the-story-of-erin-lee

Latest Posts by the-story-of-erin-lee

Jealousy Starters

"Why do you need to talk to them?"

"You seem to enjoy their company more than mine."

"Are you cheating on me?"

"I saw how you looked at them."

"Why did they text you?"

"You never laugh like that with me."

"Who were you with last night?"

"You’re always so secretive with your phone."

"I bet you’re hiding something from me."

"I don’t trust your friends."

"Why did you stay out so late?"

"Who is more important to you, me or them?"

"You never make time for us anymore."

"Are they more interesting than me?"

"You didn’t tell me you were meeting them."

"I feel like you’re replacing me."

"Why do you need to dress up for them?"

"Are you trying to impress someone else?"

"Why didn’t you invite me?"

"I bet you wish you were with them instead."

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

I don’t post writing tips myself very much anymore, but a very easy manuscript polishing tip is to do a search for the -ness suffix, and then replace the word with a more appropriate noun.

Quickness? Switch it to “speed.”

Tenseness? Try “tension.”

Easiness? I think you mean “ease.”

Even words like sadness can sometimes be traded for something more precise. Like what kind of sadness? Would disappointment be better? Melancholy? Even just “emotion,” and then add in another detail that helps the reader understand they’re sad?

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

kindergarten

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawnshop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

windmill

wishing well

wizard tower

Okay, okay, here's perhaps my spiciest and most controversial take yet.

Now, before I even say anything, please note that I am talking specifically about fantasy. Not retellings of myths, not historical fiction set in different countries, nothing like that. This is for second-world fantasy, where you're creating a whole different world.

Ready?

Stop making everything so damn complicated!

This is not to say that you can't have a rich and exciting world filled with lore, religion, different societies, traditions, unique geographies. Not that. Of course we want that: it's the whole reason we read fantasy. I'm talking about something else.

This is my simple takedown, and you can read the rest to better understand what I mean:

Stop jamming your story with five billion weird words.

Don't use super complicated nouns.

Keep the characters to a minimum so we can know and like them.

Don't yammer on about all the backstory.

Stop making readers do homework just to understand things.

Focus on the feeling a story gives instead of the intricate worldbuilding.

Why is it important to keep things simple?

A lot of people shy away from fantasy because they assume that every fantasy story is going to be so complicated that their head will hurt. Not in terms of plot - many people like complicated plots - but in terms of terminology and history. Things that ultimately don't really matter to the plot.

We as writers often assume that everyone cares about our story as much as we do and is equally captivated by every detail. This is simply not true.

To your reader, your story is not their life's work: it is entertainment that they want to be able to pick down and put up at their leisure. It's a distraction from their difficult lives and all their real-world frustrations. If they get really into it and, say, write fanfic or whatever, that's amazing! But they're not likely to do that if they feel like they'll be jumped on for doing something wrong or that they have to include every single little detail.

For example, I wrote over 1 million words of Touken Ranbu fanfic. Touken Ranbu, at its heart, has a very simple premise: you've got a bunch of legendary swords that were turned into hot men and fight evil time-traveling monsters. You can understand it with just that. There are layers to it, though, that you can slowly untangle. That makes for good writing because it works on multiple levels depending on how much you care about it.

I would have given up on the story if I felt like I needed a dictionary just to understand the plot. Most people would. Language needs to be accessible and premises need to be clear, or no one is going to want to go deeper.

Subtle little details that people can pick up are way more enjoyable than tossing every single factoid at people so that they feel overwhelmed and can't think. It's wonderful to have rich layers of symbolism, mythology, etc. That's excellent. But you can only get people to care about those things if they can actually comprehend your damn story.

A lot of the things that turn people off from fantasy are all about a writer's ego, and it oozes through the work. People can tell that you're wanting them to pat you on the back for putting so much shit in your story. It's annoying and a total turn-off when you make readers work so hard to comprehend what you're saying.

So what exactly am I talking about? This.

Using made-up terms for everything that could easily be explained with a normal English word

When I am writing fantasy, I imagine myself as a translator. After all, my made-up societies have their own made-up language (Seinish) that is referenced a few times.

However, I'm not using Seinish words all the time. I'm writing in English. I didn't write out a Seinish dictionary or even come up with most of the terms because, honestly? Most readers don't care. They want to understand what's going on in as simple of terms as possible, with only a few specific terms that remind us that we're somewhere different.

I may use some specialized terminology, but it's always couched in context clues that make us aware of what it is without actually having to just say "sdlkjfslkdjf, also known as a marketplace."

For example, in The Eirenic Verses, the High Poet Society has religious centers called meronyms. (Which actually isn't a made-up word, just used in a unique context.) We know they're religious centers because we see all the religious leaders living there. Someone sees the term "meronym" and goes "oh yeah, that's the religious place" and moves on.

It's one of the only confusing, specialized terms in the book other than place names, which people expect whenever they're reading fantasy. Because of that, it stands out and is easy to remember. It's not one of 1029310283012830132 different terms someone has to remember in order to follow along.

Even Tolkien, famed for literally writing an entire extra book full of lore for his stories, doesn't really use that much specialized terminology except for place names. My favorite author, China Mieville, only uses specialized terminology for things that have absolutely no basis in our reality and that can't be explained otherwise. And he's an extremely eloquent guy who uses the weirdest words possible whenever he can. If he can write a book that's mostly comprehensible without a cheat sheet, you can too.

If there is an English term for what you are trying to explain, just use that, for the love of god. The point of writing a story is not to show how smart and special you are: it is to tell a story. You need to remove as many barriers to access as possible.

Things that get a pass and can be made up most, if not all, of the time:

Place names (as in specific places, not categories of things)

Peoples' names

Languages

Species that don't exist in our world

Modes of transportation that don't exist in our world

Magic that can't be explained in any other way

Technology that can't be defined by our language

Look, if you have an animal that is basically a dragon, just call it a dragon. If you've got a wheeled carriage, call it a carriage. Call earth magic something based in earth terms, like "terravitae" or something, idk. There should be some connection to our world in your terminology because you are writing this in English for an English-speaking audience.

It doesn't make you a lazy writer, it makes you one that wants people to understand what you're talking about. Again, imagining yourself as a translator is a good way to keep yourself from going ham on the nouns.

Proper nouns that are way too complicated

Let's look at some well-known proper nouns from fantasy.

Middle Earth

Narnia

Earthsea

Discworld

Westeros

Ankh-Morpork

Bas-Lag

Wonderland

They're all ... simple. They're not a million syllables with weird intonations and accents and all that. If you showed this to a medieval peasant, they'd probably be able to pronounce them and would likely understand that they were place names.

Unless there's a good reason to have a weird name, don't use one. Come up with something simpler.

All of these I mentioned are three syllables or less, making them easier to remember. In fact, I'd argue that nearly every proper noun in your book should be no more than three syllables. Maybe one or two four-syllable ones.

Any very weird name should be balanced out by several easier ones so that it stands out.

40 million characters

Younger writers often want their world to feel very lived in, so they introduce dozens of characters with their own names, descriptions, backstories, etc etc etc. The problem is that this is a huge mental load on your reader, especially if a lot of the characters have very similar names. It makes reading your stuff into a chore rather than an enjoyable experience.

Now, some literary greats do have a lot of characters. But they get away with it because they're great.

I'm not great, so I don't do that.

I'd also suggest that you don't do that, regardless of how good you think you are.

To see if you have too many chracters, write out a dramatis personnae and rank it in terms of importance. Does your top tier have like 15 characters? Cut some. Figure out where they are in the story and if they don't exist for more than a few pages, delete them. Absorb them into someone else.

If a character is only in one scene, don't bother naming them. They don't matter enough. This reduces the cognitive load for your reader because they can see that character for what they are: a background person who exists only briefly.

Any time you name a character, they need to have deep plot relevance. The more unusual your character's name, the more important they should be. And they should have some sort of relationship to another character, preferably the main character. Otherwise, why are they there? Why do we care? Go away!

Way too much backstory

I am an adult and my brain is filled with 50 million other things. I have to remember stuff for my job, I have a to-do list, I have family I care about who needs me.

Your story is not the end-all be-all of my existence. Hell, my story is not the end-all be-all of my existence either. I want to be able to pick up your book, understand what's going on, and then delve a bit deeper or even make up my own headcanons.

I do not need the entirety of your story's world thrown at me right off the bat. It is overwhelming and tiring. Imagine if you visited a different country and someone immediately came up to you and started spewing the whole history of the country right after you stepped off the plane. That's what you're doing to your readers!

Think also about how you approach your everyday world. Do you reel off a million facts about your personal history the instant you meet someone? No, of course not. It'd be weird and creepy.

Are you constantly recalling facts about your city while walking down the street? Do you even know any major facts about your city? You probably know a few little trivia points and that's it. Because it's not relevant to you, and it's not relevant to your readers, either. I can't recall off the top of my head when Cleveland was settled, but I can tell you that we have the world's first Dunkleosteus fossil in our museum, because that is interesting to me. That's the kind of thing that makes a place feel lived-in, not four hundred thousand pages of exposition about the place's history.

Give your readers time to settle in, and reveal things slowly as they make sense. Maybe we hear a little bit about the country's government as they pass a parliament house, or because they have to visit the city center for a different reason. If it's not pertinent to the current scene, then don't put it there.

I've got tons of lore for my world. Some of it may be referenced one singular time, and some of it may be never referenced at all. That's okay, because it's just for me to get a better sense of the place I created. If a reader doesn't need it, then I don't bother putting it in, because it might detract from their enjoyment.

Overall: stop making your readers do homework!

We do not want our readers to feel like they are working when they are reading our stuff. Excellent writers can infuse deep themes and symbology into their stories without making it feel like work. These are the writers who are remembered forever, because not only have they made a good story that you can enjoy at a surface level, but they have also twined in deeper themes that you can dive into after you've digested the story.

I did my undergrad in British literature, so I read a lot of Shakespeare and contemporaneous authors. Shakespeare is considered complicated by modern standards because of the Elizabethan language, but if you translated it into modern terms, his stories are simple. People betray each other and stab each other, or fuck each other, or get transported to weird magical worlds.

You could watch a Shakespeare play and think absolutely nothing of the themes, but still enjoy the story. You could know absolutely nothing about Greek history and still get the gist.

This is because Shakespeare specifically wrote his plays to appeal to a mass audience. He was a god-tier author when it came to balancing symbology and plot. To be like Shakespeare, be simple. Remember that your reader does. not. really. care. all that much. They don't.

It's very unlikely that your writing is going to become someone's life's work and they're going to spend their whole existence studying. Cool if true, but unlikely.

Your job is to make a story that people like and want to read. Only when you've gotten people liking and reading do you get permission to go ham with the backstory and the characterization and the weird names, because they trust you to create a story that they will like. Otherwise, your primary objective is making people feel things so they want to feel more things and read more stories.

People care more about how a story makes them feel than the specifics

Yes, of course there are outliers to this who really want every single detail of the world, but those are few and far between. You should not tailor your story to these exceptions. Think about the average everyday person.

I have many books that I love, but I can't tell you everything about them now. I can, however, tell you how I felt when I was reading them: the plot twists that made me gasp, the thing that made me cry. I can give you a general, sweeping impression of whether I liked or disliked the story and what made me feel something. This is what people recommend books based on: how they felt.

Your story should focus on the plot and the emotion. People watch movies, listen to music, read books, or look at art to feel something, not to memorize factoids for later usage. Even if they do want to memorize factoids, they won't do that if they haven't built an emotional connection to the story.

While in life, we want facts over feelings, it's opposite in creative writing. We want feelings over facts. The emotional resonance, the mood, the characters, the plot: that is what is important, not showing off how smart you are and how much you have thought about your story.

Writing Resources - Masterlist

This masterlist will host the links to the posts and threads I've saved as writing resources. None of them are mine - all the credits go to the amazing people who made them.

Characters

Author, Narrator, Protagonist, Hero... Who is What ?

Creating Black Characters With Intent

Flaws to Give to Your Characters

How to Write a Character Who's in Pain

Open Letter from a Poc for People Who Are Writing Characters of Colour

Questions for Crafting Problematic Characters

Top-Tier Villain Motivations

Fantasy

Fantasy Guide to Education

Reasons Why Can't Your Characters Use Magic To Fix Everything

Some Locations and Structures to Include in Your Forest

What No One Tells You About Writing Fantasy

Good to Know

A quick Guide to Animal Symbolism

Differences Between UK and USA Military Dog Tags

How Boat Pronouns Work

Medical Facts that are Commonly Overlooked

Realistic Travel Time

Slater's Impromptu List of Military Reference Material

The Symbolism of Flowers

Horror

How to Write Creepy Stories

Most Common Character Flaws in Horror Fiction

"Never Were" and "Used to Be" Monsters

Tips

Resources About Survival in the Wild

How to Make Your Writing Less Stiff

Pep-Talk - You Are Allowed to Be Proud of What You Write + List of YT Channels and Amazon Links for Writing

Write Smarter, Not Harder

Vocabulary

Aesthetic Words to Fill Up Your Vocabulary

Bilingual Characters - German Edition

CoD - Spanish for Ale and Rudy Fics

IRL Operator Phrases/Terms - USA Edition

Gemstone Colors

German Pet Names

List of Wikipedia Articles - British and American Words and Differences

Scottish Phrases and Words for Soap MacTavish (or Scottish Characters in general)

On Using Words that Indicate Sounds and Tones for Dialogues

Voices

A Guide to Write a Mancunian Accent

Growled, Roared, Snarled, Etc... A Brief Description

Other

Backup Your Tumblr Blog

Disable Recall for Microsoft's Copilot+ PCs

Protect Your Stories on AO3

Mii's Blog Recommendations

@deception-united - I love the resources this person shares ! They have a masterpost that lists their useful posts, but they also complete some of these posts as answers to asks and reblog a lot of other resources.

@leisureflame - This blog has a lot of resources, advice and prompts ! The author also offers to help with other people's struggles too, which is immensely wholesome in itself.

@writers-potion - This blog has tons of amazing posts to help writers with their research. I keep coming back to it, and highly recommend checking it out ! Here are this person's extremely useful Masterpost (1) and Masterpost (2).

Ideas to Show Secret Pining

"Why don't you join me?"

"I'll give you a ride, don't worry."

*does something they don't like* "What? I like it."

*immense staring at every chance they get*

*thinking of their crush while listening to songs*

"You said you liked it so I brought it for you."

*finds ways to spend more time with them*

*friendly bullying intensifies*

"I'm looking forward to seeing you there."

"Are you gonna be there?"

"How about we sneak off, just you and me?"

"Why don't I cook for them? What's their favourite dish again?"

*aggressive google searches about how to propose to your crush*

"I'll join those dance lessons, maybe then she'll notice me."

*hopeless around them*

*failed flirting attempts*

*increased compliments*

"My problem is that I like them a little too much for my sanity."

*gets jealous* "So, are you seeing them or something?"

"Are you okay?" // "Completely okay!" (definitely not okay)

*tries to sabotage their crush's date*

*gets into trouble so they can be scolded by their crush*

"I want you to come with me, please?"

-ashlee

Creating Compelling Character Arcs: A Guide for Fiction Writers

As writers, one of our most important jobs is to craft characters that feel fully realized and three-dimensional. Great characters aren't just names on a page — they're complex beings with arcs that take them on profound journeys of change and growth. A compelling character arc can make the difference between a forgettable story and one that sticks with readers long after they've turned the final page.

Today, I'm going to walk you through the art of crafting character arcs that are as rich and multi-layered as the people you encounter in real life. Whether you're a first-time novelist or a seasoned storyteller, this guide will give you the tools to create character journeys that are equal parts meaningful and unforgettable.

What Is a Character Arc?

Before we go any further, let's make sure we're all on the same page about what a character arc actually is. In the most basic sense, a character arc refers to the internal journey a character undergoes over the course of a story. It's the path they travel, the obstacles they face, and the ways in which their beliefs, mindsets, and core selves evolve through the events of the narrative.

A character arc isn't just about what happens to a character on the outside. Sure, external conflict and plot developments play a major role — but the real meat of a character arc lies in how those external forces shape the character's internal landscape. Do their ideals get shattered? Is their worldview permanently altered? Do they have to confront harsh truths about themselves in order to grow?

The most resonant character arcs dig deep into these universal human experiences of struggle, self-discovery, and change. They mirror the journeys we all go through in our own lives, making characters feel powerfully relatable even in the most imaginative settings.

The Anatomy of an Effective Character Arc

Now that we understand what character arcs are, how do we actually construct one that feels authentic and impactful? Let's break down the key components:

The Inciting Incident

Every great character arc begins with a spark — something that disrupts the status quo of the character's life and sets them on an unexpected path. This inciting incident can take countless forms, be it the death of a loved one, a sudden loss of power or status, an epic betrayal, or a long-held dream finally becoming attainable.

Whatever shape it takes, the inciting incident needs to really shake the character's foundations and push them in a direction they wouldn't have gone otherwise. It opens up new struggles, questions, and internal conflicts that they'll have to grapple with over the course of the story.

Lies They Believe

Tied closely to the inciting incident are the core lies or limiting beliefs that have been holding your character back. Perhaps they've internalized society's body image expectations and believe they're unlovable. Maybe they grew up in poverty and are convinced that they'll never be able to escape that cyclical struggle.

Whatever these lies are, they'll inform how your character reacts and responds to the inciting incident. Their ingrained perceptions about themselves and the world will directly color their choices and emotional journeys — and the more visceral and specific these lies feel, the more compelling opportunities for growth your character will have.

The Struggle

With the stage set by the inciting incident and their deeply-held lies exposed, your character will then have to navigate a profound inner struggle that stems from this setup. This is where the real meat of the character arc takes place as they encounter obstacles, crises of faith, moral dilemmas, and other pivotal moments that start to reshape their core sense of self.

Importantly, this struggle shouldn't be a straight line from Point A to Point B. Just like in real life, people tend to take a messy, non-linear path when it comes to overcoming their limiting mindsets. They'll make progress, backslide into old habits, gain new awareness, then repeat the cycle. Mirroring this meandering but ever-deepening evolution is what makes a character arc feel authentic and relatable.

Moments of Truth

As your character wrestles with their internal demons and existential questions, you'll want to include potent Moments of Truth that shake them to their core. These are the climactic instances where they're forced to finally confront the lies they believe head-on. It could be a painful conversation that shatters their perception of someone they trusted. Or perhaps they realize the fatal flaw in their own logic after hitting a point of no return.

These Moments of Truth pack a visceral punch that catalyzes profound realizations within your character. They're the litmus tests where your protagonist either rises to the occasion and starts radically changing their mindset — or they fail, downing further into delusion or avoiding the insights they need to undergo a full transformation.

The Resolution

After enduring the long, tangled journey of their character arc, your protagonist will ideally arrive at a resolution that feels deeply cathartic and well-earned. This is where all of their struggle pays off and we see them evolve into a fundamentally different version of themselves, leaving their old limiting beliefs behind.

A successfully crafted resolution in a character arc shouldn't just arrive out of nowhere — it should feel completely organic based on everything they've experienced over the course of their thematic journey. We should be able to look back and see how all of the challenges they surmounted ultimately reshaped their perspective and led them to this new awakening. And while not every character needs to find total fulfillment, for an arc to feel truly complete, there needs to be a definitive sense that their internal struggle has reached a meaningful culmination.

Tips for Crafting Resonant Character Arcs

I know that was a lot of ground to cover, so let's recap a few key pointers to keep in mind as you start mapping out your own character's trajectories:

Get Specific With Backstory

To build a robust character arc, a deep understanding of your protagonist's backstory and psychology is indispensable. What childhood wounds do they carry? What belief systems were instilled in them from a young age? The more thoroughly you flesh out their history and inner workings, the more natural their arc will feel.

Strive For Nuance

One of the biggest pitfalls to avoid with character arcs is resorting to oversimplified clichés or unrealistic "redemption" stories. People are endlessly complex — your character's evolution should reflect that intricate messiness and nuance to feel grounded. Embrace moral grays, contradictions, and partial awakenings that upend expectations.

Make the External Match the Internal

While a character arc hinges on interior experiences, it's also crucial that the external plot events actively play a role in driving this inner journey. The inciting incident, the obstacles they face, the climactic Moments of Truth — all of these exterior occurrences should serve as narrative engines that force your character to continually reckon with themselves.

Dig Into Your Own Experiences

Finally, the best way to instill true authenticity into your character arcs is to draw deeply from the personal transformations you've gone through yourself. We all carry with us the scars, growth, and shattered illusions of our real-life arcs — use that raw honesty as fertile soil to birth characters whose journeys will resonate on a soulful level.

Happy Writing!

NEED HELP WRITING? (a masterlist)

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

"Said" is Beautiful by @blue-eyed-author

Trope chats: Dream twists

The dream plot twist, a narrative device wherein a significant portion of the story is revealed to be a dream or illusion, has been a recurring trope in literature. This essay embarks on a deep dive into the appeal, pitfalls, and evolution of the dream plot twist, examining its historical roots, its enduring appeal, the challenges it poses, and how it has evolved over time.

The dream plot twist captivates readers by challenging their perception of reality within the narrative. It adds a layer of complexity to the storytelling, prompting readers to question the authenticity of the events they've witnessed. This twist provides a sense of surprise and revelation, offering authors a unique opportunity to subvert expectations and manipulate the narrative trajectory. The dream plot twist can evoke a range of emotions, from shock and disbelief to introspection and reevaluation, as readers grapple with the implications of the revelation.

The dream plot twist has roots in ancient storytelling traditions, where dreams were often considered conduits to otherworldly realms or divine messages. However, it gained prominence in Western literature with the advent of psychological realism in the 19th century. Works like Lewis Carroll's "Alice's Adventures in Wonderland" and Ambrose Bierce's "An Occurrence at Owl Creek Bridge" demonstrated how dreams could be wielded as powerful narrative tools.

Over time, the dream plot twist has evolved, taking on various forms and purposes. It has been used to explore the nature of consciousness and reality, as seen in Philip K. Dick's science fiction works like "Do Androids Dream of Electric Sheep?" and Christopher Nolan's film "Inception." Alternatively, authors have employed dream sequences to delve into characters' inner thoughts and emotions, providing insight into their subconscious minds.

Despite its appeal, the dream plot twist is not without its pitfalls. The revelation that a significant portion of the story was a dream can leave readers feeling cheated or manipulated. If not executed skillfully, it can be perceived as a narrative shortcut or a cheap gimmick. Authors must tread carefully to ensure that the twist enhances the story rather than undermining the reader's investment in the narrative.

Moreover, excessive use of the dream plot twist can lead to predictability, diminishing its impact over time. Readers may become wary of investing emotionally in a story, fearing that the events they witness may ultimately prove illusory.

The dream plot twist can significantly impact reader engagement, for better or worse. When executed effectively, it can prompt readers to reassess the entire narrative, fostering discussions and interpretations. However, if mishandled, it may lead to frustration and a sense of betrayal, eroding the trust between the author and the audience.

The dream plot twist remains a fascinating and versatile narrative device, offering authors a unique tool to explore themes of perception, reality, and consciousness. Its enduring appeal lies in its ability to surprise, challenge, and provoke thought. However, authors must navigate the potential pitfalls with care, ensuring that the twist enhances the narrative rather than diminishing the reader's investment. As literature continues to evolve, the dream plot twist remains a potent and enigmatic element, weaving its ethereal magic through the fabric of storytelling.

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

How to Make your Writing Less Stiff 4

Let’s keep this train rollin’! This time less down to line edits and more overall scope of your narrative

Part 3

1. Foreshadowing

Nothing quite like the catharsis of accurately predicting where something’s going to go. It doesn’t have to be a huge plot twist or a character death, it can (and should) be little things that reward your audience for paying attention. Double points if it adds to rewatch/re-readability.

Example: In The Dark Knight, this exchange happens:

Harvey: “You’ve known Rachel all her life.”

Alfred: “Oh, not yet, Sir.”

You won’t think anything of it on your first watch. Alfred is just making a witty joke that throws Harvey off. Watch the movie again, when Rachel dies, and it becomes some incredibly dark foreshadowing. Turns out Alfred has, actually, known Rachel all her life.

2. Chekhov’s Gun

Chekhov’s Gun is a narrative concept where a seemingly inconsequential element introduced at some point in the narrative (a gun) must “fire” by the end of the narrative. Sometimes this element leaves audiences uneasy or anxious, because they know something bad must come of it. Sometimes they think nothing of it until it’s about to fire and you get a one-two punch of the realization that it’s about to hit, and then the impact of the hit. It helps create tension, and tension is incredibly important (if you want a whole post of my take on it, lmk).

It also helps your narrative look more cohesive, where nothing is left on the table. Your set-ups and payoffs leave no threads dangling.

3. Repetition

The Rule of threes can apply on a micro and macro scale. I like doing lists of adjectives in threes, (e.g. My cat is soft, fluffy, and adorable) because the cadence and the flow of three is something we’re familiar with in spoken language. We like three supporting examples for an argument. Any less doesn’t feel strong enough, any more feels like you’re trying too hard. This is not a rule it’s a suggestion.

On a grander scale, you can look at the script of Curse of the Black Pearl for a masterclass in macro rules of three, like three parlays. Doing this helps your narrative look more cohesive and like every detail is thoroughly interwoven and nothing is coincidence. Your audience will get to the third instance and mimic that DiCaprio pointing meme—they will absolutely notice.

4. Motifs

Motifs as well, beyond threes, help. Colors are a huge one. For example every time you mention the color purple, you could attach it to an emotion, or a character, or an important plot beat, like how leitmotifs work for character themes in movies and TV shows.

Obvious examples in film are like lightsaber colors or dressing up the good guys in white and the bad guys in black. I did this whole post about color in fiction.

It’s a lot of other things too. Weather elements and times of day, or specific inconsequential objects popping up over and over again, like birds, or litter, fallen leaves, clothing items. Whenever the narrative mentions them, the author is trying to clue you in on some subtext within that scene.

—

My new novel is here!!! Do you like supernatural fantasy? How about queer vampires? How about acespec characters? Then Eternal Night of the Northern Sky is for you!

The Mini Guide to Crafting Compelling Royal Characters for Fiction Writers

Creating royal characters can be both exciting and challenging. These regal figures often play pivotal roles in stories, capturing readers' imaginations with their power, privilege, and the weight of responsibility they carry. Whether you're writing historical fiction, fantasy, or contemporary novels featuring monarchs, this comprehensive (mini) guide will help you develop authentic, multi-dimensional royal characters that will resonate with your readers.

Understanding the Basics of Royalty

Before diving into character creation, it's essential to have a solid grasp of what royalty entails. Royalty typically refers to members of a ruling family, including kings, queens, princes, princesses, and other nobles within a monarchical system. These individuals are often born into their roles, though some may ascend to power through marriage or other means.

Key aspects to consider:

Hierarchy and succession

Royal duties and responsibilities

Protocol and etiquette

The concept of divine right (in some cultures)

The relationship between royalty and their subjects

Remember, while these elements are common in many royal systems, you have the creative freedom to adapt or reimagine them for your fictional world.

Developing Your Royal Character's Background

Every character, royal or not, needs a rich backstory. For royal characters, this background is particularly crucial as it shapes their worldview, values, and decision-making processes.

Consider the following:

a) Lineage: What is your character's family history? Are they from a long-standing dynasty or a newly established royal house?

b) Upbringing: How were they raised? Were they groomed for leadership from birth, or did they have a more sheltered upbringing?

c) Education: What kind of education did they receive? Was it formal, focusing on statecraft and diplomacy, or more well-rounded?

d) Relationships: How do they relate to their family members, courtiers, and subjects?

e) Personal experiences: What significant events have shaped their character and outlook on life?

Crafting a Unique Personality

Avoid the trap of creating one-dimensional royal stereotypes. Your character should be as complex and nuanced as any other well-developed protagonist or antagonist.

Consider these aspects:

a) Strengths and weaknesses: What are your character's admirable qualities? What flaws do they struggle with?

b) Motivations: What drives them? Is it a sense of duty, personal ambition, or something else entirely?

c) Internal conflicts: What personal struggles do they face? How do these conflicts affect their rule and relationships?

d) Hobbies and interests: What passions do they pursue outside of their royal duties?

e) Sense of humor: How do they express humor, if at all? Is it dry wit, sarcasm, or something else?

Balancing Power and Vulnerability

One of the most intriguing aspects of royal characters is the juxtaposition between their immense power and their human vulnerabilities. This balance can create compelling internal and external conflicts for your character.

Consider:

The weight of responsibility and its impact on their personal life

The isolation that often comes with a royal position

The constant scrutiny they face from the public and court

The struggle between personal desires and duty to the crown

Creating a Believable Royal World

Your royal character doesn't exist in a vacuum (I hope not). They're part of a larger royal ecosystem that includes family members, advisors, courtiers, and subjects. Developing this world adds depth and authenticity to your story.

Key elements to consider:

Court dynamics and politics

Relationships with other noble houses or kingdoms

The role of advisors and how they influence decisions

Traditions and customs specific to your royal setting

The economic and social structure of the kingdom

Addressing the Challenges of Royal Life

Royal characters face unique challenges that can drive your plot and character development. Some common themes include:

a) Succession disputes b) Balancing personal happiness with duty c) Navigating political alliances and conflicts d) Managing public opinion and maintaining legitimacy e) Dealing with threats to their rule or life

Use these challenges to create tension and drive your story forward while revealing more about your character's personality and values.

The Impact of Historical Context

If you're writing historical fiction or a fantasy inspired by real-world monarchies, it's crucial to consider the historical context. Research the time period and culture you're drawing from to ensure authenticity in your character's behavior, beliefs, and challenges.

Key areas to research:

Social norms and expectations of the time

Political systems and power structures

Technology and its impact on governance

Religious beliefs and their influence on royalty

Gender roles and how they affect royal duties and succession

Avoiding Common Pitfalls

When creating royal characters, be mindful of these common mistakes:

a) Making them too perfect or too villainous b) Ignoring the realities of royal life (e.g., lack of privacy, constant duties) c) Overlooking the impact of their decisions on their subjects d) Failing to show growth or change over the course of the story e) Relying too heavily on stereotypes or clichés

Incorporating Royal Etiquette and Protocol

Royal characters often adhere to strict codes of conduct and protocol. While you don't need to become an expert in royal etiquette, incorporating some of these elements can add authenticity to your story:

Forms of address (Your Majesty, Your Highness, etc.)

Court ceremonies and rituals

Dress codes and regalia

Rules of precedence in social situations

Diplomatic protocols when interacting with other royals or dignitaries

Exploring Different Types of Royal Characters

Remember that not all royal characters need to be ruling monarchs. Consider exploring other royal roles, such as:

The rebel prince or princess who rejects their royal duties

The reluctant heir thrust into power unexpectedly

The exiled royal fighting to reclaim their throne

The royal spouse adapting to life in the palace

The illegitimate child discovering their royal heritage

Each of these archetypes offers unique storytelling opportunities and challenges for character development.

Balancing Historical Accuracy and Creative License

If you're writing historical fiction featuring real royalty, you'll need to strike a balance between historical accuracy and creative interpretation. While it's important to respect known facts and timelines, you also have the freedom to explore the inner lives and motivations of these historical figures.

Tips for balancing accuracy and creativity:

Thoroughly research the historical figure and their time period

Clearly differentiate between historical fact and fictional interpretation

Use author's notes to explain any significant departures from known history

Focus on filling in the gaps in the historical record rather than contradicting established facts

Developing Royal Character Arcs

Like any well-rounded character, your royal protagonist should undergo growth and change throughout your story. Consider how their experiences might challenge their beliefs, alter their perspective, or force them to confront their flaws.

Possible character arcs for royal characters:

From naive idealist to pragmatic ruler

From reluctant heir to confident leader

From isolated monarch to connected leader who understands their subjects

From power-hungry tyrant to benevolent ruler (or vice versa)

Remember, character growth doesn't always have to be positive. Sometimes, the most compelling stories involve characters who face moral decline or tragic falls from grace.

Remember, while the trappings of royalty may be grand, at their core, your royal characters are still human. They love, fear, hope, and struggle like anyone else. It's this humanity, set against the backdrop of power and responsibility, that makes royal characters so fascinating to read and write about.

Happy writing, - Rin T

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

Google Docs

Membership Form for Write Right Society (Fill-Out Form!)

Welcome to Write Right Society! At Write Right Society, we are dedicated to nurturing the creative spirit and honing the skills of writers a

Gumroad

The Writer's Scene Workbook

Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo

words to use instead of ________

"Mad"

aggravated, angry, annoyed, boiling, cross, enraged, exasperated, fuming, furious, heated, incensed, indignant, irate, irritable, livid, offended, outraged, riled, steamed, storming, upset

"Nice"

amiable, charming, cordial, courteous, delightful, favorable, friendly, genial, gentle, gracious, helpful. inviting, kind, lovely, obliging, peaceful, peachy, pleasant, polite, swell, sympathetic, tender, welcoming, well-mannered, winning

"Pretty"

alluring, appealing, attractive, beautiful, charming, cute, delightful, desirable, elegant, eye-catching, fair, fascinating, gorgeous, graceful, intriguing, lovely, pleasing, striking, stunning, sweet

"Said"

alleged, argued, asked, asserted, babbled, bellowed, bragged, commented, complained, cried, declined, demanded, denied, encouraged, expressed, giggled, growled, inquired, moaned, nagged, rebuked, rebutted, replied, rejected, retorted, roared, scolded, shrieked, shrugged, stated, taunted, vowed, warned, whined, whispered, yelled

"Went"

avoid, bolt, bound, depart, exit, escape, flee, fly, hike, hop, jaunt, jolt, journey, leap, leave, lurch, march, mosey, move, pace, parade, pass, progress, retreat, saunter, scoot, skip, split, step, stride, stroll, tour, travel, vanish

more words to use instead other words to use instead another list of words to use instead

CORRECTLY Writing "Morally Gray" Characters

Want to write a hot, cool, and bad character but DON'T want he/she to come across as toxic, downright bad, or, god forbid, cringe? Well, I've got a couple of tips that may help you create exactly what you want!

1. Softness

Okay, yes we want this character to be tough and cool, but there also needs to be a certain softness, no matter how small, that comes with them. If there's someone that your character prioritizes or cares about, there has to be a point or two that it shows--a moment where they're soft only for the people that they care about. Why? Because this establishes the humanity in them. It shows the readers that your character IS human, not an emotionless monster.

2. Goals

Key to any good characters are their goals. The thing is, for this type of a character, their objectives can't be so random. They need a reason for their actions, and it needs to be valid. Usually, this is reasoned out by some kind of past epiphany, which is crucial because without it, your character doesn't have anything solid backing up their goals.

Bad things, but for a good reason.

Now, why is this important? Because it can pull readers to their side. As long as they understand the cause, they have a chance to follow your character's side, increasing their likeability!

3. Neutrality

Notice how this is a "morally gray" character, not a "completely evil" one. Why does this matter? Well, a trait people tend to overlook when writing these characters is the morally gray, or neutral, part. It's important to just occasionally show that your character is walking the fine line and in my opinion, a great way to achieve this is to have them help the protagonist out (instead of always fighting against them) one, or even two times!

4. Positive Characteristics

This is a very simple one, but make sure to depict a couple positive qualities (besides just being hot) of your character! Like my first point, it's pivotal to illustrate that they have some humanity, and this is an easy and great way!

Throw in a few good characteristics (I have a post with some examples of redeeming qualities for villains if you need some help), and let it show that they are still respectable!

5. Backstory

I believe that with certain characters that play certain roles in the story, explaining their backstory is a NEED for them; and this character type is no different! Introducing even a bit of their past can get the audience interested in your character. It also allows for better understanding of them and shows how they changed over time.

6. CONFIDENCE

Be confident in your skills when writing this character! To many, the idea of "cringeness" makes them second-guess how they should write. In reality, it's better to write it however you wish, because if you're confident in one moment and clearly less in another, the readers are able to sense any unexpected changes in things in your character's tones, expressions, and actions.

It's important to keep your character in, well, character. Still, there's going to be a few moments that break it, but it shouldn't be in any unnatural way.

If your character is flirty, then let them act flirty. If they mess around a lot, then let them mess around. Don't limit their actions or words just because you think some people might find it cringe!

Alright, that's it for me! What do you think? Are they valid or unreasonable?

Happy writing~

3hks <3

How to Give Your Character Unique Dialogue: A Guide for Writers

Hey there, fellow writers!

Crafting memorable characters isn’t just about their backstory or physical traits—it’s also about how they speak. Unique dialogue can make your characters stand out and feel more real. Here’s a quick guide on how to give your characters a voice that’s all their own:

1. Know Your Character Inside Out

• Background: Where did they grow up? What’s their education level?

• Personality: Are they sarcastic, formal, shy, or bubbly?

• Motivations: What drives them? How does this affect their speech?

2. Use Distinctive Speech Patterns

• Catchphrases & Slang: Does your character have a favorite saying or unique slang?

• Rhythm & Pace: Do they speak quickly when excited or slowly when thinking?

• Filler Words: Um, like, you know—these can reveal a lot about a character’s confidence and background.

3. Reflect Their Environment

• Regional Dialects: Incorporate local idioms or accents.

• Professional Jargon: Use specific terms related to their job or hobbies.

4. Show Their Emotions

• Tension & Relaxation: How does their speech change under stress or when they’re relaxed?

• Subtext: What are they not saying? Use pauses and interruptions to show this.

5. Keep it Consistent

• Consistency is Key: Ensure their dialogue remains true to their character throughout your story.

6. Read Aloud

• Test it Out: Read your dialogue out loud. Does it sound natural? Does it fit the character?

7. Edit Ruthlessly

• Trim the Fat: Remove unnecessary words. Make every line count.

• Avoid Info-Dumping: Let dialogue reveal character and plot naturally, not as an exposition dump.

Example Time!

Here’s a snippet showing how distinct dialogue can differentiate characters:

Aloof Scientist:

“The quantum flux anomaly is, frankly, quite perplexing. However, if we calibrate the resonator to precisely 9.42 terahertz, we might just mitigate the interference.”

Street-Smart Rebel:

“Look, I don’t know shit about your fancy science talk, but if it’s gonna help us bust outta here, I’m all in. Just tell me where to hit.”

Happy writing, and may your characters’ voices ring true!

Follow my Pinterest and Tiktok for more writing tips and inspo!

Pinterest

🔮Plot Mage - Writing Guides, Tips, Inspo and Resources🪄 💜🩶 (ThePlotMage) - Profile | Pinterest

🔮Plot Mage - Writing Guides, Tips, Inspo and Resources🪄 💜🩶 | 🩶 Inspo for all your characters, worldbuilding, and writing needs ✨

Writing Description Notes: Eating

Updated 12th July 2024 More description notes

John enjoyed each bite, the flavors bursting in his mouth like fireworks.

Jane skillfully twirled her fork, gathering a mix of flavors with every turn.

The smell of the freshly cooked meal surrounded them, exciting their taste buds before they took their first bites.

John closed his eyes in joy as he tasted the perfect blend of spices in the dish.

Jane's laughter mixed with the sound of clinking cutlery, creating a lively atmosphere at the dinner table.

The satisfying crunch filled the room as John bit into the crispy outside of the dish.

Jane's plate was colorful, with each ingredient adding to the beautiful meal.

The warm, inviting smell of home-cooked food filled the kitchen, drawing everyone to the table.

John's hunger grew with each bite, as the delicious meal celebrated great cooking.

Jane's eyes sparkled with happiness as she tasted the homemade dish, feeling transported to a place of culinary joy.

Cut Adjectives From Your Draft

Choosing a noun well will allow you to cut adjectives. This tightens your sentences and clarifies the meaning:

a young tree -> sapling

a single-storey house -> a bungalow

a young female horse -> a filly

her long thick hair -> her mane

a prudish person -> a prude.

his bald scalp -> his pate

an unpleasant smell -> a stench

a small child -> a toddler

a brown-haired woman -> a brunette

Of course, the choice of noun depends on context, but if you can use one word, why use two?

Writing style. If you have a lush writing style, you would use more adjectives compared to a terse one. However, more than three adjectives in a sentence will slow down the story.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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

💎Before you ask, check out my masterpost part 1 and part 2 

💎For early access to my content,  become a Writing Wizard 

Showing 'Excitement' in Writing

Eyes lighting up, sparkling with anticipation

A broad, uninhibited smile

Bouncing lightly on the balls of the feet

Clapping hands together

An animated, almost unstoppable flow of talk

Quick, energetic movements

Laughing freely and loudly

Rushing to share the news with someone else

A sudden burst of energy, such as jumping or running

Throwing arms up in a gesture of victory or joy

Signs of Attraction

Mirroring your movements unconsciously.

Frequent light touches on your arm or back during conversation.

Persistent eye contact, with pupils dilated when looking at you.

Quick glances at your lips while talking.

Frequent, almost nervous laughter in response to your jokes.

Finding excuses to start or extend conversations.

Revealing personal details in hopes of creating a deeper connection.

Sudden interest in your hobbies or activities.

Adjusting clothing or hair when they notice you looking.

Offering compliments not just about your appearance, but your qualities or achievements.

Standing closer to you than to others in a group.

Making plans for future meetings without a specific reason.

Let's Edit: Tightening the Plot

Sometimes, deleting a few words from the manuscript will not be enough to get an immersive story with no draggin bits.

Here are some ideas.

Delete Unnecessary Bits

Delete introspection. Whenever your POV spends time thinking, assessing, remembering, musing or emoting, cut the lot.

Delete the journey. Whenever your character spends time walking, driving, rising or flying to a place, cut it short.

Delete backstory. Readers need to know less backstory than you think.

Shrink the sequels. Sequels are paragraphs where the author shows how characters react to the action in the previous paragraph.

Tighten the Plot

Condense the timeframe. Instead of a year, make it three months. You will have to watch out for continuity errors (no three Christmases in a year, character ages, etc.)

Condense the geography. Instead of fights happening in five different locations, have them happen on one place.

Condense the characters. Whenever there are several people of a kind (two sisters, four colleagues), let there be just one. You can also combine characters - the gym instructor is also the noisy neighbor, the choir conductor is also the owner of that pesky cat.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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

💎Before you ask, check out my masterpost part 1 and part 2 

💎For early access to my content,  become a Writing Wizard 

Showing 'Sadness' in Writing

Eyes brimming with unshed tears

Shoulders drooping, as if bearing a heavy weight

A quiet, almost inaudible sigh

A far-off gaze, eyes not focusing on anything specific

A faint tremor in the voice when speaking

Slow, shuffling steps

Turning away to hide one's face

Forcing a smile that doesn't reach the eyes

A hand absently tracing an old scar or memento

Slumping against a wall or sinking into a chair

unexpected confessions prompts

„I didn’t plan to say this, but I can’t hold it in any longer.”

“you have no idea how long I’ve wanted to tell you this.”

“this might come out of nowhere, but I’m in love with you.”

“i can’t keep pretending. i have to tell you how i feel.”

“you deserve to know the truth: I’ve always cared about you.”

“i didn’t expect to fall for you, but I did.”

“this is probably the worst time to say it, but I love you.”

“i’ve been keeping this secret for too long. i need you to know.”

“it’s crazy, but every time I see you, my heart skips a beat.”

“i never thought I’d have the courage to say this, but here goes nothing.”

“i didn’t realize how much you meant to me until now.”

“i’ve been hiding my feelings for so long, but I can’t anymore.”

“this isn’t easy for me to say, but I need you to know the truth.”

“you’re the only person I’ve ever felt this way about.”

“i never believed in love at first sight until I met you.”

Expressing 'Anger' in Writing

Jaw clenching tightly

Hands balling into fists

Veins throbbing visibly at the temple

Eyes narrowing to slits

Breathing becoming quick and shallow

Stomping or heavy footsteps

Voice rising in pitch or volume

Flushing or reddening of the face

Throwing or slamming objects

Brows knitting together in frustration

Lips pressing into a thin line

Teeth grinding audibly

Staring with a hard, fixed gaze

Sarcasm dripping from every word

Snapping responses or barking orders

Instead of "Said", consider

replied

stated

exclaimed

remarked

declared

mentioned

commented

responded

articulated

noted

announced

asserted

observed

suggested

opined

acknowledged

claimed

professed

explained

affirmed

Words to Use Instead of "Happy"

joyful

cheerful

delighted

ecstatic

elated

jubilant

content

pleased

satisfied

thrilled

blissful

overjoyed

gleeful

merry

upbeat

buoyant

radiant

sunny

euphoric

exuberant

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

betrayal and trust prompts

“i never thought you’d be the one to betray me.”

“after everything we’ve been through, this is how it ends?”

“i told you my deepest secrets, and this is how you repay me?”

“you’ve broken my trust, and I don’t know if I can ever forgive you.”

“i thought you were different, but you’re just like the rest.”

“i wish i could turn back time and see the truth sooner.”

“i don’t know if I can ever look at you the same way again.”

“you’ve shattered everything we built together.”

“was any of it real, or was it all a lie?”

“you were the last person I expected to hurt me.”

“i trusted you more than anyone else, and you broke that trust.”

“how long were you planning this? how long have you been lying to me?”

“you’ve left me with nothing but questions and a broken heart.”