#writing quick tips

[novlr]

How to Write Betrayal

Betrayal is a powerful plot element that is represented in countless stories. The gravity of betrayal brings a profound depth to character dynamics, plots, and themes alike, making it an indispensable tool for writers to explore emotions, conflicts, and the complexities of human nature. Let’s explore some quick tips on how to write betrayal!

Behaviour

Secretive actions

Dishonesty

Becoming emotionally distant

A sudden change in routine

Pushing people away

Nervous or fidgety movement

Frequent lying or making up stories

Unexpected aggression or irritability

Unjustified mood swings or emotional outbursts

Increasingly defensive

Interactions

Disturbed interpersonal relationships

Frequent misunderstandings or fights

Withholding information

Avoiding personal discussions

Insincerity in conversations

Frequently cancelling or missing plans

A sudden shift in relationship dynamics

Quick to deflect or place blame

Frequent subject changes

Gradual emotional detachment

Body Language

Avoiding direct eye contact

Defensive stance and crossed arms

Covering mouth or touching face

Shuffling or restless movements

Forcing smiles or laughter

Constantly looking around or at the ground

Stiff, tense posture

Heavy breathing or frequent sighing

Avoiding touch or skin contact

Exaggerated gestures

Attitude

A lack of concern or empathy

Increasingly personal and hurtful arguments

Erratic or unpredictable reactions

Self-centeredness

Insincerity

Dismissive or negative attitude

Callous disregard for other's feelings

A negative or pessimistic outlook

Inability to handle criticism

Withdrawal from relationships

Positive Story Outcomes

In the wake of a betrayal, a story can manifest various positive outcomes that add depth to the plot and its characters. Relationships can be strengthened, showing their resilience. Characters may discover newfound self-reliance and learn valuable lessons about trust and forgiveness, leading to an increase in empathy and understanding, personal growth, and the reinforcement of personal values. These experiences can encourage a clearer understanding of personal boundaries, prompt self-reflection, introspection, and the development of healthier coping mechanisms. Ultimately, these positive outcomes can bring about improved communication and honesty, forming the silver lining in the cloud of betrayal.

Negative Story Outcomes

The aftershocks of betrayal can reverberate throughout your story. This might include an irreparable fracture of trust and damage to relationships. Betrayal can trigger psychological trauma, leading to an increase in suspicion and insecurity. Feelings of inadequacy or self-blame may surface, and characters can experience a heightened sense of isolation. The fear of forming new relationships or trusting others can become overwhelming. There may also be an escalation of conflict or violence and the reinforcement of negative behaviours or patterns. Damaged self-esteem or self-worth may be another repercussion, and this can encourage destructive coping mechanisms.

Helpful Synonyms

Treachery

Deception

Double-crossing

Duplicity

Backstabbing

Two-faced

Disloyalty

Unfaithfulness

Infidelity

Falseness

Perfidy

Treason

Fraud

Deceit

Slander

Misrepresentation

Falsification

Chicanery

Double-dealing

[theeccentricraven]

My tips for if you are waiting for inspiration:

1. Read a good book you haven't read before. This will not only help you learn from the good writing but stimulate your mind.

2. Read a bad book and write down how you would rewrite the book. You're not only learning but stimulating your imagination.

3. Think about a book/movie/TV show/video game/any story where you didn't like how it ended and come up with a better ending. Again, you learn from dissecting a story while getting your creative juices going.

4. Write a series of "what if" questions. Think of how to use answers in your current protect or a new project.

5. Skip writing filler and jump to the good parts.

I hope that helps.

my muse is a fickle bitch with terrible timing, smh

[cy-cyborg]

Forgetting your character is disabled isn't a "good representation" flex: Writing Disability Quick Tips

[ID: An image with “Writing Disability quick tips: Forgetting your character is disabled isn't a good representation flex” written in chalk the colour of the disability pride flag, from left to right, red, yellow, white, blue and green. Beside the text is a poorly drawn man in red chalk looking down confused at his leg, one is drawn normally, the other is drawn to resemble a basic prosthetic. He has question marks above his head. /End ID]

For a while, I was involved in the booktok and Tik Tok writing communities, specifically parts of the community focused on more diverse books and authors. During this time, I noticed a reoccurring pattern when people were highlighting stories featuring disabled characters, or even promoting their own books, and that was how often people would say "I kind of forget they have [insert disability here] because they're such a badass."

The intention behind this statement is (usually) good, with people trying to show that their disabled characters are self-sufficient and don't fall into the tired old sad/helpless disabled person trope, however, you can - and very much should - do that without erasing your character's disability. If you find yourself forgetting your character is disabled, or your beta and pre-release readers are commenting about forgetting it, then there's a good chance that's exactly what you've done - and as a disabled person myself, if I see that statement being used in your marketing in particular, it's a giant red flag and a sure fire way to make sure I give the book in question a skip.

Remember, disabilities (especially major ones) are a part of your character's identity, and they're important regardless of the character's personal relationship with it. Even if your character doesn't specifically identify with the label of disabled or doesn't really care that much, it's should still be impacting their daily life, even in small ways. If you're finding yourself forgetting about a major part of your character's identity, it might be a good idea to check and make sure their disability is having an impact on the character.

I see this comment most often with amputee characters, and to me, it's a pretty consistently good indication that the author has treated their character's prosthetic as a cure rather than the mobility aid it is. It's far from unique to amputees, mind you (I talked about this a lot when I was discussing the character of Toph from Avatar), but it's when I tend to see it the most. Remember that mobility aids and other forms of assistive technology and assistive magic (if it's a fantasy story) are just that: they're aids, they assist, they shouldn't be cures.

Of course, this wasn't unique to Booktok, I've seen it on nearly every other social media site with a writing and book-focused community at some point, but Tik Tok was just where I spent the most time and it seems to be where I see the most people specifically gloating about it.

[idliketobeatree]

dead boy detectives contrapuntal poems — 3 — (1) (2) (4) (5)

[quinloki]

Quick & Dirty tips for writing SMUT

The four whoresmen of writing Smut:

Position

Motion

Emotion

Sensation

Fun fact: you can apply those to fight scenes too.

Position is pretty straightforward - who’s on top, who is on the bottom, who’s penetrating who if penetration is happening. Is a leg lifted, tied, pushed back? Is someone’s hand pressing against someone’s sweaty skin?

Motion can be pretty cut and dry too - hands sliding over skin, fingers caressing, lips kissing, changing from one position to the next. How fast is the thrust, how much impact is behind a strike? Is it a bruising pace, or is it languid?

Emotion can take the same scene and change the tone. Are they both happy to be there? Is someone not as into it? Is there so much tangled up between them that it’s hard to clearly comprehend other aspects?

Sensation - is the kiss wet, soft, rough, dry? Are hands soft or calloused? Are the position changes taken with care or does the rough bite of stone beneath them scrape their skin?

Mixing these up can help you avoid a sense of repetition while you’re writing any dynamic scene. But also omitting one entirely can impact how the scene reads as well. (Ah when I say omitting, I don’t mean you must avoid it 100% - though you can, but just leaning back is enough)

Omitting position, and leaning on sensation and emotion can provide a chaotic, harried, almost desperate feeling. It doesn’t matter WHERE the hands are, so long as they’re gripping the other person. It doesn’t matter if someone is screaming into the bedding, just that they’re cumming so hard they’re screaming.

Omitting motion can leave the scene feeling disconnected. It’s good for if your perspective is coming from someone who is drugged, or exhausted or otherwise disoriented. The sensations might be making it through, but their too addled to understand what’s causing them.

Omitting emotion can leave the whole scene feeling disconnected. Performative. Business over love. An obligation. Not necessarily unwanted - noncon is most certainly emotionally charged - but omitting the emotions vs describing them as neutral helps it hit better imo. (Emotional disconnect can also be used to show defeat, acquiescence, etc. you gave in and just don’t care anymore).

Omitting Sensation might be because of drugs, exhaustion, over-stimulated so hard you’ve shorted out, or you’re just not feeling it. Not in the mood. Sometimes even when you’re looking forward to intimacy you can just kind of, not feel it. That frustration can move a story along if you’re getting stuck.

[choshashio]

Literary analysis and how it can help you become a better writer

For those of you who don't know what literary analysis is, it's the examination and evaluation of a literary work. This can include things like, novels, poems, kids books, and even fanfiction.

How does this help me become a better writer?

To analyze a text, you need to have an argument against what is written, whether it's a technical analysis, or a personal comparison, or you have a theory about the story or characters and you need evidence to prove it.

This dissection of texts goes above and beyond just reading something and absorbing it. It helps you, as both a reader and an author to decipher the text on a whole new level and uncover hidden messages or meanings within the authors writing, or within their characters.

When you can do this, it helps you absorb an authors style and connect with their writing much easier, instead of just reading or doing copywork.

As you're doing this, you should analyze your own work as well. Go back and analyze how you wrote characters, Do i portray them exactly how i want? analyze your use of description and dialogue, Do i give too many descriptions? Is it too long?

Compare your work to another that is similar and view the structural differences and how they are similar, or how they contrast.

[gomzdrawfr]

"Don't cry."

Simon said this whenever he knew you were about to cry, eyes glossy and watery, lips trembling.

trigger warnings: angst, childhood abuse (referenced + mentioned), canon-typical violence (referenced)

notes: this is an x reader fic, also apologies for the grammar and errors if any

read more to continue this short drabble

“Don’t cry.”

His voice was hollow, rough, forced out before the words had a chance to settle.

Simon said this whenever he knew you were about to cry, eyes glossy and watery, lips trembling.

It wasn’t gentle, nor a plea. It wasn’t meant for comfort or to keep you from falling apart. It was rough, low, and scratched at your ears in a way that made it hard to bear.

It felt more like an order, one you weren’t sure was meant for you or for himself.

“Just… don’t.” He repeated, the words more for himself than for you. Something swirled in his eyes behind the mask, a faint glint catching the light, like shattered glass.

“Simon,” you whispered, voice cracking, but he cut you off with a sharp edge, ending the conversation before it even began.

You thought it was because of the life he led—the danger and discipline that flowed through his blood. You thought he was telling you not to cry because he needed you to be strong. After all, he was a soldier—a man who had seen more violence, death, and despair than you could ever imagine. You assumed he couldn’t stand to see weakness, the vulnerability that came with it.

But there was more.

There was always more with him.

You didn’t know what those words really meant to him, how deep they ran, how they had been carved into his very bones, how they play on repeat in his head like a broken cassette tape on those colder nights.

You didn’t know that those two words were all he had ever heard growing up, the only comfort he could muster when his mum sobbed after another bad night, when Tommy curled up in the corner of the kitchen, scared and bruised, whispering into the dark.

Don’t cry. Don’t cry. Don’t cry.

He had felt helpless as a boy, kneeling before his family, wanting more than anything to do something—anything—but lacking the strength or power to act. He couldn’t make the pain go away. He couldn’t make the tears disappear.

Hearing those heart-wrenching sobs, those sniffles, those whimpers—it made him feel like that little boy again: lost, powerless, useless.

But the tears always came, and they never fixed anything. Crying didn’t make the bruises disappear. It didn’t quiet the screams. It didn’t make the shouting stop. All it did was twist his stomach inside out, wring his heart until he didn’t even recognize it anymore, and made his breathing all the more suffocating, like he was drowning in someone else’s grief.

It made him feel small.

Seeing those same tears in your eyes brought him back to that place. And he didn’t know how to deal with it. How to make it better.

He hated it. He hated feeling like that small boy again, hopeless, like he was failing all over.

Because Simon loves you, he truly does, more than himself, and yet he can’t bring himself to face you in these moments. 

Turning his back away from you, his head dipped lower, as if he were willing himself out of the memory that bubbled up, out of the pain that no amount of time or distance could dull.

Tears didn’t fix the past. They didn’t heal the scars that had been left on his soul.

“Simon-”

“Don’t cry… please.”

When he turned away, when he avoided your tears, when he grew distant whenever you broke down in front of him—it wasn’t because he didn’t care.

He just didn’t know how to handle it.

[inkandintent]

This is really hard to continue. If I give up on either living or building a life, they will happily slander me standing on my grave. I wanna choke them with my laughter.

[carlyraejepsans]

HELPP i found out about character AIs and im losing it over calling deltarune sans "a more manipulative personality" 😭😭 like whatt we've only seen this man like 2 times

sorry im being a hater hgfjdks but you're the sans understander

lmaoo character.ai, look where the fall of ai dungeon got us, smh. thank you for the compliment though!

[secondhandsorrows]

Keys to Crafting Characters Readers Will Root For (w/ some examples)

As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them. 

Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future. 

~`* They have clear goals and motivations.

First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it. 

For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play.  —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?

~`* They are flawed, yet relatable:

I’m sure you’ve all heard this before… but I’m still going to reiterate:

Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot. 

For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation.  —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues? 

~`* They have unique talents or interests.

Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller. 

Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel. 

I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc. 

For example: A brave warrior with an aptitude for gardening and flower arranging.  —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure  example, but see all the possibilities something like this can open up?

~`* They have deep, complex relationships.

Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world. 

For example: An excellent, compassionate therapist with a strained relationship with his own family member.  —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust? 

~`* They often face moral dilemmas.

It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another? 

No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes? 

Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded. 

For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery.  —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side? 

~`* They show their quirks and habits.

Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.  

For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring.  —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?

~`* They have a backstory.

Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs. 

Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions  on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?

For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?

~`* They are often vulnerable. 

Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along. 

It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?

For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson.  —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?

I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!

[bassboosted-moon-chao]

going under the Read More for nonsexual boob™ mentions but artist tip

little tip for artists and writers: large breasts will in fact look more spherical when you're submerged in water! and especially if you're lying on your back. If you're looking at the kind that are mostly soft and squishy, it's in fact mostly fatty tissue. fat floats really well in water. so they lift in water, thus reducing the natural sag of gravity. it's pretty cool actually!

[novlr]

Don't get stuck on a scene

Not in the mood to write the scene you’re working on? Don’t worry about it! Make some notes and move on.

There is no shame in just jotting down the main points in a scene and revisiting it later. It’s ok to just not be feeling it sometimes.

[dnschmidt]

Three ways to improve your writing

Reading a lot, both fiction and nonfiction. I mostly stick to my genre, but I try to read from different eras and perspectives so I can get a bigger picture on techniques, tropes, and what's original and what's been done to death. On the nonfiction side, a writer named K.M. Weiland has lots of fantastic books on writing that have helped me tremendously. To a smaller extent, the classic writing guides like Save The Cat have also been helpful. And I like to read a lot about archetypes and symbolism, to give my work a bit deeper meaning and resonance.

Using beta readers is also helpful. I consulted several beta readers this time around, and they helped me see some errors I was making in that book, and some weaknesses in my writing in general. It's nerve wracking and stressful, but it's worth it.

Also, doing regular "warmup exercises." I stretch my writing muscles every morning with a little flash fiction, usually from some hashtag prompt. I feel like it gets my brain going and makes the rest of my work come a little easier.

[cy-cyborg]

How your disabled character's allies react to their disability can make or break the representation in your story: Writing Disability Quick Tips

[ID: An image with “Writing Disability quick tips: How your character's allies react to their disability matters” written in chalk the colour of the disability pride flag, from left to right, red, yellow, white, blue and green. Beside the text are 2 poorly drawn people icons in green, one is standing with their hand up to the face of the other, who is in a wheelchair. /End ID]

Something I brought up in my big post about Toph Beifong was how the other characters reacted to Toph pointing out that things were not accessible to her and setting boundaries regarding her disability, which were ignored. I had more to say about it than I thought I did, as it turns out (when isn't that the case lol) but I feel like this is an important aspect of disability representation that is all too often over looked.

You can write the best, most accurate portrayal of a specific disability ever put to screen or page, but it won't mean much if all the other characters, specifically those we're supposed to like and empathise with, treat your character terribly for being disabled and having needs relating to said disability, especially if the story justifies their behaviour.

You see this most often with autistic characters and especially autistic-coded characters. The character in question will be given a bunch of autistic traits, most often traits relating to not understanding certain social dynamics or sarcasm, and when they get it wrong, the other characters we are supposed to like jump down their throat, tease them or outright abandon them. Autism isn't the only disability that gets treated this way, but it is one of the more common ones that get this treatment. It doesn't matter if you do everything else right when creating an autistic character if the other "good guys" constantly call them annoying, get angry at them or laugh at them for the very traits that make them autistic, or for advocating for their needs.

Likewise, if you have a leg amputee character who is otherwise done well, but is constantly being criticised by their allies for needing to rest their legs or taking too long to get their prosthetics on, it undermines a lot of the other work you've done. Same goes for having a wheelchair user who is accused of being a bore or a stick in the mud because they point out the places their friends want to go to on a group holiday have no wheelchair access, or a deaf character who is accused of being entitled for wanting their family to learn to sign, or anything else.

This isn't to say you can never have moments like these in your stories, but its important to remember that a) people with the same disability as your character will be in your audience. If you spend a whole season of your TV show shaming your autistic character for real traits that real autistic people have, they're not exactly going to feel welcome and may not want to hang around. b) it's going to very, very heavily impact people's perceptions of your "heros" who do this, especially in they eyes of your audience members who share the character's disability or who have had similar experiences. This isn't like calling someone a mean name or being a bit of a dick when you're sleepy, it's going to take a lot to regain audience appeal for the offending character, and depending on exactly what they do and how frequently they do it, they may not even be able to come back from it at all. And finally, c) there should be a point to it outside of just shaming this character and saying the other guy is an asshole. Like I said before, you're character is criticising real people's real disabilities and the traits or problems that come with them, things that they often have no control over, it shouldn't be used as a cheap, quick way to establish a quirky enemies to lovers dynamic or show that one guy is kind of an ass before his redemption arc. If you really must have your characters do this, be mindful of when and how you use it.

[idliketobeatree]

dead boy detectives contrapuntal poems — 1 — (2) (3) (4) (5)

[fitzrove]

hello duchess of fitzrovia,, I see on your Mate interview translation video that you learned german for 3 years before being able to translate the video. may I ask how you learned? do you have any tips? thanks and stay well!!

Hii, thanks for asking! :D

This got long, so TL;DR:

1) Immerse yourself by putting yourself into situations where you truly have to speak/try to understand German to get through it. (Can be "I desperately want to understand this information I found online, but I won't unless I decipher and translate it".)

2) For listening and reading: Seek out a topic area you're genuinely interested in and learn about that in German. (I've never found Duolingo or other apps like that super helpful or interesting/motivating...)

3) For speaking practice especially, consider "real" language courses! For pronunciation, consider making musical cover songs your hobby xD (This is genuinely how I've gotten most of my pronunciation practice.)

I've been passively learning German for about 8 years now (started listening to German-language musicals in 2016), but I did only start learning actively and with intent in 2021. My "official" studies have been:

An A1 basic course in 2021 (6 weeks, 2ish hours a week)

A B1.2 Goethe course in 2023 (10 weeks, 2 hours a week)

A failed attempt at a B2.2 course in 2024 (stopped going because I got too busy with uni), and another B2.2 attempt that I'm currently completing :D

However, I would say that I've learned most of the language on my own, from watching musicals and interviews, reading books, articles and blog posts, and finally immersion - moving to Germany into a city where a lot of basic life things won't get done if you can't speak the language. For example: my apartment building caretaker (who gave me the keys and who I needed to call to fix my shower drain a month in) didn't speak any English, and neither did people at the tax bureau, town hall, supermarket, regional theatres... On trains, some important announcements will only be given in German, and some museums don't give all of their guided tours in English. This has been a huge help for me - sometimes it's a headache, but it does teach you a lot!!!

The major advantage in taking courses, though, is that there's 1) someone to motivate/"force" you to do vocab and grammar exercises, 2) someone to give feedback and corrections, 3) a group to practice speaking with. The last point has been the most helpful for me, I think, because learning super eclectically means that my skills are kind of unbalanced... I read academic texts really well if I can look up individual words & I understand speech in most situations, but I struggle a lot with grammar and independent writing, and I used to be nervous speaking before starting to practice more formally in a classroom setting where there's help.

I think the most important tip I can give is to just dive in - force yourself into situations where the only way you get what you want is by speaking German or figuring out what words mean :D I picked up basic vocabulary and phrases from listening to musicals and reading transcriptions (important!) and translations of the songs I was listening to, and from there, it was easy to expand. For reading, I really recommend finding something that you're organically interested in otherwise (for me it's been 19th century history research and primary sources from that era, as well as musical theatre stuff); for listening, I recommend looking up documentaries/music/movies that you would also watch if they were in English. In many language classes they will purposefully teach you about German/DACH culture and show students "classics" from those countries, and while that's also important, I think for independent learning it's more effective to find something that you're really, genuinely personally passionate about.

I still Deepl difficult words and make a huge amount of grammar mistakes when speaking (my current course includes one-on-one discussion hours with the teacher which has been so helpful, but she needs to interrupt me about once a minute with "syntax... SYNTAX!!" xD) but I get complimented a lot on my German skills, largely due to the fact that I speak confidently despite the mistakes & have a decent accent >:)