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[mariahwrites]

I’m only about 5 pages into this redo of The Demon’s Box, but I’m feeling good about it! Also it feels like I’m writing fanfiction for my own story, so, that’s weird, lol.

[mariahwrites]

Reblog if you ACTUALLY READ TAGS

[mariahwrites]

How to Write Non-binary Characters: a three part guide.

Disclaimer: While this guide is written by a non-binary person in collaboration with many other non-binary writers and readers, it does not necessarily cover the views of all people within the non-binary community.

PART ONE: the basics.

First off, what is this thing you call non-binary?

Non-binary genders are any gender identity that isn’t covered in the Western idea of woman (girl) and man (boy). This identity has nothing to do with which chromosomes or sexual organs a person has. Some non-binary people also identify as being trans (which is technically an umbrella term containing non-binary), while others only identify as being non-binary. Some commonly use the slang term enbie (which comes from the pronunciation of the initials for non-binary, aka N.B.) while others don’t. Some break down their gender further than simply non-binary, while others choose not to.

Some terms for common non-binary genders:

Agender: having no gender.

Bigender: having both binary genders, or aspects of two different genders, usually simultaneously. (Much like the bi in bisexual, non-binary people may also claim this term if they have any number of genders, especially if they can’t quite tell where one ends and the other begins, or they may claim the term pangender instead.)

Demi-(boy/girl/man/woman): being partially (but not wholly) binary.

Gender-fluid: transitioning between genders, which may include both binary and non-binary genders.

Gender-queer (or just queer): not of a binary gender. May be used when someone does not feel that any other terms fit them quite right, when they’re still trying to determine their gender and don’t yet wish to choose a term, or simply because the person finds it to fit them best.

There are also genders similar to what Western cultures call non-binary in many non-Western cultures, which are wonderfully diverse and all incerdibly valid, but as someone from an exclusively Western cultural heratage, I don’t feel I have the right or the knoweldge to talk about them.

So then, who are these non-binary people in real life?

The only thing that differentiates a non-binary person from a binary person is that they don’t identify as having a binary gender.

Their non-binary-ness could influence their lives in an infinite number of ways:

It could be subtle or life changing.

They could use fashion and vocal training and actions to present themselves in ways outside their society’s binary gender norms, or they could never even mention they’re non-binary to another living soul. 

They could change their pronouns, or their name, or keep one or both the same.

They could spend years re-figuring out who they are and what it means to be non-binary or they could realize it once and never feel the need to dwell on it again.

They could identity as one of the numerous non-binary labels, or they could decide they’re just not binary and don’t care to dig further than that. 

They could accept all gendered terms, or certain gendered terms, or no gendered terms at all.

People assuming they’re binary could frustrate them or sadden them or anger them, or they could not care in the slightest. 

They may feel they exhibit (or wish to exhibit) many of the traits their society designates to a certain binary gender, or they many not.

They could feel the same way about their identity all the time, or differently every day.

Each non-binary person (and character) is unique, and their non-binary-ness is just one tiny part of who they are.

The basic do’s and don’ts for writing non-binary characters respectfully if you’re a binary person…

Keep reading

[mariahwrites]

FINALLY

I KNOW I’VE BEEN GONE AND WHOEVER FOLLOWED ME PROBABLY FORGOT I EXISTED BUT HECK I JUST SOLVED MY WRITING PROBLEM!!!

The problem? I was writing the wrong story.

I was trying to write the prequel to the story I really wanted to write, so of course it was never going to work out. BUT! I NOW KNOW THE TRUE STORY!

or part of it...

Point is, it’s time to move the characters from When Magic Returns to the apocalypse where they belong and hopefully I can finally finish a first draft of this thing!

[mariahwrites]

My characters when I try to write a transition scene:

[mariahwrites]

7/7/7 Tag

Omg, I’m sorry I didn’t see this sooner. But thank you so much @dahladahlabills for tagging me!

Rules: Go to your current wip, seventh page, seventh line, paste the seven sentences following that line here and then tag seven people.

So for The Demon’s Box, here it is:

“No, no, I mean it. I’ll consider it,” Lena replied, laughing a little herself.

“You should, it’s a good offer.” Bree stood and pecked Jayden on the cheek. “You’re so sweet.”

“I try.”

“And that’s why I love you.”

Lena snorted and got up. “And that’s why I am going to bed. Night.”

I’ll tag: @no-url-ideas-tho , @brynwrites , @christinawritesfiction , @yennwrites , @pen-for-sword , @oliviagordonwrites , and @dantedevereaux if they’d like to do this

[mariahwrites]

I guess I like to build from a setting aesthetic. Like, what does the main area of where the story takes place look like? Is it a city? Town? Forest? Castle? Does it have a steampunk vibe? Art Deco? Futuristic? Medieval? That sort of thing. Intertwined with it generally is overall technology level.

Worldbuilding questions for my writer friends:

What do you usually start with when you’re worldbuilding? Where do you first begin to piece your world together? What kind of questions do you ask yourself first?

For some reason, the first question I ask myself is “what kind of flowers are there, if any?”

[mariahwrites]

A Few Tips All Writers Should Remember:

·Write to your comfort level. Meaning: give yourself a break when you need it and push yourself when you’re feeling motivated.

·Seek out sources of motivation. There are very few times when motivation hits me out of nowhere. Read a good book. Watch a good movie. Write down your goals.

·Find your space. Coffee shop. Library. Your room with the music blasting and the TV playing your favorite show. Find whatever gets you in the right headspace.

·Your first draft is just the first draft. Too many writers stress out about the first draft and they forget it’s just the first step in completing your novel. You can add to it, build from it, or toss it away completely.

·You will be rejected. Even if you write the next big hit, you’ll be rejected. Read the reviews for some of your favorite books—I guarantee someone HATED it. Not everyone will like your work, but that doesn’t mean it’s bad.

·Write advice isn’t for everyone. There’s no one-size-fits-all plan for writers. Pick and choose advice that works for you, ignore what doesn’t. Not everything will relate directly to you and your style of writing.

·It’s okay to stay in. Want a night to yourself so you can write? Don’t be afraid to cancel your plans and focus on your writing hobby. You don’t have to feel guilty about wanting to work on your writing.

·Let ideas settle. It’s tempting to jump right in to a new writing idea, but let things settle for a bit. Brainstorm. See what comes next. An idea needs to have legs and it needs to take your story somewhere. Let it grow.

·Outlines aren’t set in stone. Be flexible with your outlines. Plan if you need to, but allow yourself to explore new ideas. Let your story go in an unexpected direction.

-Kris Noel

[mariahwrites]

All About Writing Fight Scenes

@galaxies-are-my-ink asked,

“Do you have any advice on writing fight scenes? The type of scene I’m writing is mostly hand to hand combat between two experts. I’m definitely not an expert so when I try to write it, the scene ends up sounding repetitive and dull.”

Fore note: This post is coauthored by myself and one of my amazing critique partners, Barik S. Smith, who both writes fantastic fight scenes and teaches mixed martial arts, various artistic martial arts, and weapons classes.

I (Bryn) will tell you a secret: I trained MMA for seven years, and when I write authentic hand to hand fight scenes, they sound dull too. 

The problem with fight scenes in books is that trying to describe each punch and kick and movement (especially if it’s the only thing you’re describing) creates a fight that feels like it’s in slow motion. 

I write…

Lowering her center of gravity, she held her right hand tight to her face and threw a jab towards his chin. He shifted his weight, ducking under her punch. His hair brushed against her fist, and he stepped forward, launching a shovel hook into her exposed side.

But your brain can only read so fast. In real life that series of events would take an instant, but I needed a full eight seconds to read and comprehend it, which gave it an inherent lethargic feel. 

So, we have two primary problems:

How do we describe this fight in a way the reader can understand and keep track of? 

How do we maintain a fast paced, interesting fight once we’ve broken down the fight far enough for readers to understand it? 

(We will get back to these, I promise.) But for now, let’s look at…

Different types of “fight scenes:”

Keep reading

[mariahwrites]

Uhh...

I haven’t been updating because I’ve been stuck on chapter 7 for months. I don’t know what to do with it. I have an idea, but I don’t know if I really like it, and I’m constantly worrying that the middle of this story is going to be boring af. Logically, I know I should just write it and get to the parts I know what I want to do with, but I can’t. This part is just screwing with my head so hard. And because of all this I keep wondering if my story is interesting at all, if my characters have enough of an arc, and whether it’s worth writing.

So, that’s where I’m at.

[mariahwrites]

Advice on Writing Thieves, Assassins, or Other Stealthy Characters

I’ve put a lot of research into this, and I’ve seen a lot of great rogue-like characters, where the author was clearly unsure as to how they perform their criminal activities. If you feel the need to ask why I know this stuff, my main writings are for a book series called “A Thief’s War,” which should be more than enough explanation. I swear I’m not personally a thief.

Anyway, here we go:

Lockpicking:

I’ve seen some stories where characters grab a paperclip, and boom, no lock can stop them. I’ve also seen some where master thieves take a hammer and smash the lock.

A lock has a series of tumblers in it, each of which need to click into place for it to unlock. A key’s design is usual exactly what it must be to get these tumblers into the proper position.

There are a wide array of shapes and sizes for lockpicks, and if you’re going to go around picking locks, you’re going to need more than one. There is no universal lockpick. Furthermore, for some reason a lot of people don’t include the secondary locking tool: a lock wrench. This is used to turn the the lock, and to keep the tumblers in place once you’ve appropriately placed them with the lockpick.

A lockpicker will know that a tumbler is in place when they hear it click, but the noise is usually quiet, so they’ll often have their ear close to the door.

Can you pick a lock with a paperclip? Yes, but it’s hard as hell, and a paperclip won’t fit into all locks. Not to mention it’s a pain turning the lock once the tumblers are in place.

 With code locks, a lot of movies or books show someone pressing their ear closely to the lock, whilst turning it, and listening for a click when it hits the right number. This actually works. These are the most useless goddamn locks in history.

Now, if you’re writing modern day, with smart locks and various other such tech, I’m afraid I can’t help. I haven’t studied that as much. Though, the previous advice will help for most locks, and that information still applies to basically all types of lock that aren’t incredibly expensive.

Sneaking:

The dashing rogue slips through the shadows, his cloak billowing behind him, and somehow none of the dozen patrolling guards walking right by happen to notice him.

Yeah, that’s not how it works.

Sneaking involves a lot of remaining very still, knowing your surroundings, and holding your breath.

A thief infiltrating a house will scout it out, usually for weeks in advance. Sometimes they’ll pose as various businessmen, and try to get the owners of the house let them in for a while so they can study the ins and outs of it. Cracking open a window isn’t quiet, and you need to know what doors will creak and what doors won’t.

If you’re trying to sneak, you need to try and stick near furniture and heavy objects. The floor isn’t nearly as likely to creak when you’re near these. Furthermore, you need to step lightly, and wear the appropriate footwear. Usually some cloth wrapping’s around one’s feet will help to be quiet, but avoid any shoes that might make clacking noises, or sound like they’re peeling off the floor when they move. A thief will also never scuff their feet, if they’re any good at sneaking.

Black clothing only helps you sneak if it’s dark, and your surroundings aren’t bright coloured. If you’re in a city of white buildings and marble, you’ll want matching attire. This is just for if you’re skulking about a city, though. Just make sure you don’t stand out. However, dark clothing will greatly help you not be seen from a distance when it’s night.

If a thief suspects someone is nearby, they should always try to locate a nearby hiding spot, and remain perfectly still. Do not move, and hold a thief will hold their breath if they start getting anxious, as heavy breathing could easily give someone away.

Many stories also don’t seem to account for the fact that various rogues and criminals have shadows, too. Even a quick and subtle movement of a shadow might be enough to give away one’s presence. It’s really, really hard to actually sneak up on someone due to this, and several other factors. Most people will actually feel tense, and usually catch wind of it if someone is sneaking up behind them, as even very quiet sounds and movements like breathing will subconsciously register to people if you get too close.

I’m a master assassin, and I carry a goddamn greatsword:

There is a reason they would use daggers. Assassins didn’t usually sneak into the king’s bedchamber in the dead of night, without being seen once. There are guards. A long hallway with two guards standing in front of the door at the end, there is absolutely no way to slip past that.

They would usually have to get into the building during the day, disguised as a servant, or even another guard. They’d have to wait for the perfect opportunity to sneak into that nobleman’s bedchamber, midday when he was absent, and then wait in there for hours.

If the assassin is sneaking in at night, they rarely go through the interior of the building. Just like a thief, they’ll get the layout of the building, and then they’ll usually enter through a window, or wherever is closest to the target. If they don’t have those guard patrols memorised, they’re screwed.

But you know what’s not subtle? An assassin carrying around a scimitar, or some flashy crossbow. If you’re going to sneak past people, you need a weapon no one will see, and that you can probably hide if someone decides to search you.

Fingerprints:

This is mainly relevant for modern era stories, and I just wanted to say that I’ve seen a few shows where a criminal isn’t wearing gloves throughout the whole thing. You always wear gloves, you never leave the murder weapon. If you touched something without gloves, you may as well take it with you to avoid risk.

Slipping out of Handcuffs:

This usually requires dislocating your fingers. Ouch. But, if the one cuffing or tying up the thief isn’t paying too much attention, you can keep your hands at an appropriate angle that the cuffs will not go on correctly, or the ropes not pulled tight enough, and you can probably slip out of them.

Who needs masks when you have shadowy hoods?

Guess what the easiest facial feature to notice in the dark is? If you guessed eyes, then you’re right. But, if you’re blending in, and your eyes are veiled by the hood that’s somehow not obscuring your vision while you crane your neck downwards to ensure that it covers your face, then people are usually still going to be able to see your lips, which stand out the second most of any feature on a person.

Yes, a hood is good if you’re trying to blend in. But it’s not good for making sure people don’t see your face. Wear a damned mask.

This is all I’ve got, for now. Hope it helps someone!

[mariahwrites]

It’s alright if you have the same themes or the same character types or the same sort of endings or the same whatever to your stories; common threads show what’s important to you.

And you know what?

These things are gonna be important to readers, too.

[mariahwrites]

people who can graciously hide that they don’t like people are so terrifying. last year while working on tech for a play i asked my friend how he became friends with another guy on the crew and he got quiet, looked straight into my soul and said “he’s not my friend. i fucking hate him.” i lost 5 years of my life

[mariahwrites]

Ever wondered about hyphenating phrases, whether it’s “on the spot” or “on-the-spot”, or where to use “side by side” instead of “side-by-side”? Here’s a great article about it all. 

Ever unsure if you should be using single or double quotations within a sentence, or don’t know if it should be “a really great idea” or ‘a really great idea’? Here’s an article about that too. 

[mariahwrites]

I have a weird problem. Or method. Whatever. So, like, I’m somewhere between being a plotter and a panster. I used to only be a pantser, but recently have been moving towards the former. But not completely.

For example: I have a vague outline, where I included the end of the series and some things I want to happen in each book. But it’s not overly detailed. I also have my world building pretty fleshed out. 

My problem, though, is character arcs. 

I can’t do them.

Well, I can’t outline them. I can write characters that change, but I can’t sit down with a document and write out how I want them to change. Or what, exactly, they need to change. Character bios just kind of make my brain blank, lol. I do keep “character bios” which are more just a list of things I need to remember, or things I figure out, to keep them consistent as I go, but that’s about it. 

I’m a little worried that it will mean my characters will come out flat, despite knowing where I want them to end up in my mind. Plus they’ll probably do whatever they want anyway, the sneaky jerks.

I don’t know if I should worry about that, or just continue to go with the flow.  Is this a problem for others?

[mariahwrites]

Minor WMR Update

I’m finally on chapter 7 of my first draft, woo!

Also, worked on the cast of my story, re-arranged some plot points, and I think it’ll go much better. If I can just figure out this one middle part. Yeah...

[mariahwrites]

Still Here

Wow, it’s been a while, and I’d like to apologize for that. I lost motivation for a little bit, wondering if anyone would even like my story and if it was worth it, but then my motivation came back! Plus life happened and, yeah.

Anyway, the main issue, I think, had been that my plan for my series needed to be re-organized and fleshed out a little more. Which is what I’ve been working on. Also fleshing out some characters further, working on their motivations, that sort of thing.

I heard about this comic sans trick that’s supposed to help you write more during a writing session than you normally would. So I think I’ll try it out and hopefully I’ll have things to share.