#about writing]

[keyotosprompts]

the look of love ೀ

how to describe a loving gaze

⇸ eyes darting all over your face, trying to figure out which part of you they want to set their eyes on the most (it's impossible)

⇸ gazing at you like you're miles away only when you're a few feet away, standing with another person. their stare is hard, intense, but also melting and blank.

⇸ a featherlight touch to your arm with their eyes softly peering up at you. they can't believe that you're allowing them to touch you like this—so innocent, so softly.

⇸ late nights where its just the two of you in a car. they turn over to look at you but immediately turn. for the safety of the both of you, they can't stare at you any longer

⇸ when you're teasing them, they have to bite down extra hard to not release that smile from their lips. their eyes are squinted more tightly than usual. still, they're glued onto you.

⇸ meeting their eyes from across the room, and the two of you have the exact same thought. you turn away first to hold back your laughter, but their eyes are pinned onto you.

⇸ a softened gaze in a random moment. there's no reason for them to be looking at you like that—with slightly hooded eyes and parted lips—except for the fact that they just love seeing you

⇸ you're twirling around in your new outfit, showing the 360 angle. their pupils look like they're completely taking over the iris of their eye. suddenly, breathing becomes a lot more faster than they remember.

⇸ tears run like thrashing rivers on your face, dripping onto your pants and soaking the sleeves of your shirt. but they don't care. even when wiping your tears, they still can't get over how you look absolutely angelic like this.

⇸ eyeing you in the middle of the night, feeling incredibly lucky that they are the only one who can look at you in this state. a smile dawns upon their face as they trace the shape of your jaw, press their fingers in your cheekbones, and kiss you on the cheek.

⇸ a make-out session that seems like it will never stop until they pull away, and the reason being, "i needed to look at you like this," with swollen lips and a red flush.

⇸ laughter dying down into silence. looking at each other and bursting into laughter again.

⇸ being completely bare in front of each other after a long night. shameless admiration where their eyes move up and down your face and body. there's a mix of lust and adoration in their eyes.

⇸ watching you storm off, and all they can do is stand their, focused on your fleeting figure. their face is contorted—not in an angry way—but a look of concern flashes across their features. did they just lose the one they loved the most?

⇸ getting food with the other person and realizing that this is all it takes for you to be content. this is what happiness feels like, you think.

⇸ a gripping hug that makes you feel so seen. that one second during the embrace where you two both look at each other, and time stands still. you want to frame the expression on the other person's face.

⇸ seeing you, and a beaming smile immediately breaks out of their face.

[rowanisawriter]

writer q&a

thanks for the tag @luvwich i love talking about myself lmao

tagging… @mashamorevvna @yourworsttotebag @swordbisexual no pressure

When did you start writing?

10 or 11 handwriting a three part series in notebooks lol i still remember the plot of my first book which was basically xmen AU. fic writing also started around that time

Are there different themes or genres you enjoy reading than what you write?

not really, my writing and my taste in reading usually align. even poetry which i read a lot of but don’t write, somehow still sneaks into my writing because i like making things read pretty

Is there a writer you want to emulate or get compared to often?

idk about fic but for published authors i like sally rooney and her character work, and i also love t. s. eliot’s rhythmic style in poetry, im always trying to emulate them

Can you tell me a bit about your writing space?

i have a toddler to the answer so this for now is my phone on the couch or in my bed in the middle of the night lmao. i’ve learned how to write under weird circumstances, but hopefully once she gives back some of the mental capacity she takes from me daily then i’ll sit at a table or something

What's your most effective way to muster up a muse?

can’t do it easily lol it comes to me in visions, usually after i read something or see a piece of art but if it’s not there it’s not there

Are there any recurring themes in your writing? Do they surprise you?

i write a lot about religion… no that’s not surprising…. i also write a lot about love… that’s not surprising either lol

What is your reason for writing?

i like stories a lot, and i like being praised, so writing stories and having people read them checks two boxes for me lol

Is there any specific comment or type of comment you find particularly motivating?

all comments are precious, but comments where people find something that i didn’t consciously put into a fic those are my favorite comments. i put a lot of myself into everything i write, sometimes i write things i don’t think about, when someone points it out it feels very personal (good)

How do you want to be thought about by your readers?

hope i don’t come across as insane, i want to be aloof and interesting but then people find me on tumblr and learn the truth

What do you feel is your greatest strength as a writer?

hopefully emotion, i focus a lot on that instead of setting or plot most of the time so if i get emotion right then that’s good, as long as i can make someone feel something then they’re compelled to continue reading (conversely when i am reading something and don’t feel any emotional connection to the thing then i put it down)

How do you feel about your own writing?

i like it very much, it’s the exact thing i want to read, and it was a very long road getting here to my true voice and style. i reread my own work constantly i really like it

When you write, are you influenced by what others might enjoy reading, or do you write purely for yourself, or a mix of both?

i can only write for myself, the motivation to write is only there if it’s something i want to write, even challenges and prompts i struggle with because there is some aspect of “this isn’t truly my idea” that i struggle with. i’ve written things that just aren’t popular (weird ship, quiet fandom, etc) but i wrote it anyway because i wanted to. obvs i want to be read otherwise i wouldn’t post online but i have a good audience now so usually no matter what i write it does get read anyway, so may as well just write what i want lol

[novlr]

[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[heartofmuse]

I want to read all your poems and drink your words till they flavor my mouth with the taste of you. I want to get drunk on the splendor of your essence and color my lips with your fragrance.

e.v.e.

[up-in-flames-writing]

I wasn't sure if I wanted to make this post, but it feels nowadays like no matter what I say, people will find something wrong with it. I can't say anything about transmasculinity without someone with 'TERFs dni' in their bio foaming at the mouth about it.

Cause it ain't just the radfems & the TERFs, half of the damn queer community is like this as well.

And my main point here is that I fucking despise being a transmasc writer. People fucking despise transmasc creators in general!

I remember watching a cishet 'feminist' reviewing a book by a transman, & acting like he was just a stupid little girl who didn't understand feminism, cause he wrote a book about how men are mistreated, & he wrote it as a transman! & I'm sorry that not all of us can be as damn articulate as your feminism priestesses of the 1900s, but even if we were you'd still find a fucking fault in it!

Cause I love writing stories were a girl becomes a warrior & finds out he's actually a man, & he's better this way than he ever was before, & I was once that little girl who was signed up for martial arts classes & got so much euphoria from beating up all the little boys, but I was already a little boy at that time, I just didn't know it!

Oh, but that's not feminist. It ain't 'female empowerment'. Seeing Mulan as trans in your headcanon isn't feminism, & writing about little girls becoming strong men is misogynist, even if that little girl was never a little girl to begin with!

And I'm just so fucking tired, y'all. One type of 'feminist' hates me for being trans, & the other for being a man, & no matter what I do I just get harassed over & over.

& I'll probably bring this curse over to this blog now. Until now, people have been sending harassment to my dead main blog. Well, they won't be able to do that soon. It'll be this blog, or my kinda dead RP blog.

& when I say I'm terrified, I mean it. Cause I was a terrified little girl growing up, bullied for being autistic & weird & queer & faggy & masculine. & now I'm terrified once again, cause I keep being harassed for being autistic, weird, queer, faggy, masculine, & for refusing to shut up about it. & I want this blog to stay a safe place.

But this is my writing blog. I am a writer. I write stories where little girls become strong men, & I wish someone would call that 'trans empowerment'. & what's empowering in staying hidden?

This is my writing blog, & I deserve to speak up against the bullshit I have to face as a transman & a writer. & the truth is: people fucking despise transmasc writers.

[disaster-priestress-sumire]

[werenotacoupleyesyouare]

You didn't "come back wrong", you just weren't the one they meant to bring back. Your tombstones must have been switched by accident, yeah, no sorry you don't get it either. You're sorry they went through all this trouble only to end up with you and- yes, yes you're not the one they wanted, but you've just come out of the ground and you're very confused so could you maybe stay with them for the time being? The world seems so different from when you last saw it, there are so many more lights and new places to see and-- could they not look at you like that? Yes, that way. The intensity of it upsets you, it burns holes into you. No, you won't change your name for them? No, no, it's fine, this is confusing for them as well. You just wish you could stop hearing that unwavering faith in their voice. These clothes don't quite fit you, but they're clean, folded and waiting and you can't really complain. You tell them you can't believe how lucky you got. There's wind on your face again, and things that seemed impossible in your previous life are now easily obtainable, and it's all thanks to them. They smile at you and say they're glad, then they call you by the wrong name.

[esamastation]

hi!!! i just wanted to pop in after reading some of your AC fics (ones where desmond, ezio, and/or altaïr are at the forefront so in this case: i was born for this, terrible two, stone angel, gift of living well, impermanence, three fold, & earthly scene) and say that you're a brilliant writer. as someone who's trying to write longer, more impactful stories, it's admirable how you prioritize the plot and how romance is a sweet part of it. (this is part 1 of this message bc of the word count!)

you construct romance in an original, cathartic way that feels effortless. i just finished 'i was born with this' and the romance that forms between the characters feels so natural and unforced. another thing i love in your fics is that when desmond goes back in time, he always (unintentionally at first) makes an impact in furthering knowledge, inventions, etc centuries ahead of when they were supposed to happen. more importantly, desmond finds his well-deserved happy ending.

your fic ideas are also so creative and out of the box. i'm currently going through the games right now and desmond has been so so much shit (unwillingly) and he deserves some rest and happiness :,) another thing i love is how you always leave a hopeful ending that makes me ache to know what happens after!! you flesh out the characters so much over the span of + 100,000k words, tie things wonderfully at the end, and make me feel out breath (in a good way)

yeah, to sum that up, you're an amazing writer!! i also wanted to ask you some questions about writing. i aspire to write long fics, but i struggle with plotting out events =( i feel like i rush the events in how i want to get to the end where the characters are happy! do you have a writing process? do you plot out your stories or kind of go with the flow? do you have any tips on improving your writing? i totally get if you don't have any advice! have a great day!

-

Thank you for your nice comments, sorry it took so long to reply, I was feeling very antisocial. Anyway.

I do not have a writing process - I'm what they call a gardner writer, I take characters and I put them into situations and see how things develop and plot either happens or it doesn't. Maybe I have vague plans like "here's a scene I want to see in future" and "this is a result I want them to come to" and then try to write towards those goals, but they don't always pan out. It's all very chaotic and leads to lot of dropped fics, but it's how I enjoy writing. (It really helps having someone reading your stuff and poking at the plot holes though, I got a lot of fics that only got as far as they did because nimadge or someone else was there along for the ride.)

I dunno if there's anything other that just practice that can improve a person's writing. Some people recommend writing short stories and flash fiction, some people say your should write X amount of words every day. If all else fails there's thousands YouTube videos on subject.

Personally I'm a huge advocate of taking ideas from other people and putting your own spin into them. Derivate, rehash, put them in a blender, see what comes out. Like, don't copy Lord of the Rings word for word and publish it as your own work, that's bad - but maybe dwarf and elf going on adventures together is a idea that could go places. Fanfiction is all derivation upon pre-existing ideas.

Related, I whole heartedly endorse anyone who wants to take plots and ideas I've written and taking a crack at them with their own style. It's pretty much how I learned to write as wee bab on a typewriter, stealing from the books I enjoyed. And hell, if you don't have a style, try someone else's. One is my most popular fics started with me trying to emulate the style and cadence of narration of a completely unrelated TV series I was watching at the time. I don't think anyone even noticed.

Once you have enough practice under your belt, your style will develop on its own.

[esuemmanuel]

Entiendo que las palabras bonitas atraigan, por eso dejé de escribirlas, porque escribir no se trata de atraer, sino de evocar y proyectar lo que se lleva en el alma, así sea bello u horrendo. Entonces, llegarán los ojos justos y dispuestos a sentir lo que se ha escrito, ya sea porque se sienten identificados, definidos o, simplemente —y, naturalmente— atraídos.

— Esu Emmanuel©, I understand that beautiful words attract, that is why I stopped writing them, because writing is not about attracting, but about evoking and projecting what one carries in one's soul, be it beautiful or horrendous. Then, the right eyes will arrive, ready to feel what has been written, either because they feel identified, defined or simply -and naturally- attracted.

[rowanisawriter]

i know we always see that advice “write for yourself” all the time and i do believe it and also sincerely believe that “write for yourself” directly leads to “write for the audience you have attracted by writing for yourself”. so you start writing just for you, pure you, writing what you want to read and what you want to see out there in the world, and be genuine and unafraid, and then others find you and also want to see that same thing and then more find you through them etc etc and suddenly you are still writing for yourself but incidentally others are enjoying it too

[writing-for-life]

Neil Gaiman’s 8 Rules for Writing.

Art by David Mack

[topazadine]

Remembering Perspective When Writing Descriptions

Just a short pet peeve of mine, inspired by a shower thought, where I remembered the most terrifying description I'd ever read.

It wasn't bad, or even horror. It was well written.

However. The POV character described his *sister* in a way akin to this (my recreation, not the actual text):

Braden met his sister at the gate. They'd been apart for several years, and in that time, she had truly become a woman. Her curves had filled out, and her red silk dressed strained across her tight figure. Her long black curly hair shone in the late evening light, while her blue eyes watched him intently.

No, this wasn't a brocon thing. The (male) writer was just horny for his female character and ... kinda forgot that his MC, her brother, would not feel the same way.

Now, of course siblings growing up together are going to notice the other one maturing, but it's not going to be ... that. This is how I describe 17-year-old Uileac looking at his little sister, 13-year-old Cerie, in 9 Years Yearning:

She'd shot up in height this past year - almost as tall as him, to his dismay. Whatever they were feeding her in the meronym was quite good for her metabolism, as she'd put on a bit of healthy weight. Her cheeks were losing their baby roundness, and the autumnal light accentuated the sharp intelligence behind her green eyes.

In this description, you can feel Uileac's paternal attitude toward his little sister. "Oh, she's put on a bit of weight and isn't a total twig anymore! I'm glad they're feeding her well. Her face looks more adult. Fuck, she's almost as tall as me now ... I wish I weren't so goddamn short ...."

This is a much more normal way for siblings to talk about each other, if a bit more "dad mode" than the typical older brother.

Siblings who grew up together are not going to say "holy shit I can really tell my sister has become a woman, wow her dress is tight over her curves." If my brother had said that about me while we were kids, I'd throw up and dump a pot of soup over his head.

This kind of thing is generally accidental and has to do with how *you* feel about a character. But the thing is that even the sexiest femme fatale is just going to be Jennifer, The Stupid Annoying Sister, to their sibling. Our brains are literally wired not to see our siblings as sexy if we grew up with them.

There are many other ways that you must take perspective into consideration when writing descriptions. Here are just a few of them.

Sexual attraction/orientation

You're going to focus on different things if you're sexually attracted to someone; namely, you'll focus in on things like breasts, legs, abs, etc. You'll also likely devote more attention to describing people of your particular sexual orientation than you would one that you are not attracted to, and you will focus on different things.

This is part of why we hate "men writing women:" they describe every woman as if they want to fuck them. (See the first example.) It has to do with the places that their gazes naturally linger on any woman, which is what they consider important and what they focus on.

But the thing that they miss is that just because we are sexually attracted to a specific gender does not mean we would want to bang anyone of that gender. I am a lesbian, but the way I would describe my mom or my therapist is vastly different than how I would describe a woman I am actually attracted to.

Romantic interests should get a more sexualized gaze; not exploitative, just more in-depth, and with more focus on their figure, specific details, etc. Everyone else should get a more basic look at eyes, hair color, height, build, and so on.

Feelings about a particular person

You're going to be more forgiving and complimentary toward someone you care about than someone you hate. Things that would be charming on a friend will be downright annoying on that one asshole at work who always throws projects to you at 5pm on a Friday.

A lover's thick eyebrows might be called "dashing" or "strong," while on an enemy, they'd be "overbearing" and "harsh." Your bestie's lisp is cute, while it seems babyish on your school rival. Your dad's meandering sentences give him a sense of harmless musing, but they make someone else look like an idiot.

If you have a character that is prejudiced toward a given group, they are always going to describe that group more harshly than they would a favored group. If they don't like authority figures, a police officer leaning toward them will seem menacing, when they wouldn't even notice it otherwise.

It can be very fun to give two characters similar traits but describe them differently based on the POV character's perspective of them. Readers might not even realize that it's the exact same physical feature!

Previous experiences at a given place

When describing settings, we're going to give more attention to somewhere we care about, like our home. I imagine you can tell me about every chip in the paint in your bedroom, or that one weird stain in the floorboard that you've tried everything to fix. Many times, this is a good time to add depth to the character's backstory by briefly mentioning previous occurrences there.

Would you notice any of those things about a place you're visiting for the first time? Probably not. You'll give a more global attention to the scene and provide impressions, not specifics.

Depending on how nervous or adventurous you are, you'll look for similarities or differences to things that you're accustomed to. You might compare it to other places you have been, trying to get a frame of reference.

If you're on a vacation and were really looking forward to coming to this specific spot, you will likely hone in on exactly what you came to see, whether that's the scene from a particular hilltop or a cafe, and this will get the most description.

Current Mood

Descriptions change with a character's mood, even if they've been in that place a millions times. People just notice different things depending on their mood; if they're happy, they'll look for things that support that mood, while if they're upset, they're pointing out the negatives.

For example, consider someone walking into a court room when they are on trial versus when they are there as a simple court reporter. The person on trial is probably going to be glancing longingly at the door, picking out the angry faces of observers (or assuming the observers are angry), focusing attention on the security guards, staring at the plaintiff with hate in their eyes.

The court reporter will likely pick out anyone they know in the room before looking at anything else. Then, they'll check out the defendant and plaintiff with idle curiosity. Since they are more familiar with the room, they'll gloss over the boring details that they have already seen a million times, giving them only a cursory once-over to see if anything has changed.

Current Need

Your character's objectives need to taken into consideration as well. As an example, remember the last time that you really needed to pee while you were out. Were you slowly and casually admiring the scenery? No! You were hunting for the bathroom. If literally anything registered for you, it was anything that looked vaguely bathroom-sign-shaped. Everything around that bathroom sign, and on your path toward the bathroom, got more attention and description to you than anything else.

Your character's interests

When describing a scene, you don't need to take time and define every single little thing in a character's path. It's annoying and overwhelming. You need to give us a basic overview (it's a forest, it's a grocery store, it's an abbatoir) and then hone in on the specific details that your character finds interesting in order to fill out the entire scene.

We, as people, focus on things we care about, things that we feel are relevant to us. Different people will notice completely different things when they walk into the same room. An animal trainer will appreciate a big pet bed and an ergonomic food bowl. An artist will admire the artwork on the walls. A computer nerd is going to roll their eyes at the scuffed-up Mac laptop.

This doesn't mean that you can't describe other things, too; it just means that your character's attention is going to be drawn to stuff that they, in particular, like or dislike.

Things like where a character's gaze lands, how they describe things, and how much detail they give to any particular element are an important part of secondary characterization: how we get to know a character beyond what they do or tell us. It helps to create a fuller picture of their relationships, their interests, and their thought process, and it deserves just as much attention as actions and dialogue.

If you enjoyed reading this, perhaps you'll consider purchasing my book, 9 Years Yearning. No weird sibling vibes I prommie

[heartofmuse]

I want to feel your poetry on my skin, a fire that burns, a salve that soothes, a wind that sweeps, water that quenches, a thousand whispers of magic that dance and reach within.

e.v.e.

[wheeloffortune-design]

so when you're writing (this came up in a convo about ofmd)-- so when you write you may decide a character has to die, for whatever reason, right

and as the storyteller you need to ask yourself 'what emotions do i want my readers to have about this'

if you want them sad, you need to work backwards, and make that character likeable, so it hits harder when they actually die

so, regarding ofmd, i suggest, instead of 'he had character growth and then died' , more like 'he was about to die so they added character growth'

he had to die, so they made us like him.

[novasintheroom]

this is a PSA to KEEP ALL OF YOUR WRITING. even the stuff you hate. you may come back to it one day with a fresh set of eyes and think 'hey...this is actually pretty good!' and flesh it out more!!