Emotionally Reserved Characters

practical writing advice

part 2

avoid writing in bed if you can. writing in bed is the mind-killer. writing in bed is the little death that brings obliteration. you may think "but i can write AND be cozy" you will get sleepy so fast. 98% of the time when i try to get a nighttime writing session done in bed i go to sleep. maybe 70% of the time if it's an afternoon writing session. also it fucking kills your wrists.

STRETCH before writing. stretch as many parts of your body as possible ESPECIALLY YOUR WRISTS! i have chronic tendonitis in both of my arms from not doing this and it is manageable but it is Not Fun!

plug your phone in on the other side of the room. better yet, plug it in and leave it in another room. better yet, power it off and leave it in another room. "i'll just check one quick thing" do not underestimate the power of the doomscroll.

do a warmup. look up writing prompts (i like one-word prompts or prompts that focus on a general theme as it's easier to integrate into my writing style), set a timer for fifteen minutes, or ten, or five, and go ham. make it shitty or incomprehensible, as long as you make it. create a dump document for all your warmups. i currently have two novels in the works that started as one of these fifteen minute little warmups.

pick your background noise ahead of time if you use it, and look for something long. i listen to 3-hour-long silent hill ambient mixes on youtube dot com.

take breaks. around every 45 minutes, as i'm noticing myself begin to lose focus, i get up, grab a drink, get my blood flowing, and give myself some space to breathe.

sometimes i sit down to write and i think "every atom in my body is averse to doing this right now. i would rather dance barefoot on a bed of nails than open my laptop and start typing." and you know what i do? i go do something else instead. don't force it! it will become a chore.

that being said! write as often as possible. try to write every day. try to write at the same time. don't beat yourself up if you can’t, BUT the more often you write, the more often you'll want to write.

if you're stuck on a scene or a page or a chapter, go back to the last place where you felt like you knew what you were doing and start writing from there. keep a copy of your other writing in case you want to reuse it or refer back!

i don't know if this is something that will be helpful for other people but i start mentally preparing myself for my writing session a few hours ahead of time. i will say to myself, "today, at this time, i'm gonna sit down and write that scene where mina walks out on her book club, and it's going to be awesome and i'm looking forward to it." then, by the time i actually begin, i basically have the whole thing written out in my head and can just put it down to paper. it's a good way to at least kickstart the session !

ok thanks bye

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

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These are *suggestions* and writing is highly subjective. Hope this helps!

[Image Description]

A three panel comic featuring Sun and Moon with two panels on top and one big one on the bottom.

[Upper Left Panel]

Moon is gesturing pointedly at Sun, who is off picture.

Moon (speaking): Sun, you CANNOT drink four bottles of glitter glue!

[Upper Right Panel]

Sun is standing next to a table with open bottles of glitter glue. The table is sticky and covered in it. Sun is holding a wine glass full of glue, with their other hand on their hip.

Sun (speaking): I'm sorry, I didn't order a glass of YOUR OPINION!!

[Third Lower Panel]

A box with the word, "Inevitably" is in the upper corner of the panel. Sun is laying face down on the floor in a puddle of glue, with a bit of it sticking to their ray.

Moon, with a blank expression, tosses a rose towards Sun on the floor.

Sun (speaking, in small text): Moony...Parts...and Service...

[End of Image Description]

THIS IS NOT SUN AND MOON SHOW RELATED!

Based on a tiktok I saw at one point. I haven't drawn fanart in a while, but I couldn't resist.

I changed up their outfits a bit. If I need to change the image description, let me know.

Okay, bye.

Well, it's official. My hunch was correct:

The Daycare Attendant is the absolute FAVORITE!!

With DJ Music Man in 2nd and Glamrock Freddy in 3rd. Sorry I didn't include the caution bots or Ruin characters, there weren't enough slots.

However, I could do a poll for Ruin in the future.

Anyway, thank you guys for participating!!

I know this has probably already been done, but I have a hunch, so...

Which One Is Your Favorite?

DANG IT, MOON!!

Look, we all love you, but if you continue to lie like this, the truth will eventually come out in a VERY bad way...

At LEAST be honest with Sun...

(I am way too invested in this show. Am I gonna stop watching? Absolutely not.)

Oh lawd they comin

(With Monty being drop dead gorgeous)

"p.s. let me know if Brandy and the kids want one, too! I can have them done in a jiffy."

(★ my Kofi) | (★ commission info)

10 Actionable Tips to Help You Get to Know Your Characters Better

Here are 10 actionable storytelling tips for writers to get to know their characters better:

1. Create Detailed Character Profiles:

Write out a comprehensive profile for each character, including their background, personality traits, physical appearance, and quirks. This helps to flesh out their individuality and makes them more real to you.

2. Conduct Character Interviews:

Write out a list of interview questions and answer them from the perspective of your character. This can include questions about their past, desires, fears, and daily life.

3. Write Backstory Scenes:

Develop scenes from your character’s past that might not appear in the main story but inform their motivations and behavior. This can include significant childhood events, first loves, or pivotal moments.

4. Develop Character Arcs:

Plan out your character’s development throughout the story. Consider how they change from beginning to end and what events catalyze their growth or decline.

5. Explore Relationships:

Write scenes or dialogues focusing on your character’s interactions with others. This can reveal how they relate to different personalities and social dynamics.

6. Utilize Character Diaries:

Have your character keep a diary or journal. Writing entries from their perspective can provide deep insights into their inner thoughts and feelings.

7. Engage in Role-Playing:

Spend time role-playing as your character. Respond to hypothetical situations or daily routines as they would, helping you understand their decision-making process and emotional responses.

8. Write Monologues:

Create monologues where your character speaks directly about their dreams, struggles, and philosophies. This can help clarify their voice and mindset.

9. Build a Character Playlist:

Compile a playlist of songs that resonate with your character’s personality, story arc, or current emotions. Music can evoke a deeper understanding of their internal world.

10. Use Character Maps:

Create visual maps that chart your character’s relationships, key life events, and emotional highs and lows. This can help you see patterns and connections in their story.

These tips can help you delve deeper into your characters' psyche, making them more vivid and relatable in your writing.

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Dialogue Thing #9

"WHAT'S THAT, DEPRESSION!? I CAN'T HEAR YOU, MY MUSIC'S TOO LOUD!!"

"Dude, it is three in the morning..."

"I CAN'T HEAR YOU, EITHER!!"

Yeah, Nexus's model can be better but actually, I think it suits Nexus.

Because no matter how Nexus refuses to acknowledge, he is still Moon. He has the same attitude, the same way of thinking, the same ego, the same way to react to things when he is desperate.

(Doing things without thinking, being so impulsive and self destructive, throws everyone care about him out of the window )

And when he went down the deep ends, he hurt everyone around him without caring.

It's just that he is more childish, and more self-deprecation. Like the nerd kid that tries hard, in his teenage rebel phase, he tries to do things he thinks will make him the opposite with Moon, but actually it is not.

That is why Nexus is so tall now, because he wants to be more superior than Moon. He also makes himself monstrous, because he thinks badly about himself and thinks this is what him deserve, this is him being a monster. He wants to cut ties with everyone so badly, yet, he still thinks about them, and wears the sign that obviously people would know it is a Moon model because no matter what he did, he can't get rid of himself.

And well, like people said, you only hate someone if you loved them first.

Nexus joked about Earth's burn because it still leaves a mark inside Nexus's heart. He wants to kidnap and torture Lunar, because Lunar distrust him and never try to get close with him anymore after the "Eclipse event".

He mocked Sun because he knows he let Sun down, and that still haunts him until now.

If he truly doesn't care like he said, he wouldn't let them inside his head like that. And that is sad, because just like Moon, Nexus only knows about hurting people who love him the most.

Like the boy in the kindergarten who only knows how to express his love for the girl he likes is pulling her pigtails.