idioms or sayings that people say more often than they write, so when they write it it's usually wrong.
Once in a while, not 'once and a while.'
Per se, not 'per say.'
For all intents and purposes, not 'for all intensive purposes'
Irregardless is not a word, actually, it's either 'regardless' or 'in regards'. ir- as a prefix means 'without' but so does the suffix 'less'. So if you write 'irregardless' you are writing 'without a lack of regard' which means 'in regards to.' double negative, yeah?
By and large, not 'by in large'.
I could care less vs I couldn't care less. First one means 'yeah I don't mind it, it's whatever.' second one (correct) means "I fucking hate that thing my opinions are in the basement of hell."
"leaves much to be desired" correctly is "lacking in appearance/utility", not "beautiful." What it means is, "that thing is so bad, it does not satisfy my aesthetic/utilitarian needs for it and I desire something better." not, "I desire that thing so much because it's gorgeous."
"Leaving little to the imagination" means you can see/understand all of it. it does not mean 'modest', idk which one of you fucks started that but no. wrong. A sweater leaves a lot to the imagination because you can't see any of the person. Lingerie leaves 'little to the imagination' because you can see everything, you don't have to imagine it. in terms of understanding, 'little to the imagination' would be a very thorough explanation rather than a vague outline.
if you have any others you want me to include, lmk!
xox byeeee
Crafting a scene that earns the total sympathy of your readers can be challenging, but it's not impossible. Most emotionally devastating scenes fail at two things, but when these are done right, the results can be powerful.
1. The Build-Up,
2. Breaking the Dam.
Before I explain these concepts, let me share a case study.
I wrote a story about a young orphan named Jackie and her younger brother. Their village was burned down, leaving them as the only survivors.
For the next few chapters, readers followed their painful journey and their struggle to survive. The younger brother had a heart problem, and Jackie vowed to become a cardiologist to save him.
She was very ambitious about it, but at the time, it was very ironic. Later in the story, when they encountered a tragic living condition with a family, the brother died while telling his sister how much he missed their parents.
When her brother was fighting for his life, she was sent out of the room, only to be let in again to see his cold, lifeless body.
The build-up is extremely important when you aim to convey strong emotions. Here's a secret: if you plan for a scene with strong emotions, start leaving breadcrumbs from the very beginning of the story.
Take the previous case study. I carefully built up their journey so people could easily relate and feel the pain of the older sister during her brother's sudden death.
You need to give the situation enough reason to feel utterly hopeless and devastating. Gradually cultivate the tension until it's ready to let loose.
Breadcrumbs in stories ensure you utilize the time you have to build up certain emotions around your characters.
At the beginning of my story, Jackie’s fate was already pitiable, but she survived every hurdle. This gave the readers enough to feel for her while still leaning away from the outcome. When I built enough, I introduced her brother's sudden death.
Hence, leave your breadcrumbs while leaning away from the outcome.
When building up your story, consider these elements:
☞ Character Relatability: The characters need to be realistic to draw readers into the story. This helps readers invest themselves in your story.
☞ Realistic Emotional Pain: Just as characters need to be relatable, their emotions need to be realistic and not appear forced.
☞ Create a Strong Emotional Attachment: Give them something they care about or that has the power to ruin their lives in any way. It could be something that makes them happy or something their happiness relies on. When it's time, snatch it away without remorse.
☞ Have a Backstage Struggle: This struggle keeps readers occupied, so they won't see the outcome coming. For example, Jackie’s constant struggle to find food and shelter keeps readers engaged while the impending tragedy looms in the background.
☞ Attach Believable Elements: For a realistic character, emotion, and struggle, attach believable elements. It could be death, ailments, sickness, disorder, disappointment, failure, etc.
Now that we've covered the build-up, let's move on to the next crucial part.
This is when you make your readers feel the strong emotions alongside your characters. All the tension you’ve been building up is released, making all emotions come into play.
☞ Break Your Strong Attachment: Cut off your strong attachment from your character when they least expect it or at a point when they couldn't use more struggles (i.e when they are helpless).
This will not only evoke readers’ emotions but also pique their curiosity as they wonder how the character will survive the situation.
☞ Description of Sensory Details to Invoke Emotions: The advice of "show, don't tell" will be really helpful here. It's crucial to ensure that the final execution matches the build-up.
A well-crafted build-up can fall flat if the emotional release isn't handled effectively. To avoid this, blend the climax seamlessly into the narrative, making it feel natural and impactful.
What am I doing? Just talking through my story to myself instead of writing it.
Me right now
currently powering through the absolute worst, terribly written, cringe ass fanfic ive ever read in my entire life simply because the concept is too good
Writing is all fun and games until you have to describe a room.
Writing because murder is illegal, going to space is expensive and magical creatures apparently don't exist...
You know it’s bad when you’re writing a fictional story and wonder if you’re a genuinely bad person for what you’re about to inflict upon these characters
i’m sick of post canon stories about characters getting married and having kids and finding peace when they should actually be getting divorced and abusing alcohol and being suicidal NO MORE HEALING NO MORE RECOVERY YOU ALL NEED TO GET WORSE!!!!!!
The barista in chapter three? She has a life outside of giving your protagonist coffee. The villain’s henchman? Maybe he’s just trying to pay off his dad’s medical bills. Every character has their own story, their own motivations. The world doesn’t revolve around your protagonist, don’t write like it does.
yall gotta learn the difference between "this character is an asshole" and "this character was supposed to be super cool but the author is an asshole" and "this character is a teenage girl who was mean once"
I keep seeing people making fun of using growled, hissed, roared, snarled etc in writing and it’s like.
have you never heard someone speak with the gravel in their voice when they get angry? Because that’s what a growl is.
Have you never heard someone sharply whisper something through the thin space of their teeth? Or when your mother sharply told you to stop it in public as a kid when you were acting up/being too loud? Because that’s what a hiss is.
Have you never heard a man get so blackout angry that their voice BOOMS through the house? Because that’s what a roar is.
Have you never seen someone bare their teeth while talking to accentuate their frustration or anger while speaking with a vicious tone? Because that’s what snarling is.
It’s not meant to be a literal animal noise. For the love of god, not every description is literal. I get some people are genuinely confused, but also some of these people are genuinely unimaginative as fuck.
21 he/they black audhdWriting advice and random thoughts I guess
232 posts