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[writing-turnip]

Let's talk about killing off characters.

Killing off characters is a dramatic device often used to advance the plot, create tension, or evoke emotional responses from readers or viewers. We love doing it. The initial shock, the mourning after. The effects of it on the other characters. It's fun.

Nevertheless, you can still achieve the desired impact on your plot and characters without necessarily resorting to fictional murder.

Here are some alternatives to drive the plot forward:

Character Transformation: Instead of killing off a character, you can have them undergo significant personal growth or change. This could involve overcoming challenges, facing moral dilemmas, or undergoing a shift in beliefs or values. Their transformation can still drive the plot forward and impact other characters. (I especially love it when the transformation is negative—like when a traumatic experience of some sort completely strips a character of their soul. But that's a sentiment for another day.)

Betrayal or Conflict: Introduce betrayal or conflict between characters that challenges relationships and creates tension. This can lead to significant plot developments and character arcs without resorting to death. And it can be cause for quite a lot of angst.

Separation or Estrangement: Have characters physically or emotionally separated from each other, causing tension and driving the plot forward as they strive to reconnect or deal with the consequences of their estrangement.

Sacrifice without Death: Characters can make significant sacrifices that don't necessarily involve their death. This could be sacrificing personal goals, relationships, or values for the greater good or to achieve a specific objective.

Injury or Disability: Instead of killing off a character, you can incapacitate them through injury or disability. This will create challenges for the character and those around them, leading to character development and plot progression as they're forced to adapt to their new circumstances.

Redemption Arcs: Characters who have committed wrongdoings can undergo redemption arcs where they seek forgiveness, make amends, or strive to become better individuals. This can drive the plot forward while also adding depth to the character. Keep in mind that this may not be a suitable alternative to death for some characters—for instance, the protagonist forgiving their abusive parent despite all they were forced to go through may evoke a sense of indignation rather than admiration for their supposed selflessness.

Revelations or Secrets: Introduce revelations or uncover secrets that have significant impacts on characters and their relationships. This can lead to conflict, tension, and plot twists without the need for death.

Forced Alliances or Unexpected Partnerships: Characters can be forced into alliances or partnerships with unlikely allies, leading to interesting dynamics and plot developments as they navigate these new relationships.

Loss of Power or Status: Characters can experience a loss of power, status, or reputation, which can drive the plot forward as they strive to regain what they've lost, seek revenge on those responsible, or adapt to their new circumstances.

Time Constraints or Pressure: Introduce time constraints or pressure situations that force characters to act quickly and make difficult, split-second decisions that may end up being quite regrettable later on. This can raise conflicts of who's to blame, or what should have been done.

I feel like I strayed off a little, but there you have it. Hope this was helpful! ❤

[writing-turnip]

Do you have any nicknames? Not stereotypical ones like “honey, sweetie”, but ones that maybe a character won’t like at first but grows to love??

Charcter Nickname Ideas

Hmmm this is actually a tricky one to answer.

Each character will have their own set of cultural backgrounds, quirks, strengths, weaknesses and relationship dynamics, which can all contribute to a nickname.

Here are some common things writers do for nicknames:

Shorten their given name. Mireya becomes Rey. Christopher becomes Chris.

Alter their given name. If you add a “y” sound, it implies the person using the nickname thinks of the character as young or childlike. So Alexa becomes Lexie. William becomes Billy.

Base their nickname on a physical trait. This can be straightforward or ironic. The large man is Tiny. The pretty girl named Honor is Bell/Beauty.

Pick a personality trait. School kids might call your main character Sassy Cassy. The con man might be called Prince Charming because of his smooth-talking skills.

Base their nickname on their profession or an accomplishment. So many characters are called Doc, Prof, or Chairman.

Base it on Monsters: ie. Balrog, Loch, Golen, Orthros, Baal, etc.

Base it on Mythology. Lots of authors have used names from Greek/Roman mythology, and readers have loved it!

Here are two personal examples:

Use initials. My name is Junhui Lee, and those who aren't familar with Asian names struggle to pronoun it correctly. So I just go by "JH"

In Korean culture, (1) people's names are usually three chracters: ie. Jun+hui+Lee and (2) We put surnames in front, not at the back of our names: ie. Lee Junhui, not Junhui Lee. Close friends would address each other as "surname + first character of the given name". So my friends would call me Lee Jun.

A character not liking their nickname

Doesn't necessary mean it has to be a funny nickname. They can dislike it because they somehow feel like only their parents/siblings call them that, or they feel childish, or the tone in which the other person says it is too teasing.

Depends on the origin and meaning behind the nickname. Was it made up by bullies in primary school and its just happened to stick? Was it given to them by their late grandparents? The anme

That said, here are some examples!

Vivienne: Vivvy, Vienne, Viv, Vee

Niamh: Nia, Neeve, Iya

Athena: Ath, Thea

Hazel: Haze, Zelly, Elle

Bloom: Bee, Bloomy, Blommer, Bloo

Coral: Cora, Coralie, Cori, Coral-B

Alaric: Larry, Lars

Ulysses: Ollie, Ulie

Adin: Ade, Ad, Bin, Dinny

Nicolas: Nick, Nico, Nicky

Daniel: Dan, Danny, Dannyboy, Niel

Adreil: Ad, Adri, Riel, El

Louisa: Lulu

+ this list because I've been trying to come up with nicknames for my bloothirsty character...

Steelshot

Crank

Rigs

Skinner

Skull Crusher

Wardon

Zero

Ironclad

Iron Heart

Billy the Butcher

Mr. Blonde

K-6

Hell-Raiser

Harbinger

Finisher

I hope this helps :)

[writing-turnip]

Person A: "I would've killed for you."

Person B: "Yes, and that was the problem."

[writing-turnip]

Random Character Profiles

Prodigal slacker. An exceptional intellect, capable of solving complex problems with ease, but absolutely no drive or motivation to apply their abilities towards any practical endeavors. Others are often frustrated by the wasted talent, but they couldn't care less. If their ideas are so great, someone else can come up with them. They're just here to laze around and have fun.

Loveable annoyance. A mind that dances on the border of sanity, and a perpetual source of simultaneous amusement and irritation. They delight in making puns and bad jokes at the expense of others' patience. Undeniably loveable nonetheless.

Reluctant recluse. They present a facade of rugged independence, portraying themselves as one who thrives on solitude and despises the company of others. They project an air of indifference towards others, often dismissing any attempts at connection or sympathy with a sharp retort or a cold shoulder. But beneath this tough exterior lies a soft spot reserved for the select few who have managed to breach their defenses—though they're reluctant to show it, going to great lengths to conceal the affection they view as weakness. Their stubborn refusal to accept help or acknowledge their own struggles stems from a fiercely guarded sense of pride, manifested in their vehement denial of any signs of weakness or vulnerability, even when they're visibly on the brink of death.

Sister figure. Sharp-witted and quick-tongued; will shame, embarrass, and ruthlessly tease. Their sarcasm is as much a display of fondness as it is merciless. Fiercely affectionate, extremely caring, unwaveringly loyal. Will put themself in danger for those they love, and will not hesitate to hurt anyone who offends or hurts those they care for; but mess up, and their sternness could make a warrior sob.

Impressively patient. Reserved, caring, mature, typically polite and tolerant to an extreme extent. May lash out occasionally. Possessive of a quiet strength, tending to observe situations with a thoughtful demeanor. Their reserved nature can be mistaken for aloofness despite their deep well of empathy and care for those around them. They navigate social interactions with a polite grace; however, beneath this composed exterior lies a potential for volatility on the rare occasions when they are pushed to their limit. Often the peacekeeper in friend groups.

People hater. Seems perpetually done with everything and everyone. Specialises in dry remarks and diminishing enthusiasm. General mood killer. However, their outward projection of disdain and superiority is really a mask of their own feelings of inadequacy.

Feel free to add on any other character descriptions you like! Happy writing ❤

[writing-turnip]

Let's talk about foreshadowing.

Foreshadowing can add a lot of depth to your writing and make it more exciting for the readers. They create a sense of coherence and satisfaction when future events unfold as hinted—or shock if they don't.

Here are some tips for effectively using foreshadowing in your novels and books:

Plan Ahead: Foreshadowing works best when it's woven into the fabric of your story from the beginning. As you outline your plot, think about key events and revelations you want to foreshadow, and strategically place hints and clues accordingly.

Use Subtlety: Foreshadowing doesn't have to be obvious or heavy-handed. The best foreshadowing is often subtle and understated, leaving readers with a sense of intrigue and curiosity rather than outright prediction.

Establish Patterns and Motifs: Look for opportunities to establish recurring patterns, motifs, or symbols that can subtly hint at future events. These can be visual, thematic, or even linguistic cues that tie into the larger narrative arc of your story.

Create Tension: Foreshadowing is most effective when it creates tension and anticipation for the reader. Use foreshadowing to hint at potential conflicts, obstacles, or twists.

Reveal Gradually: Foreshadowing doesn't have to be limited to one-off hints or clues. Instead, consider how you can layer foreshadowing throughout your story, gradually revealing more information as the plot unfolds.

Pay Attention to Timing: The timing of your foreshadowing is crucial. Introduce hints and clues at strategic points in your story, building anticipation and suspense without giving too much away too soon.

Revisit Foreshadowing: Ensure that foreshadowed events are eventually fulfilled or addressed in the story. Revisiting earlier hints or clues can provide a satisfying payoff for readers and reinforce the narrative coherence.

Balance Subtlety and Clarity: Foreshadowing should be subtle enough to intrigue readers without giving away major plot twists too early. Aim for a balance where foreshadowing is noticeable upon reflection but doesn't detract from the immediacy of the story.

Let's look at some ways to incorporate foreshadowing:

Symbolism: Symbolic imagery or motifs can serve as subtle foreshadowing devices. Think about objects, settings, or descriptive details that can serve as symbolic foreshadowing. A recurring image or object, for example, might subtly hint at future events or themes in the story.

Dialogue Clues: Characters can drop hints or make cryptic remarks that foreshadow upcoming events. Dialogue is a natural way to introduce foreshadowing without being too obvious.

Character Reactions: Pay attention to how characters react to certain situations or events. Their emotions or responses can foreshadow future conflicts or revelations.

Subtle Descriptions: Incorporate subtle descriptions or details that hint at future events. These can be easily overlooked on a first read but become significant upon reflection or when the foreshadowed event occurs.

Dreams and Visions: Dreams, visions, and other forms of altered consciousness can be effective vehicles for foreshadowing—they can hint at an upcoming event, or explore characters' subconscious desires and fears. This method can sometimes be either blatant or subtle depending on how it is incorporated.

Foreshadowing Through Setting: Use the setting to foreshadow events or developments in the story. For example, a stormy night might foreshadow conflict or turmoil ahead, while a serene setting might signal upcoming peace or resolution. (On the flip side, this can be used to catch readers off guard, like a "calm before the storm" type of situation.)

Parallel Storylines: Foreshadowing can occur through parallel storylines or subplots. Events in one storyline can subtly hint at future developments in another, creating anticipation and intrigue.

Recurring Themes: Identify recurring themes or motifs in your story and use them to foreshadow future events. These thematic elements can serve as subtle hints or clues for attentive readers.

Misdirection: Foreshadowing can be used to misdirect readers and create suspense by hinting at one outcome while actually leading to another. (See my post on misdirection for more!)

Happy writing! ❤

[writing-turnip]

how do you write a liar?

How to Write Liars Believably

Language

The motive of every goal is the make the lie seem plausible while taking blame off the speaker, so liars will often project what they say to a third party: "Katie said that..."

Referring to third parties as "they" rather than he or she

In the case of a deliberate lie prepped beforehand, there will be an overuse of specific names (rather than pronouns) as the speaker tries to get the details right.

Overuse of non-committal words like "something may have happened"

Masking or obscuring facts like "to the best of my knowledge" and “it is extremely unlikely," etc.

Avoiding answers to specific, pressing questions

Voice

There's isn't a set tone/speed/style of speaking, but your character's speech patten will differ from his normal one.

People tend to speak faster when they're nervous and are not used to lying.

Body Language

Covering their mouth

Constantly touching their nose

fidgeting, squirming or breaking eye contact

turning away, blinking faster, or clutching a comfort object like a cushion as they speak

nostril flaring, rapid shallow breathing or slow deep breaths, lip biting, contracting, sitting on your hands, or drumming your fingers. 

Highly-trained liars have mastered the art of compensation by freezing their bodies and looking at you straight in the eye.

Trained liars can also be experts in the art of looking relaxed. They sit back, put their feet up on the table and hands behind their head.

For deliberate lies, the character may even carefully control his body language, as though his is actually putting on a show

The Four Types of Liars

Deceitful: those who lie to others about facts

2. Delusional: those who lie to themselves about facts

3. Duplicitious: those who lie to others about their values

Lying about values can be even more corrosive to relationships than lying about facts. 

4. Demoralized: those who lie to themselves about their values

Additional Notes

Genuine smiles or laughs are hard to fake

Exaggerations of words (that would normally not be emphasized) or exaggerated body language

Many savvy detectives ask suspects to tell the story in reverse or non-linear fashion to expose a lie. They often ask unexpected, or seemingly irrelevant questions to throw suspects off track. 

[writing-turnip]

Writing Share Game

Tagged by @willtheweaver

Thank you!

Now here's a snippet of TCOT

The beginning of Chapter 5

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Marril brushed the tips of his gloved fingers over the paper, grabbed the upper corner, and folded the crease open. The Assassin scoffed as he crumpled it. A foolish attempt at tricking him. 

Keresan. A name he’d never heard. Not whispered in the allwys if the black market, nor printed on a card. With that level of obscurity,  he couldn’t be the noble he claimed to be. Marril had been able to tell from the moment he’d laid eyes upon the chaotic handwriting. The address written on the paper, abandoned for years, had every criminal and noble in the city haunted by superstitions about the old place. 

A scowl darkened his face at the mere thought of a client as he blew a strand of long raven hair from his face. Hundreds of lectures about morals, monsters, and murder from people who thought money was an adequate exchange for a man’s life. But everyone who’d summoned him always had something they needed him for. His blade-bearing hands had seen their fair share of blood, but no matter how well those entitled nobles scrubbed their skin clean, he could always see the streaks of scarlet between their elegant fingers.

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Np tags: @aestheic-writer18 @aalinaaaaaa @agirlandherquill @sunflowerrosy @corinneglass

[writing-turnip]

"You're a writer, wow, you must know so much about what happens in your stories."

My first draft placeholders:

[Image Id: five screenshots from Google Docs that read:

[Describe shit, idk]

[Other stuff happens, idk, ran out of motivation for this scene]

[Beginning stuff happens]

[I really don't know, inspiration escapes me]

the quiet village of [Insert vaguely French name]

End id]

[writing-turnip]

Has anyone thought about how annoying a crooked tusk could be?

[writing-turnip]

Could I ask for tips on how to write kisses?

Writing The Perfect Kiss Scene

#1 Find the RIGHT moment

We all know what I mean! The "zing" when the character's faces are get close enough must come unexpected (but) when both of them are looking for romance/comfort.

For example:

Tripping over each other in the hallway

Person A covering their face with their hands and Person B prying them off, their eyes meeting...

Sitting next to each other in the library, elbows touching, and they happen to turn around to face each other...

Find a natural way to bring your characters the romantic atmosphere!

#2 Noticing the Other Person

It's natural to to see someone in a different way when there's romantic vibe pulsating in the air. Maybe your character notices that their crush has a speck of green in their eyes they didn't notice before.

#3 Build Ups

Describe how the characters feel moments before their lips touch. This includes things like racing hearts, sweaty palms, unsteady breathing. etc.

#4 Feeling all Self-Conscious

If you're writing a first-person POV or want to portray the nervous excitement of kissing a love interest for the first time, you can afford to have your character be distracted by how they feel inside, or worrying about how they smell/look, etc.

Maybe they feel like it's too early in the relationship to kiss

They're still thinking about that annoying math problem

Did I apply my new cherry-flavored chapstick? etc.

This should come in the same beat as the "notice the other person", heightening the romance tension between the characters.

Once they get closer and the kiss actually happens, these worries will melt away!

#4 Describing the Details

In most cases, it's best to keep things understated (especially in regards to tongues)

tongues cannot "tangle" or "battle" or "swish around"...please, no.

Focus on the lips and how the characters move (like hugging, pushing the other against a wall, breathing, etc.), adding the tongue as an afterthought.

Don't get too exicted about taste.

No, her tongue didn't taste like fresh roses and peaches, unless she was eating peach candy right before the kiss.

Focus on other sensations other than taste: especially touch, heat. the tickle of his breath on her cheekc, etc. Or even the smell of shampoo.

#5 The Pullaway + Reaction

Does the kiss end naturally, or does something else interrupt them?

How do the characters react: do they blush, say something, hug he other person, or run away with a deep blush? For couples, they can even tease the other.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[writing-turnip]

Hey writeblr :)), I'm Leah, and I'm looking for other writers to follow and interact with! My dash has been kind of bland recently, and I'm hoping to participate in some tag games with fellow writers! I don't mind reading works of any genre, as long as you're willing to discuss WIPs and swap ideas.

Some deets about me:

I write mostly fantasy

My main project's Mind of a Mercenary, a novel following the antics of cult-leader-turned-convict-mercenary Luna, after she gets caught trying to take over as major city with mind-magic

I also do a lot of short stories

I really, really, reeeaaaallllyyy love villain protags. Luna's one, for starters

Aroace and she/her

I live in Asia so my timezone is basically 12h apart from the US's

Reblog or like this if you want me to check you out and give you a follow ;) Or just tag me in a game, I don't mind

[writing-turnip]

[writing-turnip]

A reminder to all my lovely fellow writers: progress is progress, even when it isn't. Writing four thousand words in a session is progress. Writing a hundred words in a session is progress. Removing an entire scene because it doesn't flow well is progress. Rethinking your plan for the plot in order to get unstuck is progress. Development looks different for every writer and every story.

[writing-turnip]

Let's talk about pacing.

Pacing is crucial to consider in plot development. It refers to the speed at which events unfold in your story.

It's important to vary the pacing to keep readers engaged. By effectively managing it throughout, you can maintain reader interest, build tension, and create an overall compelling narrative.

Fast-paced scenes: Use quick, action-packed scenes during moments of high tension, such as intense action sequences or pivotal plot points. Short sentences and rapid-fire dialogue can help create a sense of urgency and keep readers on the edge of their seats.

Slow-paced scenes: Slow down the pacing during moments of introspection, character development, or when you want to build atmosphere. Take the time to delve into emotions, descriptions, and inner thoughts to deepen the reader's connection to the characters and world.

Transitions: Smoothly transition between fast-paced and slow-paced scenes to maintain momentum while allowing readers time to catch their breath and process information. (See here for more on how to effectively implement transitions!)

Avoid prolonged lulls: While it's essential to have slower moments for character development and world-building, be cautious of prolonged lulls in the story where nothing significant happens. Keep the plot moving forward, even during quieter scenes, by introducing new information, conflicts, or character dynamics.

Balance: have a balance between fast-paced and slow-paced scenes throughout your narrative to create a dynamic reading experience. Too much action without sufficient downtime can exhaust readers, while an excessive number of slow scenes may lead to boredom.

More writing help on my blog! ❤

[writing-turnip]

How To Identify Active vs Passive Voice In Your Sentences

To clarify, active voice is when the subject is performing the action, experiencing the emotion, etc. and passive voice is when the subject undergoes the action, emotion, etc. These basically come up in sentence structure as a way to make a character feel like they have more or less agency

The way to identify the difference, or at least the way I’ve used for years, is to put ‘by zombies’ after the verb. If it’s coherent, it’s passive voice, and if it isn’t, it’s active. Let’s use some examples:

“She was killed (by zombies)” -> coherent, passive

“Zombies killed (by zombies) her” -> incoherent, active

And the effect of these techniques in your writing is to make the subject read as though they have more or less agency depending on the situation, even without changing what’s going on in the scene. Neither is necessarily better than the other, it’s all about utilisation in the correct circumstances

Now some longer, Tumblr friendly examples, and you can try and practice identifying active and passive voice if that can help you:

“You kneel before my throne unaware that it was built on lies”

“It may not be that deep, but the ground is soft and I’m ready to dig”

“I hope I make it a little softer here for someone”

“If they won’t match your effort, they don’t want to be in your life”

“God may judge you but his sins outweigh your own”

[writing-turnip]

To write an engaging story, actions must have consequences.

Failure in a story should be more than an inconvenience. It should have real effects for the characters and their world.

Be brave, and don’t be afraid to treat your characters harshly.

[writing-turnip]

Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

If you like my blog, buy me a coffee☕ and find me on instagram! 📸