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WEIRDLY SPECIFIC BUT HELPFUL CHARACTER BUILDING QUESTIONS

What’s the lie your character says most often?

How loosely or strictly do they use the word ‘friend’?

How often do they show their genuine emotions to others versus just the audience knowing?

What’s a hobby they used to have that they miss?

Can they cry on command? If so, what do they think about to make it happen?

What’s their favorite [insert anything] that they’ve never recommended to anyone before?

What would you (mun) yell in the middle of a crowd to find them? What would their best friend and/or romantic partner yell?

How loose is their use of the phrase ‘I love you’?

Do they give tough love or gentle love most often? Which do they prefer to receive?

What fact do they excitedly tell everyone about at every opportunity?

If someone was impersonating them, what would friends / family ask or do to tell the difference?

What’s something that makes them laugh every single time? Be specific!

When do they fake a smile? How often?

How do they put out a candle?

What’s the most obvious difference between their behavior at home, at work, at school, with friends, and when they’re alone?

What kinds of people do they have arguments with in their head?

What do they notice first in the mirror versus what most people first notice looking at them?

Who do they love truly, 100% unconditionally (if anyone)?

What would they do if stuck in a room with the person they’ve been avoiding?

Who do they like as a person but hate their work? Vice versa, whose work do they like but don’t like the person?

What common etiquette do they disagree with? Do they still follow it?

What simple activity that most people do / can do scares your character?

What do they feel guilty for that the other person(s) doesn’t / don’t even remember?

Did they take a cookie from the cookie jar? What kind of cookie was it?

What subject / topic do they know a lot about that’s completely useless to the direct plot?

How would they respond to being fired by a good boss?

What’s the worst gift they ever received? How did they respond?

What do they tell people they want? What do they actually want?

How do they respond when someone doesn’t believe them?

When they make a mistake and feel bad, does the guilt differ when it’s personal versus when it’s professional?

When do they feel the most guilt? How do they respond to it?

If they committed one petty crime / misdemeanor, what would it be? Why?

How do they greet someone they dislike / hate?

How do they greet someone they like / love?

What is the smallest, morally questionable choice they’ve made?

Who do they keep in their life for professional gain? Is it for malicious intent?

What’s a secret they haven’t told serious romantic partners and don’t plan to tell?

What hobby are they good at in private, but bad at in front of others? Why?

Would they rather be invited to an event to feel included or be excluded from an event if they were not genuinely wanted there?

How do they respond to a loose handshake? What goes through their head?

What phrases, pronunciations, or mannerisms did they pick up from someone / somewhere else?

If invited to a TED Talk, what topic would they present on? What would the title of their presentation be?

What do they commonly misinterpret because of their own upbringing / environment / biases? How do they respond when realizing the misunderstanding?

What language would be easiest for them to learn? Why?

What’s something unimportant / frivolous that they hate passionately?

Are they a listener or a talker? If they’re a listener, what makes them talk? If they’re a talker, what makes them listen?

Who have they forgotten about that remembers them very well?

Who would they say ‘yes’ to if invited to do something they abhorred / strongly didn’t want to do?

Would they eat something they find gross to be polite?

What belief / moral / personality trait do they stand by that you (mun) personally don’t agree with?

What’s a phrase they say a lot?

Do they act on their immediate emotions, or do they wait for the facts before acting?

Who would / do they believe without question?

What’s their instinct in a fight / flight / freeze / fawn situation?

What’s something they’re expected to enjoy based on their hobbies / profession that they actually dislike / hate?

If they’re scared, who do they want comfort from? Does this answer change depending on the type of fear?

What’s a simple daily activity / motion that they mess up often?

How many hobbies have they attempted to have over their lifetime? Is there a common theme?

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7 fool-proof ways to connect with your characters

Finding it a bit hard to connect to a certain character in your story? Here are 7 ways to get over that hump →

Start with the little things Every person has their own quirks, and so should your characters. A character might fall flat in your vision because of an absence of these small unique traits. Lean into this, think of habits they fall to when they get emotional, or weird little obsessions they linger on.

Give them a small trait of your own Don’t misinterpret this advice as writing yourself into the story! What I mean by this is to pick a small trait or a habit of your own to add a bit of yourself into a character you’re finding it difficult to connect with. This is a great trick to use if you’re writing a type of personality that differs from your own, and helps layer out character too!

Figure out what they want most Knowing a character's motivation - or what it is that actually drives them forward in the story, is one of the key things you should know about any character. If you’re finding it hard to connect to one of them, think about whether you’ve given them clear and tangible motivation within your story world.

And then figure out why they can’t get that Once you know what your character wants, what their goal might be, think of a reason why they can’t get it, or what that process of achieving the goal might be difficult for them. Usually, this works great if it comes from within - meaning that your character carries a flaw that stops them from acting on their goal.

Don’t underestimate kindness Flawed and morally gray characters are great. But don’t underestimate the power of a kind, positive trait. It’s what makes readers fall in love, and what will ultimately help you fall in love with the character, too. We don’t fall in love with a character’s  snark, but with the emotions they hide behind the snark.

Give yourself time to get to know them Sometimes you don’t immediately click with all your characters, and that’s okay. That happens. It takes time to get to know what makes them tick, sometimes it takes writing them in a scene, then rewriting them in a different way in the same scene to feel out what’s most natural to them. If a character feels distant to you, let yourself explore a different approach to how you write them.

Don’t rush into who they are It can be really fun to keep a mystery about someone. And sometimes that’s all it takes for readers to be intrigued and feel connected to a character. This can work really well for you as the author, too. Don’t rush into writing down everything about your character in the first few chapters, keep a few details for later and work up to them.

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Writing Scenes Out of Order

Gonna be honest with y'all, I have never ever written a story completely in order. I am actually incapable of doing that. Even though I write the most detailed outlines known to man before I even think about writing, I still can’t write the scenes in order. I swear by this because I sincerely believe that writing scenes out of order increases my productivity which I’ll talk about later. Even if you haven’t done this before, I recommend everyone try it at least once, so without further ado, here are a few reasons that you should write your stories out of order. 

You Can Write The Ending First

When you write your scenes in order, generally that means that you’re going to write the ending last. In my experience, the ending is one of the most important things in your story, so I recommend that even if you write everything else in order, always write the ending first. Writing the ending first always gives you a light at the end of the tunnel. It gives you a destination to eventually reach. Even when you feel like your story is going absolutely nowhere, it allows you to go back and see what you want the ending to look like from the beginning which should help your motivation and hopefully lessen that pesky writer’s block!

Oh, Those Continuity Issues 

Continuity issues are the absolute worst. I can never seem to remember the way that I described stuff at the end of the book when I’m writing everything back at the beginning. One thing that does get frustrating about writing scenes out of order, is keeping up with continuity like what season it is, what characters have already met, and even who is alive and dead at certain points. Writing scenes in order eliminates these issues because you are writing everything in the order that it happens. I would most definitely recommend keeping an outline or at least a sheet of notes when you’re writing scenes out of order, so that you can keep yourself organized and lessen the continuity issues that you have to go back and fix in later drafts!

You Can Follow Your Inspiration

I plot every scene out extensively, but if I do have an idea for a scene, I immediately write it down and worry about where it fits into the story later. For me, this increases my motivation because at least I’m writing something even if it wasn’t in my original outline. Every story has scenes that aren’t the most interesting, and as writers, those can be the hardest scenes to write. Especially if you write all of the interesting scenes first, you won’t have anything to look forward to when you’re struggling through the more transitional parts of the story. This is just my opinion, but whenever I write in chronological order, my motivation goes down a lot. I like writing whatever scenes I want to write instead of writing what comes next in the story. Knowing that I can write whatever scene I want to next makes me super excited about writing

Sprinkle In That Foreshadowing

Y’all know how much I love me some well done foreshadowing. It’s simply one of the best things about reading and writing. But, writing foreshadowing can be really complicated if you aren’t sure how the story ends or even how the foreshadowing will fit into the story later. Because I normally write the ending scenes first, when I finally get around to writing the beginning scenes, I can easily sprinkle in little bits of foreshadowing or allusions to later scenes. It also helps me not overly foreshadow anything because I can go to the end and make sure I’m not doing too much.

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How to Write Character Dialogue 

Like, in a realistic and engaging way. 

Edit: PART 2

Preemptive warning that this extremely long-winded and messy post is designed to be a vague guide to help or prompt beginners with methods they could use in writing, to help people avoid common mistakes, and to hopefully aid in developing unique methods of constructing and presenting dialogue. It's also opinionated, and heavily influenced by my own writing style.

This post will be split up into two posts detailing a macro and a micro view - macro being dialogue in general, and micro focusing on how individual characters and stories will have certain considerations. Reblog and say in the tags if you want Pt 2 on the micro-view.

The 'Macro-View'

Don't start googling that term. I made it up.

The key to making dialogue sound realistic (and, in turn, making your characters appear more like people - making them easier to empathise with) is to think about how real people talk. Very obvious, right? You'd be surprised.

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Ellipsis 

And no, not the '...' kind. We'll get to that later.

Ellipsis is a term that refers to how words can be omitted from a sentence, yet it can still be understood. It's something we do all the time (though not often thinking about it). For example:

"Are you going home?"

"You going home?"

The latter is entirely understandable, but is not grammatically correct. However, most people do not speak in grammatically correct sentences, or even sentences. We speak in utterances and focus more on being understandable than eloquent. It's important to consider this when writing, as I've seen time and time again - even in published books - the writer focusing too much on making the dialogue grammatically correct. The characters sound dry, void of personality, and appear to be reading off of a script at every moment.

Ellipsis isn't going to be used in every sentence. You still have to think about which character will use it and when.

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The Other Ellipsis

Gonna break every fanfic writer's heart in one statement: using ellipsis to convey pause is grammatically incorrect.

But, good news! Language is made up and I think it works well for dialogue, so it gets to stay.

Ellipsis (...) can be used to convey a pause - usually when a character is considering something, overthinking or too heartbroken to think straight. It can technically be used anywhere, but I'd advise against using it at the beginning of a sentence, like this:

He muttered, "...I can't believe it."

Because, honestly, it doesn't really convey much that you couldn't show through other methods. And, since a pause is silence, placing it at the start of a sentence conveys (in most cases) nothing, as of course there would be silence - the character hadn't started speaking yet.

However, when placed at the end of a sentence, like this:

He muttered, "I can't believe it…"

We report back to the primary purpose of an ellipsis - to convey something has been omitted. Here, the use of the points have created the impression that the character had more to say, but instead trailed off. This is something we do in speech all the time.

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Dashes

To me, dashes are a near-essential part of constructing realistic dialogue; they can be used to present characters' spontaneity, the insertion of impromptu remarks, or a 'take it or leave it' comment that can be considered by the other characters or reader based on context (or what's remembered). For example:

"Well," he said, flipping idly through the pages, "we could go to the city and protest there—that might be too dangerous—or try to rally some support from the neighbouring villages."

That's the (largely) grammatically correct version, though. Since language is made up, punctuation is a lie and readers don't notice nor care, you can do whatever. There, I used the 'em dash' (as opposed to the 'en dash', which is '–', or the hyphen, which is '-'). This is what grammarians and dictionaries tell you to do, but you can totally change whatever you want to suit what you think looks best. Such as putting in an en dash or a hyphen instead, putting spaces between the words and the punctuation mark, or putting marks such as '?' or '!' within the subordinate clause (a relatively-new habit of mine).

As you can tell, I usually put a '-' in writing where I don't have to bother. Like here on this blog.

Overall, dashes are a great way of inserting side-comments and impromptu thoughts, making your characters seem much more natural and alive. Moreover, they can be used to give the effect of stuttering. And, as a bonus, they can also be used to show interruption or a stopped thought. For example:

"But you didn't tell me about—"

"I didn't have to tell you anything."

Personally, I use en dashes for interruptions and em dashes for self-obstructed speech (where the character stops themselves) to indicate the following silence. Punctuation can be used creatively to show whatever effect you want. Experiment and find your style!

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Contractions

This is a short one, since I'll touch on it in part 2, but contractions such as 'don't' and 'I'm' do not necessarily indicate a character, for lack of a better term, isn't posh. I see people try to write characters that are intended to be posh or highly educated all the time and decide the best way to show that through their speech is to omit contractions. In fact, it just makes them sound a bit like a robot. People can still use contractions in speech if they're highly educated, especially in a context where their education or status is not relevant. There are better methods to show a character's personality or upbringing through dialogue, but we'll touch on that later.

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Dialogue Placement

I'm too lazy to think of, or look for, a better term. It's where you put the dialogue, and how much of it you have. Simple as.

Let's be blumt. Don't do this:

He said, "blah blah blah."

She replied, "blah blah blah."

He responded, "blah blah–"

She screamed, "blah blah blah!"

Riveting dialogue, am I right?

Instead, let's try jazz things up. Ensure that your speakers are clear to the reader, that the tone can be understood through either your punctuation, descriptions or dialogue, and you'll be absolutely fine.

Elliot was heartbroken. Taking Elena's hand, he told her, "I can be better, I promise."

"Seriously?" She snapped her hand out from his grip. "If you could be better, then why weren't you better before? Before all this, I– now I don't know what to think."

"But you don't have to think! I'm telling you, Elena, the life we can have–"

"I don't want to hear it!" She screamed, "We're over!"

Even if you replaced that with blahs, it'd probably be a bit more engaging. The content of your dialogue isn't the only thing that matters, it's how it's placed. Here, the placing is diversified; the dialogue is sometimes embedded within the sentence, more so than before, making the words seem a lot more related to the context; a better view of the situation is shown, and we aren't bothering the reader with a constant 'she said, he said' situation. Though, it should be noted that 'said' is your friend, not an enemy.

Also, you know how sometimes in TV you get characters go 'all right!', 'so cool!', 'let's go!, etc, and wonder how much they paid the voice actors to say the same generic one-liner ten times an episode? That happens in writing, too. If it's something generic and unimportant to the plot or adds nothing to the situation, you can describe it instead or leave it out entirely. 

Like how you can say 'he screamed in pain' instead of typing out "AUGSHAHSGEJAJAHHHHHHHAAAAAA!!!"

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Also, a few other, quick things because I am tired:

Every rule of punctuation and grammar, as well as every piece of advice you'll ever be given, can be broken in certain situations. Always take advise and grammar rules into consideration, but recognise when it may be best to break them.

Avoid empty adverbs. These are situational.

E.g. 'She whispered quietly' is empty - the verb 'whispered' already insinuates the action was quiet. Adverbs should add to a description or circumvent expectations, an example being if she 'whispered angrily'. Adverbs are not always necessary.

Please don't overuse dashes and overdo stuttering. I'm looking at you, My Hero Academia Fanfiction writers. This line is directed at you.

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Obligatory 'I'm not a professional, I just do things sometimes and have some education on this'.

Asks are open, and if anyone wants a Pt 2 where I cover considerations in writing dialogue for certain situations, personality traits, etc, feel free to either ask for that in the comments/tags or send an ask in about what specific thing you want covered!

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Starting Strong Scenes in Your Writing

Scenes are the fundamental building blocks of novels and short stories, and each one should propel a story toward the climax.

Generally speaking, your scene structure should mirror the story structure. In other words, take a novel-writing approach to a scene, crafting a beginning, middle, and end. Like a story, the beginning of a scene should have a strong entry hook that pulls the reader in.

Start with the setting. Often a new scene signifies a change in time and location. Establishing the setting at the top of a scene helps your readers get oriented. It also sets the tone and mood of what will unfold in the coming pages. A setting can serve as much more than a backdrop in literature. Have your scene take place somewhere that builds tension and hinders your protagonist. If you’re writing a thriller, describe a dark and foreboding place where the worst might happen. Be descriptive and use sensory details to make your setting come alive before you jump into the action.

Use visual imagery. In screenwriting, writers have to think in pictures. What images will excite an audience at the top of a scene? Your approach should be the same when writing any kind of fiction. As you write the opening of a scene, use descriptive language to engage a reader through detailed imagery. Think like a screenwriter as you’re writing scenes.

Drop the reader into the middle of the action. Hit the ground running by starting a great scene in media res. It doesn’t have to be a fight scene or a car chase, but physical movement creates momentum and builds tension in a story. It’s also a way to instantly engage a reader. Be sure you begin the scene before the high points of the action so you build up to the scene’s climax.

Write a character-driven scene opener. A good scene starts by giving characters a goal. Start by putting your protagonist in a situation that creates an obstacle or opportunity for both the scene and the overarching storyline. Try starting with dialogue, like an intense conversation between your POV character and a mystery character whose identity is revealed later in the scene. If you’re writing from an omniscient third-person point of view, consider starting a scene with a secondary character, even the antagonist, and use it as a chance for deeper character development.

Summarize past events. You might choose to use the beginning of the scene to do a quick recap of what’s brought your main character to this place and moment in time. A summary is especially helpful if you’re writing in third-person and a new scene switches to a different character. Take the opportunity to remind the reader where we left off. Instead of a straight-forward update, get creative. Go into deep POV and let a character’s thoughts provide the summary instead of the narrator. Be sure to keep this summary brief—just a line or two—so you can get back into the action.

Introduce a plot twist. The start of a new scene is a chance to pivot and take your story in a new direction. Start a new scene at a turning point in your story. Dive into a flashback or character’s backstory, revealing critical information that changes the course of the story going forward.

Keep the purpose of the scene in mind. Effective scenes are clear about what they set out to accomplish and how they contribute to the overall plot. They might include plot points or reveal important information needed to move a story forward. Establish your scene’s intention from the very first word and keep the rest of the scene on point.

Rewrite until you’ve found the perfect scene opening. When you’ve finished the first draft of a scene, go back and read it through. If your scene needs something, but you can’t figure out what, it might be how the scene starts. The best way to know if your opening works is by reading how it plays with the rest of the scene. Review the last paragraph and see if it ties back to your beginning. If the intro feels weak, rewrite it. Maybe your real opener is hidden in plain sight somewhere else in the body of the scene.

Make sure your opening scene is your strongest. While your entire book should be filled with compelling scenes that start strong, the very first scene of your book needs to lead the pack. This is the reader’s introduction to your story and where you’re revealing the characters, the setting, and kicking off the plotline with the inciting incident. This first scene has to hook the reader from the first line so they keep turning the pages.

Read a lot of books. If this is your first novel and you need some inspiration and ideas to help you start off your scenes, start by reading other books. Choose a book by a bestselling writer like Dan Brown or Margaret Atwood. Study the different ways they approach every scene. Reading other authors is a great way to hone your scene-writing skills.

Follow like and reblog if you find these helpful!

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10 Types of Kisses:

(feel free to use these<33 credits are appreciated!! tag me when you write the 2nd, 4th, 6th and the last one! plss )

lazy kisses as they admire you

^ fingers delicately trialing your jaw as they kiss your lips

messy kisses>>>> curly hair, ruffled sheets and half buttoned clothes as you just want more and at that moment, they're the most beautiful soul to you ever

soft kisses- where they're just lying beside you, hands playing with your hair as they trail tender kisses all over your lips

needy kisses ! nibbling, biting, groaning and moaning into the kiss, absolutely being a mess and too hot to handle, where they cradle your body between their arms (GOOD SHI GOOD SHITT)

kissing and realising this is the person you'll always love, you'll always want to touch and snuggle with

good bye kisses - kisses lingering like liquor in each other's lips, bitter but sweet, "I'll always come back to you, love. you're my home afterall."

shy kisses !! when you're the one pulling them closer, and they nuzzle their face in your crook after the kiss, hands around your waist as their ears gets red !

kisses on your body ♡ frail kisses on your shoulder! on your lower back, belly and trailing to your neck, collarbones, lips..

the type of kiss where you can't find words to say after, or the ones where your forehead lingers against each other's

prohibited kiss - you're not even supposed to be seeing each other but your hands are on his hair and his hands around your waist, lower bodies pressing into each other's as you kiss >>>>

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Soft gestures for Lovers:

(feel free to use! 4, 5, 6, 7 esp 14, 15, and 17 is omgg UFJWJX tag me when you write any of these plss)

tracing your lovers features while they sleep

when they like to kiss the tips of your finger every morning

"You're home early?" and them shuffling shamelessly instead of telling you they just missed you

"you're staring!" "i like seeing you happy, love."

physical touches that aren't sexual but full of love >>>>

"tch, stop moving!" "why-?" "you feel amazing in my arms"

cuddles where their nose nuzzles on your nose and a slight giggle escapes their lips

"i trust you."

"should i cook today?" "i--don't trust you with my kitchen, babe."

family dinners where your lover just keeps coming to your side "how you doin love?" "oooh cooking sum delicious i see" "mom, look at the love of MY LIFEEE"

"Do you remember that day?". "Of Course I do, i was head over heels for you then, babe, you know?"

pink cheeks as they blush at your compliment !!! ( AHHH is it hot in here?)

forehead kisses and bear hugs ♡

when they're tired and want to just cling onto you : [

"you... you're my lifeline"

making flower rings for your lover >>

extending your hand for them to hold everytime they walk behind you and they wrap clasp their fingers around yours

when they're drunk and they keep mumbling i love yous and how much they want to kiss you so bad

doing dumb shit with your lover and looking back at it

"lay on my lap, please, i wanna play with your hair"

them smiling from one ear to another watching you be you

"hey, you hoodie stealer!" "shawty, you ma heart stealer!"

fumbling with their hand as you tell a story

a small kiss, a slow one, a tired one followed by a soft giggle audible to only the both of them

"shall we head to bed, love?"

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Showing Romantic Feelings Without Kissing

Let’s be real, the biggest way to show romantic attention between characters is through kissing. However, your characters shouldn’t have to kiss in order for it to be obvious that they’re in love. Here are some other ways to show that connection!

Hand holding

Sitting close to one another

Quick hugs

Secret glances

Light touches (arms, legs, etc.)

Napping together

Making sure the other eats/drinks

Inside jokes

Fixing the other’s clothing

Laughing way too hard at the other’s jokes

Going on walks together

Looking at something and wanting to show the other immediately

Late night walks/talks

Going to one another for advice

Leaning on each other’s shoulders

Driving each other home after a long day

Sharing drinks/food

Sharing clothing

Helping each other with work/other tasks

Incoherent bickering over nothing

Feeling possessive of one another (to a certain extent)

Telling each other’s friends about one another

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How to Write a Believable World: A Guide to Worldbuilding

Let’s just get to it!

What Is Worldbuilding?

Worldbuilding is the part of the writing process that sets up where your story takes place

When you build a world, you include the landscape that your characters will inhabit, the tone of your story, its major preoccupations and themes, as well as the nature of its morality

Worldbuilding lays the groundwork for your characters to develop, providing the stage for where your creations will perform.

It’s okay if you can’t answer every question there is about your world, but setting down the basics will help you start writing and building.

What Is the Purpose of Worldbuilding?

The purpose of worldbuilding for writers is to give their story structure and somewhere real to live.

starting point should be to establish the rules and boundaries of your imaginary world and how everything exists within it

8 Tips to Guide Your Worldbuilding Process

Decide where to start. Whether it’s the language spoken by the inhabitants or the apocalyptic landscape, pick the aspect of the world you’re most excited about exploring and start there.

List the rules and laws. The inhabitants who live in this world you’ve created will have their own independent existence. What is their governing system? Who is in charge? Do they use magic in this world? If so, who can use it, and how powerful is it? Setting up boundaries helps create a more realistic world that functions like a real one.

Establish the type of world you want. Pick a genre. Is this a dystopian or fantasy novel (or both)? Does it take place in our Earth or is it an alternate earth? Knowing this will help figure out the tone and mood of your world.

Describe the environment. What’s the weather like? How does it affect the world or planet? Are there natural disasters? Are there extreme temperatures? What natural resources exist in this location? How do people use the land? Establishing the environment and how it impacts the life within it can be a useful detail in the creation of your world.

Define the culture. What do the inhabitants of this universe believe in? Is there religion? Is there a God? Do they have any sacred customs? What do they celebrate? Breathe life into the characters who populate this location by giving them a meaningful existence.

Define the language. How do the inhabitants communicate? Is there a common tongue? Are there any ‘bad words’ that are off-limits? Knowing what can and can not be said in your world can be an apt source for conflict.

Identify the history. What is the history of this place you’ve created? Have there been any world wars? Do the countries within your world have enemies? Are there rival races? Is there a sole antagonist? Providing the backstory for your world can give it an added dimension and make it feel more tangible.8. Use existing works to inspire. Revisit the works of successful authors to get inspiration. Never steal ideas, but review the work of other fiction writers to see how they answer the same worldbuilding questions within their own novel writing.

Use existing works to inspire. Revisit the works of successful authors to get inspiration. Never steal ideas, but review the work of other fiction writers to see how they answer the same worldbuilding questions within their own novel writing.

Somethings to Consider:

Diversity exists everywhere or maybe not

Magic and powers have limit, what are they?

Figure out the technology and it’s availability to the characters and environment

What’s the government system like? Or if there isn’t one — why?

How strict are the rules?

Are people treated equally?

Where do people get their food / water from?

Are there basic commodities: schools, hospitals, etc

Are there jobs? Can anyone work?

What’s transportation like? How isolated is your world?

These are just somethings to consider of course there are many but it’s up to you to decide how detailed you want it!

Please like, follow and reblog if you find these useful!

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The Emotion Thesaurus: Adoration

Hello, everyone! I will be starting a new series that will help you the writers describe emotions.

This guide will be a writer’s tool to characters expression.

This section comes from The Emotional Thesaurus by Ackerman and Puglisi.

Adoration

Definition: the act of worship; to view as divine.

Note: the subject of adoration can be a person or thing

Physical Signs:

Lips parting

A slack or soft expression

Waking quickly to erase distance

Mimicking body language

Touching one’s mouth or face

Reaching out to brush, touch or grasp

Steady eye contact, large pupils

Leaning forward

Stroking one’s own neck or arm as a surrogate

Pointing one’s torsos and feet towards the subject

A flushed appearance

Nodding while the subject speaks

Smiling

Open body posture

Releasing an appreciative sigh

Laying hand over the heart

Frequently moistening lips

Pressing palms lightly against the cheeks

Skimming fingertips along the jaw lines

Eyes that are bright

Agreement

Speaking praise and compliments

Keeping trinkets, pictures of the subject

Constantly talking about the subject to others

Rapt attention, still posture

Becoming unaware of one’s environment

A radiant glow

Visible shakiness

Reduced blinking

Closing eyes to savor moment

Speak with a soft voice

A voice that cracks with emotion

Internal Sensations

Quickening heartbeat

Breathlessness

Feeling one’s pulse in throat

Mouth dry

Throat growing thick

Rising body temperature

Tingling nerve endings

Mental Responses

A desire to move closer or watch

Fixating one’s thoughts on the subject

Acute listening and observation

Ignoring distractions

An inability to see the subjects flaws or faults

Cues of Acute or Long-Term Adoration

Obsession

Fantasizing

Believing that the feelings are mutual

A sense of destiny

Stalking

Writing and sending letter, emails, and gifts

Taking risks or breaking laws to be near or with subject

Weight loss

Poor sleep patterns

Jealousy towards those interacting with the subject

Taking on traits or mannerisms of the subject

Carrying something that represents the subject

Possessiveness

May Escalate To:

Love

Desire

Frustration

Hurt

Cues of Suppressed Adoration:

Clenching or hiding one’s hands to hide sweating or shaking

Avoiding conversations about the subject

Watching or observing from afar

Staying out of subjects proximity

Blushing

Sneaking looks at subject

Creating chance run ins

Writing secret letters, keeping diary

Lying about one’s feelings regarding the subject

Writer’s Tip:

Body cues should create a strong mental picture. If the movement is too drawn out or complicated, the emotional meaning behind the gesture may be lost.

Please like, follow and reblog if you find this helpful!

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Different Plot/Story Structures

There are a lot of different plot structures that you can play around with when writing a story. This post is just providing some of the more common ones for you to know. While these structures are not to be adhered to completely, they can provide a good basis to get a story running and help keep it on track.

Freytag's Pyramid

Freytag's pyramid is one of the oldest and most well-known story structures. It consists of five acts: introduction, rising action, climax, falling action, and conclusion. Falling action and conclusion do not mean a decrease in intensity, but rather a shift in the plot or the stakes for the characters - aka surpassing "the point of no return." What works about this structure is its ability to heighten action in a story and introduce plot twists to make a story grip the reader.

Save the Cat

Save the Cat is a newer structure that was initially constructed for TV shows, but it works well in a larger story as well, regardless of medium. It breaks up the story into an A-plot and B-plot, shifting action between the two to balance intensity with moments for the action to cool down. Typically, the A-plot has higher stakes than the B-plot and is the main focus of the characters. What works about this structure is that it effectively utilizes side-plots to not just accompany, but enhance the main plot.

The Fichtean Curve

The Fichtean Curve is essentially a series of mini-stories that build up to a greater story, with the stakes elevating during each story. It's similar to a TV season that has several episodes, each one advancing the plot while providing a smaller story that keeps the excitement continuing. What works about the Fichtean Curve is the freedom to move non-linearly through plots, using perspectives of different characters, different settings, and different mini-plots to enhance the story.

Free-form

Free-form is exactly what it sounds like: letting your mind run free while writing your story, disregarding traditional story structures and trusting yourself. This doesn't work for everyone: in fact, I believe that almost all writers need at least a little bit of structure when writing. But mapping out a beginning and end, and letting yourself find your own path to connect the two is what works for some writers. Besides, you can always go back during editing and figure out the most efficient way to map the pieces together!

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tips for setting the scene

it’s easy to get caught up in dialogue or a character’s internal dialogue and forget altogether that they, too, exist in their own physical world. as authors, it’s primarily our job to convey the exact amount of information: the reader is on a need to know basis, but they also need to know enough to draw their own conclusions. i’ll admit, it’s a difficult task, but here are some tips to help set a scene:

- imagine the world from the eyes of your character: how do they see things? do they see the big picture first or are they drawn to smaller details that others don’t often notice? what’s pulling their attention away from the action or their own thoughts?

- breathe life into your scenes: i don’t mean the english teacher’s equivalent of “the curtains were blue means that the character is sad.” i’m talking about the blue filter in Twilight that conveys the “constant cover of clouds and rain” and the shift from the Arizona desert to the cool Pacific Northwest. think about all the small details that convey information about a scene and allow the readers to make inferences. if the character walks along a street and the yards shift from overgrown hedges with frayed yard chairs and a birdbath containing a mini swamp to yards with freshly cut grass with white picket fences and ornate wreathes hanging on the doors, you’re providing all of the details for readers to make an inference. context is needed, too, but that will be provided in the whole of your novel or short story. don’t be afraid to provide details and use figurative language.

- spread out your details: did you feel bombarded in the last tip? i provided a lot of details quickly, all at once, without spreading them between action, dialogue, or internal dialogue. i’m not going to stop you from being the next J.R.R. Tolkien if that’s how you like to write, but try not to overwhelm the reader with details all at once. it will feel more natural if you spread things out and allow the reader to feel as if they, too, are with the character in their environment. this is more of a stylistic tip, so take it with a grain of salt and think about what will work best for your novel. always go back to that and to what your character is seeing. how is this all playing out for them? how can you put feeling into the scene?

- place your characters within the scene: where are they in their environment? how are they interacting with the people or objects in it? what do they think about these things? you don’t need to tell the reader everything your character does, but provide enough information so that we don’t get lost in their movement or stagnation. it helps to have someone else read your work if you’re struggling with this part. if they’re lost as to where the character is or what they’re doing, chances are a good portion of your readers will be confused, too. check out your prepositions. are there too many? too few? use them, but don’t abuse them.

happy writing! if you need help setting a scene or have any questions, our ask box is always open!

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DESCRIBING THE PHYSICAL ATTRIBUTES OF CHARACTERS:

Body

descriptors; ample, athletic, barrel-chested, beefy, blocky, bony, brawny, buff, burly, chubby, chiseled, coltish, curvy, fat, fit, herculean, hulking, lanky, lean, long, long-legged, lush, medium build, muscular, narrow, overweight, plump, pot-bellied, pudgy, round, skeletal, skinny, slender, slim, stocky, strong, stout, strong, taut, toned, wide.

Eyebrows

descriptors; bushy, dark, faint, furry, long, plucked, raised, seductive, shaved, short, sleek, sparse, thin, unruly.

shape; arched, diagonal, peaked, round, s-shaped, straight.

Ears

shape; attached lobe, broad lobe, narrow, pointed, round, square, sticking-out.

Eyes

colour; albino, blue (azure, baby blue, caribbean blue, cobalt, ice blue, light blue, midnight, ocean blue, sky blue, steel blue, storm blue,) brown (amber, dark brown, chestnut, chocolate, ebony, gold, hazel, honey, light brown, mocha, pale gold, sable, sepia, teakwood, topaz, whiskey,) gray (concrete gray, marble, misty gray, raincloud, satin gray, smoky, sterling, sugar gray), green (aquamarine, emerald, evergreen, forest green, jade green, leaf green, olive, moss green, sea green, teal, vale).

descriptors; bedroom, bright, cat-like, dull, glittering, red-rimmed, sharp, small, squinty, sunken, sparkling, teary.

positioning/shape; almond, close-set, cross, deep-set, downturned, heavy-lidded, hooded, monolid, round, slanted, upturned, wide-set.

Face

descriptors; angular, cat-like, hallow, sculpted, sharp, wolfish.

shape; chubby, diamond, heart-shaped, long, narrow, oblong, oval, rectangle, round, square, thin, triangle.

Facial Hair

beard; chin curtain, classic, circle, ducktail, dutch, french fork, garibaldi, goatee, hipster, neckbeard, old dutch, spade, stubble, verdi, winter.

clean-shaven

moustache; anchor, brush, english, fu manchu, handlebar, hooked, horseshoe, imperial, lampshade, mistletoe, pencil, toothbrush, walrus.

sideburns; chin strap, mutton chops.

Hair

colour; blonde (ash blonde, golden blonde, beige, honey, platinum blonde, reddish blonde, strawberry-blonde, sunflower blonde,) brown (amber, butterscotch, caramel, champagne, cool brown, golden brown, chocolate, cinnamon, mahogany,) red (apricot, auburn, copper, ginger, titain-haired,), black (expresso, inky-black, jet black, raven, soft black) grey (charcoal gray, salt-and-pepper, silver, steel gray,), white (bleached, snow-white).

descriptors; bedhead, dull, dry, fine, full, layered, limp, messy, neat, oily, shaggy, shinny, slick, smooth, spiky, tangled, thick, thin, thinning, tousled, wispy, wild, windblown.

length; ankle length, bald, buzzed, collar length, ear length, floor length, hip length, mid-back length, neck length, shaved, shoulder length, waist length.

type; beach waves, bushy, curly, frizzy, natural, permed, puffy, ringlets, spiral, straight, thick, thin, wavy.

Hands; calloused, clammy, delicate, elegant, large, plump, rough, small, smooth, square, sturdy, strong.

Fingernails; acrylic, bitten, chipped, curved, claw-like, dirty, fake, grimy, long, manicured, painted, peeling, pointed, ragged, short, uneven.

Fingers; arthritic, cold, elegant, fat, greasy, knobby, slender, stubby.

Lips/Mouth

colour (lipstick); brown (caramel, coffee, nude, nutmeg,) pink (deep rose, fuchsia, magenta, pale peach, raspberry, rose, ) purple (black cherry, plum, violet, wine,) red (deep red, ruby.)

descriptors; chapped, cracked, dry, full, glossy, lush, narrow, pierced, scabby, small, soft, split, swollen, thin, uneven, wide, wrinkled.

shape; bottom-heavy, bow-turned, cupid’s bow, downturned, oval, pouty, rosebud, sharp, top-heavy.

Nose

descriptors; broad, broken, crooked, dainty, droopy, hooked, long, narrow, pointed, raised, round, short, strong, stubby, thin, turned-up, wide.

shape; button, flared, grecian, hawk, roman.

Skin

descriptors; blemished, bruised, chalky, clear, dewy, dimpled, dirty, dry, flaky, flawless, freckled, glowing, hairy, itchy, lined, oily, pimply, rashy, rough, sagging, satiny, scarred, scratched, smooth, splotchy, spotted, tattooed, uneven, wrinkly.

complexion; black, bronzed, brown, dark, fair, ivory, light, medium, olive, pale, peach, porcelain, rosy, tan, white.

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how to write convincing dialogue

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

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

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

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

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

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

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

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Physical characterizations that can make your characters more human

Irritated skin, red spots and stretch marks

Acne on forehead, cheeks and chin

Dark under eyes circles

Dry skin

Uncovered scars and birthmarks

Tattoos

Unshaped teeth

Unshaved body hair

Messy/ curly hairs that won't be managed no matter what you do to them

Chewed and unpolished finger nails

Spontaneous smile

Nervous tics

The sound of their footsteps

The way they stand/ posture

Weight loss/ weight gain due to emotional antecedents

Putting on make up or none at all

Wearing extravagant clothes

Wearing unmatchable but comfortable clothes

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Writing romance between characters

A lot of readers like romance, don't they? From romance books to romantic subplots in a fantasy/sci-fi/thriller, we have some sort of romance in the books we read (though not all of them). A lot of times though, we feel the romance is forced and can be extremely unpleasant to watch. Let's discuss some tips about how to write romance properly.

Tension, tension, tension

Tension is key to any romance, whether it be enemies-to-lovers, friends-to-lovers, rivals-to-lovers etc. Some examples are longing gazes, hands brushing each other, wistful gazes, hugs that last a little too long and more! Without tension, the romance just feels will be flat and boring and the readers won't be engaged in it. Please note that for the tension part, the things I listed can be platonic as well! What I mean to say is their reactions, such as them realizing they've caught feelings and now acting differently with each other, wistful gazes at someone they know they can't romance etc. All these actions I've listed in the post can happen platonically, especially for queerplatonic friends etc.

2. Give intimacy

Intimacy is not inherently sexual. It can also be emotional, and when portrayed in books properly, it can be marvellous to watch. Intimacy means being vulnerable with another person, being able to show them baring out their souls to one another, showing that they trust one another. Because if two people can't be intimate or vulnerable with each other, then no, we can't expect them to be in a romantic relationship.

3. Make them great individually

If the characters themselves aren't compelling characters, then we can't expect them to be any better in a romance. If one (or both) of the characters is flat and boring and the very embodiment of meh, then they're also going to be very "meh" in their relationship. Make the character engaging and exciting to watch, whether they're a villain or a hero. To gain some tips on how to write characters properly, check out my post on character writing!

TIP!

I have read this somewhere and I feel it's a really good tip! Use the no-kiss rule. Imagine the couple/ship you're writing. Write them but make sure that they don't kiss. Objectively, can you tell they have feelings for each other? If no, then do better or scrap it. If characters need to kiss to tell that they're in love, then they're not in love. Period.

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Wanna write believable characters in love (and make the readers want to ship them)?

Make them behave slightly different around their crush (but not too different because we don't want to completely change their personality). For example, if they're very extrovert make them act shyer around their crush (and the complete opposite). Or if they're not really in touch with their feelings, make them be more open about them with their crush. If they usually are big brain proud people, make them act kinda stupid with their crush. If they're super tidy people, make them be more chaotic around their crush.

Make them slowly fall in love. Love at first sight is bullsh*t (just look how Romeo and Juliet ended). Readers are going to hook on relationships that take their time to be constructed. How long does it take to fall in love (and not just being physically attracted to someone)? If you want to write a healthy relationship give them scenes (or time) to know each other. I know it sounds weird, but make them live around their crush. Make them be vulnerable together, be real together, be sad, happy, stressed together. Make them talk about their feelings, about their past, about their worries. HOWEVER, this is NOT an excuse to make your characters be the "psychologist" and the "patient". If one of the characters has mental health issues, do not make their love interest to be "in charge" of it. If one of your characters has mental health issues and you want them to get better, make them go to therapy/psychologist/any mental healthcare professional.

Make those two (A and B) interact with other characters. As Passenger once said "Only miss the sun when it starts to snow". This is really simple and helpful because it makes you think "Why does A like B and not C or D?".

This may sound contradictory, but DON'T make them need each other, make them want each other. If they need each other, there's gonna be an attachment red flag. Tbh, I don't know how to explain this, but want > need.

Make them be honest with each other. Please, another red flag is lying, so don't make them lie. A relationship is built on honesty.

Make them have (at least) one thing in common. Could be based on personality, on politics, on taste, on goals... You decide! Maybe make both of your characters be interested in science, or the pursue of happiness, their music taste, an experience they shared...

This is a very personal choice, but try to avoid the enemies to lovers trope (unless you're Jane Austen). I just don't quite like when character A and B hate each other to the core (plus they insult or hit each other) and then it's expected from me to believe that they actually love each other. Maybe this would work with kids that at first hate each other then grow up, become friends and eventually lovers, but not with mature adults.

Feel free to add more tips in the comments :)