If You're Trying To Get Into The Head Of Your Story's Antagonist, Try Writing An "Am I The Asshole" Reddit

This also has an etymology feature, so if you’re like me and need to find if a word existed in the time era you’re writing, Merriam-Webster is also helpful for that.

i just found out merriam webster has a time traveler feature that tells you some of the words that were “born” the same year as you. it’s pretty neat yall should do this

great ways to get injured solo

Sometimes another person is involved, but the truly talented whumpee can do it all on their own:

Falling out of a tree. Leads to broken bones, bruises from hitting other branches, and concussions

Food poisoning. Enough said.

Ice over a lake cracking. Full submersion leads to hypothermia. Or just a foot in the water leads to a bad case of frostbite

Animal bites. The ragged edges are hard to sew up leading to scarring. They get infected so easily, leading to fever and a long slow recovery

Snake bites. The properties of snake venom vary depending on the snake’s usual prey and predators. This means they offer a wide variety of symptoms to whump your characters with

Spider bites. See above.

Car accident. So many options. Bruising, internal bleeding, broken bones, bloody nose, whiplash, trauma, etc.

Being thrown from a horse. The old-school version of a car accident

Editing  & Proofreading Cheat Sheet

– A lot of questions I receive revolve around editing and proofreading, so I decided to make an extensive guide to editing your own writing. I collaborated with some amazing friends on this post so this is dedicated to them as well as all of you. I hope you find it useful. Enjoy!

Know The Difference: Editing vs. Proofreading

Editing is about the content, proofreading is about the technical detail and accuracy. Once you know the difference and you separate the two into different tasks, going through and actually doing it will seem less daunting. Deciding which to tacking first depends on what you’re like when you edit, but if you struggling with focusing on actually improving the content because you get distracted by grammatical errors and spelling mistakes, then proofreading first may be a good idea. 

Be Intentional With Your Vocabulary

Avoid adverbs

Be frugal with unique adjectives

Only use dialogue tags when absolutely necessary

Be mindful of overused words

Take the time to find the right words

The words you choose can make all the difference so pay special attention to them.

Just Keep Snipping

A basic rule to editing that people often forget it, if it doesn’t serve a purpose, you should cut it out. A short book that is amazing all the way through is better than a long book that is redundant. Don’t worry about leaving your readers in the dark or not having enough content. As you edit, you’ll find ways and places in which to input more information.

Flow & Rhythm

This is the part where you make sure the writing itself sounds how you want it to. It’s important to read your writing aloud during this stage. Some things to pay attention to regarding flow and rhythm:

sentence length/variation

sentence structure

syllables and how they fit together

how your writing sounds out loud

Eloquence

Say it once and say it clearly. Redundancy bores readers so quickly, so when putting information forward, be clear, concise, and don’t add fluff. You don’t need to write a whole paragraph about how a character feels in a situation. It’s important to give the reader just enough to read between the lines.

Grammar

Common Grammar Mistakes To Look For

Subject-verb agreement errors

Sentence Fragments

Missing Comma After Introductory Element

Misusing The Apostrophe With “Its”

No Comma In A Compound Sentence

Misplaced Or Dangling Modifier

Vague Pronoun Reference

Wrong Word Usage

Run-On Sentence

Superfluous Commas

Lack Of Parallel Structure

Sentence Sprawl

Comma Splice

Colon Mistakes

Split Infinitives

List from here x {Explains these further and more in depth}

Improper Use of Phrases

“could have” not “could of”

“My friends and I” not “me and my friends” {If you take away “my friends” or “I”, or one of the nouns in a sentence in general, the sentence should still make sense}

“I couldn’t care less” not “I could care less”. This should be a no-brainer.

etc.. I could go on.

Familiarize yourself with these common mistakes and avoid making them at all costs. It’s also helpful to have someone read over it and let you know when they find issues with phrases you used. Please be attentive to these mistakes because making them can destroy your credibility as a writer.

Utilize The Senses

If you’re describing something in your writing, you should be slipping in words and little details that appeal to the reader’s senses, When editing, look for opportunities to slip in how a place smells, how a food tastes, how something feels to the touch, etc. It’s unbelievable how much this enhances your story.

Punctuation & Format

Punctuation Rules In English

the period (or full stop in British English)

the comma

the exclamation mark

the question mark

the colon

the semicolon

the quotation mark

the apostrophe

the hyphen and the dash

parentheses and brackets

Source x

When proofreading and marking up your manuscript, it can save a lot of time and energy if you use marks instead of actually write out everything, so here is a little chart I found that may be useful to you:

Other Things To Look Out For

Make sure you know who is talking

Keep tense consistent

Vary the tone from scene to scene

Run-on sentences

Inconsistencies in story details

Plot holes

Causes and effects of events are explained

Facts and technical details {Make sure you’ve researched them well}

Deviations from established background (know your story really really well and make sure your reader does too)

General Tips

Go in assuming that your work is full of errors. Maybe it’s not, but it’s better to be prepared for the worst and solve the issues now rather than when it’s too late

DO NOT BE SENTIMENTAL. Yes, easier said than done, but it’s possible. 

Make the text less recognizable to yourself in order to catch details you may not otherwise.

Print out your manuscript and physically write out the changes.

Read your writing out loud. Sometimes writing looks like it makes sense, but in reality sounds wrong. 

Do it in short periods over time so that you don’t inevitably get lazy with paying attention to little details

Keep in mind that editing usually takes longer than actually writing the draft because it is less fluid and requires more thought and problem solving.

Don’t rely on spelling and/or grammar checking software; they’re not always correct and can easily misinterpret what you’re trying to get across. 

Check for a single error at a time. It may be time consuming and tedious but it’s more effective than the alternative.

Give yourself time and read slowly through it multiple times

Split up large chunks of text to make it easier to handle. Don’t go through your whole manuscript page by page as if you were just reading it as a book. Go chapter by chapter or scene by scene or even sentence by sentence.

If something seems off, investigate it. Don’t take a chance and leave it be. If you’re stumped, highlight it and have someone else look over it.

Have a strategy. Maybe not at first, especially if you don’t extensively edit your work regularly, but with time you’ll find what works for you and what doesn’t. Create your own system and use it to save yourself some time and confusion.

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More bits of writing discussion

Describe your Main Character sheet

Skin

Tone: Pale, Rosy, Olive, Dark, Tanned, Alabaster, Ebony, Bronze, Golden, Fair

Texture: Smooth, Rough, Silky, Coarse, Flaky, Supple, Wrinkled, Calloused, Bumpy

Condition: Moles, Acne, Dry, Greasy, Freckled, Scars, Birthmarks, Bruised, Sunburned, Flawless

Complexion: Clear, Ruddy, Sallow, Glowing, Dull, Even-toned, Blotchy

Eyes

Size: Small, Large, Average, Tiny, Bulging, Narrow

Color: Grey, Brown, Blue, Violet, Pink, Green, Gold, Hazel, Crimson, Amber, Turquoise, Sapphire, Onyx

Shape: Doe-eyed, Almond, Close-set, Wide-set, Round, Oval, Hooded, Monolid

Expression: Deep-set, Squinty, Monolid, Heavy eyelids, Upturned, Downturned, Piercing, Gentle, Sparkling, Steely

Other: Glassy, Bloodshot, Tear-filled, Clear, Glinting, Shiny

Hair

Thickness: Thin, Thick, Fine, Normal

Texture: Greasy, Dry, Soft, Shiny, Curly, Frizzy, Wild, Unruly, Straight, Smooth, Wavy, Floppy

Length: Cropped, Pixie-cut, Afro, Shoulder length, Back length, Waist length, Past hip-length, Buzz cut, Bald

Styles: Weave, Hair extensions, Jaw length, Layered, Mohawk, Dreadlocks, Box braids, Faux locks, Braid, Ponytail, Bun, Updo

Color: White, Salt and pepper, Platinum blonde, Golden blonde, Dirty blonde, Blonde, Strawberry blonde, Ash brown, Mouse brown, Chestnut brown, Golden brown, Chocolate brown, Dark brown, Jet black, Ginger, Red, Auburn, Dyed, Highlights, Low-lights, Ombre

Eyebrows: Thin eyebrows, Average eyebrows, Thick eyebrows, Plucked eyebrows, Bushy eyebrows, Arched eyebrows, Straight eyebrows

Lips

Shape: Full, Thin, Heart-shaped, Bow-shaped, Wide, Small

Texture: Chapped, Smooth, Cracked, Soft, Rough

Color: Pale, Pink, Red, Crimson, Brown, Purple, Nude

Expression: Smiling, Frowning, Pursed, Pouting, Curved, Neutral, Tight-lipped, Parted

Nose

Shape: Button, Roman, Hooked, Aquiline, Flat, Pointed, Wide, Narrow, Crooked, Upturned, Snub

Size: Small, Large, Average, Long, Short

Condition: Freckled, Sunburned, Smooth, Bumpy

Build

Frame: Petite, Slim, Athletic, Muscular, Average, Stocky, Large, Lean, Stout, Bony, Broad-shouldered, Narrow-shouldered

Height: Short, Tall, Average, Petite, Giant

Posture: Upright, Slouched, Rigid, Relaxed, Graceful, Awkward, Stiff, Hunched

Hands

Size: Small, Large, Average, Delicate, Strong

Texture: Smooth, Rough, Calloused, Soft, Firm

Condition: Clean, Dirty, Manicured, Scarred, Wrinkled

Nails: Short, Long, Polished, Chipped, Clean, Dirty, Painted, Natural

Voice

Tone: Deep, High, Soft, Loud, Raspy, Melodic, Monotonous, Hoarse, Clear, Gentle

Volume: Loud, Soft, Whispery, Booming, Muted

Pace: Fast, Slow, Steady, Hasty, Measured

Expression: Cheerful, Sad, Angry, Calm, Anxious, Confident, Nervous, Excited, Bored

things i have to remind myself (writer edition)

writing doesn’t get easier.

sometimes you have to write for the sake of writing.

plot should be allowed to change.

the story in your mind will never perfectly translate into text and that’s okay.

characters change, they’re supposed to change.

you’re supposed to enjoy what you write.

educate yourself about the different cultures you write about.

your friends shouldn’t be your critics.

the side character you love so much? sometimes they need to be cut from the story.

write what you want to read and not what you think people want to read.

there is no age limit in publishing, you have all the time in the world.

not every idea will grow into a story, sometimes you need to let go.

love your story, because it will be just the two of you for a while.

it’s okay to not write every day, that doesn’t make you less of a writer.

Body Language Cheat Sheet for Writers

As described by Selnick’s article:

Author and doctor of clinical psychology Carolyn Kaufman has released a one-page body language cheat sheet of psychological “tells” (PDF link) fiction writers can use to dress their characters.

On Scars

(This post is an excerpt from Maim Your Characters: How Injuries Work in Fiction.)

First off, let me be clear about what I mean when I say the word scars. I’m not talking about the medical definition: rough tissue that overlies a wound as it heals over time.

I’m using a broader definition of any physical evidence of a previous injury.

That can be the amputated hand, the limp from a spinal cord injury.

It can also include tattoos. (Maui’s moving tattoos in Moana are a perfect example of this: his tattoos are a physical embodiment of where he’s been.)

Scars, by this broad definition, are an interesting shorthand for a story, whether we actually see that tale or not. We use them as a way to say there’s a story here. Sometimes our global story gives us the chance to tell it, sometimes not; either way, scars can be an interesting way to add depth to a character.

In fact, sometimes a scar is integral to explaining and understanding who that character is.

For example, we know that Peter Pan’s Captain Hook has been involved in some fierce battles, because he lost his hand – and had it replaced with his legendary pirate hook. That hook is a symbol of the cold cruelty he now gives off.

The eponymous Harry Potter wouldn’t truly be Harry without his lightning-bolt forehead scar. For Harry, it’s not just about his past, it’s about his future: his fate and the fate of the scar-giver are intertwined, a battle that will determine the fate of the world. Worse, it’s all inscribed on his forehead, for everyone to see.

Darth Vader’s scars in Star Wars are extensive, so much so that they shroud his identity completely. While we see the faces of the heroes, and even of Emperor Palpatine himself, Vader’s wounds require a respirator mask that obscures his face and makes him the terrifying villain he is. He’s actually turned the support system he needs to stay alive – a depersonalizing suit and respirator – into something useful, a mask to terrify his enemies. Vader’s life is, in some ways, enhanced by his disability, and he’s certainly comfortable moving in his world with the scars he’s got.

In Moana, the demigod Maui’s scars are branded on him as tattoos. These are the stories of who he’s been and where he goes. When hero-protagonist Moana asks him where they come from, he tells her, “They show up when I earn them.”

This isn’t dissimilar to the battle scars on an old soldier, sailor, or mercenary: their wounds are manifested on their flesh.

But if scars are shorthand for a story, if they’re someone’s past writ large, we need to honor that character in the way we represent them. If we elect to give a character scars, they should represent not a plot but a story, something that not only wounds the character but drives them to change internally.

As an example, I’m going to tell you the story of two of my personal scars. At the end we’ll discuss which one would go into a story about me, and why.

Scar #1: The Knife Point. When I was six or seven, I was trying to get some corn off the cob — I wanted to eat it in kernel form for some reason, and I was using a kitchen knife. I got the corn off all right — and drove the point of the knife straight into the webbing between my thumb and forefinger on my left hand. Ouch!

(Actually, it didn’t hurt, it was the sheer volume of blood that was terrifying).

I changed in that I learned not to do that specific task (cutting corn off the cob) that specific way (driving the knife toward my hand).

But it’s not a marker of who I am.

Scar #2: The Bite Mark. Let’s consider another scar, also on my left hand. There’s an old bite mark by the heel of my hand, at the base of my left thumb.

It happened like this: I was fifteen or so, and my neighbor’s dog, Clancy, wasn’t doing well. He was old and he was sick. That day he had become too sick to get up. It was time for my neighbor to take him to the vet and say goodbye.

She had him on a blanket. But he was a big dog, and the vet was far, and she didn’t have a car, and so our neighbor came to ask me and my mom to help get him to the vet. Of course we said yes. We liked her, but more importantly, we loved animals. (Both my mother and I had worked at the vet at one point or another.)

When we went to move him by picking up the blanket and moving him to the car, Clancy reached out and bit me. Not because he was a bad dog, not because he was out to hurt me. He bit me because he was scared and sick and hurt and he didn’t know what to do.

I didn’t feel anger at Clancy, and I didn’t turn afraid of him. I felt sympathy. His act hurt my skin. His pain broke my heart.

So when we got him to the vet, while they were easing his pain and saying goodbye, I calmly and quietly washed my wound in the sink with an antiseptic.

I learned something about myself in that moment.

I learned that healing really is a calling for me. That I was glad we had cared for him and that I was able to help him on his final journey. I was glad to know Clancy. I wasn’t mad, or hurt, even though my hand stung from the antiseptic.

That scar helped me find my internal true north.

Now, which of those scars has meaning? Which of them would you want to include if you were writing me as a character? Which do you think would make it into a memoir, if I wrote one? It’s most certainly the second, the one that helped me figure out who I am, the one that drove me to learn about myself. The first is something that happened; the second is something that changed me.

It’s stories like these that you should use in order to figure out who your characters are – and how to honor them.

Let’s Talk Tattoos.

Tattoos are interesting in that they can be another, more interesting set of shorthand. Unless your character has a Maui-like situation going on, her tattoos won’t simply appear. She’ll not only have to choose what story she wants to represent on her flesh, but she’ll have to choose how to express that story in an image. Then comes the pain of the ritual scarification: the injection of ink under the skin, a microbaptism in pain and blood and pigment.

Tattoos are absolutely fascinating. Because they don’t typically connect to physical wounds so much as to emotional ones, they’re a really great piece of shorthand for getting into the depths of who someone truly is.

My own tattoos are direct messages to myself about how I should live in the world. They’re an easily visible piece of guidance that explores what my role is and should be in the world.

Of course, not all tattoos have this deeper meaning. People choose to tattoo things on themselves for a hundred different reasons, the aesthetics of the design being one of them. Some tattoos are simply trendy. I’m not here to judge anyone’s ink!

But if you’re going to cover a character in tattoos, consider having each of them explore a deeper facet of that character’s personality and the journey they’ve been on.

How to Use Scars Effectively

As we said above, scars are a shorthand for a story. Prominent scars, particular facial or obvious hand scars, are a constant source of tension and questions. When someone has a big scar on their face, we find our eyes drawn to it, a question forming on our tongue: What happened?

But the What happened? isn’t as important as How did it change you? And so my general recommendation with scars is twofold and contradictory:

One: only introduce scars if it’s an incredibly important part of a character’s past.

Two: only introduce scars if it’s an incredibly important part of a character’s future.

So why the two recommendations? Why the contradiction?

Characters are constantly moving, if not in space, then through time. Their scars shape their past, which shapes where they are now and where they’re going.

If a scar is germane to a character’s past, it helps establish where they’re coming from and what their experiences have been.

But those experiences are only important if that scar-causing event is relevant to their future.

The scar a sea captain got fending off pirates once upon a time doesn’t have much to add if his current quest is finding new plumbing for his house. His scar isn’t relevant, unless it intimidates the shady plumber into giving him a better price. Even then, it’s a shallow connection.

Consider the old injury (and its scar) to be a cause.

Ask: what was the effect? If your character got a scar on their eyebrow from a bike accident when she was seven, that scar doesn’t mean anything… unless that was the bike accident where she failed to protect and save her kid brother, which makes her overprotective and hypercautious now.

If she crashed her bike as a kid and merely went on with her life… what was the point? Why tell that story with a scar so visible?

Remember that the point of a story is that people change. If a scar doesn’t fundamentally shape a character, consider simply leaving it out. Window dressing is just that: window dressing.

What we want is to give more insight into who your character is.

Avoiding Wandering Scar Syndrome

Wandering Scar Syndrome is when a character’s scar is on their left eye on Page 3 and their right cheek on Page 12. It’s simply a symptom of not taking good notes.

There are two techniques I’m going to suggest here.

The first is, keep character sheets. Many writers choose to do this, many do not. But especially if you’re going to wallpaper your character with scars and tattoos, it’s worth writing down where they are and what they look like. In fact, copy/pasting the way they were originally described into a separate document is particularly helpful in being sure your descriptions stay consistent throughout the story. It’s a pain in the butt for a moment, but it helps so much with consistency down the line!

Another option is to use [brackets] as an aside.

What do I mean?

Let’s say you talk about a minor character in two different places in the story, chapters — even acts apart.

Kitty Scarborough was the best fighter in town, and she bore the scars to prove it. [Kitty Scar Description — line on her face?] Or, [scar TK]

TK is the editor’s mark for To Come, a placeholder of sorts, and it’s useful for all kinds of things: Name TK, Dog Breed TK, Red sports car [make/model TK], etc. (Once upon a time, this book was littered with TKs .)

Later, we can pull it back up: A tall redhead walked through the door. Kitty Scarborough was easy to recognize, especially by her [Kitty Scar Description].

Why does this work? Why is this helpful?

Because it allows us to maintain flow as a writer. If we know Kitty’s got scars from fighting, we can come up with what exactly those look like later. (We’re using them as evidence of her toughness and battle prowess, not for a particular meaning behind each individual scar she’s got.) So when we describe Kitty, we don’t need to spend ten minutes racking our brain for a cool scar to give her — we can do that later. All we need to drop into our first draft is [Kitty scar] and we can move on!

This works for all sorts of details, from car models to hair colors to background characters’ names, so don’t think it’s just a scar locater!

Later on we can come back, look through our manuscript with the magical Find tool, and simply search for that left bracket, [ . Anything that comes up can be filled in with your text!

Want a good scar generator, including ideas for how it shaped the character? Visit MaimYourCharacters.com/Scars !

This post is an excerpt from Maim Your Characters, from Even Keel Press. If you’d like to read a 100-page sample of the book, [click here]. If you’d like to order a print copy, it’s available [via Amazon.com], and digital copies are available from [a slew of retailers].

xoxo, Aunt Scripty

How to Write Betrayal

Betrayal is a powerful plot element that is represented in countless stories. The gravity of betrayal brings a profound depth to character dynamics, plots, and themes alike, making it an indispensable tool for writers to explore emotions, conflicts, and the complexities of human nature. Let’s explore some quick tips on how to write betrayal!

Behaviour

Secretive actions

Dishonesty

Becoming emotionally distant

A sudden change in routine

Pushing people away

Nervous or fidgety movement

Frequent lying or making up stories

Unexpected aggression or irritability

Unjustified mood swings or emotional outbursts

Increasingly defensive

Interactions

Disturbed interpersonal relationships

Frequent misunderstandings or fights

Withholding information

Avoiding personal discussions

Insincerity in conversations

Frequently cancelling or missing plans

A sudden shift in relationship dynamics

Quick to deflect or place blame

Frequent subject changes

Gradual emotional detachment

Body Language

Avoiding direct eye contact

Defensive stance and crossed arms

Covering mouth or touching face

Shuffling or restless movements

Forcing smiles or laughter

Constantly looking around or at the ground

Stiff, tense posture

Heavy breathing or frequent sighing

Avoiding touch or skin contact

Exaggerated gestures

Attitude

A lack of concern or empathy

Increasingly personal and hurtful arguments

Erratic or unpredictable reactions

Self-centeredness

Insincerity

Dismissive or negative attitude

Callous disregard for other's feelings

A negative or pessimistic outlook

Inability to handle criticism

Withdrawal from relationships

Positive Story Outcomes

In the wake of a betrayal, a story can manifest various positive outcomes that add depth to the plot and its characters. Relationships can be strengthened, showing their resilience. Characters may discover newfound self-reliance and learn valuable lessons about trust and forgiveness, leading to an increase in empathy and understanding, personal growth, and the reinforcement of personal values. These experiences can encourage a clearer understanding of personal boundaries, prompt self-reflection, introspection, and the development of healthier coping mechanisms. Ultimately, these positive outcomes can bring about improved communication and honesty, forming the silver lining in the cloud of betrayal.

Negative Story Outcomes

The aftershocks of betrayal can reverberate throughout your story. This might include an irreparable fracture of trust and damage to relationships. Betrayal can trigger psychological trauma, leading to an increase in suspicion and insecurity. Feelings of inadequacy or self-blame may surface, and characters can experience a heightened sense of isolation. The fear of forming new relationships or trusting others can become overwhelming. There may also be an escalation of conflict or violence and the reinforcement of negative behaviours or patterns. Damaged self-esteem or self-worth may be another repercussion, and this can encourage destructive coping mechanisms.

Helpful Synonyms

Treachery

Deception

Double-crossing

Duplicity

Backstabbing

Two-faced

Disloyalty

Unfaithfulness

Infidelity

Falseness

Perfidy

Treason

Fraud

Deceit

Slander

Misrepresentation

Falsification

Chicanery

Double-dealing