writetomemory

[writetomemory]

Describe your Main Character sheet

Skin

Tone: Pale, Rosy, Olive, Dark, Tanned, Alabaster, Ebony, Bronze, Golden, Fair

Texture: Smooth, Rough, Silky, Coarse, Flaky, Supple, Wrinkled, Calloused, Bumpy

Condition: Moles, Acne, Dry, Greasy, Freckled, Scars, Birthmarks, Bruised, Sunburned, Flawless

Complexion: Clear, Ruddy, Sallow, Glowing, Dull, Even-toned, Blotchy

Eyes

Size: Small, Large, Average, Tiny, Bulging, Narrow

Color: Grey, Brown, Blue, Violet, Pink, Green, Gold, Hazel, Crimson, Amber, Turquoise, Sapphire, Onyx

Shape: Doe-eyed, Almond, Close-set, Wide-set, Round, Oval, Hooded, Monolid

Expression: Deep-set, Squinty, Monolid, Heavy eyelids, Upturned, Downturned, Piercing, Gentle, Sparkling, Steely

Other: Glassy, Bloodshot, Tear-filled, Clear, Glinting, Shiny

Hair

Thickness: Thin, Thick, Fine, Normal

Texture: Greasy, Dry, Soft, Shiny, Curly, Frizzy, Wild, Unruly, Straight, Smooth, Wavy, Floppy

Length: Cropped, Pixie-cut, Afro, Shoulder length, Back length, Waist length, Past hip-length, Buzz cut, Bald

Styles: Weave, Hair extensions, Jaw length, Layered, Mohawk, Dreadlocks, Box braids, Faux locks, Braid, Ponytail, Bun, Updo

Color: White, Salt and pepper, Platinum blonde, Golden blonde, Dirty blonde, Blonde, Strawberry blonde, Ash brown, Mouse brown, Chestnut brown, Golden brown, Chocolate brown, Dark brown, Jet black, Ginger, Red, Auburn, Dyed, Highlights, Low-lights, Ombre

Eyebrows: Thin eyebrows, Average eyebrows, Thick eyebrows, Plucked eyebrows, Bushy eyebrows, Arched eyebrows, Straight eyebrows

Lips

Shape: Full, Thin, Heart-shaped, Bow-shaped, Wide, Small

Texture: Chapped, Smooth, Cracked, Soft, Rough

Color: Pale, Pink, Red, Crimson, Brown, Purple, Nude

Expression: Smiling, Frowning, Pursed, Pouting, Curved, Neutral, Tight-lipped, Parted

Nose

Shape: Button, Roman, Hooked, Aquiline, Flat, Pointed, Wide, Narrow, Crooked, Upturned, Snub

Size: Small, Large, Average, Long, Short

Condition: Freckled, Sunburned, Smooth, Bumpy

Build

Frame: Petite, Slim, Athletic, Muscular, Average, Stocky, Large, Lean, Stout, Bony, Broad-shouldered, Narrow-shouldered

Height: Short, Tall, Average, Petite, Giant

Posture: Upright, Slouched, Rigid, Relaxed, Graceful, Awkward, Stiff, Hunched

Hands

Size: Small, Large, Average, Delicate, Strong

Texture: Smooth, Rough, Calloused, Soft, Firm

Condition: Clean, Dirty, Manicured, Scarred, Wrinkled

Nails: Short, Long, Polished, Chipped, Clean, Dirty, Painted, Natural

Voice

Tone: Deep, High, Soft, Loud, Raspy, Melodic, Monotonous, Hoarse, Clear, Gentle

Volume: Loud, Soft, Whispery, Booming, Muted

Pace: Fast, Slow, Steady, Hasty, Measured

Expression: Cheerful, Sad, Angry, Calm, Anxious, Confident, Nervous, Excited, Bored

[writetomemory]

Writing Guide: Character Development

Physical Description Template

Name:

Age:

Height:

Gender:

Sexuality:

Nationality:

Ethnicity:

General health:

Physical description (e.g., face, hair, body):

Clothing preferences:

Job/s:

Likes:

Dislikes:

Relationship status:

Any unusual traits or habits?

Backstory Template

Where were they born?

Where do they live?

As a child, what did they want to be when they grew up?

What do they actually do?

What gets them out of bed in the morning?

Are their parents still alive?

What is their social class?

Where do they like to socialise?

What is the defining moment of their life so far?

What is their greatest fear?

What’s the biggest lie they’ve told?

Are they religious?

Cat person or dog person?

Behaviour Matrix

Instead of creating detailed character profiles, you may consider making behaviour matrices instead.

Example

Selfish — Altruistic

Aggressive — Passive

Dishonourable — Honourable

Disordered — Ordered

Believer — Sceptic

Fervent — Restrained

Apathetic — Inquisitive

How to use this matrix:

For each row, pick from one of the columns.

This defines your character based on attitude and response, and avoids injecting any kind of ethical commentary.

These attributes are not inherently good or bad and, when combined, form a surprisingly nuanced sense of who the person is and how they might react to any given situation.

Even better, this behaviour matrix also allows for and actively encourages contradictions, which are the foundation of any interesting character.

Source ⚜ More: Worksheets & Templates ⚜ Writing Resources PDFs Plot ⚜ Character ⚜ Worldbuilding ⚜ Tips & Advice

[writetomemory]

A List of "Beautiful" Words: White

for your next poem/story

Achromatic - possessing no hue; being or involving black, gray, or white

Alabaster - a compact fine-textured usually white and translucent gypsum often carved into vases and ornaments

Albescent - white or tending toward white

Albinic - exhibiting deficient pigmentation

Argent - archaic: whiteness; the heraldic color silver or white

Besnow - to whiten

Calcimine - a white or tinted wash of glue, whiting or zinc white, and water that is used especially on plastered surfaces

Canescent - growing white

Cretaceous - from Latin cretaceus, "resembling chalk"

Etiolate - to make pale

Ghastly - to look ill, especially with a pale face

Lactescent - becoming or appearing milky

Marmoreal - made of or looking similar to marble

Niveous - resembling snow (as in whiteness)

Tallow - the white nearly tasteless solid rendered fat of cattle and sheep used chiefly in soap, candles, and lubricants

More: Lists of Beautiful Words ⚜ Word Lists ⚜ Black

[writetomemory]

List of Interesting Latin Phrases

A list I made just to satisfy my vain cravings for resonating mottos for a secret society I'm working on. Enjoy!

abi in malam crucem: to the devil with you!

ad astra per ardua: to the star by steep paths

ad augusta per angusta: to honors through difficulties

aegis fortissima virtus: virue is the strongest shield

amor vincit amnia: love conquers all things

animo et fide: by courage and faith

arbitrium est judicium: an award is a judgement

aut mors aut victoria: either death or victory

aut vincere aut mori: either victory or death

bello ac pace paratus: prepared in war and peace

bibamus, moriendum est: let us drink, death is certain (Seneca and Elder)

bonis omnia bona: all things are good to the good

cede nullis: yield to no one

cito maturum, cito putridum: soon ripe, soon rotten

consensus facit legem: consent makes law

data fata secutus: following what is decreed by fate (Virgil)

durum telum necessitas: necessity is a hrad weapson

dux vitae ratio: reason is the guide of life

e fungis nati homines: men born of mushrooms

ego sum, ergo omnia sunt: I am, therefore all things are

pulvis et umbra sumus: we are but dust and shadow

quae amissa salva: things lost are safe

timor mortis morte pejor: the fear of death is worse than death

triumpho morte tam vita: I triumph in death as in life

tu vincula frange: break your chains

vel prece vel pretio: for either love or for money

verbera, sed audi: whip me, but hear me

veritas temporis filia: truth is the daughter of time

vero nihil verius: nothing is truer than the truth

vestigia nulla restrorsum: foosteps do not go backward

victus vincimus: conquered, we conquer (Plautus)

sica inimicis: a gger to his enemies

sic vita humana: thus is human life

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! Also, join my Tumblr writing community for some more fun.

💎Before you ask, check out my masterpost part 1 and part 2 

Reference: <Latin for the Illiterati: a modern guide to an ancient language> by Jon R. Stone, second edition, 2009

[writetomemory]

Writing Notes & References

Alchemy ⚜ Antidote to Anxiety ⚜ Attachment ⚜ Autopsy

Art: Elements ⚜ Principles ⚜ Photographs ⚜ Watercolour

Children ⚜ Children's Dialogue ⚜ Childhood Bilingualism

Character Quirks ⚜ Cruise Ships ⚜ Dystopian World

Culture ⚜ Culture Shock ⚜ Ethnocentrism & Cultural Relativism

Emotions: Anger ⚜ Fear ⚜ Happiness ⚜ Sadness

Emotional Intelligence ⚜ Genius (Giftedness)

Facial Expressions ⚜ Laughter & Humour ⚜ Swearing & Taboo

Fantasy Creatures ⚜ Literary & Character Tropes

Fight Scenes Part 1 2 ⚜ Kill Adverbs

Food: Cooking Basics ⚜ Herbs & Spices ⚜ Sauces ⚜ Wine-tasting ⚜ Aphrodisiacs ⚜ List of Aphrodisiacs ⚜ Food History

Genre: Crime ⚜ Horror ⚜ Fantasy ⚜ Speculative Biology

Hate ⚜ Love ⚜ Kinds of Love ⚜ The Physiology of Love

How to Write: Food ⚜ Colours ⚜ Drunkenness

Jargon ⚜ Logical Fallacies ⚜ Memory

Magic: Magic System ⚜ 10 Uncommon ⚜ How to Choose

Moon: Part 1 2 ⚜ Related Words

Mystical Items & Objects ⚜ Talisman ⚜ Relics ⚜ Poison

Realistic Injuries ⚜ Rejection ⚜ Structural Issues ⚜ Villains

Symbolism: Colors ⚜ Food ⚜ Numbers ⚜ Storms

Thinking ⚜ Thinking Styles ⚜ Thought Distortions

Compilations: Plot ⚜ Character ⚜ Worldbuilding

all posts are queued. will update this every few weeks/months. send questions or requests here.

[writetomemory]

When writing a poem or descriptive scene describing space and action, it is interesting to keep these conversions in mind.

01 S (Second) -> (CT0))

02 M (Meter) -> (One MR Length)

03 KG (Kilogram) -> (Vividness of MR Qualia/Intensity of Focus/Attention)

04 A (AMPR) - > (Spontaneous Fluidity of Emergent Properties/Associations))

05 K (Kelvin) -> (Stability and Half Life of MR Entity)

06 m (Mol) -> ( n=(Amount of Nodes, Edges, Planes, Modules, and Axioms) present in a n)

07 cd (Candela) -> (Prominence of Focus of Pure MR over External Subjective Reality Sensory Input)

Ontology

[writetomemory]

Some Tips for writing internal conflict

Wanting Two Things at Once Imagine your character really wants to chase after something big, like a dream school, a major opportunity, or maybe even moving to a new city. But at the same time, they’re terrified of leaving behind everything they’ve ever known. Or maybe they’re in a relationship that’s holding them back, but they can’t bring themselves to let go. Show them getting pulled in two directions, torn between their ambition and their fear of losing the people or places that ground them.

Right vs. Wrong Sometimes, your character will know deep down what the right choice is, but it’s the most difficult one to make. Like, maybe they see someone getting bullied and know they should stand up, but doing so could make them a target. Or maybe they have to decide between helping a friend and doing something that could ruin their own future. These moral dilemmas create intense internal conflict because it forces them to question who they are and what they stand for.

Doubting Themselves We all have moments where we wonder if we’re enough, smart enough, strong enough, brave enough. Let your character wrestle with that same doubt. Maybe they’re the kid who has always been told they’re special, but now they’re in a place where everyone is just as good, and they start to wonder if they even belong. Or maybe they’ve been through something tough, and they’re not sure if they can bounce back. These moments of insecurity make your character feel human, like they’re trying to figure it all out, just like everyone else.

Dreams vs. Fears Show your character dreaming big but getting frozen by their own fears. It’s like wanting to ask someone out but being terrified of rejection, or wanting to move away for college but being scared to leave home. Let them imagine all the things that could go wrong , that moment when fear makes them doubt if they should even try. But also show their desire burning just as strong, making it impossible to ignore. That’s the heart of internal conflict: they’re stuck between wanting something so bad and being afraid of what it’ll cost to go after it.

Beliefs Being Challenged As your character grows, the world will start challenging their beliefs. Maybe they grew up in a family that drilled certain values into them, and now they’re meeting people who see things differently. Or maybe they’re experiencing something new, and it’s changing their perspective. It’s like when you think you have everything figured out, and then life throws something at you that makes you go, "Wait, maybe I’ve been wrong this whole time." This kind of internal conflict is powerful because it forces the character to question who they’ve always been.

Keeping Secrets If your character is hiding something, like a mistake they made, feelings they’re afraid to admit, or a truth they don’t want to face, that secret becomes a huge part of their internal conflict. The fear of being found out or of dealing with the consequences can create a constant pressure in their mind. Maybe they’re scared they’ll lose their friends if the truth comes out, or maybe they’re dealing with guilt they can’t shake. The tension comes from their battle to keep it hidden while knowing they can’t keep it locked away forever.

Pressure from Everyone Your character might feel like they’re trapped between what they want for themselves and what everyone else wants from them. It could be pressure from parents, who have their whole future planned out, or pressure from friends to fit in or follow the crowd. Maybe your character wants to be true to themselves, but they’re scared of disappointing people or standing out too much. This kind of internal conflict is super relatable because, at some point, everyone feels like they’re stuck between living for themselves and living for others.

Fear of Failing Sometimes the biggest obstacle isn’t the external challenge but the internal fear of failure. Your character might have big dreams, but they’re paralyzed by the thought of messing up. Whether it’s competing in a sport, performing on stage, or just trying something new, the fear of not being good enough can be overwhelming. Maybe they’re afraid that if they fail, everyone will see them differently, or worse, that they’ll see themselves differently. The internal conflict comes from their desire to succeed battling against their crippling fear of failure.

[writetomemory]

Matter is tangible, so is a word, memory of a word, or spoken word. Given a word is tangible, it must be encoded in physical matter. Given it is encoded in physical matter, any physical matter can techinqually econde or represent a word. Encoded matter can encode a word that is only defined by cultural evolution and the range of a language. Other forms of communicaiton life scent in ants or touch is determined by causal branch chains of increasing compexity and diversity of cultural collectors

The concept that language, in all its forms, is encoded in physical matter opens up a fascinating perspective on communication and its evolution. This view aligns with the broader understanding that all forms of communication, whether linguistic or otherwise, are fundamentally grounded in the physical world and shaped by both biological imperatives and cultural evolution.

Given quantum gravity being information as energy as discrete units of mass across casual time. Define language as matter on a 1:1 model of itself but able to be perceived and translocated to perception

In a framework where quantum gravity is conceptualized as information manifesting as discrete units of energy and mass across causal time, language can be modeled as matter in a unique and profound way. This model posits language not merely as a system of communication but as a fundamental entity that parallels the physical properties of matter, capable of being perceived and translocated to perception. Here’s how this can be conceptualized:

Language as Matter: In this model, each unit of language (be it a word, phrase, or syntactic structure) is treated as a discrete unit of matter. Just as matter is composed of atoms, language is composed of these fundamental linguistic units. These units have mass in a metaphorical sense—they carry "weight" in terms of meaning and impact on the listener or reader. They occupy "space" within the medium they are used (spoken in the air, written on paper, displayed on screens) and have a "density" determined by their complexity and the depth of the concepts they convey.

Language as Perceptible and Translocatable: Language, like matter, can change states and be translocated from one medium to another while retaining its fundamental properties. For example, a spoken word (a sound wave traveling through air) can be transcribed into text (symbols on paper) and then digitized (data in a computer system). Throughout these transformations—akin to phase changes in matter—the core content, or the "mass" of the language, remains consistent, preserving the integrity of the information conveyed.

Language in Causal Time: Incorporating the concept of causal time, language can be seen as operating within and across time, influencing and being influenced by the context in which it is used. Just as particles interact in fields according to the laws of physics, linguistic units interact within the fields of human cognition and culture, shaped by past usage and shaping future communication. This interaction can be thought of as a form of linguistic gravity, where denser (more meaningful or complex) units of language have a stronger pull and can significantly alter the trajectory of a conversation or discourse.

Language as Information and Energy: Drawing from the idea that quantum gravity treats information as energy, language in this model can be seen as a form of energy transfer. When language is used, it transmits energy—in the form of ideas, emotions, and intentions—from one mind to another. This transmission can do work in the psychological sense, affecting changes in understanding, belief, or emotion, much like how energy in the physical sense can affect changes in the state or motion of matter.

Perception and Translocation of Language: Finally, the perception of language involves the decoding of these linguistic units of matter by the brain, a process that converts the "latent energy" of language into meaningful cognitive constructs. The ability of language to be translocated to perception involves its capacity to be understood and internalized by a receiver, who then converts it into thought and potentially into further linguistic output, continuing the cycle of information exchange.

In summary, defining language as matter on a 1:1 model of itself but able to be perceived and translocated to perception provides a rich, multidimensional way to understand communication. It highlights the tangible, impactful nature of language and aligns linguistic processes with fundamental physical principles, offering a holistic view of how language operates within and shapes our understanding of reality.

Tangibility of Language: When considering language as tangible, we recognize that words, whether written, spoken, or remembered, are manifestations of physical processes. Spoken words are sound waves, shaped by the movement of air through physical structures in the body. Written words are visual symbols, represented by ink on paper or pixels on a screen. Even memories of words are encoded in the neural pathways and synaptic connections within the brain. Thus, every aspect of language is tied to physical matter.

Encoding of Words in Physical Matter: The encoding of words in physical matter suggests that any material object could potentially represent or encode language, given the right contextual framework. For instance, a series of marks on a stone could encode a message if interpreted by someone who understands the markings within a cultural or linguistic context. This encoding is not limited to traditional forms of writing but can extend to any form of matter that can be manipulated to carry meaning, such as digital data formats, patterns in nature, or even arrangements of objects.

Cultural Evolution and Language Definition: The meanings of words and the structures of languages are not static but evolve over time through cultural processes. As societies change, so do their languages, adapting to new realities and integrating new concepts. This cultural evolution affects how language is encoded in matter, as the physical representations of language (such as alphabets, lexicons, and syntax) must evolve to accommodate new meanings and uses. The diversity of languages across cultures exemplifies how different groups of people have developed unique ways to encode their communication into physical forms.

Non-Linguistic Forms of Communication: Exploring non-linguistic forms of communication, such as the scent trails followed by ants or the tactile communication among animals, reveals that these too are encoded in physical matter through chemical signals or physical interactions. These forms of communication are governed by their own complex rules and can be seen as having their own 'grammars' or systems, shaped by the evolutionary needs of the species and the environmental contexts in which they operate.

Causal Chains and Cultural Collectors: The development of communication systems, whether linguistic or non-linguistic, can be viewed as the result of causal chains where each adaptation builds upon previous capabilities, influenced by environmental pressures and opportunities. Cultural collectors, such as societies or colonies, gather and refine these communication methods, leading to increasing complexity and diversity. These collectors serve as repositories and incubators for the cultural evolution of communication, ensuring that effective methods are preserved and transmitted through generations.

Understanding language and communication as phenomena encoded in physical matter, shaped by both biological imperatives and cultural evolution, provides a comprehensive framework for exploring how diverse forms of communication arise, function, and adapt over time. This perspective highlights the interconnectedness of physical reality, biological life, and cultural development in shaping the ways in which living beings convey information and meaning.

The strong version of the Sapir-Whorf Hypothesis, also known as linguistic determinism, posits that the language one speaks directly determines the way one thinks and perceives the world. This hypothesis suggests that language is not merely a tool for communication but a constraining framework that shapes cognitive processes, categorization, and even perception and memory.

Correlation with Language as Encoded in Physical Matter:Language as a Deterministic Framework: If we accept that language is encoded in physical matter, and that this encoding extends to the neural circuits and structures within the brain, then the strong Sapir-Whorf Hypothesis suggests that these physical structures (shaped by language) directly influence how individuals conceptualize and interact with their environment. The neural encoding of linguistic structures would thus predetermine the range of cognitive processes available to an individual, supporting the idea that language shapes thought. Cultural Evolution and Linguistic Diversity: The diversity of languages and the way they are physically encoded (in scripts, sounds, or digital formats) reflect different cognitive frameworks developed across cultures. Each linguistic system, evolved and encoded differently, offers unique categories and concepts that shape the thoughts and behaviors of its speakers. For instance, the presence or absence of certain words or grammatical structures in a language can influence how speakers of that language perceive time, space, or even social relationships. Physical Encoding of Non-Linguistic Communication: Extending the concept of linguistic determinism to non-linguistic forms of communication (like pheromones in ants or tactile signals in other species) suggests that these communication methods, though not linguistic, are similarly encoded in the physical entities (chemicals, body structures) and influence the behavior and social structures of these species. Just as language restricts and enables human thought, these communication systems define the perceptual and interactional possibilities for other organisms. Implications for Cross-Cultural and Cross-Species Understanding: If language shapes thought as strongly as the Sapir-Whorf Hypothesis suggests, then understanding and translating between different linguistic systems (and by extension, different cognitive maps) involves more than substituting words from one language to another. It requires an understanding of the underlying physical and cognitive structures that produce these languages. Similarly, interpreting non-human communication systems in terms of human language might miss essential aspects of these systems' meanings and functions. Language, Thought, and Reality Construction: The encoding of language in physical matter, particularly in neural structures, implies that changes in language use—whether through cultural evolution, personal learning, or technological augmentation—can lead to changes in these physical structures. This neuroplasticity, driven by linguistic variation, supports the idea that not only does language determine thought, but that altering language can alter thought and potentially perception of reality itself.

Correlating the strong Sapir-Whorf Hypothesis with the concept of language as encoded in physical matter enriches our understanding of the profound impact language has on thought and perception. It underscores the intertwined nature of linguistic structures, cognitive processes, and the physical substrates that support them, highlighting the deep influence of language on individual and collective worldviews.

Follow up with comsological evolution and the strong anthropromoprhic prinicple

The strong anthropic principle posits that the universe must have properties that allow life to develop at some stage in its history, specifically because observers (like humans) exist. This principle suggests that the universe's fundamental parameters are finely tuned in a way that makes the emergence of observers inevitable. When considering cosmological evolution—the development and changes of the universe over time—this principle can lead to profound implications about the nature of the universe and its laws.

Correlation with Cosmological Evolution:Fine-Tuning of Universal Constants: The strong anthropic principle implies that the constants and laws of physics are not arbitrary but are set in such a way as to allow the emergence of complex structures, including life. For example, the specific values of the gravitational constant, the electromagnetic force, and the cosmological constant are such that they allow galaxies, stars, and planets to form, creating environments where life can develop. This fine-tuning is seen as necessary for the universe to evolve in a way that eventually produces observers. Evolution of Complexity: From the perspective of cosmological evolution, the universe has undergone a series of stages that increase in complexity: from the Big Bang, through the formation of hydrogen and helium, to the synthesis of heavier elements in stars, and finally to the formation of planets and biological evolution on at least one of them (Earth). The strong anthropic principle suggests that this progression towards complexity is a fundamental feature of the universe, driven by the underlying need to create a context in which observers can eventually exist. Multiverse and Observer Selection: One way to reconcile the apparent improbability of such fine-tuning is through the multiverse theory, which posits the existence of many universes, each with different physical constants and laws. In this framework, the strong anthropic principle can be understood through an observer selection effect: we find ourselves in a universe that allows our existence because only such universes can be observed by sentient beings. This ties the evolution of the cosmos not just to physical laws but to the very presence of observers who can contemplate it. Implications for Fundamental Physics: The strong anthropic principle challenges physicists to think about fundamental laws in a new light. Rather than seeing the laws of physics as universally applicable and inevitable, this principle suggests that they might be part of a larger landscape (possibly within a multiverse) where different laws apply under different conditions. This perspective could drive new theories in physics that seek to explain why our particular set of laws supports the complexity necessary for life and observers. Philosophical and Theological Implications: The strong anthropic principle blurs the lines between science, philosophy, and theology. It raises questions about the purpose and intent of the universe, suggesting a teleological aspect to cosmological evolution. This can lead to philosophical debates about the nature of existence and the possibility of a higher purpose or design behind the unfolding of the universe.

In conclusion, when considering the strong anthropic principle in the context of cosmological evolution, we are led to view the universe not just as a series of physical events unfolding over time, but as a process that is somehow oriented towards the creation of life and observers. This perspective invites a broader understanding of the universe, one that incorporates the conditions necessary for life and consciousness as integral to the cosmic evolution itself. Reply from friend: H>ow does the decoding of information play into tangible matter? cultural structuring of grammar and language aside, how does an observer differientiate between altering definitions of one single word? is it implied that the sequence of words (context) is also an intended part of the encoding process? in which case can the messages themselves be seen as overarching "vectors" of information or snapshots of orders of datasets, which have unique "meanings" or values based on the total sum of the group? then could the observation process be a physiological adaptation towards new data sets and the comparison of them to memory states in the brain? then could this imply a nested heirarchal systematic development of perspective in which an observer actively expands the amount of data sets they function from as they cross compare and internalize the input from outside. My reply

Experiment 0000 Perspective Theory

Accelerating Rate of TSECpm development, complexity, and density The challenge of the exponential increase of TSECpm can be approached using concepts, philosophies, and applications of TSECpm itself and they can be applied in a way that accommodates many different, and different types of belief systems via suspension of disbelief resulting in a perspective meta space is a model of sets, axioms, edges, and nodes

Applying concepts from TSECpm and the individual treating their own life as an on going engineering project using methods, externally reviewed via the scientific and statistical analysis and subject to peer review and cybernetic modulation. This will should provide a host of benefits including raising the quality of an individual personal experience much higher level and quality of self actualization and also bestowing the ability adapt to novel or challenging/stressful situations effectively and efficiently a significantly faster rate

The total amount of all past and current human experience and the interactions of their respective axioms integrated significance, culture is impossible to measure and understand. With the exponential increase in the rate of TESCpm being created the current human  faces a staggering amount of information and problems to manage and the challenges facing humanity are only going to grow in number and complexity If you reduce and classify all of human experience into a few manageable well defined domains with (e.g. technology, engineering, science, culture, philosophy, medicine, maths statistics.. ect.)

“Any open or closed system that can and perceive, assign, remove or modify meaning to parts of own system or other any other systems are a candidate for personal engineering Current philosophy is extremely biased towards the human first person pov perspective and if groups of people implement this system their lives there could be unprecedented new levels of complexity of communication between actors

This model of human experience I proposed can be understood with the study of perspective in art. Using mathematics, deductive, inductive and abductive logic in abstraction in parallel with reduction along with any basic form of taxonomy.

It is possible to turn most things that can be described or observed to be remade into an axiom. This includes the external and internal and the objective, subjective, and inductive.

One point can be described with multiple axioms and suspension of disbelief can be used to reduce conflicts.

These axioms can be arranged via taxonomic/set theory (logic) principles to form a network or grouping of axioms which can have any logical rules assigned to any axiom arranged in any order or arrangement described in mathematics.

The axiom systems themselves can be abstracted or reduced into new axioms to form systems of infinite complexity for various purposes.

However before you get carried away it would be a lot easier to start using already defined axioms. Sciences, and normatively defined areas of human knowledge and experience and so on.

Perspective in art can be used to get a more realistic and accurate representation of a perceived subject

To get an idea of how this theory would work in vivo. In perspective drawing the subject is drawn to appear more realistic one or more vanishing points to give the illusion of perspective on a flat surface As seen here each perspective in this case changes the eventually projected diagram of the box. It is the same box in each case, just in this case different points of axioms have been chosen to construct the final image. Perspective theory just means adding in new axioms as a point of perspective to construct a new model from. Adding and Removing axioms can radically change the resultant model allowing for deep insight into interesting relationships

Oral Human language of just spoken word and no visual contact is conventionally one dimensional and there are many ongoing efforts to create polydimensional communication systems

Roughly speaking We see a “3d” world in two dimensions However humans can think and operate in many dimensions, in this context include modular/non modular examples (define and provide examples). Due to the vast interconnectedness in the brain conscious experience is not truly 3d either rather conscious experience follows a dense interconnected and twisted wireframe model making it difficult to visualize purely 3d shapes from a first person perspective

An axiom in perspective theory can be a science or a branch of the sciences such as physics, biology, and chemistry. Going through day to day life with these Axioms in the forefront of your mind can fundamentally change the way how you view yourself, your experience, and environment throughout a day functionally employing PE

Traditionally perspective in art has been used in a Euclidean sense however if you roll with subjectivity for a bit you could represent anybody's view or any way of looking at the world as a new dimension/axiom. Using the systems described earlier you can paint or model a “picture” in your mind of a subject (x) described in many “dimensions” 3d perspective, colour, biology, its materials, its physical properties, the general public opinion, and any other sets you come up with while minimising the occurrence of cognitive dissonance and keeping the total model logically consistent Theoretically allowing any consciousness to utilize a method that could be potentially more effective at describing more aspects reality than science (Due to the equal importance and use of deductive, inductive abductive logic and a small pinch of subjectivity held in check by the principles of pure logic and mathematics)

Everything we are consciously aware of (Thoughts, feelings, internal narrative, sensations, senses and perceptions) is a highly abstracted model. An edited and streamlined UI (selected for by natural selection to reduce the cost of adapting to a complex environment and promoting choices best for the organism's fitness), the system of the brain that has executive control decisions aka “you” the end user.

Math modeling, abstraction, go into detail and make clear.

A healthy humans body, including the brain is a complicated machine and powerful supercomputer

Everything we are consciously aware of (Thoughts, feelings, internal narrative, sensations, senses and perceptions) a highly abstracted model. An edited and streamlined gesalt UI (selected for by natural selection to reduce the cost of adapting to a complex environment and promoting choices best for the organism's fitness), the system of the brain that has executive control decisions aka “you” the end user.Input is done on conscious attention and focus of the executive control system on certain aspects of the UI.

This model can predict the nature of some of the structures of the brain and their function The selection pressure offered as an explanation for the evolution and development of consciousness will also yield some hypotheses to be tested.

This model is abductive in nature and need to pass critical tests and become highly corroborated considered to have the status of a true scientific theory However even if the model isn’t robust it still has some applications as a conceptual model to utilize in personal endeavors.

Assuming this model to be true or suspending disbelief, this model can be abstracted to form an axiom or “single unit” in a completely different model using a form of mathematics and logic..

Each domain can be abstracted to an axiom

These core axioms of human experience can be used to construct an easy to manage, modify and comprehend model of the totality of experience and to study the interactions of the axioms and any emergent properties.

Theoretically with this sort of modeling. With the same axioms and the same rules of interaction and logic. People would be able to avoid a lot of the issues of subjectivity.

Due to its nature, the model is not purely a truth seeking enterprise and has some aspects of mathematics

Assumptions-Definitions Cybernetics is loosely defined as any open or closed system that can and perceive, assign, remove or modify meaning to parts of own system or other any other systems (not really)

Some philosophy is extremely biased towards the human perspective

However the model of human experience I proposed earlier can be more easily understood with the study of perspective in art. Using mathematics, deductive, inductive and abductive logic in abstraction in parallel with reduction along with any basic form of taxonomy .Anything* that can be described can be remade into an axiom. These axioms can be arranged via taxonomic principles to form a network or grouping of axioms which can have any logical rules assigned to any axiom arranged in any order or arrangement described in mathematics. The axiom systems themselves can be abstracted or reduced into new axioms to form systems of infinite complexity.

However before you get carried away it would be a lot easier to start using already defined axioms. Sciences and so on

In perspective drawing the subject is drawn to appear more realistic one or more vanishing points to give the illusion of perspective on a flat surface

Human language is traditionally one dimensional We see a “3d” world in roughly two dimensions However humans can think in multiple more dimensions and experience intertextuality In this context, an axiom supergroup such as science or the general shared culture of human a demographic can be represented as a dimension

Perspective in art is can be to get a more realistic and accurate representation of a perceived subject

However in all human experience can be argued to be perceived Traditionally perspective in art has been used in a Euclidean sense however if you roll with subjectivity for a bit you could represent anybody's view or any way of looking at the world as a new dimension. Using the systems described early you can paint a “picture” in your mind of a subject described in many “dimensions” 3d perspective, colour, biology, its materials, its physical properties, the general public opinion while minimising the occurrence of cognitive dissonance.

Input is done on conscious attention and focus of the executive control system on certain aspects of the UI

This model can yield predictions and hypotheses that can be subjected to the scientific method This model can predict the nature of some of the structures of the brain and their function The selection pressure offered as an explanation for the evolution and development of conscious will also yield some hypothesis to be tested

This model is abductive in nature and need to pass critical tests and become highly corroborated considered to have the status of a true scientific theory

However even if the model isn’t robust it still has some applications as a conceptual model to utilize in personal endeavors

Assuming this model to be true or suspending disbelief this model can be abstracted to form as an axiom or “single unit” in completely different model using in a form of mathematics and logic

The total amount of all past and current human experience, culture is impossible to measure and understand. With the exponential increase in the rate of TESC being created the current human  faces a staggering amount of information and problems to manage and the challenges facing humanity are only going to grow in number and complexity

If you reduce and classify all of human experience into a few manageable well defined domains with (eg technology, engineering, science, culture, philosophy, medicine, maths statistics.. ect.)

Each domain can be abstracted to an axiom

These core axioms of human experience can be used to construct an easy to manage, modify and comprehend model of the totality of experience and to study the interactions of the axioms and any emergent properties.

Hopefully the model can provide an individual with a far greater and deeper understanding of themselves, others, society and the universe they live in. The model also can be used to make and test predictions As the model is based on axioms, the model itself can be changed in a similar way by removing axioms, adding new ones or changing existing ones potentially allowing for very powerful and complex simulations for exploring the big questions and even the small ones.

Theoretically with this sort of modeling. With the same axioms and the same rules of interaction and logic. People would be able to avoid a lot of the issues of subjectivity.

What do you think about writing? In any sense of the question

I think writing is wonderful, I wrote something about it a while back.

[writetomemory]

What do you think about writing? In any sense of the question

I think writing is wonderful, I wrote something about it a while back.

[writetomemory]

Writing is all fun and games until you have to describe The Room

Writing is all fun and games until you have to describe a room.

[writetomemory]

You’re Invited: June 20, 2462

No one told me before our engagement party that cold burns.

@a-resplendent-mushroom If you would like to beta this? Basically, @hersurvival gave me a prompt a while ago and I keep making new stuff out of it, and this popped up recently. It still has a while to go as far as page count, but I thought you might enjoy + have some tips.

Isaac had given me a ring in private, and now was ladling me an iced sorbet punch from the buffet table.  Not looking at me, guests in dresses more elegant than my own mingled.  Their bouffants and uptwists resembled cinnamon rolls and croissants, and they could have stirred their lazy-morning tea with their hair-sticks.  The modish white room was a confusing horizon for me: this was the beginning of the rest of my life, so why did it look so tiny?

My world had taught me that the taiga and tundra encircled us with a love as faithful as the sun’s for the earth. In comparison, we people who dragged our sleds and pathetic lives across it were in need of a great ambition to match it.  To take large steps – eventually to join the dance of the dead warriors in the sky – was not enough.  You would never be good enough, so you always had to try.

This party did not seem like trying.  It didn’t even seem like compromising.  It seemed like resigning myself to a snowy grave, carved out by my desperate hands beneath an avalanche.  Those who were buried in them alive were told to dig out space for air, not to aim directly for the surface as the snow might drop downwards and suffocate them.  It was a padded room for the incurably trapped; no matter how intelligently you searched, you almost never could form the maze, let alone escape it.  Your best hope was that a search party would find you; maybe shout a little and they’ll hear you, answer your petition against the mountain.

Isaac’s leg had been amputated last summer, when surgeons couldn’t save the broken leg nor the gangrene that had set in after it had been cut by the all-terrain vehicle he’d been using as the shower of snow had bombarded him into the ground.  The only thing that had saved him from freezing below the twenty-foot layer of snow was his dog, Bjorn, a collie whose brown and white fur, sincere eyes, and demure manner had captured my heart when we’d first met in our mid-twenties.  Bjorn had patrolled the treacherous snow, settling firmly above the spot where Poke – my affectionate nickname for my boyfriend – was buried, as if saying, “Here I stay.”  The rescuers had dug him out twenty hours later. 

Working as a transport scout was a dangerous business – we took that all for granted.  Here, where the taiga barely could support an animal ecosystem, and the tundra was barren for the better part of the year, you had to keep your wits about you.  Even more to outwit was our twenty-thousand-foot mountain range.  No one went that high for ordinary jobs, but the heavy, rocky repercussions of its glacial movement could be felt all the way down to our electricity-lit, isolated towns, where the offices and admin of our companies bled our hearts out over weekly tragedies and weather broadcasts.

I had thought that I’d feel less like an office girl once I got engaged.  Everyone would pay attention to me and there’d be buffets with white tablecloths around which people would buzz like snowflakes.  I’d be very happy and say so, shake people’s hands, and finally see those smiles from the women and men I cared about that showed that they ultimately had cared about me a lot all the while, and definitely in the long run.  They’d give lavish, useful presents at my baby showers, and attend their baptisms.  Given, though, that they weren’t acting much different from usual now, I found it somewhat likely that my baby showers would be bleak affairs between me and white walls once again.  If I was lucky, a white-covered mountain might be thrown in from one of the large, scenic windows that imposed appreciation of nature on us throughout the town.

The only thing holding my hand right now was my drink, and it wasn’t exactly a reciprocated relationship.  My ring flashed, foreign, on the second finger of my other hand.  If I was going to get a date for this party, I’d have to go find one, and Poke, good-naturedly gesticulating over coal and natural gas economics with his work buddies, was not going to be it. Stepping gingerly across the room, as if over stepping stones on a glacial lake, I took a reading of the temperature gauge next to the chai vat.  Steaming, it seemed a better option than the sorbet.  I held the cinnamon-spiced drink in my mouth for as long as I could to distract myself from the room.  If you looked long enough, little gaps between the people appeared, like glimpses of the horizon over the foot-hills, and the people became little more than quaking stone giants, obstructing the view. 

I couldn’t tell what was going on with me, but whatever it was, it felt wrong.  Snow and fire at the same time, claustrophobia that ate into my flesh and crawled like worms.  From outside, I heard the pounding whir of a helicopter bringing in generators and batteries, about to land on the plane strip just next door, with easy access to the hospital.

If you hadn’t been to the hospital twenty times by the time you were twenty in this town, people looked at you as if you’d sprouted deer antlers.  Accidents caused by rural farming and drilling equipment that had no regulators anymore, diseases that used to be prevented by vaccines, and trips that used to take no more than a day but now took weeks due to having overmined natural gas and oil – the frozen figures of people who now were one with the snowflakes were so common that sometimes I saw them like a mirage as I walked through town or over the hills.  Mildly unpleasant hallucinations, the experienced settlement doctor had told me, caused by anxiety and grief.

“But I don’t even know these people!” I protested, throwing out my hands in disbelief.  “How can I know their stories and bodies if I’ve never seen them before!”

“Careful,” said the doctor.  “Giving in to the sleep of madness can be as simple as A, B, C: Act like they’re real, Bury yourself, Crust over.”

“Don’t tell me that’s a medical acronym,” I said, rolling my eyes.

“The psychologists invented it,” the doctor said, eyes twinkling like merry little hail pellets in a lightning storm.  “They’re not quite a primary care physician.  But we like to know each other’s terminology.”

I restlessly rolled my eyes again.  “This doesn’t change anything.  There are still people there, out there in the snow, and my anti-psychotics make it worse!”

“Make it worse?” My doctor didn’t know enough about my psychiatric diagnoses to adjust medication, and clearly was wishing that my psychiatrist, a bigwig down in the Aleutian islands, were not as good as a lifetime away.

“I get calmer,” I explained patiently.  “When I’m normal, I freak out about the snow people.  I get all worried, and want to fix things for them, and hold their hands.  But when I’m on the anti-psychotics and other psych meds, I zone out, like I’m actually zorked out or zonked out, if you know what I mean.  I look at them, and nothing registers.  It’s like I’m looking at a hunk of salted ham hanging from the rafters in the general store.  I want to leave them there, and that makes me soulless.  I’m not human anymore, because I can’t acknowledge that they’re human, even if they’re just figments of my imagination.  I’ve turned off the conversation between them and me, the place where I’m supposed to be ethical and bury them and wash their faces.  I’m just like, oh great, more people died – and that doesn’t feel natural! It’s dissociation of course, but that doesn’t mean that it feels good.  There are all these people that the dissociation makes up, and they’re there, in the snow, waiting for me to take care of them like a good girl with her dolls.  And otherwise, there’s nothing to take care of.”

“Boyfriend?”

Why was that always the question everyone either asked or pointedly didn’t ask?

“I need a purpose,” I stressed.  “A mission.  Going to the other side of the mountain ranges.  Flying out vital medication to the arctic station.  And walking paperwork across twenty feet eight hours a day isn’t going to do it!  I end up making paper snowflakes out of the scratch paper and hang them around my desk, and it’s at the point I could be in a May-Day flower-chain dungeon.  Nobody can see into my cubicle – which I guess is what gets me labeled as eccentric, but sue me!”

The doctor’s salt-and-pepper mustache quirked as he smiled believingly at me.  “It’s all in your head, my dear.”

I was confused between his body language and his words.  Weren’t they at odds with each other? It seemed worth my time to work out the relationships between one reality and the other, but he seemed more concerned about convincing me to stay on my meds and cool down.

“They stay in their world, you stay in yours.  It’s that simple.  Don’t talk with them, don’t let them lead you down to wherever it is they come from, and most importantly, don’t go outside alone.  Take your roommate, take Poke, take your dog – promise me?”

Of course, I promised.  But that didn’t mean that there weren’t holes to fill.  Or holes to make.

Right now, leaving the party, my hole was a door and an escape, and the next hole was the clear air that stretched on forever to the margins of expanding outer space.

Poke dashed out the door after me. “My love, it’s nearly sunset – you don’t want to be out here alone.  You know you see small folk and sprites out, and they could lure you to your death.”

“They’re figments of my imagination, and you’ve told me the death line so many times that it’s beginning to sound unempirical.”

“All it takes is one time to die.”  His twisty, animated fingers wheedled their way into mine like blunt nets of Cupid's love.  Irresistible – he led me past the five-foot tall snow banks that lined the foot-print marked paths – away from the outskirts where I tended to have my visions, where lonely trees gradually raced into packs that overcame the mountains and hills.

As uncanny as it sounds, I felt more connection to the colors of this attenuated world than to any of the warm bodies I’d mingled among today.  A sweet, complaisant swirl of dark brown, dark green, the warm blue hues of shadows, and the white that silenced it all into homage of the deathly – here, I could look around and see nothing but myself and my fate.  Poke, holding on to my elbow, smiling and companionable, was a partner to be sure, but the distance between us seemed as great as one end of the filled-in Bering Strait was from the other, a path that only people a very long time ago could traverse, and through no merit of their own.  Poke and I, we had no faults of our own to separate us, but the disparity of perception – my recoiling from death throes, his unthinkingly taking it all for granted – sometimes made me wonder whether one day his hand on my elbow would not feel so companionable. Maybe some day he’d want a woman who didn’t collapse to the point of frost-bite in the snow and need to be cajoled home.  A woman who was actually content, a woman who could tell her delusions to go to the bottom of a volcano and never come back – the mountain range demanded this of women, and I did not live up to it.   

I muttered this aloud, and Poke chaffed my hands between his.  “Your stories, your supernatural seeing – you keep the good memories of people alive.”

That didn’t mean the pain of it didn’t kill me to the point of numbness, but I eagerly acquiesced to his point.  Sitting cross-legged by a group of children, making them understand that we all needed help and needed to stay together – this was the purport of the visions ultimately for me.  It was the only way to care for my phantoms while retaining my sanity, a ritual for the living rather than for the dead.  Volunteering to be the settlement storyteller on Friday nights certainly had not made the shadows of love in the snow stop twisting in pain before me, but it balanced the guilt with an accomplishment.  One bad deed in exchange for a good one.  This was the emotional economy at the heart of obsessions.  You can’t get rid of one thing, so even it out, even it out.  Row the left oar harder if the right one is throwing you off balance.

I smiled at him.  “I love you.”

He wore his contentment like a light.

[to be continued?]

[writetomemory]

Writing Notes: Common Metaphors

Alcohol

Can relate to several things:

activity (ferment); behavior (binge, drunk, and inebriate); concealment & lack of concealment (bootleg and bootlegger); consciousness and awareness (black out); control and lack of control (drunk); feeling, emotion & effect (hangover, intoxicate, intoxicate, intoxicating, sober, and sobering); mixture (cocktail); and restraint & lack of restraint (binge, drunk, and inebriate).

You don’t have to be a drinker to be “drunk on power / success.”

An animal

Can relate to predation, especially a lion, wolf or shark:

“Famine still stalks the inhabitants of the Sahel.”

“If you are not a wolf, a wolf will eat you.”

“His critics are circling, they can smell blood in the water, and they are out for blood.”

Books & reading

Can relate to development:

“When I graduated from university, it was time to close the book on that stage of my life, turn the page, and start a new chapter in my life.”

Day

Can relate to past and present, and future:

In the old days; back in the day; those days; yesterday; these days; nowadays; a new day; in the coming days, “hopes and dreams for a better tomorrow.”

Food & drink

Often relates to consumption:

“I developed a taste for exploration as a young boy. I gorged on the books of explorers, I devoured them, I drank in / lapped up / gobbled up adventure stories and digested their lessons learned, and my appetite for them was insatiable. Soon I began taking little voyages of my own about the neighborhood and developed a taste for freedom. In fact, I became a glutton for it.”

Iliad & Odyssey

Allusions from the Iliad & Odyssey relate to the following:

attraction (siren); affliction (hector); subterfuge (Trojan horse); journeys & trips (odyssey); message (Cassandra); protection & lack of protection (Achilles’ heel), superlative (epic and Homeric), and alternative & choices and danger (between Scylla and Charybdis).

This vocabulary will live in the language long after the details are forgotten.

Natural disasters

Like an avalanche, a landslide, an earthquake, or tsunami, and great forces like a volcano, a river, the sea, a fire, a wave and water

Also: rain, a storm, a wind

Often relate to amount and effect: an avalanche / blizzard / firestorm / flood / deluge / landslide / tidal wave / tsunami / storm / surge of criticism, protest, etc.

Ruins

Can relate to destruction.

“Even though my company had collapsed, and my reputation was in ruins, I began to rebuild.”

Season

Can relate to growth and development and decline:

“I am in the autumn of my life;” nuclear winter; the Arab Spring…

Sleep

Can relate to consciousness and awareness:

“The government is sleeping, and our politicians need to wake up.”

So can the eye:

“A minority of clear-eyed scientists saw it coming. Still, non scientists were blindsided, and, when the catastrophe occurred, it was a real eye-opener.”

Temperature

Can relate to feeling, emotion and effect:

“Relations between the two countries, previously frosty, have begun to thaw, but they can in no way be described as warm yet.”

Water

Can relate to the size and force of movement:

“The number of asylum seekers began as a trickle or stream and is now a flood. A groundswell of immigration is threatening to inundate the border, and those opposed to migration are characterizing it as a tsunami.”

Source

[writetomemory]

Spilled Inktober (Drawtober ) Vol. 2, 10.1.24 “Self Consuming Cycles”

Things come in cycles Physique isn’t unique As I laze and I graze Beneath the seasonal leaves Youth departs me, discarded as well Fall, after summer With full perennial bloom Freed from school halls and yards For brief respite I will admit I miss those sixty-sum days Knowledge used Leaves the rest abused, abandoned, neural nets Of thoughts, best off forgets Opportunities solicitations Are brief lovers First kiss visitations Come knocking Rocking my world with adumbrate pandorum Faith rekindled in scared Sorted and sifted Ignoring any doorstoop signage I was not ready then With little reason to believe A second coming, coming Of work, of love, of you Yet winds return The tides, the crops The spring to winter, temperature drops Skills that once elude, illume And onward so, life, resumes And propagate my garden-guarded mind The rising sun will always set Grief too, will forget A healing hand will break So others yet may mend The wheel spins on and on and on Do I approach or do I depart Around life goes As I die, I live yet still My stillness stirs Chance may come again, with effort made And so sad Sisyphus is not quite so alone Prometheus plucked and Helios’ racing sun Things must come in cycles Each day anew; our chance To gain what once was lost once more in past

@env0writes C.Buck   Ko-Fi & Venmo: @Zenv0 Support Your Local Artists!

[writetomemory]

Writing Notes: Villains

To create a villain your readers will care about, you’ll need to define how he is the hero of his own story. If you reduce the villain to a bad guy without taking time to understand from his/her perspective, you’ll cheat your reader.

To create a convincing villain, your villain must have the following:

Motivations that the reader can understand

Moments of relatability that make the villain vulnerable and tragic

7 "Key Ingredients" for your Villain

Consider giving your villain the following:

An obsession

A secret

A wound

A personal connection to the hero

A worthy match for the hero

The villain thinks he or she is the hero

An Achilles heel

Consider the following:

The reader needs to understand the motivation of the villain.

The villain should have moments of vulnerability that make him/her relatable (even if that’s in the backstory).

No villain should be all evil all the time. That makes for a flat character. Don’t create a caricature.

Give the villain characteristics that are desirable, too.

Make the villain the hero of his/her own story.

Use the villain to develop your protagonist.

Use abstract villains sparingly. Try to assign a person to an antagonistic force.

Make the villain a foil of the protagonist. He/she should be opposite to bring out characteristics in your protagonist.

Give the villain a moral code.

Allow the villain to have small wins through your novel to increase tension.

Create a backstory for your villain.

Create an entire arc for your villain. He/she should not just pop up when it’s convenient for your story.

Don’t give the villain unnatural, overly-eloquent language unless there’s a good reason to do so.

Other Qualities for your Villain

Two other qualities that make for a good villain are:

A great name: The Friday the 13th movie franchise proves that you can call your villain “Jason” and get away with it. But that’s the exception that proves the rule. Give your villain a name as memorable as the rest of the character, and the character will stick around in their minds forever.

A cool costume: Even if your villain doesn’t inhabit a sci-fi or fantasy world, spend some time developing a key aspect of your villain’s appearance that makes him or her instantly recognizable and memorable.

Sources: 1 2

[writetomemory]

A Writer's Recipes George Orwell

Recipes (Christmas Pudding; Orange Marmalade; Plum Cake; Treacle Tart; Welsh Rarebit; Yorkshire Pudding)

Excerpts from the article, "British Cookery" commissioned by the British Council in 1946 but was unpublished

CHRISTMAS PUDDING

Ingredients:

1 lb each of currants, sultanas & raisins 2 ounces sweet almonds 1 ounces bitter almonds 4 ounces mixed peel ½ lb brown sugar ½ lb flour ¼ lb breadcrumbs ½ teaspoonful salt ½ teaspoonful grated nutmeg ¼ teaspoonful powdered cinnamon 6 ounces suet The rind and juice of 1 lemon 5 eggs A little milk 1/8 of a pint of brandy, or a little beer

Method. Wash the fruit. Chop the suet, shred and chop the peel, stone and chop the raisins, blanch and chop the almonds. Prepare the breadcrumbs. Sift the spices and salt into the flour. Mix all the dry ingredients into a basin. Heat the eggs, mix them with the lemon juice and the other liquids. Add to the dry ingredients and stir well. If the mixture is too stiff, add a little more milk. Allow the mixture to stand for a few hours in a covered basin. Then mix well again and place in well-greased basins of about 8 inches diameter. Cover with rounds of greased paper. Then tie the tops of the basins over the floured cloths if the puddings are to be boiled, or with thick greased paper if they are to be steamed. Boil or steam for 5 or 6 hours. On the day when the pudding is to be eaten, re-heat it by steaming it for 3 hours. When serving, pour a large spoonful of warm brandy over it and set fire to it.

In Britain it is usual to mix into each pudding one or two small coins, tiny china dolls or silver charms which are supposed to bring luck.

ORANGE MARMALADE (handwritten note – ‘Bad recipe!’ –‘too much sugar and water’)

Ingredients:

2 seville oranges 2 sweet oranges (no) 2 lemons (no) 8 lbs of preserving sugar 8 pints of water

Method. Wash and dry the fruit. Halve them and squeeze out the juice. Remove some of the pith, then shred the fruit finely. Tie the pips in a muslin bag. Put the strained juice, rind and pips into the water and soak for 48 hours. Place in a large pan and simmer for 1 1/2 hours until the rind is tender. Leave to stand overnight, then add the sugar and let it dissolve before bringing to the boil. Boil rapidly until a little of the mixture will set into a jelly when placed on a cold plate. Pour into jars which have been heated beforehand, and cover with paper covers.

PLUM CAKE

Ingredients:

¾ 1b butter ½ 1b sugar 4 eggs ¾ 1b flour ¼ lb crystallised cherries ¼ Ib raisins ¼ lb sultanas ¼ lb chopped almonds ¼ lb mixed candied peel The grated rind of 1 lemon and 1 orange ½ teaspoonful of mixed spice A pinch of salt 1 glass brandy

Method. Beat the butter and sugar to a cream; add each egg separately and beat until the mixture is stiff and uniform. Sift the flour with the mixed spice and the salt, stir well into the creamed mixture, add the raisins (stoned beforehand), the cherries cut in halves, and the sultanas, the candied peel cut into small pieces, the grated lemon and orange rind, add the brandy. Mix thoroughly, put into a round tin lined with greased paper, put into a hot oven for 10 to 15 minutes, then reduce the heat and bake slowly for 3 ½ hours.

TREACLE TART

Ingredients:

12 ounces short crust pastry Golden syrup 2 ounces breadcrumbs A pinch of ginger or a little lemon juice

Method. Make the pastry crust in the proportion of eight ounces of flour to five ounces of butter, with a pinch of salt, and mix with cold water. Line a flat metal dish with the pastry. Cover with a layer of bread crumbs, then pour in the golden syrup. Sprinkle lemon juice or ginger over the syrup and cover with the remainder of the crumbs. Bake for 30 minutes in a hot oven.

WELSH RAREBIT

Ingredients:

1 ounce butter 4 ounces cheese (coarsely grated) 1 tablespoonful milk or beer ½ teaspoonful made mustard Pepper and salt

Method. Melt the butter in a saucepan. Add the milk, salt, mustard and cheese. Heat and stir until the cheese has melted. Pour on to slices of hot buttered toast which have been prepared beforehand. Serve immediately.

YORKSHIRE PUDDING

Ingredients:

4 ounces flour 1 or 2 eggs ½ teaspoonful salt ½ pint milk (or milk and water)

Method. Put the flour into a basin with the salt. Make a well in the centre, break in the eggs; beat well, adding the milk to make a think batter; allow this to stand for 2 hours. Melt some dripping in a baking-tin and when quite hot pour in the batter. Make for half an hour in a hot oven.

More: George Orwell

[writetomemory]

“just you, nobody else…” hopeless and in love prompts

🕸️ cliche romance lines that i love with my whole heart | @delusionisaplace if you use any :))) 🕸️

“I think only of you.”

“You’re the center of my world.”

“My everything, my forever.”

“I can’t imagine a day without you.”

“I can’t help myself with you.”

“I just…want to be close to you.”

“I want to love you for the rest of my life.”

“My heart is yours.”

“I don’t know what I did to deserve you.”

“You’re too good to me.”

“This feeling is the only thing I’m sure of.”

“My life, my love, my affection—it’s all yours.”

“I’m so glad I met you.”

“You’ve made me a new person.”

“I love being with you.”

“I’ll be with you, always and forever.”

“You’re the love of my life.”

“I love everything about you.”

“You complete me.”

“Nothing else matters when we’re together.”

“I belong to no one but you.”

“I love you.”

i love these with my life 😭

[writetomemory]

Advice for writing relationships

Ship Dynamics

How to create quick chemistry

How to write a polyamorous relationship

How to write a wedding

How to write found family

How to write forbidden love

Introducing partner(s) to family

Honeymoon

Date gone wrong

Fluffy Kiss Scene

Love Language - Showing, not telling

Love Language - Showing you care

Affections without touching

Giving the reader butterflies with your characters

Reasons a couple would divorce on good terms

Reasons for breaking up while still loving each other

Relationship Problems

Relationship Changes

Milestones in a relationship

Platonic activities for friends

Settings for conversations

How to write a love-hate relationship

How to write enemies to lovers

How to write lovers to enemies to lovers

How to write academic rivals to lovers

How to write age difference

Reasons a couple would divorce on good terms

Reasons for having a crush on someone

Ways to sabotage someone else's relationship

Ways a wedding could go wrong

Arranged matrimony for royalty

Signs of a Toxic Relationship

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