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ANYA JENKINS + text posts

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Alternatives for "She Smiled"

If you can't seem to find an alternative for this common phrase "she smiled". here's a list of different sentence variations.

She beamed brightly.

Her lips curled into a smile.

She flashed a radiant grin.

A smile lit up her face.

She offered a sheepish grin.

Her smile twinkled mischievously.

She gave a soft, serene smile.

A wry smile played on her lips.

She smirked subtly.

Her smile spread slowly across her face.

She smiled wistfully.

A gentle smile graced her features.

She smiled with her eyes.

Her smile was tinged with sadness.

She bestowed a gracious smile.

Her smile glimmered in the dim light.

She smiled coyly.

A giddy smile bubbled up.

She smiled, lips parting lightly.

Her smile was infectious.

She gave a knowing smile.

A tentative smile flickered across her face.

She smiled, eyes sparkling with delight.

Her smile warmed the room.

She smiled ruefully.

A conspiratorial smile crossed her face.

She smiled, a trace of irony evident.

Her smile was wide and welcoming.

She flashed a quick, evasive smile.

She smiled as if recalling a sweet memory.

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Socks would be nice to receive for Christmas, actually...

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ESPECIALLY IF FOOD IS INVOLVED

sometimes reading smut as an adult is just scrolling going “that’s a UTI” “oh yeah that’s gonna be a UTI” “I bet that’s a UTI in three days”

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That's how the cults get ya

i don't care if it's nazis, mormons, or a bunch of misguided autistic people. if anyone ever tries to tell you your soul is from another planet and you're actually part of the class of impressive people that secretly did everything cool in the world but is now extinct and lives on through your broken genome, you RUN. YOU WILL RUN AWAY. YOU WILL SPRINT FULL SPEED AWAY FROM THAT.

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One worldbuilding thing that's always fun to do is take something you've encountered in the real world, and apply something similar with the same logic into your own. Like those sayings that have two halves, but people usually only know the first half and misunderstand the saying - like "birds of a feather flock together (until the cat comes)" or "great minds think alike (but fools rarely differ)." So I came up with a few for The Book I'm Not Writing:

Hungry dogs are loyal dogs (until someone else feeds them) - neglecting and mistreating your underlings may work as a short-term tactic for making them obey, but it's also a guarantees that they'll betray you at first chance.

The mouth of an idiot is as loose as the strings of their purse (so be there when gold may drop out) - just because nine out of ten things that someone says are completely useless doesn't mean you should dismiss them altogether. They might still know useful things, even if they can't tell it's useful.

Blood makes a foul dye (it stains, but it won't last) - here "foul" is often interpreted as "brutal" or "gruesome", when it's meant as "of low quality". Using violence as your way to establish dominance and maintain authority because it's easier than building networks of mutual trust and respect is as stupid and short-sighted as using blood to dye clothes because it's cheaper than proper pigment.

A fool will starve to death while waiting for grain to grow (but it is also a fool who'll slaughter an ewe an hour before it lambs) - Immediate problems require immediate solutions, but you'd better make sure that your drastic emergency solution is the right one.

A blind horse will go as you guide where a half-blind one dare not (both through the darkness and down a cliff) - an agent who doesn't know the purpose of their task will obey blindly, where one that knows some part of it might disobey out of distrust, but neither is as reliable as one that does see the big picture, can draw their own conclusions from the information they gather, and adjust their plans accordingly.

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Principles and Laws of Magic for Fantasy Writers

Fundamental Laws

1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.

3. Law of Equivalent Exchange- To gain something, an equal value must be given.

5. Law of Magical Exhaustion- Using magic drains the user’s energy or life force.

Interaction and Interference

4. Law of Magical Interference- Magic can interfere with other magical effects.

6. Law of Magical Contamination- Magic can have unintended side effects.

8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.

Resonance and Conditions

7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.

9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.

11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.

Balance and Consequences

10. Law of Magical Balance- Every positive magical effect has a negative consequence.

12. Law of Magical Limitation- Magic has limits and cannot solve every problem.

14. Law of Magical Rebound- Misused magic can backfire on the user.

Special Conditions

13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.

15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).

17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.

Ethical and Moral Laws

16. Law of Magical Ethics- Magic should be used responsibly and ethically.

18. Law of Magical Consent- Magic should not be used on others without their consent.

20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.

Advanced and Rare Laws

19. Law of Magical Evolution- Magic can evolve and change over time.

20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.

Unique and Imaginative Magical Laws

- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.

- Law of Emotional Resonance- Magic is amplified or diminished by the caster’s emotions. Strong emotions like love or anger can make spells more powerful but harder to control.

- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.

- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter others’ dreams, but they risk getting trapped in the dream world.

- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the caster’s ancestry, and ancient family feuds can influence magical abilities.

- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.

- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.

- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.

- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.

- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.

- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.

- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.

- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.

- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.

- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.

- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.

- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.

- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.

- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.

- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the caster’s soul.

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Some of my favorite words and phrases to describe a character in pain

coiling (up in a ball, in on themselves, against something, etc)

panting (there’s a slew of adjectives you can put after this, my favorites are shakily, weakly, etc)

keeling over (synonyms are words like collapsing, which is equally as good but overused in media)

trembling/shivering (additional adjectives could be violently, uncontrollably, etc)

sobbing (weeping is a synonym but i’ve never liked that word. also love using sob by itself, as a noun, like “he let out a quiet sob”)

whimpering (love hitting the wips with this word when a character is weak, especially when the pain is subsiding. also love using it for nightmares/attacks and things like that)

clinging (to someone or something, maybe even to themselves or their own clothes)

writhing/thrashing (maybe someone’s holding them down, or maybe they’re in bed alone)

crying (not actual tears. cry as in a shrill, sudden shout)

dazed (usually after the pain has subsided, or when adrenaline is still flowing)

wincing (probably overused but i love this word. synonym could be grimacing)

doubling-over (kinda close to keeling over but they don’t actually hit the ground, just kinda fold in on themselves)

heaving (i like to use it for describing the way someone’s breathing, ex. “heaving breaths” but can also be used for the nasty stuff like dry heaving or vomiting)

gasping/sucking/drawing in a breath (or any other words and phrases that mean a sharp intake of breath, that shite is gold)

murmuring/muttering/whispering (or other quiet forms of speaking after enduring intense pain)

hiccuping/spluttering/sniffling (words that generally imply crying without saying crying. the word crying is used so much it kinda loses its appeal, that’s why i like to mix other words like these in)

stuttering (or other general terms that show an impaired ability to speak — when someone’s in intense pain, it gets hard to talk)

staggering/stumbling (there is a difference between pain that makes you not want to stand, and pain that makes it impossible to stand. explore that!)

recoiling/shrinking away (from either the threat or someone trying to help)

pleading/begging (again, to the threat, someone trying to help, or just begging the pain to stop)

Feel free to add your favorites or most used in the comments/reblogs!

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Some of My Favorite Ways to Describe a Character Who’s Sick

pressing their forehead into something cool or comfortable (this could be an array of things. the table, the floor, someones leather jacket, their water bottle, the countertop)

warm to the touch, or heat radiating from them (could be noticed if someone’s gauging their temperature with their hands, hugging them, or just generally touching them)

leaning into people’s touch, or just spontaneously leaning on them (like pressing into their hand when someone’s checking their temp, or just, like, literally walking up and laying their head on them from fatigue. bonus points if the character is usually feral and the other is scared to engage™︎)

falling asleep all over the place (at the dinner table, on their homework, in the car, in the bathroom — just being so exhausted from doing literally nothing)

being overly emotional (crying over things that don’t usually bother them, like their siblings arguing, or their homework, or literally just nothing)

stumbling/careening/staggering into things (the wall, furniture, other people. there is no coordination in feverish brains. running into chairs, hitting the door, falling over the couch, anything and everything)

slurring their words (could be from fatigue or pain. connecting words that shouldn’t be connected, murdering all of their conversations with the excessive use of ‘mm’ and ‘nn’ in place of words) (this is my favorite thing ever)

being overly touchy (basically like a sick kid — just hold them, please. do that thing where you brush their hair back out of their face, or rub circles on their back, or snuggle them. they won’t care. bonus points if this is also the feral character and they refuse to believe it afterwards)

being extremely resistant to touch (flinching away when they usually don’t so someone can’t feel the fever, not letting themselves be touched because they’re so tired they just know they’ll be putty in their hands if they do)

growing aggressive or being extremely rude (it’s a defense mechanism — they feel vulnerable and are afraid of being manipulated or deceived while they’re ill)

whimpering/whining/groaning (this was in my “characters in pain” post but it’s so good that i’m putting it here too. this shite is gold, especially if it’s just an involuntary reaction to their symptoms)

having nightmares caused by a fever and/or delirium (crying and murmuring in their sleep, or being awake but completely out of it and convinced they’re somewhere else)

making themselves as small as possible (curling up into a ball everywhere they lay, hunching over slightly when standing, wrapping their arms around themselves)

TW for vomiting below cut !!

sleeping in the bathroom floor because they keep getting sick over and over (bonus if someone finds them all weak and pitiful. bonus bonus if they find them there in the morning only to learn they’ve been there all night)

using their hands/other body parts to clamp over their mouth so nothing can come out (like pulling their knees up to their chest and using that, or like, their arm, y’know) (~maccreadysbaby who has emetophobia suddenly gets very awkward about this post~) (~yes i have a phobia of puke and still write this happening to my characters, shut up~) (~it’s about the hurt/comfort okay~)

sympathy pukers (people who aren’t the sick ones but get nauseous/vomit when they see someone else throw up) (~aka me~) (~okay I’m done now~)

dry heaving (it’s gross, but good for making your characters absolutely freaking miserable)

rolling/churning/spinning/cramping/ lurching and all those awesome words that describe what stomachs do when sick (i hate these words with a deep, fiery passion. but they’re good for writing or whatever)

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subtle ways to include foreshadowing

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

the crow rhyme

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

write with the ending in mind

use patterns from tragic past events to warn of the future

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

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

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

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

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

anyways add anything else in the tags

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Questions to ask beta readers

General:

Were you confused at any point of the story?

What genre would you say this book is?

When did you put the story down?

Is the ending satisfying?

If you had to cut 3 scenes what would they be?

When did you feel like the story really began?

What was the last book you read before this story?

Characters:

Do you get any of the characters names confused?

Which character is your favorite?

If you had to remove a character who would you and why? (you don't have to remove the character, just make sure their role is meaningful)

Which character do you relate to the most?

Which character do you relate to the least?

Do the characters feel real?

Are character relationships believable?

Are the goals clear and influence the plot?

Are the characters distinct (voice, motivations, etc)

Setting:

Which setting was clearest to you?

Which setting was the most memorable?

Am including enough/too much detail?

Plot and conflict:

Are the internal and external conflicts well defined for the main characters?

Are the internal conflicts and the external conflicts organic and believable?

Are there enough stakes?

Are the plot twists believable but still unexpected?

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Writing Intimacy

i often see writers sharing a sentiment of struggling with writing kiss scenes which honestly bleeds into other portrayals of physical intimacy. i see it a lot in modernized styles of writing popularized by the recent trend in publishing to encourage short, choppy sentences and few adverbs, even less descriptive language. this makes intimacy come across awkward, like someone writing a script or clumsy recounting of events rather than a beautiful paragraph of human connection.

or just plane horniness. but hey, horny doesn't have to be mutually exclusive with poetic or sensual.

shallow example: they kissed desperately, tongues swirling and she moaned. it made her feel warm inside.

in depth example: she reached for the other woman slowly and with a small measure of uncertainty. the moment her fingers brushed the sharp, soft jaw of her companion, eliza's hesitance slid away. the first kiss was gentle when she finally closed the distance between them. she pressed her lips lightly to gabriella's in silent exploration. a tender question. gabriella answered by meeting her kiss with a firmer one of her own. eliza felt the woman's fingers curling into her umber hair, fingernails scraping along her scalp. everything inside eliza relaxed and the nervousness uncoiled from her gut. a warm buzz of energy sunk through her flesh down to the very core of her soul. this was right. this was always where she needed to be.

the first complaint i see regards discomfort in writing a kiss, feeling like one is intruding on the characters. the only way to get around this is to practice. anything that makes you uncomfortable in writing is something you should explore. writing is at its best when we are pushing the envelope of our own comfort zones. if it feels cringy, if it feels too intimate, too weird, too intrusive, good. do it anyway! try different styles, practice it, think about which parts of it make you balk the most and then explore that, dissect it and dive into getting comfortable with the portrayal of human connection.

of course the biggest part comes to not knowing what to say other than "they kissed" or, of course, the tried and true "their lips crashed and their tongues battled for dominance" 😐. so this is my best advice: think beyond the mouth. okay, we know their mouths are mashing. but what are their hands doing? are they touching one another's hair? are they scratching or gripping desperately at one another? are they gliding their hands along each other's body or are they wrapping their arms tightly to hold each other close? do they sigh? do they groan? do they relax? do they tense? are they comfortable with each other or giddy and uncertain? is it a relief, or is it bringing more questions? is it building tension or finally breaking it?

get descriptive with the emotions. how is it making the main character/pov holder feel? how are they carrying those emotions in their body? how do they feel the desire in their body? desire is not just felt below the belt. it's in the gut, it's in the chest, it's in the flushing of cheeks, the chills beneath the skin, the goosebumps over the surface of the flesh. everyone has different pleasure zones. a kiss might not always lead desire for overtly sexual touches. a kiss might lead to the desire for an embrace. a kiss might lead to the impulse to bite or lick at other areas. a kiss could awaken desire to be caressed or caress the neck, the shoulder, the back, the arms etc. describe that desire, show those impulses of pleasure and affection.

of course there is the tactile. what does the love interest taste like? what do they smell like? how do they kiss? rough and greedy? slow and sensual? explorative and hesitant? expertly or clumsily? how does it feel to be kissed by them? how does it feel to kiss them?

i.e. examine who these individuals are, what their motives and feelings are within that moment, who they are together, what it looks like when these two individuals come together. a kiss is not about the mouth. it's about opening the door to vulnerability and desire in one's entire body and soul.

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20 Flirty Remarks to Build Romantic Tension Without Being Overbearing

Feeling stuck trying to give your characters a good flirty one-liner that doesn't sound cringe/overdone? Here are 20 ideas/dialogue prompts for you (that I may or may not have stolen from my own books): 

“I must warn you: you have a dangerous effect on my heart rate.” / "You have no idea what you're doing to my heart right now."

"If I said I wasn’t thinking about you, I’d be lying. And I’m a terrible liar."

"You know, I could get lost in those eyes, but I'd probably trip over my words trying to find my way back." (could also double as description/inner monologue).

“I can’t tell if you’re really charming or if I’m just easily charmed.”

“You have a knack for making me forget what I was going to say. It’s kind of impressive/infuriating.”

“I think you owe me a drink. When I saw you, I dropped mine.”

“I’ve been trying to find the perfect excuse to hang out, but I keep forgetting everything when I’m around you.”

“I bet you get away with a lot of trouble with that smile.”

“You must be a magician because every time you walk in, everyone else disappears.” (The right character could pull it off I swear)

"I’ve been trying to think of something clever to say, but all my brain can come up with is how much I want to (kiss) you."

"I saw that little glance—you’re not as sneaky as you think."

"How do you manage to make even the most mundane things sound exciting?"

"You do this cute thing with your hands when you’re nervous, you know?"

“One more word, and I might just have to kiss you.”

"Finally, there's that pretty smile of yours. I've been waiting for it all day."

"You keep staring—should I be flattered?" / "Keep looking at me like that and I might start thinking you have a crush on me."

"Do you have any idea how fun it is to watch you try to keep a straight face?"

"I’m pretty sure you could charm the socks off anyone, but I’d like to keep mine on for now."

"If laughter is the best medicine, then I’m pretty sure you’re my favorite doctor."

"Is it bad that I kind of like the way you’re trying to mess with me?"

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors! Instagram Tiktok

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Sometimes I worry that the story I want to write might be kind of long and then I remember that I read ORV, it's probably fine.

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specific tropes in romance that always heal something in me that it never broke

like, forehead kisses, soft love confessions, peppering kisses all over the lover's face. promises that are kept, hands those are held with a gentle love, and hugs that engulf the heart too.

or when they rest their head on your chest, or lean on you for support.

"your tears kill me," kinda thing. or when a sunshine character finally cries and bawls their entire life's hurt out into their comfort grumpy character (plus point, if the grump feels guilty thinking if they had done something to trigger this emotional outburst)

communication. no matter hard the topic is, how big your differences are.

listening to the other person yap

admiring their facial features and seeing not just the outer structure but the person that they really are.

them getting angry on ur behalf

cradling each other in hugs basically

feeling emotional walls break when you're with that one person particularly

gentle communication. yearning to do more for your lover (!!!!)

affectionate smiles and eyes crinkling with a smile that's directed specially at you.

finding their laugh contagious.

the feeling of being accepted, despite flaws and all

silent domestic acts like being in the kitchen together, dressing up together, them drying ur hair while u sit between their legs

occasionally stolen kisses

or one deep kiss that just lights your world and fulfills your soul and heart.

sleepily nuzzling into each other!!

reaching for each other despite being asleep, with mumbled endearments and whispers of need!!!

laughter coming easily by their side, like happiness is just another day to day thing (this can also be about self love. when u truly love urself and prioritize your own rights and cherish the fact that you're you. happiness becomes beautiful even in solitude)

their fingers buried deep in yo- OOPS.?! :)

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Writing Tip - How To Make Fight Scenes Interesting

More writing tips

So, when it comes to writing fight scenes, as I have done quite a few of them, there's some things I keep in mind.

Ensure Consistent Character Abilities: Characters should fight consistently throughout the scene. They shouldn’t magically become stronger or weaker without a clear reason. Consistency in their abilities helps maintain believability.

Avoid Making Heroes Invincible: I prefer not to portray heroes as invulnerable, as seen in many 80s action movies. Instead, I include moments where the hero gets hit, shows visible injuries, and shows fatigue. This makes them feel more human and improves the significance of their victories. It’s hard to create a sense of urgency if the characters don’t seem to be in real danger.

Portray Antagonists as Competent: I avoid depicting random cannon fodder as foolish by having them attack one at a time or easily get knocked out. Instead, I show them employing smart tactics such as ganging up on the hero and even getting back up after being knocked down.

Incorporate the Environment: Don’t forget to include the surroundings. Whether the fight takes place in a cramped alley, on a rain-soaked rooftop, or in a collapsing building, use the environment creatively. Characters can use objects as weapons, find cover, or struggle against challenging terrain.

Highlight Self-Inflicted Pain: Characters can hurt themselves just as much as their opponents. For instance, after landing a powerful right hook, a character might need to pause and shake off their hand in pain. This not only adds realism but also highlights the toll that fighting takes on the body.

Show Consequences After the Fight: Consider what happens after the battle concludes. Do injuries slow the hero down and limit their abilities for the rest of the story?

These are just a few tips for now. I am planning to release more tips on how I write my fight scenes with some examples included. See you then!

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Writing Reference: Medicinal Herbs

10 plants for your character's medicinal herb garden

PLANT — When to Plant — Conditions & Care — Medicinal Uses

ALOE VERA — spring/autumn — sunny site indoors; pot up as needed; do not overwater — fresh plant gel for minor burns and wounds

CALENDULA — spring/autumn — well-drained soil; full sun; remove dead flower heads — cream for cuts, scrapes, inflamed skin; infusion for fungal infections

COMFREY — spring/autumn — warm sunny site; moist soil — ointment or poultice for sprains and bruises (use the leaf only)

FEVERFEW — autumn/spring — well-drained or dry, stony soil in sun — fresh leaf or tincture for headaches and migraines

LEMON BALM — spring/autumn — moist soil in sun; cut back after flowering — infusion for anxiety, poor sleep, and nervous indigestion; lotion for cold sores

PEPPERMINT — spring/autumn — sunny but moist site; do not allow to dry out — infusion for indigestion and headaches; lotion for itchy skin

ROSEMARY — spring/autumn — sunny sheltered site; protect with burlap in winter — infusion as a stimulating nerve tonic and to aid weak digestion

SAGE — autumn/spring — well-drained or dry, sunny, sheltered site — infusion for sore throats, mouth ulcers, and diarrhea

ST. JOHN'S WORT — spring/autumn — well-drained to dry soil with sun or partial shade — tincture for depression and menopause; infused oil is antiseptic and heals wounds

THYME — spring/summer — well-drained soil, may need a layer of gravel; sunny site — infusion for coughs, colds, and chest infections; lotion for fungal infections

Source ⚜ More: Notes & References