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You don’t need to say “She was sad.” Show me the untouched coffee gone cold. The half-written text that never gets sent. The way she laughs at a joke and then immediately looks away. People don’t announce their emotions, they live them, they try to hide them, they pretend they’re fine when they’re not. Make your readers feel it between the words.
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Fantasy Guide to Regency Fashion


The Regency. The King is mad, the Prince of Wales is lording it up as the de-facto head of state. Napoleon is raging in Europe, Jane Austen is Austen-ning and the Bridgertons are on the prowl, waiting for their glow-up season. But what are they wearing during this period? Now, for this post, I am focusing on the actual Regency period (1811 to 1820). The before and after will come… eventually.
The Regency is a curious sub-era of fashion because it is bracketed between the early Victorian era with its large skirts and large puffy sleeves and the Georgian fashions with the court mantuas. I once read an article that pondered what the Victorians thought of the fashion of their grandmother’s and great-grandmothers during the Regency, wondering if they were scandalised.
Undergarments

The Regency undergarments have much of the same structure of those that came before and after, just with tweaks.
For ladies, the Regency was a time for natural silhouettes, so this meant that the long-structured corsets of the Victorians were a way off and the panniers of the Georgians were forgotten (except at court but we will talk about it later).
Chemise: This goes under everything. This is not up for debate. I am talking to you period drama wardrobe people, yes you, you know who you are. The chemise is like a big linen shirt worn under everything else.
Petticoat: This was a thin skirt worn over the chemise to keep the chemise from sticking to the skirts. These weren’t worn for volume as petticoats were and would be worn.
Corsets: The Corset in the Regency period was much shorter than you would expect but so were bodices. Regency corsets might make you think of modern-day bras since they sometimes spanned from the breasts to the waist rather than the hips.
Stockings and garters: Stockings are like long socks that go up past the knee, usually in muted colours and embroidered. Stockings were held up by garters, which were strips of cloth tied around the leg to keep them in place.
Drawers: Technically most Regency women didn’t wear any underwear, but the Regency period was the beginning of the interest in wearing them. Some women adopted the drawers which were modified versions of the drawers worn by men. Princess Charlotte, Princess of Wales was said to have tried them out which confused a lot of other women. In the later years of the Regency, some women adopted the pantaloons which were like drawers only longer. Drawers were short of linen or cotton shorts, only with a split in the crotch and a drawstring waist.
Gentlemen
Undershirts: Men wore their own kinds of chemises, but these were much shorter and tucked into the drawers. You’re thinking of Colin Firth aren’t you?
Drawers: Like I said, the lady’s versions are adaptations of the men, cotton/linen shorts with a drawstring. But during the Regency, the drawers were adapted to have buttoned flaps.
Corsets: Yes, men also wore corsets. The Prince Regent wore one for his back issues officially but there were rumours of him wearing one to try manage his considerable weight.
Stockings and garters: Stockings are like long socks that go up past the knee, usually in muted colours and embroidered. Stockings were held up by garters, which were strips of cloth tied around the leg to keep them in place.
Gowns and Suits


The Gentlemen
The men of the Regency were just as interested in their fashion as their female counterparts and their predecessors of the Georgian period.
Tailcoat/Jacket: Jackets and tailcoats were tailored, with the tails shaped into a “M” shape. These were made to show the shirt, vest and cravat underneath.
Waist Coat: The Regency waistcoats were vests, usually single-breasted but double-breasted were popular too. The trend in the Regency was high collared vests.
Shirt: Men would have worn shirts over their chemise for warm, only this shirt would be of more substantial fabric and often embroidered.
Cravat: The cravat is like a tie, wrapped around the neck and knotted.
Pants: When not at court, men wore trousers. These were buttoned at the front and usually tailored.
Breeches: Breeches were worn more at court as they were considered old-fashioned.
Pantaloons: These were tight, fitted trousers that were worn with high boots.
Suspenders: Trousers worn with suspenders were originally a working-class trend – as all the best trends are – become popular in the years preceding the Regency.
Inexpressibles: Probably what you’re thinking of when you think of Regency pants. These were extremely tight fitting and have reputation.
Buckskins: These were sort of the equivalent of comfy pants for the men. They were made from deerskin and worn during down time.
Great Coat: The great coat is a long coat worn over the ensemble and could be as fancy or as plain as the gentleman wants.
Shoes: Usually, leather dress shoes and worn to every sort of event except outside where boots might be the best option. Boots were never worn at night.
Ladies
The women of the Regency period were experiencing something new, something more aligned to the Romanticism of the day. Women took inspiration from the Classical world in their fashion. Bodices became shorter, sleeves shorter and silhouettes less structured.
Morning Gowns: These were dresses worn in the morning or during the day time if one was staying at home. It had an empire waist, short sleeves and worn with shawls and bonnets if taking a stroll in the garden. These were usually made of light fabrics such as muslin or poplin
Visiting Gowns: Visting gowns were worn when calling on friends or family. They were made of more substantial fabric like wool, satin or silk and less plain than the morning gown. They would be long sleeved and worn with gloves.
Walking Gowns: Walking gowns are pretty much self-explanatory, worn when walking outside, so that means long sleeves. They were made of thick fabrics such as wool, cotton and velvet and always worn with a bonnet and a spencer or a pelisse and gloves.
Promenade Dresses: These are a fancier gown than walking gowns, usually more decorated and worn both for walking and for riding in a carriage. Worn with a bonnet and gloves. Usually worn when one is taking a quick trip by carriage.
Carriage Dresses: Yes, the Regency not only had one dress for riding in a carriage, they had many. These were very similar to the promenade dress but designed for better comfort. Can be worn with gloves but definitely worn with a bonnet. One might wear this one on long journeys by carriage.
Riding Habits: This was worn by women when they were riding horses. They were usually made of thick cotton, leather of wool depending on the weather. This outfit was comprised of a long coat, riding gloves, high boots for the muck and stirrups and worn with a hat to keep the hair from the lady’s face.
Ball Gowns: Ball gowns were short sleeved, empire waisted and made from silk, satin and usually well decorated depending on the lady’s rank. They were always paired with long gloves. No bonnet worn here. Hair would be arranged under a tiara or an array of flowers or jewels or combs.
Shawl: Was a drape of fabric worn over the upper body against a chill. It may be made from wool or a heavier fabric but if worn to an event, it would be made of lighter fabric.
The Spencer Jacket: The Spencer is a fitted jacket, long sleeved and waist-length jacket worn over a dress when walking.
Pelisse: Is an coat dress which like the Spencer was close fitting but it was much longer.
Cloak/Mantelet: The cloak wasn’t dead yet in the Regency period. Women would have worn them in the evenings when attending balls, parties, the opera and the theatre.
Tucker: The tucker was a piece of fabric tucked into one’s bodice to cover as much as one’s chest and shoulders as possible.
Bonnet: The bonnet was usually a cap with a wide brim, trimmed with fabric flowers or ribbon and held in place by a ribbon tied under the chin.
Slippers: These look like a ballet slipper. They would be made from silk, satin, leather etc.
Boots: These were made of leather, often worn when walking distances in the city and country and usually only reached the ankle.
Pattens: This was a metal lift worn at the bottom of the lady’s shoe to keep her from ruining her shoes in rain or the city’s muddy streets.
When at Court

If you have ever watched Bridgerton, you might see that Queen Charlotte doesn’t wear the same gowns as the rest of the ton. This is actually historically accurate as Queen Charlotte was a traditionalist at heart and distrusted the new fashions, though we have a surviving empire-waisted dress of hers worn in private. When the ton descended on court, especially at the debut, they would not be wearing their short-sleeved, empire gowns. They would be wearing a wide hooped dress with a long train – but the Regency ladies weren’t about to give up on everything modern, they followed Queen Charlotte’s rules but kept the empire waist which lead to a ridiculous looking gown. I mean, look at it.
Bejewelled


The Regency era is a very important era for jewels because *trumpet sounds* it was the dawn of the tiara, or the renaissance of it. The modern idea of tiara came about during this era due to the women taking inspiration from the stephanes worn by the Ancient Greeks and Romans. Tiaras became a staple during this time, giving us some of our most famous and beautiful tiaras we still have today.
#I thought ye would like this one#The regency#fantasy guide to regency fashion#regency fashion#empire waist gown#writing#writeblr#writing resources#writer's problems#writer#writing advice#writing reference#spilled words#writer's life#historical fiction#bridgerton#jane austen#pride and prejudice#writing help#writing inspiration#creative writing
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The notes you can't explain
On my iPad I've got a little app called "Tatter" which essentially creates tablet-based notebooks in which you can keep sticky notes with, well, notes on them. It's seriously handy, and is the simplest way for me to note something down when I suddenly wake up in the middle of the night (or just miss falling asleep when, in the psychopompic state, something suddenly occurs to me that I’ve been trying to figure out for a while). It’s a freebie app, and I commend it to all iPad users’ attention.
I've spent the afternoon and evening transcribing the current batch of notes into their relevant Scrivener files on the laptop (the TOTF3: Librarian file, the one for The Door into Starlight, the one for fanfic I'm working on, etc etc).
Some of them (in one form or another) were already part of a published work, and so could be discarded.

Some of them have been fairly useful, even promising (like this idea for a short work):

Some of them have been—as just-woke-up-in-the-middle-of-the-night notes tend to be—less so. Obscure, or at the very least bemusing. (And with no way, at this late date, to figure out what the hell they meant.)

…And some of them are just odd. (I have to assume the people we're overhearing are the usual cast of Middle Kingdoms characters...)

(sigh) Anyway, that’s all of that batch tidied away and put where they’ll actually be useful. Remember, kids: always set aside time to make your notes safe. Because if you lose them before you use them, you will be SO ANNOYED.
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Writing a Fictional Monster
From Count Dracula to Ramsay Bolton, some of the most memorable characters in literature are monsters. Use these examples and tips to generate great monster ideas for your own writing.
Characteristics of a Monster
The word ‘monster’ stirs up various ideas of traits and psychological aspects of creepy creatures people fear, but there are a number of ways monsters can be portrayed:
Physical characteristics. Monsters can be massive and powerful, like King Kong or Mothra. It can have slimy body parts, rows of sharp teeth, tentacles, a coat of thick armor, or be a completely small and unassuming sort of thing. The physical characteristics of your monster aren’t just for effect, either. Your monster character design should make sense with the background you’ve provided. For example, if it has wings, it should use them to fly. Monsters aren’t decorative—they're reflections of peoples’ deepest rooted fears.
Psychological traits. Some believe that the true monsters are the ones that lurk inside our own minds. Monsters can scare us when they play into phobias, like Pennywise from Stephen King’s It (1986), who appeared as a vicious clown but also took the form of the main characters’ greatest fears. Monsters can also be symbolic or emotional manifestations. Sometimes monsters don’t need to interact with the characters at all—the characters build the fear around the idea of the monster themselves—which can amplify the terror that readers and viewers feel along with them.
Its targets. Does it feed on children? Is it attracted to despair? Does it get violent at the scent of blood? What triggers your monster? When does it appear, and why? Knowing what motivates your monster is the key to figuring out why it behaves the way it does and creates a sense of understanding for your audience.
Its weaknesses. Is there anything that can vanquish your monster? Is it able to be defeated? Does it hate daylight? Giving your monster its own rules and limits can help establish a believable creature. However, lacking a weakness can also be part of your monster’s horror as well.
How to Write a Monster
If you’re looking for how to make a monster of your own, there are a few guidelines you can follow to make your new monster feel like a real monster:
Provide a little background. Your monster may not exist in the real world, but it still needs some logical follow-through. Where did it come from? Why does it look the way it does? Is it man-made like Dr. Frankenstein’s monster in Mary Shelley's Frankenstein (1823)? Or is it a natural creature like Beowulf’s Grendel? You don’t have to answer every question about your monster in your writing (sometimes the unknown is just as scary), however, the audience should know a little background information to envision a full enough picture.
Leave space for the imagination. Even though you want the audience to get a complete picture of your monstrosity, a person’s own imagination can always be scarier than anything someone else could create, like the Jabberwock from Lewis Carroll’s nonsense poem The Jabberwocky (1871). Leaving room for your reader to fill in the gaps may result in them imagining their own worst personal fears in conjunction with whatever horrors you’ve already laid out.
Give it a name. Personifying a monster draws it a little closer into real-life, and giving something a name makes it feel more tangible. Sometimes the fear of a name lies in its ambiguity, like John Carpenter’s ‘The Thing,’ or it can be a name that feels scary and powerful, like Tomoyuki Tanaka’s ‘Godzilla.’ Or sometimes, it’s the existing name of a horrific mythological villain like ‘Typhon.’
Make it hard to kill. Sometimes a monster is relentless and needs to be physically fought, and sometimes there’s a secret or trick to killing it that is unknown until later on in the story. Monsters that cannot be defeated easily create big moments of tension and anticipation for readers and viewers alike. The harder to kill, the scarier they become.
Examples: Monsters in Literature
Monsters can be science fiction creations with gaping maws and poisonous fangs, but they can also be like human beings as well, like a rogue android or possessed parent.
Count Dracula: Infamous vampire from Bram Stoker’s Dracula (1897).
Balrogs: Menacing monsters of fire and shadow in J.R.R. Tolkien’s Lord of the Rings series (1937).
Mr. Hyde: Evil alter-ego of the character Dr. Jekyll, from Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886).
The Giant Squid: The monster from the depths in Jules Verne’s classic, Twenty-Thousand Leagues Under the Sea (1872).
Jack Torrance: The alcoholic father from Stephen King’s The Shining (1977).
Source ⚜ Notes & References ⚜ Writing Resources PDFs
#monster#fiction#writeblr#literature#writers on tumblr#writing reference#writing tips#writing advice#dark academia#spilled ink#creative writing#light academia#writing prompt#writing inspiration#writing ideas#francisco goya#writing resources
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The handwriting own seems to work like magic for me. I remember recently I would sit in front of my laptop for hours and not get any it of writing done, then I'd pick up my pen and boom, all the creative pressure that had been building up in my mind gets transferred to the pages.
Some of my writer’s block cures:
Handwrite. (If you already are, write in a different coloured pen.)
Write outside or at a different location.
Read.
Look up some writing prompts.
Take a break. Do something different. Comeback to it later.
Write something else. (A different WIP, a poem, a quick short story, etc.)
Find inspiring writing music playlists on YouTube. (Themed music, POV playlists, ambient music, etc.)
Do some character or story prompts/questions to get a better idea of who or what you’re writing.
Word sprints. Set a timer and write as much as you can. Not a lot of time to overthink things.
Set your own goals and deadlines.
Write another scene from your WIP. (You don’t have to write in order.) Write a scene you want to write, or the ending. (You can change it or scrap it if it doesn’t fit into your story later.)
Write a scene for your WIP that you will never post/add to your story. A prologue, a different P.O.V., how your characters would react in a situation that’s not in your story, a flashback, etc.
Write down a bunch of ideas. Things that could happen, thing that will never happen, good things, bad things.
Change the weather (in the story of course.)
Feel free to add your own.
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Raw emotion isn’t about saying he was sad or she was furious. It’s about what their body does before their brain catches up. Does his throat tighten like he’s swallowed glass? Does her hand grip the table so hard her knuckles turn white? People feel before they name it. Write the feeling first.
#writing#writer on tumblr#writerscommunity#writing tips#character development#writing advice#oc character#writer tumblr#writing help#writblr#on writers#creative wrting#writers on tumblr
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Make character playlists
If you want to get into the swing of writing a character, create a playlist for them.
Make a playlist for each of your major characters based on the type of music you imagine they’d like, and listen to it to get into your writing session. It will help get you into the right headspace to really delve into their psyche.
#writeblr#writing tips#writers on tumblr#creative writing#writing community#writers#writing#writers of tumblr#creative writers#writing inspiration#writerblr#writing advice#writing resources#writer
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Beginners Guide to Descriptive Sentences
Hi writers.
I’m Rin T, and in this post I’m excited to share with you a detailed guide on how to craft vivid descriptions and descriptive sentences for your writing. I’ve long believed that descriptive writing is the magic that turns ordinary text into an immersive experience. When done well, every sentence acts like a brushstroke that paints a scene in the reader’s mind.
──────────────────────────── Why Descriptive Writing Matters ────────────────────────────
I have seen how powerful descriptions can engage readers and establish a strong connection with the narrative. Descriptive writing is not simply about decorating your work; it is about building an atmosphere that transports your reader to a world. your world.
When you write descriptions, remember:
You are setting the tone.
You are building a world.
You are evoking emotions.
You are inviting your readers to experience your story with all their senses.
──────────────────────────── Step-by-Step: Crafting Vivid Descriptions ────────────────────────────
Below are my personal tips and tricks to help you build detailed and captivating descriptions:
Begin With the Senses
Description does not solely depend on what the eyes can see. Consider sound, smell, taste, and touch. For instance, instead of writing “The witch’s hut was eerie,” try elaborating: “The witch’s hut exuded an eerie aura. The creaking timber and distant echoes of whispering winds mingled with the pungent aroma of burnt sage and mysterious herbs.” In this way, you help the reader not only see the scene but also feel it.
Choose Precise and Evocative Language
Precision in language is vital. Replace generic adjectives with specific details to boost clarity and imagery. Rather than “The forest was dark,” consider: “The forest was a labyrinth of shadowed boughs and muted undergrowth, where the light barely touched the spindly branches, and every step unveiled whispers of ancient spells.” Specific details create tangible images that stay with readers.
Show, Don’t Just Tell
A common mistake is to “tell” the reader how to feel, rather than “showing” it through context and detail. Instead of writing “It was a spooky night,” immerse your reader: “Under a pallid crescent moon, the night unfurled like a canvas of foreboding whispers; broken branches and rustling leaves narrated the secrets of a long-forgotten curse.” By showing the elements, you invite the reader to experience the fear and mystery firsthand. (You don't need to be as dramatic as my examples, but this is simply for inspiration)
Use Figurative Language Thoughtfully
Metaphors, similes, and other figures of speech lend an artistic flair to your descriptions. When writing about a scene in a magical world, you might say: “Her eyes shone like twin beacons of moonlit silver, cutting through the gloom as if to part the veil of night itself.” Such comparisons evoke emotions and deepen the reader’s connection with the scene. However, be cautious not to overdo it; a little figurative language can go a long way.
Strike a Balance Between Details and Pacing
While elaborate descriptions are alluring, too many details can weigh down your narrative. Consider introducing the broader scene first and then focusing on key elements that define the mood. For instance, start with an overview: “The village lay nestled between ancient stone arches and mist-covered hills.” Then, zoom into details: “A solitary, ivy-clad tower sent spiraling tendrils of mist into the twilight, as if guarding secrets of a long-lost incantation.” This technique creates a rhythm, drawing readers in gradually.
──────────────────────────── Practical Exercises to Enhance Your Descriptive Writing ────────────────────────────
To help you practice these techniques, try the following exercises:
Sensory Detail Drill: Select a familiar scene from your fantasy world (for example, a witch’s secluded garden). Write a short paragraph focusing on each of the five senses. What do you taste as you bite into a magical fruit? What sounds resonate in the quiet of the enchanted night? This drill helps you to avoid flat descriptions and encourages you to integrate sensory experiences.
Revision and Refinement: Take a simple sentence like “The night was cold,” and transform it using the advice above. Rework it into something like, “The night was a canvas of shimmering frost and darkness, where every breath of the wind carried a hint of winter’s sorrow.” Compare the two, and notice how minor adjustments can dramatically heighten the mood.
Peer Review Sessions: Sharing your work can offer invaluable insights. Exchange your descriptions with fellow writers and ask for focused feedback, Does the description evoke the intended emotion? Does it deliver a clear image? Use these sessions as opportunities to improve and refine your craft.
──────────────────────────── Common Pitfalls and How to Avoid Them ────────────────────────────
Through my years of writing, I've learned that even the most passionate writers can stumble. Here are some pitfalls to watch out for:
Overloading With Adjectives: While it’s tempting to create elaborate descriptions, too many adjectives and adverbs can distract rather than enhance. Aim for clarity and purpose in every word. Instead of “a very dark, spooky, frightening forest filled with creepy sounds,” try “a forest shrouded in ominous silence, where every rustle hinted at unseen mysteries.”
Falling Into Clichés: Familiar images can sometimes render your work predictable. Try to avoid worn phrases. Instead of “as dark as night,” imagine “as impenetrable as the void that separates worlds.” Unique expressions capture attention and create lasting impressions.
Neglecting the Flow: Descriptions are vital, but the narrative must continue to drive forward. Check that your detailed passages serve to enhance the storyline rather than bog it down. Ask yourself: Does this description bring the reader closer to the action, or does it detract from the momentum of the narrative?
──────────────────────────── Advanced Techniques for the Aspiring Writer ────────────────────────────
Once you’re comfortable with the basics, consider these advanced methods to elevate your descriptions into artful prose:
Integrate Descriptions Seamlessly: Instead of isolating your descriptions, weave them into dialogue and action. For example, as a witch brews her potion, you might describe the bubbling cauldron and swirling mists as part of her incantation, not just as a standalone scene. “As she whispered the ancient words, the cauldron responded, its surface rippling like a dark mirror reflecting centuries of secrets.”
Reflect Character Perspectives: Let your characters’ emotions color the scene. If a character fears a looming threat, their perception will add a layer of tension to the environment. “I entered the dim corridor with trepidation, my heart pounding as the flickering torchlight revealed spectral figures dancing along the walls.” This technique makes the description both situational and personal.
Use Rhythm: The cadence of your sentences can mirror the pace of your narrative. In high-tension moments, short, abrupt sentences heighten the urgency. Conversely, in serene scenes, longer, flowing sentences can create a tranquil atmosphere. Experiment with sentence structure until you find a balance that suits both your style and the mood you wish to convey.
──────────────────────────── Final Thoughts and Encouragement ────────────────────────────
your narrative is your unique creation. you too will find your distinctive voice. I encourage you to keep experimenting with different techniques until your descriptions feel both natural and mesmerizing. Write freely, revise diligently, and most importantly, let your creative spirit shine through every line.
Thank you for joining me. I hope these tips can help you.
#on writing#creative writing#writing#writing tips#writers block#how to write#thewriteadviceforwriters#writeblr#writers and poets#writers on tumblr#novel writing#fiction writing#romance writing#writing advice#writing blog#writing characters#writing community#writing help#writing ideas#writing inspiration#writing guide#writing prompts#writing a book#writing resources#writing reference#writing tips and tricks#writers#writing tools#writing life#writing software
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I often lean into the advice that characters speak as much as they want (unless interrupted), but never communicate as much as they need.
Over-writing dialogue is easy, but it's not always bad. Purist screenplay writers deride Aaron Sorkin all of the time, and have been doing so for decades. And yet, if you break down a Sorkin script, you'll learn some nifty tricks of the craft (e.g., creating strong intentions and obstacles, become comfortable with being uncomfortable, know when too much info and too little info can actually help the story, know the rhythm of your words).
One of the hardest things for me to learn and practice in my writing is that people do not say that much.
My characters frequently have tailored conversations about their inner struggles. They open up to partners, maintain perfect communication with friends, and remember to hold back exactly the right information from enemies. Yet irl I've observed and contributed to much miscommunication, lost opportunities, and unconscious distrust of friendly motivations. Natural speech is not tailored, and appropriately expressing abstract thoughts takes uncommon skill.
We've heard film media fans deride "therapy talk" wherein characters uncharacteristically divulge their inner struggles to others and receive perfect, textbook advice in response. This feels inauthentic because most humans don't talk like that! We skirt around our problems, we feel uncomfortable when others vent, we want to avoid conflict and rejection, and our well-meant words often do more harm than good.
People also tend to talk a lot, but say little. As writers, we generally don't want our stories stuffed with useless conversations, banter, and small-talk that don't advance the plot—we want that story grown up and moved out! lol. But please, include those things. Have scenes where friends hide thoughts from friends by joking around or discussing hobbies instead, where a rival saves the MC's thoughtless speech for later, where a happy couple argues over a minor miscommunication. These aspects can add depth to a story that feels manufactured, or life to characters that sound scripted.
If this is you, take your time; natural dialogue takes a while to finesse. Currently, I try to write the meaning behind the dialogue first and make it messier and more natural in redrafts. Conversation scenes where "nothing" happens can still tell the reader about the characters. As with all the lessons I've learned/shared, each piece of writing advice should come with a "Daily Value" label affixed, lol. Balance is needed and adjustments should be made until you have the story you want.
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#writeblr#writing#fiction writing#dialogue#aaron sorkin#characters#writing tips#writing advice#writers on tumblr
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I find a lot of writing advice is a. Incredibly neutered and b. Geared exclusively at encouraging people and not like, giving actual *tools*. Encouragement is good, mind you! But encouragement doesn't teach craft, and anybody can learn it.
So here's some fun writing exercises to try if you're in a rut with your writing. Pick and choose as you like!
1. Adapt a scene from a film, tv show, anime, etc. as directly onto the page as possible. Think small - conversations with movement, or *very* basic action sequences if you're feeling ambitious. What's hard to adapt? Are there movements you're not sure how to describe? Whose POV is it easiest to write from? What kind of prose suits the mood of the scene? The point isn't to produce something perfect at the end - it's to think about these questions and brainstorm answers.
2. Describe something really really boring, like an apple falling from a tree or a car driving down a road - and see how much you can maximalise it. How long can you make this simple action, and what becomes interesting about it? (Especially good if you struggle with not writing enough rather than the opposite.)
3. Look at something - a painting, a tree, a flower, a piece of fanart - for a short amount of time, 30-40 seconds. Then put it away and try to describe it. What's prominent? What's important? What stayed with you?
4. Take the first line of an existing story and write your own short story based on it. See where it takes you! Even if you end rewriting the original in your own words, you've still done something.
These are fairly time-intensive exercises but they genuinely have helped me a ton with how I look at my writing + my ability to try a different approach if something isn't working!
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Can you write a body language for scared/afraid? Like fear or something
Body Language
when someone is...
Afraid
Face/Body:
Sweating
Trembling
Shortness of breath/hyperventilating
Frowning/grimacing
Chest pain, tightness, and rapid heartbeat
Hot flashes
Chills
Clenched jaw
Narrowed eyes
Lip biting
Voice:
Shaking/quivering
Strained
Clipped and tightly-drawn
Voice cracks
Whispered/quiet or hushed tone
Timid
Stuttering/blubbering
Speaking faster or slower than normal
Gestures/Posture:
Fidgeting (hands + feet, restless movement)
Rocking/swaying or leaning
Rigid/tense posture
Clenched fists
Convulsive movements
Freezing up or backing away
#writersbloxx#yay first ask :)#creative writing#writers on tumblr#writers community#writing#writeblr#writers and poets#my writing#writing prompt#writers block#writerscommunity#writing exercise#writing advice#writing inspiration#writing tips#writing community
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if you're trying to get into the head of your story's antagonist, try writing an "Am I the Asshole" reddit post from their perspective, explaining their problems and their plans for solving them. Let the voice and logic come through.
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Yea :)
please please please please reblog if you’re a writer and have at some point felt like your writing is getting worse. I need to know if I’m the only one who’s struggling with these thoughts
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10 Non-Lethal Injuries to Add Pain to Your Writing
New Part: 10 Lethal Injury Ideas
If you need a simple way to make your characters feel pain, here are some ideas:
1. Sprained Ankle
A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.
2. Rib Contusion
A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.
3. Concussions
This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.
I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.
4. Fractured Finger
A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.
5. Road Rash
Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.
6. Shoulder Dislocation
This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.
7. Deep Laceration
A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.
This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.
8. Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.
If you want to explore writing burns, read here.
9. Pulled Muscle
This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.
10. Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.
This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)
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sometimes the best writing advice is "just let it be bad." revolutionary. terrifying. but it works.
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