#advice to aspiring writers

[rozmorris]

Why writing books is a career like no other, and 9 takeaways for doing it

I’ve had an email from a high school student who’s writing an English assignment on careers he would like to follow. He said: Would you answer a few questions about your job journey? I’m very interested in what you do. His questions were fairly standard, and they made me realise how most creative careers are anything but. They’re unpredictable and weird.Here are my answers, and I’m really…

[blue-eyed-author]

Writing rule:

Every character who speaks gets their own paragraph. If two characters are talking, each time they switch you must create a new paragraph.

Do not add more than one characters’s dialogue into a single paragraph or it will be too confusing for the reader.

[thewriteadviceforwriters]

25 Prose Tips For Writers 🖋️✨ Part 1

Hey there!📚✨

As writers, we all know that feeling when we read a sentence so beautifully crafted that it takes our breath away. We pause, reread it, and marvel at how the author managed to string those words together in such a captivating way. Well, today I'm going to unpack a few secrets to creating that same magic in your own writing. These same tips I use in my writing.

But before I begin, please remember that writing is an art form, and like any art, it's subjective. What sounds beautiful to one person might not resonate with another. The tips I'm about to share are meant to be tools in your writer's toolkit, not rigid rules. Feel free to experiment, play around, and find what works best for your unique voice and style.

Power of Rhythm 🎵

One of the most overlooked aspects of beautiful prose is rhythm. Just like music, writing has a flow and cadence that can make it pleasing to the ear (or mind's ear, in this case). Here are some ways to incorporate rhythm into your writing:

a) Vary your sentence length: Mix short, punchy sentences with longer, flowing ones. This creates a natural ebb and flow that keeps your reader engaged.

Example: "The sun set. Darkness crept in, wrapping the world in its velvet embrace. Stars winked to life, one by one, until the sky was a glittering tapestry of light."

b) Use repetition strategically: Repeating words or phrases can create a hypnotic effect and emphasize important points.

Example: "She walked through the forest, through the shadows, through the whispers of ancient trees. Through it all, she walked with purpose."

c) Pay attention to the stressed syllables: In English, we naturally stress certain syllables in words. Try to end important sentences with stressed syllables for a stronger impact.

Example: "Her heart raced as she approached the door." (Stronger ending) vs. "She approached the door as her heart raced." (Weaker ending)

Paint with Words 🎨

Beautiful prose often creates vivid imagery in the reader's mind. Here are some techniques to help you paint with words:

a) Use specific, concrete details: Instead of general descriptions, zoom in on particular details that bring a scene to life.

Example: Instead of: "The room was messy." Try: "Crumpled papers overflowed from the waste bin, books lay spine-up on every surface, and a half-eaten sandwich peeked out from under a stack of wrinkled clothes."

b) Appeal to all five senses: Don't just describe what things look like. Include smells, sounds, textures, and tastes to create a fully immersive experience.

Example: "The market bustled with life. Colorful fruits glistened in the morning sun, their sweet aroma mingling with the earthy scent of fresh herbs. Vendors called out their wares in sing-song voices, while customers haggled in animated tones. Sarah's fingers brushed against the rough burlap sacks of grain as she passed, and she could almost taste the tang of ripe oranges on her tongue."

c) Use unexpected comparisons: Fresh similes and metaphors can breathe new life into descriptions.

Example: Instead of: "The old man was very thin." Try: "The old man was a whisper of his former self, as if life had slowly erased him, leaving behind only the faintest outline."

Choose Your Words Wisely 📚

Every word in your prose should earn its place. Here are some tips for selecting the right words:

a) Embrace strong verbs: Replace weak verb + adverb combinations with single, powerful verbs.

Example: Instead of: "She walked quickly to the store." Try: "She hurried to the store." or "She dashed to the store."

b) Be specific: Use precise nouns instead of general ones.

Example: Instead of: "She picked up the flower." Try: "She plucked the daisy."

c) Avoid clichés: Clichés can make your writing feel stale. Try to find fresh ways to express common ideas.

Example: Instead of: "It was raining cats and dogs." Try: "The rain fell in sheets, transforming the streets into rushing rivers."

Play with Sound 🎶

The sound of words can contribute greatly to the beauty of your prose. Here are some techniques to make your writing more musical:

a) Alliteration: Repeating initial consonant sounds can create a pleasing effect.

Example: "She sells seashells by the seashore."

b) Assonance: Repeating vowel sounds can add a subtle musicality to your prose.

Example: "The light of the bright sky might ignite a fight."

c) Onomatopoeia: Using words that sound like what they describe can make your writing more immersive.

Example: "The bees buzzed and hummed as they flitted from flower to flower."

Art of Sentence Structure 🏗️

How you structure your sentences can greatly affect the flow and impact of your prose. Here are some tips:

a) Use parallel structure: When listing items or actions, keep the grammatical structure consistent.

Example: "She came, she saw, she conquered."

b) Try periodic sentences: Build suspense by putting the main clause at the end of the sentence.

Example: "Through storm and strife, across oceans and continents, despite all odds and obstacles, they persevered."

c) Experiment with sentence fragments: While not grammatically correct, sentence fragments can be powerful when used intentionally for emphasis or style.

Example: "She stood at the edge of the cliff. Heart racing. Palms sweating. Ready to jump."

Power of White Space ⬜

Sometimes, what you don't say is just as important as what you do. Use paragraph breaks and short sentences to create pauses and emphasize important moments.

Example: "He opened the letter with trembling hands.

Inside, a single word.

'Yes.'"

Read Your Work Aloud 🗣️

One of the best ways to polish your prose is to read it aloud. This helps you catch awkward phrasing, repetitive words, and rhythm issues that you might miss when reading silently.

Edit Ruthlessly ✂️

Beautiful prose often comes from rigorous editing. Don't be afraid to cut words, sentences, or even entire paragraphs if they don't serve the overall beauty and effectiveness of your writing.

Study the Masters 📖

Please! Read widely and pay attention to how your favorite authors craft their prose. Analyze sentences you find particularly beautiful and try to understand what makes them work.

Practice, Practice, Practice 💪

Like any skill, writing beautiful prose takes practice. Set aside time to experiment with different techniques and styles. Try writing exercises focused on specific aspects of prose, like describing a scene using only sound words, or rewriting a simple sentence in ten different ways.

Remember, that developing your prose style is a journey, not a destination. It's okay if your first draft isn't perfect – that's what editing is for! The most important thing is to keep writing, keep experimenting, and keep finding joy in the process.

Here are a few more unique tips to help you on your prose-perfecting journey:

Create a Word Bank 🏦

Keep a notebook or digital file where you collect beautiful words, phrases, or sentences you come across in your reading. This can be a great resource when you're looking for inspiration or the perfect word to complete a sentence.

Use the "Rule of Three" 3️⃣

There's something inherently satisfying about groups of three. Use this to your advantage in your writing, whether it's in listing items, repeating phrases, or structuring your paragraphs.

Example: "The old house groaned, creaked, and whispered its secrets to the night."

Power of Silence 🤫

Sometimes, the most powerful prose comes from what's left unsaid. Use implication and subtext to add depth to your writing.

Example: Instead of: "She was heartbroken when he left." Try: "She stared at his empty chair across the breakfast table, the untouched coffee growing cold."

Play with Perspective 👁️

Experiment with different points of view to find the most impactful way to tell your story. Sometimes, an unexpected perspective can make your prose truly memorable.

Example: Instead of describing a bustling city from a human perspective, try describing it from the point of view of a bird soaring overhead, or a coin passed from hand to hand.

Use Punctuation Creatively 🖋️

While it's important to use punctuation correctly, don't be afraid to bend the rules a little for stylistic effect. Em dashes, ellipses, and even unconventional use of periods can add rhythm and emphasis to your prose.

Example: "She hesitated—heart pounding, palms sweating—then knocked on the door."

Create Contrast 🌓

Juxtapose different elements in your writing to create interest and emphasis. This can be in terms of tone, pacing, or even the literal elements you're describing.

Example: "The delicate butterfly alighted on the rusted barrel of the abandoned tank."

Use Synesthesia 🌈

Synesthesia is a condition where one sensory experience triggers another. While not everyone experiences this, using synesthetic descriptions in your writing can create vivid and unique imagery.

Example: "The violin's melody tasted like honey on her tongue."

Experiment with Sentence Diagrams 📊

Remember those sentence diagrams from school? Try diagramming some of your favorite sentences from literature. This can give you insight into how complex sentences are structured and help you craft your own.

Create a Sensory Tour 🚶‍♀️

When describing a setting, try taking your reader on a sensory tour. Move from one sense to another, creating a full, immersive experience.

Example: "The old bookstore welcomed her with the musty scent of aging paper. Dust motes danced in the shafts of sunlight piercing the high windows. Her fingers trailed over the cracked leather spines as she moved deeper into the stacks, the floorboards creaking a greeting beneath her feet. In the distance, she could hear the soft ticking of an ancient clock and taste the faint bitterness of old coffee in the air."

Use Active Voice (Most of the Time) 🏃‍♂️

While passive voice has its place, active voice generally creates more dynamic and engaging prose. Compare these two sentences:

Passive: "The ball was thrown by the boy." Active: "The boy threw the ball."

Magic of Ordinary Moments ✨

Sometimes, the most beautiful prose comes from describing everyday occurrences in a new light. Challenge yourself to find beauty and meaning in the mundane.

Example: "The kettle's whistle pierced the quiet morning, a clarion call heralding the day's first cup of possibility."

Play with Time ⏳

Experiment with how you present the passage of time in your prose. You can stretch a moment out over several paragraphs or compress years into a single sentence.

Example: "In that heartbeat between his question and her answer, universes were born and died, civilizations rose and fell, and their entire future hung in the balance."

Use Anaphora for Emphasis 🔁

Anaphora is the repetition of a word or phrase at the beginning of successive clauses or sentences. It can create a powerful rhythm and emphasize key points.

Example: "She was the sunrise after the longest night. She was the first bloom of spring after a harsh winter. She was the cool breeze on a sweltering summer day. She was hope personified, walking among us."

Create Word Pictures 🖼️

Try to create images that linger in the reader's mind long after they've finished reading. These don't have to be elaborate – sometimes a simple, unexpected combination of words can be incredibly powerful.

Example: "Her laughter was a flock of birds taking flight."

Use Rhetorical Devices 🎭

Familiarize yourself with rhetorical devices like chiasmus, antithesis, and oxymoron. These can add depth and interest to your prose.

Example of chiasmus: "Ask not what your country can do for you – ask what you can do for your country." - John F. Kennedy

Even the most accomplished authors continue to hone their craft with each new piece they write. Don't be discouraged if your first attempts don't sound exactly like you imagined – keep practicing, keep experimenting, and most importantly, keep writing.

Your unique voice and perspective are what will ultimately make your prose beautiful. These techniques are simply tools to help you express that voice more effectively. Use them, adapt them, or discard them as you see fit. The most important thing is to write in a way that feels authentic to you and brings you joy.

Happy writing, everyone! 🖋️💖📚 - Rin T

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[thatsbelievable]

[novlr]

How to write charming characters

With both positive and negative aspects to their personalities, charming characters can be difficult to write convincingly.

Whether you're writing a romantic love interest or a compelling con man, here are some examples for giving your charming characters depth.

How do they behave?

Attentive listeners: they pay close attention to people around them

Take pride in their appearance

Are happy to share personal space

Speak with a strong voice and an energetic tone

Are often hospitable and give off an air of welcome

Always give the impression that they are happy to see you

Demonstrate empathy

How do they interact?

Have a firm handshake and make strong eye contact

Are often encouraging

Compliment freely

Use humour to create a fun atmosphere

Communicate physically (through touch and gesture)

Make a point of using a person's name

Initiate conversations

Describe their body language

Have a relaxed stance with a straight and confident posture

Inclusive and attentive

Mirroring: they will mirror the body language of the person they are interacting with

Will lean forward to show attention

Lightly touch to create connection

A slight head tilt to show interest

Rarely cross their arms or legs

Maintain eye contact

Describe their attitude

Carefree

Good sense of humour

Friendly and playful

Self-aware

Opinionated and confident

Exhude an impression of honesty

Good intuition

Highly social

Polite and respectful

Eager to please

Potentially manipulative

The positive aspects of charm

Charming characters put people at ease, praise them freely, and boost their confidence. They make friends easily, talk their way to favourable resolutions, and are often the centre of attention.

They have impeccable grooming, conveying trustworthiness and concern for others, leading to a sense that they have your best interests at heart.

The negative aspects of charm

A charming character can manipulate others for personal gain. They can be overbearing, exerting their will on less confident individuals.

Their charm often draws focus, making others feel inferior, making them perfect for a protagonist to exhibit personal growth, or for a villain that a reader will fall in love with.

[taytjiefourie]

Show Don't Tell: Anger

Greetings, lovely people! It's great to be back with another post in my 'Show Don't Tell' series! I hope you've all been doing well. Without further ado, let's dive right into today's topic: anger.

Anger is a powerful and complex emotion that can manifest in many ways. It can range from a mild irritation to a full-blown rage, and can be triggered by a variety of factors, including frustration, injustice, or hurt. While it's natural to want to avoid anger in our personal lives, it can actually be a useful tool when it comes to creative writing.

When it comes to writing, anger can add depth and complexity to characters and their interactions. By showing a character's anger, we can reveal their motivations, values, and flaws, and create a more dynamic and realistic portrayal of human emotion. Additionally, anger can create tension and conflict in a story, driving the plot forward and keeping readers engaged.

But hey, I'm not here to talk about the nitty-gritty of anger. I'm here to help you learn how to effectively show your character's anger in your writing! So let's dive right in, starting with the powerful tool of body language.

Clenched fists

Tightly crossed arms

Stiff or rigid posture

Facial expressions like frowning, scowling, or furrowing their brows

Pacing or restlessness

Grinding teeth or jaw clenching

Aggressive gestures like pointing or shaking a finger

Staring or glaring

Raised voice or shouting

Heavy breathing or sighing

Pounding a fist on a surface

Tightened or bulging neck muscles

Sweating or flushed skin

Looking away or avoiding eye contact

Physical violence, such as hitting or throwing objects

Tensing or flexing muscles

Clenching or unclenching fists repeatedly

Baring teeth or showing a snarl

Raising eyebrows or narrowing eyes

Rolling eyes or making sarcastic facial expressions

Biting or chewing on their lips

Tapping their foot or fingers impatiently

Leaning in aggressively or invading personal space

Hunching over or making themselves appear smaller

Using a monotone or clipped tone of voice

Holding their breath or exhaling loudly

Clapping hands sarcastically or making dismissive hand gestures

Making fists and shaking them at someone

Puffing up their chest or standing tall to appear more imposing

Stomping their feet or making loud footsteps.

Scrunching their nose or flaring nostrils

Puckering or twisting their mouth

Tugging or pulling at their hair or clothing

Crossing or uncrossing their legs or ankles abruptly

Bending or clenching their toes or curling their toes tightly

Bouncing or tapping their knee rapidly

Grinding or rubbing their hands together

Picking at their nails or skin

Covering their face or eyes with their hands

Throwing their head back in frustration or exasperation.

Raising or lowering their voice

Slamming things down too hard that they are carrying.

Pursing their lips and nodding.

Running their tongue on the inside of their cheek.

Stalking instead of walking

Scratching their head or neck vigorously

Pulling or tugging at their ears

Biting their tongue or inside of their cheek

Flinching or tensing up when someone approaches them

Nodding their head sharply or repeatedly

Squeezing or gripping an object tightly, such as a pen or a phone

Slamming doors or drawers

Puffing out their cheeks or blowing air out forcefully

Fidgeting or shifting their weight from foot to foot

Raising one or both eyebrows in surprise or anger.

Shrugging off someone's touch or pushing them away

Curling their lips or sneering

Tilting their head back and closing their eyes

Scrunching up their face in disgust or disapproval

Stomping their foot or kicking an object

Folding their arms tightly across their chest

Clutching their stomach or chest

Rubbing their hands together quickly

Stiffening their body or freezing in place

Turning their back on someone or walking away abruptly.

Making a fist and pressing it into their other hand

Running a hand through their hair in frustration

Holding their hand to their forehead or temple

Biting their lower lip or the inside of their cheek

Tensing their jaw and grinding their teeth

Clenching their fists behind their back or in their pockets

Tugging at their collar or tie

Staring daggers or giving someone a withering look

Curling their toes or flexing their feet

Drumming their fingers or tapping their nails on a surface.

Covering their mouth with their hand and closing their eyes.

Scratching or rubbing the back of their neck

Rubbing their eyes or face vigorously

Putting their hands on their hips and leaning forward

Standing up abruptly or pacing back and forth

Pushing a chair or other object out of the way

Clapping their hands sharply or slamming them on a surface

Breathing heavily or audibly

Hunching their shoulders or shrugging in frustration

There are so many ways to bring your character's anger to life in your writing, and your readers will feel it in their bones! Body language is just one tool in your arsenal, but there are plenty of others to explore. Next up, let's talk about sensory details. While there may be some overlap with body language, there are also unique ways to use sensory details to convey anger.

Sensory details are all about bringing your reader into your character's experience by describing what they feel, see, hear, taste, and smell. But it's not just about surface-level sensations; it's about capturing what your character feels on the inside too. Think about the way anger might make your character's heart race or their vision narrow, or the way it might leave a sour taste in their mouth or make them hyper-aware of certain smells.

Clenched teeth or jaw

Rapid heartbeat or pounding in the chest

Flushed or reddened face

Sweating or clammy skin

Heavy breathing or panting

Muscles tensing or knotting up

Twitching or trembling limbs

Ringing in the ears or muffled sounds

Vision tunneling or blurring

Sensitivity to light or sound

Tingling or numbness in the fingers or toes

Pounding or throbbing headache

Dry mouth or tightness in the throat

Stomach churning or nausea

Tingling or itching sensation on the skin

Increased sensitivity to smells or tastes

Loss of appetite or overeating

Difficulty concentrating or focusing

Racing thoughts or an inability to think straight

Feeling dizzy or lightheaded.

Tense or stiff neck and shoulders

Clammy or shaking hands

Uncontrollable shaking or shivering

Rapid speech or stuttering

Breathy or strained voice

High-pitched or shrill tone

Swelling or throbbing veins

Rapid blinking or eye twitching

Heavy or labored sighs

Chills or goosebumps

Rapid or irregular heartbeat

Flushed or blotchy skin

Pacing or restless movements

Increased energy or restlessness

Headache or pressure in the temples

Chest tightness or discomfort

Dry or sweaty palms

Fidgeting or tapping feet or fingers

Frowning or scowling

Clenching or grinding teeth.

Action is the next layer in showing your character's anger. It's all about capturing the choices they make and the way they interact with their surroundings and other characters while feeling that intense emotion. Maybe they lash out and say things they regret later, or they bottle up their anger and internalize it until it explodes. Maybe they turn to self-destructive behaviors like substance abuse or reckless driving, or they channel their anger into a creative outlet like writing or painting. Whatever actions your character takes, they can reveal a lot about their personality, values, and motivations, and help your readers connect with them on a deeper level.

Yelling or screaming

Throwing objects or slamming doors

Punching or hitting walls

Physically attacking someone

Storming out of a room or location

Refusing to engage in conversation

Passive-aggressive behavior

Giving the silent treatment

Ignoring or avoiding the source of their anger

Interrupting others or talking over them

Criticizing or belittling others

Blaming others for their problems

Making sarcastic or cutting remarks

Engaging in risky behavior or taking unnecessary risks

Excessive drinking or drug use

Engaging in self-harm or other destructive behaviors

Seeking revenge or planning retaliation

Seeking control or power over others

Using manipulation or coercion to get what they want

Betraying or sabotaging others

Withholding affection or love

Sarcasm

Eye-rolling

Mocking or imitating others

Giving ultimatums

Exaggerating or lying about their feelings or experiences

Making threats

Refusing to compromise

Refusing to listen or hear other perspectives.

Getting physically tense or rigid

Clenching their fists or teeth

Biting their nails or lips

Fidgeting or tapping their foot

Pacing back and forth

Making abrupt or sudden movements

Staring or glaring at someone

Crossing their arms or legs defensively

Scratching or rubbing their skin

Crying or showing signs of distress

Withdrawal or isolation from others

Demanding attention or validation from others

Disrupting the peace or harmony in a space or environment

Refusing to follow rules or guidelines

Engaging in arguments or fights with others

Becoming overly competitive or aggressive in their pursuits

Ignoring advice or guidance from others

Showing a lack of empathy or compassion towards others

Being overly critical or nitpicky

Refusing to apologize or take responsibility for their actions.

Exhibiting physical symptoms like sweating or shaking

Making demands or issuing commands to others

Engaging in reckless or dangerous behavior

Becoming overly defensive or argumentative

Engaging in self-destructive behavior or self-sabotage

Refusing to acknowledge or address the source of their anger

Blaming themselves for problems that are not their fault

Seeking out conflict or confrontation with others

Using passive-aggressive behavior to communicate their anger

Engaging in obsessive or compulsive behaviors

Struggling to focus or concentrate due to their anger

Engaging in self-soothing behaviors like rocking or pacing

Using humor to mask or downplay their anger

Becoming distant or disengaged from others.

Now, let's talk about setting. It's not just where your characters are, but how they react to it. This means the environment can be used to show off their anger or even help readers understand why they are feeling angry.

Secluding themselves in a quiet, isolated part of the environment

Moving quickly and aggressively through the environment

Becoming agitated or restless in a peaceful or serene environment

Ignoring or avoiding other characters in the environment

Intentionally damaging the environment or objects within it

Distancing themselves from others or backing away from objects in the environment

Taking actions that disrupt the peace or harmony of the environment, such as slamming doors or turning over tables

Focusing on negative aspects of the environment, such as dirt or clutter, and feeling anger towards those elements

Becoming fixated on a particular aspect of the environment and feeling anger towards anyone who interferes with it.

Avoiding eye contact with others in the environment

Making sarcastic or biting comments about the environment

Displaying impatience or frustration with slow-moving objects or people in the environment

Purposefully choosing a more hostile or uncomfortable location to match their angry emotional state

Remember how a bright, sunny day with chirping birds and fresh flowers can instantly put you in a happy mood? Well, the same goes for the location in your story. Even without a character present, scenery can influence the way readers perceive the mood. So, when it comes to anger, the location can be used to set the tone just as much as the character's actions and emotions.

Weather: Dark clouds, lightning, thunder, and heavy rain can create an ominous and angry atmosphere.

Time of Day: Nighttime or sunset can create a moody and angry atmosphere.

Location: A rundown or dangerous part of town can create a sense of anger or unease.

Objects: Broken or destroyed objects can indicate a character's anger and frustration.

Colors: Dark or vibrant colors like red or black can be used to create a sense of anger.

Noises: Loud, jarring noises like alarms or sirens can create a sense of anger and urgency.

Crowds: A crowded or noisy environment can be used to create feelings of anger or irritation.

Architecture: Cold or sterile environments like hospitals or government buildings can create a sense of anger and frustration.

Nature: A barren or lifeless landscape can create a sense of anger or despair.

Animals: Aggressive or hostile animals can be used to create a sense of danger and anger.

Now, let's talk about dialogue. There's nothing quite like a character yelling and cussing up a storm to show their anger, right? It's one of the most powerful ways to convey intense emotions through words. So, buckle up and get ready to explore the ways in which dialogue can be used to show anger in your writing!

Cursing and using expletives

Speaking loudly and aggressively

Interrupting others and speaking over them

Using sarcastic or mocking tones

Making threats or using violent language

Using short, sharp sentences or phrases

Speaking through gritted teeth or a clenched jaw

Insulting or belittling others

Using repetitive or redundant language

Refusing to engage in conversation or responding with silence.

Using rhetorical questions that are meant to convey frustration

Interrupting themselves mid-sentence with a burst of anger

Repeating a particular phrase or word to emphasize their anger

Using a dismissive tone to indicate irritation or impatience

Speaking with a tone that is icy or cold

Using a monotone voice to convey anger and frustration

Resorting to name-calling or insults

Being defensive or argumentative in their responses

Speaking rapidly and stumbling over their words in their anger

Using a confrontational or challenging tone to express anger.

And what comes after all of that? Well, my dear friend, when you've exhausted their words, body language, senses, and actions, what's left? That's when you dive into their mind and explore their point of view. You can write about their thoughts and inner dialogue to really capture the depth of their anger.

Negative thoughts about others or the situation

Self-criticism and frustration

Dwelling on past events that caused the anger

Increased cynicism and pessimism

A desire for revenge or justice

Difficulty concentrating or focusing on tasks

Racing or intrusive thoughts

A feeling of being overwhelmed or out of control

A sense of injustice or unfair treatment

Blaming others or external circumstances for their anger

Now we come to the last item on our list - metaphors and analogies. They are frequently used in writing to create colorful and vivid descriptions, and can also effectively convey a character's anger. However, it's important to be careful with their use, as readers can become annoyed if they are overused.

"Her anger burned like a wildfire, consuming everything in its path."

"He felt like a coiled snake, ready to strike at any moment."

"Her anger was a thunderstorm, building and brewing until it finally erupted."

"His anger was a ticking time bomb, ready to explode at any second."

"She felt like a volcano, with her anger bubbling just below the surface."

"His anger was a raging river, with powerful currents and dangerous undertows."

"She felt like a caged animal, trapped and helpless in her anger."

"His anger was a sharp sword, cutting through everything in its way."

"She felt like a stormy sea, with her anger churning like the waves."

"His anger was a blazing inferno, burning everything in its wake."

"His anger boiled like lava in a volcano, ready to erupt at any moment."

"Her words sliced through me like a knife, leaving me raw and bleeding with anger."

"He was a ticking time bomb, just waiting to explode with fury."

"Her temper was a wildfire, spreading quickly and uncontrollably."

"His rage was a storm, brewing and building until it unleashed with a violent outburst."

"She was a snake, coiled and ready to strike with venomous anger."

"His fury was a thunderous roar, shaking the very foundations of the earth."

"Her temper was a beast, wild and untamed, impossible to control."

"His anger was a whirlpool, pulling me down into its dark depths."

"She was a volcano, her anger a fiery eruption that left nothing but destruction in its wake."

Well, that's all for today's post. It's always bittersweet to say goodbye, but don't worry, I'll be back soon with more juicy writing tips! Before I go, I'd love to hear your thoughts on this post. Did you find it helpful? Did you learn something new? And more importantly, what other emotions do you want me to tackle next? Let me know in the comments below!

You can find plenty of these posts on my Tumblr, so be sure to check them out! or you can find a more organized version here!

[francesiswriting]

Writing tip I find very useful:

When you feel like writing but your mind is a blank piece of paper at that specific moment, just grab a sheet and a pen and write down the first words that come to mind. Write down anything, even a couple of sentences that are not particularly connected. Only then, open your computer and try to write down a proper paragraph or chapter, but use your hands first!

I don't think it's anyhow useful to wait for the "inspiration" to descend from the sky and fall over your head. Even if you think you have no ideas at the moment, just write something down.

[artofkhaos404]

If you're an aspiring author working to get published, slaving away on a novel in progress with perfection as your goal... I would highly advise you, every once in a while... to write.

Not on your novel, not in your notes and concepts document, not on anything even remotely professional and not in a journal. Simply tell a story, stress free, with no expectations. Could be fanfiction from your favorite series, a random short story idea you had three months ago, or a writing prompt you found online. Allow yourself to have some fun again. Remind yourself why you love what you do. It will make you all the more determined and inspired to one day complete your ultimate work.

Fanfiction was how I originally fell in love with writing (that and my adventures in my paracosms). I started putting my story ideas on paper when I was eight. Four years ago I stopped writing fanfiction altogether, deeming it a waste of time when I could be putting my talents elsewhere. But a couple days ago I randomly decided to sit down with a computer and a few ideas, no outline or notes whatsoever, and just have a good time. Incredibly cleansing.

[topazadine]

🚨Description, Momentum, and Tension; Or, How Not to Bore a Reader🚨

This was inspired by, of all things, horrible Booktok takes like the above.

You know, the ones where they say they will only read the dialogue because they just want to understand the plot and they blaze past any descriptions because they're apparently worthless?

I doubt I can change their minds, since such people allergic to actually, you know ... reading. BUT! There may be some salvageable ones yet.

Today, we're doing to discuss how to write exciting descriptions, and where to put them for maximum impact. Perhaps we'll get the Booktok girlies to read a book for fun instead of treating it like a school assignment.

Again, as always, this is just my opinion as someone who has been writing for a long time. And a lot.

Maybe you'll disagree, and that's fine. This is my opinion and my perspective. With that, let's go!

What do Description, Momentum, and Tension mean?

Description is anything that is not action or dialogue. It could be of a room, a character, a landscape, etc. Description can also include interiority, like stream of consciousness thoughts.

Momentum is the forward thrust of the plot. This is not the same as pacing, though it is related to it. When you have momentum, you are moving forward; that could be slowly or quickly, depending on what you need at the moment.

In general, momentum will ebb and flow throughout a story, same as you have less forward momentum when you're turning a corner in your car. You'll start out slowly and gradually pick up pace throughout the story, until something intense happens (like the climax), after which momentum will slow down toward the end.

Tension is suspense or anticipation, and it is directly related to momentum. This is what keeps people turning pages because they want to know what happens.

I will put description aside for a second and delve a bit further into the relationship between tension and momentum.

Momentum = Tension + Pace

Again, momentum is not the same as pace. Momentum is the sense that the story is progressing toward something; tension is about intriguing your readers. You vary the tension based on the pace to get the right momentum.

You can have a slow-paced plot with such extreme tension that people simply can't put it down, because there is momentum; we feel something building up and we want to know what it is. This is common in horror stories. That creeping sense of dread is tension, and as it builds, so does the momentum.

On the other hand, you can have a fast-paced plot with 0% tension that no one gives a shit about. (Sorry Hurricane Wars, I DNFed after like five seconds because it was boring despite being super fast.)

In this case, you haven't gotten the right blend between pace and tension, which means there's not enough momentum. You've slammed me into a brick wall and I gave up. This is a common problem with adventure and thriller stories.

Tension is what makes people care, and it needs to be proportional to the momentum.

Think like you'll pulling something. You need strong tension to build momentum for a heavier (slower-paced) story. But you need light tension to build momentum for a lighter (faster-paced) story. And your pacing will vary, so you'll need different tensions throughout the book to maintain momentum.

And where does that tension come from? It comes from everywhere, but today we'll focus on description.

Description Builds Tension, Which Sets the Momentum

I don't think most people actually hate descriptions. Or maybe I am just too optimistic.

Readers (not Booktok girlies) hate descriptions that take away from the tension and are in the wrong places. These kinds of descriptions bring everything to a screeching halt because no one cares about them at that exact moment.

Description slows things down, which can be a good thing when you need tension. When you don't need tension - such as if you're in the middle of the fight scene - you need less description. You've built up the momentum already; now you let it hum along until it slows down again. Then, you pick it back up by introducing tension through dialogue, action, and description.

Here is a description I am particularly proud of. This scene happens in Absent All Light, the fifth book in The Eirenic Verses series.

Clearly these arrows are very, very important. I told you the fletching, what type of wood they are, that they have an iron tip.

They feel so important because there's not many other descriptions here. I am holding you by the face and making you look at them.

We're seeing this scene in slo-mo; you watch each arrow hit its mark. Now you're wondering what the fuck is so special about these arrows, of all arrows on the planet.

And you're probably also frustrated because our boy Orrinir passed tf out and can't even tell you anything more. What's with these things?! Where are they coming from?! Who cares so much about this stupid useless man?!

(Me. I do. Orrinir is baby.)

This unveils something else important, which is that you don't need to handhold your readers.

Allow Your Readers Some Autonomy

It's okay not to describe everything. In fact, it's better not to describe everything. Describe what is essential to what you are trying to show, and let everything else be a bit blurry. This helps maintain momentum: you're not bringing everything to a halt in order to take your reader on an MTV Cribs-style tour of a single room.

And, if the reader cottons on to the fact that you only describe things that are important, then they want to understand why you mentioned it. This creates tension ... and thus momentum.

Here's another example from the my WIP Funeral of Hopes, where we get to see a description of an outhouse. (Hell yeah!)

This description gives us a lot of context clues without going into disgusting detail:

It's nighttime.

We're obviously in a premodern world if there's an outhouse, and given the weird names, it's a fantasy premodern world.

Their outhouse does not smell particularly bad because of the ventillation. Our noses aren't being assaulted through the screen.

These characters have enough money to commission a nice outhouse. Probably not super rich, but not hurting financially either.

Their country has artisans, which suggests the place isn't raggedly destitute.

Orrinir is a simp.

Uileac hasn't gone to therapy about the fact that his parents were slaughtered pretty much right in front of him (because therapy does not exist yet). Instead, he avoids anything whatsoever that reminds him of his trauma, but it keeps coming up anyway.

We don't need to know the type of wood or the setup; it's an outhouse. Even if you, specifically, have not been in an outhouse, you likely have some cultural consciousness of what they look like. You can rely on that to fill in what wood it is, what the interior is, etc. Going too much into detail would be super annoying.

I could probably add a little bit more description - temperature, noises outside, if there's a breeze, if it's stuffy in there - without losing my readers, and maybe I will.

Of course, sometimes you just want to describe something pretty, and that's fine. But if you're describing something pretty, then it should have a reason for being there. Either it's a symbol of something, or it connects back to a particular theme, or it reminds the character of something else, or whatever.

Okay, so now we know what purpose description has, how to use it to build tension and maintain momentum, and so on. But what about exactly where to put it?

Where to Put Descriptions

Hellos.

When meeting a character for the first time, you will want to describe them. Face, height, size, eye color, hair color and style, maybe their clothing if it denotes something about them (rich, poor, messy, neat, weird, out of place, pretentious, humble, etc).

The more that your POV describes a character, the more crucial they are to the plot. Please do not describe every single side character because no one cares.

In fact, if the character isn't in more than a few scenes, don't even name them. Your reader's cognitive load increases with each character that you introduce and describe. I share more about that in my post about not overcomplicating fantasy stories.

The way that characters are described is also important, as I have discussed in remembering perspective when writing descriptions.

As characters grow closer, you can add new details as long as they would not clash with previous ones.

For example, the MC may notice a very small scar on the love interest's cheek after being together for a few days or weeks, which is an opportunity to share more about the love interest's backstory. The MC would not fail to mention an enormous scar that goes right across the love interest's cheek. That would, in fact, be one of the first things they noticed.

Goodbyes.

When characters part from one another is a good time to slow down and let the reader soak in the moment.

You can describe the setting as the other character walks away, or notice something about the departing character's gait - whatever.

Adding description makes their departure seem momentous and can denote how important the character is to the MC. Focusing on setting? Unimportant, maybe annoying, and the MC is glad to see them go away. Focusing on the character? Important, the MC probably likes them.

Travel Scenes.

This is a given, especially for fantasy adventures. Show us what's happening out there! If you can work themes into your descriptions by focusing on key elements - and having the characters react to those things - that's all the better.

We can get a lot of characterization by seeing how your MC observes their surroundings.

For example, if your character is a foreigner and has a bad opinion of wherever they are, then you can really draw out their disdain and help us understand them better.

If they are scared, they're going to look for things that feel safe and familiar - and panic if they don't see any. If they are excited about their journey, even the stupidest things will seem wondrous to them.

If they're naive, they may want someone to explain everything they see (hence annoying other characters and building conflict).

In this way, you're developing characterization, worldbuilding, infusing themes, and drawing a pretty picture, all at once. Multifunctional writing is always good.

"Approaching the Door" moments.

What I mean is those moments before something serious happens. It's the eve of a battle, or it's right before the character must make a huge decision that will change their life forever, or they're waiting for terrible news.

Think about sitting in the principal's office waiting for them to return so you can get yelled at. You're focusing on anything you can get your eyes on to distract yourself from what you know is coming.

Suddenly that stupid "#1 School Administrator" mug on the desk is the most important thing you've ever seen and you can't stop looking at it: analyzing its gloss, seeing the little dribble of coffee around the rim, noticing that the text is peeling. This can tell us how long the principal has been working in education, if they're a tidy person or a messy one, and maybe even how much they are liked by their peers.

If you've made it clear that something is going to happen soon, slowing down and describing (important!) things will feel agonizing to the reader. They will start clinging to every word for a clue about what is going down, trying to tell what the weather means, and so on.

Here's a brief example: we're waiting for Orrinir to give us the answer (and, hence, give his captors the answer). A lot hinges upon this answer, so I slow down to add some tension.

Not too slow, mind you. Again, it would be annoying if this went on for pages and pages. But now we have more tension again anyway, because we need to know whether the Sinans will figure out that Orrinir is lying.

By slowing down and giving a small flashback, it emphasizes how critical this question is to Orrinir's continued survival.

After Action.

These are the "cigarettes after sex" descriptions. Once something big and important has happened, we need to ease up so the reader can take a breather.

Too much action all at once is, paradoxically, very boring. You're vomiting all this action on the reader so they don't have time to digest what the hell is happening before you've dragged them on to the next point.

There's no tension, except maybe a tension headache because your reader is confused and disoriented. There's no momentum because everything is occurring right on top of itself.

As such, you break it up with a bit of description, pumping the brakes on the momentum. It's the difference between throwing someone off a cliff (horrifying, criminal offense) versus strapping them into a harness and rappeling down (exciting, recreational activity).

The descriptions may literally be after sex, like when the characters are admiring each other or the scenery after scaling a building to bang on the roof. Or they may be after a battle, during the cleanup or while the characters are convalescing. Or they may be after a huge important reveal, while the characters are digesting the news and trying to figure out what to do next.

Lulls

Again, you can't have 24/7 adventure and excitement or your reader will have a nervous breakdown. It's okay to have quick flashes of description during conversations, or while waiting for things.

To ensure you keep a good momentum, these descriptions should be pretty brief. It could just be your POV character noticing something sitting on the table, or hearing a noise outside, or taking a sip of tea.

These small descriptions can add a lot of depth without boring anyone.

Where Not to Put Descriptions

This isn't to say that there should be no descriptions at all in these places, but any and all descriptions should be kept very brief: no more than a sentence or two.

Fight scenes

Arguments

Chase scenes

Revelations

Explanations

Basically, anywhere that there is a lot of action in your particular genre, you need less description. You've got a lot of momentum now and can focus primarily on what's happening rather than where you are, assuming you set things up correctly.

So, now we get to the scariest question.

How Much Description Is Too Much?

Description is good. But like most things, description becomes bad when it is in the wrong place at the wrong time.

A quick rule of thumb is that if you have a full page of nothing but description - no dialogue, no action - you have too much. You don't have to remove it all: you just need to chunk it up by including an action or a conversation.

Your character should not be musing to themselves for a full page. I can't even listen to myself muse for a full page, and I am the main character in my own life. Throw a grenade at them, or have the building collapse, or whatever.

They also shouldn't be just describing things for a full page, even if it's some beautiful scenic locale. Have you ever tried to just sit there for 10 minutes and pick out every single little thing you see around you? Exhausting!

Real people would not do that, no matter how interesting somewhere is. They'd grab a snack, or turn to the person next to them and ask a question, or wonder what it would feel like to run into traffic, then promptly tell themselves not to do that and go back to admiring the scenery.

And man, if you are describing another character for a full half a page, your MC is either very horny or very, very bored.

You're probably sick of hearing this if you've been reading my blog, but this is a golden rule.

Characters are not real people, but for the most part, they must feel like real people.

Even the most fantastical of fantastic fantasy stories still have characters that feel like a real person, because people like stories that have realistic people in them.

Description is the same way if you are working in third person limited or first person. Think about how long you spend describing something when seeing it for the first time, or when you first meet someone. Probably not very long! You're not sitting there musing for ten minutes without doing anything whatsoever.

Together with dialogue and action, description builds a world, offers characterization, and creates tension: all the elements you need for a great story.

And speaking of great stories, do you want to read one? Of course you do. You should pick up my debut book, 9 Years Yearning.

This lovely novella is about two soldiers (the ones mentioned above, in fact) as they come to understand one another over their training at the War Academy. You can expect a lot of gay yearning, some fight scenes, and a bratty little sister who is simultaneously adorable and annoying.

If you do decide to read my book, don't forget to leave a review!

They're crucial for getting books on more eyes because Amazon loves reviews. And we wouldn't want to upset Amazon. (Please, Amazon is scary.)

[onwriting-hrarby]

About the writing craft — Masterlist

Hello everyone! Since the followers on this tumblr have grown a little since I first started back in March, I've thought about doing a recap on the writing advice / craft posts I've done.

As you know, I am quite picky in calling in "writing advice", so these are much more meant to be like a "behind-the-scenes" "take-what-you-want" kind of posts.

[Disclaimer: the posts refer to a specific fanfiction, but they can be applied to anything—and I do apply them to original stories too)

PRE-PRODUCTION: Plotting, Inspiration, Ideas, Character design

About the fear before beginning to write a long story

Designing characters: The characters and the leitmotivs

On how I plot and divide the chapters

The foreshadowing series (Part 1 || Part 2 || Part 3 )

On endings—The Last Sentence

On inspiration

POST-PRODUCTION: Editing, rewriting

In killing your darlings when something doesn't work—and how necessary it is

On editing (from a real-life editor): The macro, the micro, an introduction to everyone

WRITING IN GENERAL

On why Nanowrimo doesn't work for me and what I do about it

On why I don't believe in "Writing advice"—and you should just read

On the difference between fiction and reality—and how people nowadays just confuse the tw

A writing year—in which I wanted to become famous, but didn't

If this is of any need to you, don't hesitate to save it or reblog it! I'm still writing about writing, but I thought there was no harm in doing a master list if anyone can find it interesting.

Also, do not hesitate to hit the ask box!

—hera

(pd: taggin @writeblrsupport in case they want to reblog for other writers!)

[autisticauthorxyz]

Don't lose hope I believe in you ❤️

[bibliophilesince2003]

Strong Female Characters

Too many times I pick up a new book to read, but I am immediately met with the female protagonist whose personality is "toughness" and/or "meanness." The equivalent is making a "bad boy" character and calling it a personality. Male or female author, anyone could fall victim to this trap.

Skills and tropes are not personality.

Sure, it's easy to mold a character to snap at everyone in an arrogant manner at every dialogue opportunity and call it a day, but the character remains shallow. Especially for your main character, you should have multiple "words" to describe them. This will bring ease to your writing, too.

For example, for one character of mine... I've put down 18 personality traits in her character chart, and I could likely put down more if given enough time.

When I'm met with a "tough" female protagonist, I'm always expecting more details. What sort of people or what kind of environment makes her stiffen, and - this is as equally as important - what sort of people or what kind of environment makes her relaxed? Being "tough" is more about mood than personality, because surroundings could easily change it.

Is she driven or shy? Is she humorous or serious? Is she observant or a free spirit? Is she clumsy or graceful? Is she friendly or cautious?

Notice how I said "or" and separated the two extremes. You cannot have clumsy and graceful... you must pick one side of the spectrum. A person will naturally lean one way or the other.

Some people make the mistake of choosing the other "extreme" to create weaknesses. "She's driven, but she's shy." Being shy is not a weakness... some people are naturally this way, and there are benefits to being shy.

Find weaknesses within the "extreme" you've chosen.

For example, if one is driven... the weakness is impulsiveness. She may get in trouble, or trouble will find her. Being over-zealous is fine... in doses. Let your character make those mistakes to better represent their personality.

If you're struggling, observe the people in your life. Personality will shine through how a person acts, treats others, talks, etc.

Here's what I do... write down multiple personality traits, decide how extroverted/introverted he/she is, and settle on a single word that wraps up his/her whole character, or most of it, to help refer to something simple during the writing process.

And no, that "single word" better not be a skill or trope.

I want complicated female protagonists again, ones that are more than just mood swings or their environment.

[blue-eyed-author]

Dear fellow writers,

‘Said’ is beautiful. Please use it more. It isn’t anything to be feared of hated. It’s not boring or overused. It makes all the other dialogue tags more special when they’re used on occasion.

‘Said’ makes your writing less cluttered. It can be a simple way of reminding the reader who is talking without bombarding them with synonyms.

“Use it along with action to make it more interesting,” she said, picking up her pencil.

He smirked, and said, “Or with expressions and body language.”

“Or,” she said, “just as a quick reminder of who is talking.”

“And if you know who is talking, a dialogue isn’t always necessary.”

Of course you can use other dialogue tags, but please don’t exclude ‘said’. It’s heartbroken from being ignored.

‘Said’ is beautiful.

[goodluckclove]

Important Reminder!

There is nearly no writing advice you will find on this or any other website that works, guaranteed, on an objectively universal scale.

Not every manuscript needs to be wiped of adjectives. Or completely restructured. Or hit the same internal motivations to be considered a valued book. More often or not, when a person gives writing "advice" like that, they're delving into an internal bias of what they've read and what they consider good literature. And that's fine! It would be much better if they didn't claim it worked across the board, but so it goes I guess!

Just don't feel like everything some stranger online says works will work for you. They haven't read your book. What matters now is finishing. If you're beta readers say your choice doesn't work, they have infinitely more qualifications to say that then someone online who might have a completely different taste in media than you. Someone that, if you read their writing, might make some decisions that you don't agree with.

Trust yourself, is what I mean to say. You have more authority than you know. And just because someone brands themselves as a writing advice account doesn't mean they actually know how to write the kind of story you'd like to read - myself included.

[thatsbelievable]

[novlr]

I need a word for horny but not in a sexual way more just like wanting kisses and hugs and affection or something

This is a great question! The best way to write about desire in a way that makes readers feel invested is to write around it.

Instead of using just a single word, use language that hints at something simmering below the surface. That way, you build tension for your readers, making them invested in the outcome of your characters' relationships. Here are some tips for how to write romantic desire in various ways (including some handy synonyms at the end as well).

Unconscious movements

Covert glances

Licking and biting lips

Mirroring the other's movements

Parting or crossing of legs

Touching one's own skin

Swallowing more than usual

Blinking rapidly

Short breaths

Playing with one's hair

Fidgeting

Leaning closer than usual

Internal feelings

A fluttering heartbeat

Comfort in the other's presence

Knots in your stomach

The sensation of other sounds being muffled

Nervous tingling

Short of breath

Hypersensitivity

Sudden weakness

Thumping pulse

Emotional overwhelm

Goosebumps

Behaviours

Surrounding oneself with reminders of the object of desire (like things that smell of them, or an object they hold dear)

Creating reasons to spend more time with the other person

Loss of inhibition

Impatience and irritability

Setting active goals to attain the object of desire

Conscious and subconscious fixation

Changing oneself to better suit the other's wants

Feigning other interests to promote jealousy

Showing resolved desire

Finally feeling personally fulfilled

A sense of calm and peace

A shift in focus from pursuit to personal happiness

Feelings of contentment

A change of life priorities

Feeling like an obstacle has been overcome

A more relaxed manner or expression

Personal and romantic growth

Showing unrequited desire

Pining for lost love

Frustration and anger

Bottling one's feelings

Living in denial

Feeling rejected

Falling into a personally damaging pattern of pining for the wrong people

Strained friendships

A sense of disconnection and isolation

Some handy synonyms

Craving

Longing

Yearning

Wanting

Hunger

Thirst

Covet

Infatuation

Obsession

Attraction

Passion

Fascination

Lust

Pining

Aching

Burning

Need

Love

Devotion

Rapture

Appetite

Frenzy

Frisky

Amorous (thank you, @quotidias, for the contribution!)