Latest Posts by dabriaanderlaine - Page 3

Body language cues for a few emotions

Happiness:

Smiling genuinely, with crinkles around the eyes.

Open body posture, with relaxed arms and shoulders.

Leaning forward slightly towards the person or object of interest.

Making eye contact with a warm and engaged expression.

Anger:

Tightened jaw and clenched fists.

Furrowed brows and narrowed eyes.

Standing or sitting with a rigid and tense posture.

Pointing fingers or aggressive gestures.

Raised voice or speaking through gritted teeth.

Sadness:

Downcast eyes and a drooping posture.

Slumped shoulders and shallow breathing.

Avoiding eye contact and withdrawing from social interaction.

Sighing or a subdued tone of voice.

Tearfulness, with watery or red eyes.

Fear:

Widened eyes with dilated pupils.

Raised eyebrows and a tense facial expression.

Frozen or rigid body posture.

Backing away or seeking physical distance from the perceived threat.

Trembling or shaking, especially in the hands or legs.

Surprise:

Raised eyebrows and widened eyes.

Mouth slightly agape or forming an "O" shape.

Leaning forward or recoiling backward in response to the surprise.

Quick inhalation or gasp of breath.

Rapid blinking or blinking more than usual.

Disgust:

Curling the upper lip or wrinkling the nose.

Narrowing the eyes and raising the upper eyelids.

Turning the head away or physically distancing oneself from the source of disgust.

Covering the mouth or nose with the hand or a tissue.

Expressing verbal disgust through phrases like "ew" or "yuck."

These are just some examples, and individuals may display variations in their body language based on their personality, cultural background, and the specific context of the situation.

Another List of "Beautiful" Words

to include in your next poem

Avidulous - somewhat greedy.

Breviloquent - marked by brevity of speech.

Compotation - a drinking or tippling together.

Crimpy - of weather; unpleasant; raw and cold.

Desiderium - an ardent desire or longing; especially, a feeling of loss or grief for something lost.

Dyspathy - lack of sympathy.

Ebriosity - habitual intoxication.

Epitasis - the part of a play developing the main action and leading to the catastrophe.

Fantod - a state of irritability and tension.

Graumangere - a great meal.

Grimoire - a magician's manual for invoking demons and the spirits of the dead.

Hiemal - of or relating to winter.

Illaudable - deserving no praise.

Impluvious - wet with rain.

Innominate - having no name; unnamed; also, “anonymous”.

Juberous - doubtful and hesitating.

Noctilucous - shining at night.

Poetaster - an inferior poet.

Psychrophilic - thriving at a relatively low temperature.

Quiddity - the essential nature or ultimate form of something: what makes something to be the type of thing that it is.

Repullulate - to bud or sprout again.

Retrogradation - a backward movement.

Semiustulate - half burnt or consumed by fire.

Tenebrific - causing gloom or darkness.

Unparadiz’d - brought from joy to miserie.

If any of these words make it into your next poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

I apologize if you’ve been asked this question before I’m sure you have, but how do you feel about AI in writing? One of my teachers was “writing” stories using ChatGPT then was bragging about how good they were (they were not good) and said he was going to sell them. To put aside any legal concerns in that, I’m just trying to talk him down from that because, personally, I would not enjoy dream job being taken by AI.

The poor man.

Many magazines have closed their submission portals because people thought they could send in AI-written stories.

For years I would tell people who wanted to be writers that the only way to be a writer was to write your own stories because elves would not come in the night and do it for you.

With AI, drunk plagiaristic elves who cannot actually write and would not know an idea or a sentence if it bit their little elvish arses will actually turn up and write something unpublishable for you. This is not a good thing.

So, there's a dirty little secret in indie publishing a lot of people won't tell you, and if you aren't aware of it, self-publishing feels even scarier than it actually is.

There's a subset of self-published indie authors who write a ludicrous number of books a year, we're talking double digit releases of full novels, and these folks make a lot of money telling you how you can do the same thing. A lot of them feature in breathless puff pieces about how "competitive" self-publishing is as an industry now.

A lot of these authors aren't being completely honest with you, though. They'll give you secrets for time management and plotting and outlining and marketing and what have you. But the way they're able to write, edit, and publish 10+ books a year, by and large, is that they're hiring ghostwriters.

They're using upwork or fiverr to find people to outline, draft, edit, and market their books. Most of them, presumably, do write some of their own stuff! But many "prolific" indie writers are absolutely using ghostwriters to speed up their process, get higher Amazon best-seller ratings, and, bluntly, make more money faster.

When you see some godawful puff piece floating around about how some indie writer is thinking about having to start using AI to "stay competitive in self-publishing", the part the journalist isn't telling you is that the 'indie writer' in question is planning to use AI instead of paying some guy on Upwork to do the drafting.

If you are writing your books the old fashioned way and are trying to build a readerbase who cares about your work, you don't need to use AI to 'stay competitive', because you're not competing with these people. You're playing an entirely different game.

Types Of Writer’s Block (And How To Fix Them)

1. High inspiration, low motivation. You have so many ideas to write, but you just don’t have the motivation to actually get them down, and even if you can make yourself start writing it you’ll often find yourself getting distracted or disengaged in favour of imagining everything playing out

Try just bullet pointing the ideas you have instead of writing them properly, especially if you won’t remember it afterwards if you don’t. At least you’ll have the ideas ready to use when you have the motivation later on

2. Low inspiration, high motivation. You’re all prepared, you’re so pumped to write, you open your document aaaaand… three hours later, that cursor is still blinking at the top of a blank page

RIP pantsers but this is where plotting wins out; refer back to your plans and figure out where to go from here. You can also use your bullet points from the last point if this is applicable

3. No inspiration, no motivation. You don’t have any ideas, you don’t feel like writing, all in all everything is just sucky when you think about it

Make a deal with yourself; usually when I’m feeling this way I can tell myself “Okay, just write anyway for ten minutes and after that, if you really want to stop, you can stop” and then once my ten minutes is up I’ve often found my flow. Just remember that, if you still don’t want to keep writing after your ten minutes is up, don’t keep writing anyway and break your deal - it’ll be harder to make deals with yourself in future if your brain knows you don’t honour them

4. Can’t bridge the gap. When you’re stuck on this one sentence/paragraph that you just don’t know how to progress through. Until you figure it out, productivity has slowed to a halt

Mark it up, bullet point what you want to happen here, then move on. A lot of people don’t know how to keep writing after skipping a part because they don’t know exactly what happened to lead up to this moment - but you have a general idea just like you do for everything else you’re writing, and that’s enough. Just keep it generic and know you can go back to edit later, at the same time as when you’re filling in the blank. It’ll give editing you a clear purpose, if nothing else

5. Perfectionism and self-doubt. You don’t think your writing is perfect first time, so you struggle to accept that it’s anything better than a total failure. Whether or not you’re aware of the fact that this is an unrealistic standard makes no difference

Perfection is stagnant. If you write the perfect story, which would require you to turn a good story into something objective rather than subjective, then after that you’d never write again, because nothing will ever meet that standard again. That or you would only ever write the same kind of stories over and over, never growing or developing as a writer. If you’re looking back on your writing and saying “This is so bad, I hate it”, that’s generally a good thing; it means you’ve grown and improved. Maybe your current writing isn’t bad, if just matched your skill level at the time, and since then you’re able to maintain a higher standard since you’ve learned more about your craft as time went on

We're on a new platform with a totally different audience...we have to prove ourselves all over again...convince a totally new group of people to think we're funny and worth your attention....so allow me to drop some of my "A" material....the funniest thing I got.......here goes....... jeef berky

Sometimes fiction doesn’t have a moral to the story. Sometimes fiction points at something and goes “Ever thought about THAT???” And you look at what it’s pointing at for a bit.

Yes

Being a writer your brain is either

A) STUFFED TO BURSTING with ideas you have no clue what to do with or how to make them make sense

or

B) It's a black hole that devours every inkling of creativity in your cells and you are just hoping it'll consume you too

THERE IS NO IN BETWEEN

born to write the beginning and ending, forced to write the middle part.

Accurate

Naming characters in your books is like:

This is Mischa Ernst Townes III: I made a list of thirty-two possible names and narrowed them down through careful evaluation of which phonetic sounds and letter combinations invoked his energy, which etymologies most emulated the spirit of the character, and which names had connotations or allusions that would foreshadow or contrast his inevitable arc while simultaneously harking back to his history in an interconnected web.

OR

This is Roger Halifax it came to me in a dream.

There is no inbetween.

do you ever just … picture a whole scene, a whole fanfiction in your head, you know how to place every single word of the english dictionary that you need (or your language dictionary), you know how to structure your sentences, you know just what your characters are going to say to each other and then… and then you just open microsoft word.

wishing all artists a very sincere "get weirder with it" this coming year

How do you manage to finish all your stories? Cuz when I begin to write one, my motivation crashes in 0.2 secs.

-vesper

{Let’s Talk Writer Motivation..!!}

Hello there, vesper/ @1-800-milfdilf !! That is a really good question. I appreciate you taking the time to come into my asks and talk to me about that 🥰

Haha, I certainly feel you about the motivation crashing in sync with when I start writing. It can be difficult to write when you lose motivation in 0.2 seconds or if you’re experiencing writers block… this is all extremely valid ♥️.

To answer your question, what I have found is that the key to accomplishing my writing is not motivation. It’s discipline. Yes, I write when I feel like it, but in a disciplined manner. I have a goal to write every day. And a secondary goal to post something at least every other day. And I hold myself to that standard with discipline.

Now, this might not work for everybody. And that’s okay. It’s just what works for me. And I will note, this distinction and priority of discipline over motivation can be applied to more than just writing. You can apply it to almost any task or goal.

Try it out, and let me know if it’s helpful to you! Hopefully, you found this informative and helpful. Thank you again for the question! I hope you have a lovely day/night!! 💞💞💞

Talk with Me ❤️‍🔥

meet ugly steddie au where steve gets broken up with for the first time since moving blasts his favourite song and has to find a new delivery place for his comfort breakup food and opens the door absolutely sobbing starts to cry harder when he sees how hot the delivery man is and tips through tears meanwhile eddie hears wham playing at horrific volumes while walking to the door to give the food and expects a party or smth but at least a customer he doesn’t want to deal with only for it to be this one incredibly hot guy who looks like a puppy thats been kicked while its down

The Druids’ Temple | GarettPhotography

• An Oxford comma walks into a bar, where it spends the evening watching the television, getting drunk, and smoking cigars.

• A dangling participle walks into a bar. Enjoying a cocktail and chatting with the bartender, the evening passes pleasantly.

• A bar was walked into by the passive voice.

• An oxymoron walked into a bar, and the silence was deafening.

• Two quotation marks walk into a “bar.”

• A malapropism walks into a bar, looking for all intensive purposes like a wolf in cheap clothing, muttering epitaphs and casting dispersions on his magnificent other, who takes him for granite.

• Hyperbole totally rips into this insane bar and absolutely destroys everything.

• A question mark walks into a bar?

• A non sequitur walks into a bar. In a strong wind, even turkeys can fly.

• Papyrus and Comic Sans walk into a bar. The bartender says, "Get out -- we don't serve your type."

• A mixed metaphor walks into a bar, seeing the handwriting on the wall but hoping to nip it in the bud.

• A comma splice walks into a bar, it has a drink and then leaves.

• Three intransitive verbs walk into a bar. They sit. They converse. They depart.

• A synonym strolls into a tavern.

• At the end of the day, a cliché walks into a bar -- fresh as a daisy, cute as a button, and sharp as a tack.

• A run-on sentence walks into a bar it starts flirting. With a cute little sentence fragment.

• Falling slowly, softly falling, the chiasmus collapses to the bar floor.

• A figure of speech literally walks into a bar and ends up getting figuratively hammered.

• An allusion walks into a bar, despite the fact that alcohol is its Achilles heel.

• The subjunctive would have walked into a bar, had it only known.

• A misplaced modifier walks into a bar owned by a man with a glass eye named Ralph.

• The past, present, and future walked into a bar. It was tense.

• A dyslexic walks into a bra.

• A verb walks into a bar, sees a beautiful noun, and suggests they conjugate. The noun declines.

• A simile walks into a bar, as parched as a desert.

• A gerund and an infinitive walk into a bar, drinking to forget.

• A hyphenated word and a non-hyphenated word walk into a bar and the bartender nearly chokes on the irony

- Jill Thomas Doyle

i've gotten asks a few times on like 'how to do ''fantasy races'' without. like. just making race science true in the world'. and i think there's three approaches. the first is harkening back to tolkein and making it clear through framing device or format/tonal cues that you are writing in a mythic register--that you are writing about a world where the basic premises of positivism and empiricism simply aren't true. a world where 'biology' is like, not necessarily a salient premise--where there are things that just cannot be understood. (that's not to say that tolkein's orcs werent v. racialised in v. nasty ways--but it wasn't race science in the way a lot of more modern fantasy is.)

the second way i think is to go and actually understand the history of 'race' as a concept. 'race' has not always existed--it was an ideological invention birthed from / alongisde the enlightmenent and imposed onto populations through military force. in real life, it's less helpful to conceive of 'race' as an attribute someone has and and more as a relationship they have to society. so if you want to actually include scientific racism in your story as an element of your worldbuilding and not something decalred epistemologically true you should be thinking about why these people have been racialized and under what hegemonic paradigm--who, in-universe, invented & enforces the racial classification system that distinguishes between 'human' and 'orc' as taxonomic characters?

the third and final way is to simply think of the traits you understand as belonging to ''fantasy races'' (say, pointy ears and exceptional nimbleness and hundred-year lifespans for elves) as instead just being... more variations in the way people can be. like, in the real world, we do not consider 'tall people' or 'blonde people' or 'myopic people' a different species. in a world where sometimes people have wings or pointed ears or green skin, why should that be different? you've just introduced new types of variation within the population of people--you've just expanded the meaning of human. and of course, right, you can still roughly group these features, or note that some of them are more frequent in some ethnic groups--in much the same way as saying 'on average, people in sweden are taller, paler, and more likely to be blonde and blue-eyed', you can say 'people in these forests tend to be shorter and live longer and have pointed ears'--without having a hard taxonomy that classifies all these attributes as metaphysically different Types Of Person

obviously these are all very different approaches--and there are probably other ways to handle this too! i just get this question a lot whenever i do Orc Discourse and finally felt like getting these thoughts out. there are so so so many places we can take fantasy--let's move the horizon beyond 'magical race science' and imagine genuinely new worlds

I know everyone says it’s best to just stick to “said” as a dialogue tag bc it disappears and that’s true and I mostly do but I want to take a moment for my all-time favorite dialogue tag, “lied.” Absolutely nothing hits like “‘I’m here to help,’ he lied.” NOTHING.

Jumping on the recent string of "is magic real" asks to ask: do you believe there is a magical way to curse someone (without affecting their material reality) that would reliably cause negative consequences for that person?

No I don't think a curse will cause any reliable consequences for someone. But I also don't think that's necessarily why people make curses.

Sitting down and assembling a curse jar is an activity with a definite end. You put in the herbs and pop the cap and say the incantation and it's DONE. There is something meditative about it, psychologically satisfying. Instead of sitting around and seething while doing your laundry, you pour all that emotion into some symbolically significant artistic activity that has a big ceremonial finish. It helps you move on.

“No writing is wasted. Did you know that sourdough from San Francisco is leavened partly by a bacteria called lactobacillus sanfrancisensis? It is native to the soil there, and does not do well elsewhere. But any kitchen can become an ecosystem. If you bake a lot, your kitchen will become a happy home to wild yeasts, and all your bread will taste better. Even a failed loaf is not wasted. Likewise, cheese makers wash the dairy floor with whey. Tomato gardeners compost with rotten tomatoes. No writing is wasted: the words you can’t put in your book can wash the floor, live in the soil, lurk around in the air. They will make the next words better.”

— ERIN BOW

You know that feeling when you have a great idea for a fic but your words aren't wording and nothing works and it's such an amazing idea in your head but its so shitty on paper and AAAAAAAAAAAAAAAA

THE MIGHTY NEIN, COMING TO AMAZON PRIME VIDEO!

my dad–also a writer–came to visit, and i mentioned that the best thing to come out of the layoff is that i’m writing again. he asked what i was writing about, and i said what i always do: “oh, just fanfic,” which is code for “let’s not look at this too deeply because i’m basically just making action figures kiss in text form” and “this awkward follow-up question is exactly why i don’t call myself a writer in public.”

he said, “you have to stop doing that.”

“i know, i know,” because it’s even more embarrassing to be embarrassed about writing fanfic, considering how many posts i’ve reblogged in its defense.

but i misunderstood his original question: “fanfic is just the genre. i asked what you’re writing about.” 

i did the conversational equivalent of a spinning wheel cursor for at least a minute. i started peeling back the setting and the characters, the fic challenge and the specific episode the story jumps off from, and it was one of those slow-dawning light bulb moments. “i’m writing about loneliness, and who we are in the absence of purpose.”

as, i imagine, are a lot of people right now, who probably also don’t realize they’re writing an existential diary in the guise of getting television characters to fuck. 

“that’s what you’re writing. the rest is just how you get there, and how you get it out into the world. was richard iii really about richard the third? would shakespeare have gotten as many people to see it if it wasn’t a story they knew?”

so, my friends: what are you writing about?

my dad–also a writer–came to visit, and i mentioned that the best thing to come out of the layoff is that i’m writing again. he asked what i was writing about, and i said what i always do: “oh, just fanfic,” which is code for “let’s not look at this too deeply because i’m basically just making action figures kiss in text form” and “this awkward follow-up question is exactly why i don’t call myself a writer in public.”

he said, “you have to stop doing that.”

“i know, i know,” because it’s even more embarrassing to be embarrassed about writing fanfic, considering how many posts i’ve reblogged in its defense.

but i misunderstood his original question: “fanfic is just the genre. i asked what you’re writing about.” 

i did the conversational equivalent of a spinning wheel cursor for at least a minute. i started peeling back the setting and the characters, the fic challenge and the specific episode the story jumps off from, and it was one of those slow-dawning light bulb moments. “i’m writing about loneliness, and who we are in the absence of purpose.”

as, i imagine, are a lot of people right now, who probably also don’t realize they’re writing an existential diary in the guise of getting television characters to fuck. 

“that’s what you’re writing. the rest is just how you get there, and how you get it out into the world. was richard iii really about richard the third? would shakespeare have gotten as many people to see it if it wasn’t a story they knew?”

so, my friends: what are you writing about?

the problem with knowing things about battle tactics is that an ever-increasing subset of popular media becomes impossible to enjoy properly because you have to sit there like 'wow Captain Protagonist good to know all those dead people on your own side are a direct result of your total lack of anything resembling brains'

If u want to write a story about a character that's just you but hotter with a dark twisted backstory and magical powers and a pet falcon or something, I think u should just go ahead and do that. Who's gonna stop you? The government?? Fuck the police.