, crying. Murmurs of “no, no, no.” Salt on their lips from tears. Voice cracking. Holding on tightly to their shirt, their shoulder, their hand, roughly pulling them against their body, anything to try and keep them tethered to this earth. Kissing them as they die (“no. No, stay awake—“), Kissing them once more even with the life has left their body (No. God, come back. Please, come back. Please, look at me, I’m right here”).

[cathedralreims]

A couple notes on eye color descriptions:

First, eyes are small. If someone is more than a few feet away, there’s very little chance they will notice someone else’s eye color. Same is true if it’s dark or if they’re wearing glasses.

Second, people don’t pay that much attention to eye color. Most people don’t think of others (I don’t think) in terms of eye color. I’m not actually sure of the eye color of most of my relatives or friends

Third, this is in no way a useful descriptor unless it plays an important role in the story. Harry Potter’s eye color mattered because of his mother. Hermione’s eye color didn’t.

I know eye-color hair-color skin-color is a common descriptor for people when they’re first being introduced, but try something else, and stop relying on a thing that doesn’t matter. And, especially if the story is in first person or close third person, stop having people be able to tell eye colors from unrealistic distances or in unrealistic situations, or when they wouldn’t have any reason to pay attention to them.

[cathedralreims]

Skin.

Writing with Color has received several asks on this topic.

Everything from “how do I describe my character’s skin tone without being offensive?” and “what’s the problem with comparing my character to chocolate and coffee?”

I’m hoping to address all these and likewise questions in this guide on describing POCs’ skin color, from light, dark and all that’s in between.

The Food Thing: So what’s the big deal?

So exactly what is the problem with comparing a POC’s skin tone to cocoa, coffee, caramel, brown sugar and other sweets and goods? Well, there’s several potential problems you come across when you pull out the old Hershey’s bar comparison for your dark-skinned character, even if offense is not your intention.

Keep reading

[cathedralreims]

On Deep P.O.V.

What is Deep POV?

Deep POV is a narrative technique that focuses on getting as close to the main character(s) mind / worldview as possible. It can be used in both first and third person, though it is primarily used in third-person narration to aid a connection between reader and character. The reader is not outside the character, looking in, but instead inside the character’s head, experiencing the events and feelings within them.

The Benefits

minimizes the distance between the reader and the main character(s)

helps determine when to use showing vs. telling based on the character(s) 

gives the reader (and author) a deeper understanding of the character’s worldview

reduces passive voice

adds emotional depth

The Techniques

Cut filter words, meaning words that “filter” the character’s perception of the world as it’s relayed to the reader:

“they thought”, “they knew”, “they wondered”, “they felt”

EX: instead of saying, “She knew Stacy was lying by the twitching of her lip” say, “As she spoke, Stacy’s lip twitched. She was lying.”

“they saw”, “they heard”, “they tasted”, “they could see”

EX: Instead of, “She could see the lilies swaying in the wind” why not say, “The lilies swayed in the wind. A storm? Yes. A storm.”

Avoid naming emotions outright, focus on showing them instead.

Body language, actions, what a character chooses to say in reaction to events are all ways to show how they experience emotions on a personal level.

“Mad” can mean a lot of things. For Sara, maybe it means clenched fists. For Mary, though, it means tears.

Structure your sentences linearly. Put what comes first, well, first.

EX: instead of, “Molly’s arm hurt after she punched the wall” instead say, “Molly punched the wall. Ouch. She winced. That was going to hurt tomorrow.”

For further reading:

Rivet Your Readers With Deep Point of View by Jill Elizabeth Nelson

Dos and Dont’s of Deep POV by Jeni Chappelle