Some Tips For Using A Few Words To Describe Voices:

Applying for jobs is a hell designed specifically to torment autistic people. Here is a well-paying task which you know in your heart and soul if they just gave you a desk and left you alone and allowed you to do it you would sit there and be more focused and enthusiastic and excellent at it than anyone else in the building. However, before they allow you to perform the task, you must pass through 3-4 opaque social crucibles where you must wear uncomfortable clothes and make eye contact while everyone expects you to lie, but not too much (no one is ever clear exactly how much lying is expected, “over” honesty is however penalized). You are being judged almost entirely on how well you understand these very specific and unclear rules that no one has explained. None of this has anything to do with your ability to perform the desired task.

here have 10 pieces of writing advice that have stuck with me over the years

every character’s first line should be an introduction to who they are as a person

even if you only wrote one sentence on a really bad day, that’s still one sentence more than you had yesterday

exercise restraint when using swear words and extra punctuation in order for them to pack a punch when you do use them

if your characters have to kiss to show they’re in love, then they’re not in love

make every scene interesting (or make every scene your favorite scene), otherwise your readers will be just as bored as you

if you’re stuck on a scene, delete the last line you wrote and go in a different direction, or leave in brackets as placeholders

don’t compare your first draft to published books that could be anywhere from 3rd to 103rd drafts

i promise you the story you want to tell can fit into 100k words or less

sometimes the book isn’t working because it’s not ready to be written or you’re not ready to write it yet; let it marinate for a bit so the idea can develop as you become a better writer

a story written in chronological order takes a lot more discipline and is usually easier to understand than a story written with flashbacks

E.J Sue’s “Mechaforce” is one of the few “How to Draw” books I would point newbies looking to get into drawing robots to. It emphasizes knowing the basics (Very difficult to draw a robot properly if you can’t use perspective) and fundamental shapes and even arm techniques, and gives a neat insight into how mechanical forms work in art. 

These are just a few of the examples from the anatomy section of the book. It’s currently on sale on Amazon and worth checking out, though I will note it is not a “be all end all” resource, thankfully you can fill in your knowledge gaps elsewhere. 

Also since this is popping off please consider taking a look at his Tumblr! right here at E.J Sue Art 

I think one of my favorite DnD Things is when random rolls become retroactive Lore/Quirks for the character. Not even as a DM ruling, I mean something the whole table adopts organically, whether seriously or as a running joke.

A paladin I DMd for failing every single perception roll turned into him canonically needing glasses and not realizing it.

A combination of failed perception checks and concentration saves becoming a character having ADHD and that getting worked into the acting.

My gnome barbarian with low intimidation rolls despite doing/saying some actually terrifying things suddenly having a voice that cracks like the "WHEN WILL YOU LEARN?! WHEN WILL YOU LEARN?! THAT YOUR ACTIONS!! HAVE CONSEQUENCES!!" kid when he shouts.

Or my favorite, my tabaxi artificer, Gus, comedically failing every religion check when it comes to praying so now it's a whole plot point that gods literally do not perceive him.

(Yes this is an invitation to reply or tell me in the tags if you've had any canon-altering rolls like this I love PC stories)

WORDS/PHRASES TO USE INSTEAD OF

very:

extremely

strikingly

incredibly

overly

awfully

damn

dreadfully

totally

genuinely

unusually

highly

quite

talk/whisper:

speak

tell

chatter

discuss

gossip

converse

prattle

blab

mention

utter

chitchat

verbalize

mouthed

voice out

murmur

mutter

mumble

suddenly:

unexpectedly

out of the blue

all at once

without warning/notice

instantly

surprisingly

in a flash

out of nowhere

in an instant

like a shot

abruptly

on spur of moment

by surprise

before you know it

with one's guard down

look/saw:

watch

view

glance

glare

gawk

set eys on

stare

peek

gaze

glimpse

sight

scan

peep

eyed out

perceive

noticed

witness

these are just some words that are often redundant in texts but of course, these synonyms would still depend on the context of what you are writing. i will add more if i can !! you guys can also add more if you want to.

Top Tips for Clues, Red Herrings, and Breadcrumbs

One of the most important parts of writing MYSTERY is figuring out what to do with clues and red herrings - and how to use them effectively. Here’s some advice that’s never steered me wrong: 

Hide the real clue before the false ones! Most people, so by extent your readers and your sleuth, tend to focus on the last piece of information presented to them. A good strategy is to mention/show your real clue and then quickly shift focus. 

Do a clue cluster! Squeeze your real clue in among a whole pile of red herrings or other clues, effectively hiding it in plain sight. This works especially well with multiple suspect mysteries. 

Struggling to think of what a clue could be? Try this list: 

Physical objects: Letters, notes, tickets, emails, keepsakes, text messages, diaries, etc. 

Dialogue: voicemail recordings, overheard conversations, hearsay, gossip, rumours. All of these can hold grains of truth! 

Red herrings distract and confound your protagonist and your reader, so you should be careful not to overuse them. Well balanced, red herrings should lead your characters down false paths to create confusion, tension, and suspense.

Contradictions! Have characters claim they did so-and-so at such-and-such a time, but other characters have evidence that contradicts this.

Balance! Avoid a clue that’s so obvious it’s like a neon sign saying “Look at me, I’m a clue!” but don’t make it so obscure it’ll be missed entirely. A good clue should leave a reader saying “Damn, I should have noticed that” 

What to give a fuck about,while writing your first draft!

I`ve posted a list about things you don´t need to give a fuck about while writing your first draft. Here are things you NEED TO CARE about! (in my opinion)

Your Authentic Voice: Don't let the fear of judgment or comparison stifle your unique voice. I know it´s hard,but try to write from your heart, and don't worry about perfection in the first draft. Let your authenticity shine through your words.

Your Story, Your Way: It's your narrative, your world, and your characters. Don't let external expectations or trends dictate how your story should unfold. Write the story you want to tell.

Progress Over Perfection: Your first draft is not the final product; it's the raw material for your masterpiece. Give a fuck about making progress, not achieving perfection. Embrace imperfections and understand that editing comes later.

Consistency and Routine: Discipline matters. Make a commitment to your writing routine and stick to it.

Feedback and Growth: While it's essential to protect your creative space during the first draft, be open to constructive feedback later on. Giving a f*ck about growth means you're willing to learn from others and improve your work.

Self-Compassion: Mistakes, writer's block, and self-doubt are all part of the process. Give a f*ck about being kind to yourself. Don't beat yourself up if the words don't flow perfectly every time. Keep pushing forward and remember that writing is a journey.

Remember, the first draft is your canvas, your playground. Don't bog yourself down with unnecessary worries.

One of the best tips for writing descriptions of pain is actually a snippet I remember from a story where a character is given a host of colored pencils and asked to draw an egg.

The character says that there’s no white pencil.  But you don’t need a white pencil to draw a white egg.  We already know the egg is white.  What we need to draw is the luminance of the yellow lamp and the reflection of the blue cloth and the shadows and the shading.

We know a broken bone hurts.  We know a knife wound hurts.  We know grief hurts.  Show us what else it does.

You don’t need to describe the character in pain.  You need to describe how the pain affects the character - how they’re unable to move, how they’re sweating, how they’re cold, how their muscles ache and their fingers tremble and their eyes prickle.

Draw around the egg.  Write around the pain.  And we will all be able to see the finished product.

Seven years after, I see you again 😚