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How To Write - Blog Posts
1st VS 3rd person POV in different genres
So I saw a post about this recently ( i will track it down eventually), but i wanted to illustrate my point (literally).
For Horror, romance etc. I generally use 1st person, because it helps me portray emotion better. As in the illustration, it helps with suspense. You aren't the all-knowing 3rd person and can be surprised. You feel the emotion of the characters!
For anything that isn't emotion-based and relies heavily on description and being able to see further than one person can (sci-fi, for example) 3rd person is the standard.
tl;dr: for emotion, you use 1st person, for description, you use 3rd person.
Im a writer (or mentally ill) = need help
Ok so im doin what most humans write which is creating a world where im god and writing what mainstream media has somehow fucked up, a strong female character, the gays found family, action, (not all media btw just enough) I however need help and someone to look over my writing pm if you'd like to help this would be a nonprofit project anywho I require another opinion aka a more rational one then my own so lemme know if you wanna help
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
Advice for writing relationships
Ship Dynamics
How to create quick chemistry
How to write a polyamorous relationship
How to write a wedding
How to write found family
How to write forbidden love
Introducing partner(s) to family
Honeymoon
Date gone wrong
Fluffy Kiss Scene
Love Language - Showing, not telling
Love Language - Showing you care
Affections without touching
Giving the reader butterflies with your characters
Reasons a couple would divorce on good terms
Reasons for breaking up while still loving each other
Relationship Problems
Relationship Changes
Milestones in a relationship
Platonic activities for friends
Settings for conversations
How to write a love-hate relationship
How to write enemies to lovers
How to write lovers to enemies to lovers
How to write academic rivals to lovers
How to write age difference
Reasons a couple would divorce on good terms
Reasons for having a crush on someone
Ways to sabotage someone else's relationship
Ways a wedding could go wrong
Arranged matrimony for royalty
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Other Words for "Look" + With meanings | List for writers
Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.
Gaze - To look steadily and intently, especially in admiration or thought.
Glance - A brief or hurried look.
Peek - A quick and typically secretive look.
Peer - To look with difficulty or concentration.
Scan - To look over quickly but thoroughly.
Observe - To watch carefully and attentively.
Inspect - To look at closely in order to assess condition or quality.
Stare - To look fixedly or vacantly at someone or something.
Glimpse - To see or perceive briefly or partially.
Eye - To look or stare at intently.
Peruse - To read or examine something with great care.
Scrutinize - To examine or inspect closely and thoroughly.
Behold - To see or observe a thing or person, especially a remarkable one.
Witness - To see something happen, typically a significant event.
Spot - To see, notice, or recognize someone or something.
Contemplate - To look thoughtfully for a long time at.
Sight - To suddenly or unexpectedly see something or someone.
Ogle - To stare at in a lecherous manner.
Leer - To look or gaze in an unpleasant, malicious way.
Gawk - To stare openly and stupidly.
Gape - To stare with one's mouth open wide, in amazement.
Squint - To look with eyes partially closed.
Regard - To consider or think of in a specified way.
Admire - To regard with pleasure, wonder, and approval.
Skim - To look through quickly to gain superficial knowledge.
Reconnoiter - To make a military observation of a region.
Flick - To look or move the eyes quickly.
Rake - To look through something rapidly and unsystematically.
Glare - To look angrily or fiercely.
Peep - To look quickly and secretly through an opening.
Focus - To concentrate one's visual effort on.
Discover - To find or realize something not clear before.
Spot-check - To examine something briefly or at random.
Devour - To look over with eager enthusiasm.
Examine - To inspect in detail to determine condition.
Feast one's eyes - To look at something with great enjoyment.
Catch sight of - To suddenly or unexpectedly see.
Clap eyes on - To suddenly see someone or something.
Set eyes on - To look at, especially for the first time.
Take a dekko - Colloquial for taking a look.
Leer at - To look or gaze in a suggestive manner.
Rubberneck - To stare at something in a foolish way.
Make out - To manage to see or read with difficulty.
Lay eyes on - To see or look at.
Pore over - To look at or read something intently.
Ogle at - To look at in a lecherous or predatory way.
Pry - To look or inquire into something in a determined manner.
Dart - To look quickly or furtively.
Drink in - To look at with great enjoyment or fascination.
Bask in - To look at or enjoy something for a period of time.
C&D Original Book Update #1
Things are going great! I had this big problem with how I was going to introduce the letter exchange system between my protagonists because it was messy, with all these section breaks that I hear don't work well in kindle, too much repetition (like their addresses), it just didn't read right. Now it does...
Here's how I did it:
Transcript of the letters between:
—(Character's Name). (Address)
—(Character's Name). (Address)
(I put this at the beginning of the chapter)
Then before each letter, in bold:
(Character's Name)—
Voilá!
And at the first few letters I make clear who the character's writing.
This is the best system I've found... I researched all over the internet and no other system worked for my story.
Now, reading the chapters months after writing them, I've also cringed hard over some stuff, but oh well, I have enough time until September to fix them up. <3
*Taking notes*
Making Fight Scenes Sound Nicer
Euphonics is all about how the words "feel". By incorporating certain sounds, you can influence the mood of the passage.
Mood: Foreboding
use words with 'ow', 'oh', 'ou', 'oo' sonds. These are good for building tension before the fight.
moor, growl, slow, wound, soon, show, show, grow, tow, loom, howl, cower, mound.
Mood: Spooky
use words with 's' sounds, combined with an 'i' sound.
hiss, sizzle, crisp, sister, whisper, sinister, glisten, stick.
Mood: Acute Fear
use word with 'ee/ea' sounds, with a few 's' sounds.
squeal, scream, squeeze, creak, steal, fear, clear, sheer, stream
Mood: Fighting Action
use short words iwth 't', 'p' and 'k' sounds.
cut, block, top, shoot, tackle, trick, kick, grip, grab, grope, punch, drop, pound, poke, cop, chop.
Mood: Speed
use short words with 'r' sounds
run, race, riot, rage, red, roll, rip, hurry, thrust, scurry, ring, crack
Mood: Trouble
use words with 'tr' sounds to signal trouble
trouble, trap, trip, trough, treat, trick, treasure, atroscious, attract, petrol, trance, try, traitor
Mood: Macho Power
If you wan to emphasize the fighters' masculinity, use 'p' sounds.
pole, power, police, cop, pry, pile, post, prong, push, pass, punch, crop, crap, trap, pack, point, part
Mood: Punishment
If your fight involves an element of punishment use 'str' sounds
strict, astride, strike, stripe, stray, strident, stroke, strip, instruct, castrate strive
Mood: Defeat
use 'd' sonds
despari, depressed, dump, dig, dank, damp, darkness, drag, ditch, drop, dead, deep, dark, dull
Mood: Victory
use 'j' and 'ch' sounds
joy, cheer, jubilant, jeer, chuck, chariot, choose, chip, jest, jamboree, jig, jazz, jive, rejoice, rejoin
In print, the effectiveness of such euphonics will be very subtle, and it can only serve as an embellishment to what you already have.
Don't use or replace words for the sake of achieving euphonic effects, but this can be something to keep in mind when you are editing your draft!
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5 frustrating workshop rules that made me a better writer
Throughout the 15 workshops I joined in college and grad school, I encountered two types of writing rules.
First, there were the best-practice guidelines we’ve all heard, like “show don’t tell.” And then there were workshop rules, which the professor put in place not because they’re universal, but because they help you grow within the context of the workshop.
My college’s intro writing course had 5 such rules:
No fantasy, supernatural, or sci-fi elements.
No guns.
No characters crying.
No conflict resolution through deus ex machina.
No deaths.
When I first saw the rules, I was baffled. They felt weirdly specific, and a bit unfair. But when our professor, Vinny, explained their purpose (and assured us he only wanted us to follow the rules during this intro workshop, not the others to come), I realized what I could learn from them.
1. No fantasy, supernatural, or sci-fi elements.
Writers need to be able to craft round characters, with clear arcs. While you can hone those skills writing any type of story, it can be more difficult when juggling fantastical elements, because it’s easy to get caught up in the world, or the magic, or the technology, and to make that the focus instead of the characters. So Vinny encouraged us to exclude such elements for the time being, to keep us fully focused on developing strong, dynamic characters.
2. No guns.
Weapons have a place in many stories, but when writers include a gun, they often use it to escalate the plot outside of the realm of personal experience and into what Vinny called “Hollywood experience.” He wanted us to learn how to draw from our own observations and perceptions of life, rather than the unrealistic action, violence, and drama we’d seen in movies, so he made this rule to keep us better grounded in our own experiences.
3. No characters crying.
When trying to depict sadness, writers often default to making characters cry. While there’s nothing inherently wrong with that, tears are just one way to show grief, and they aren’t always the most subtle or emotionally compelling. That’s why Vinny challenged us to find other ways to convey sadness — through little gestures, strained words, fragile interactions, and more. It was difficult, but opened us up to depicting whole new gradients of grief and pain.
4. No conflict resolution through deus ex machina.
This is the only one of the rules I’d say is generally universal. Meaning “God from the machine,” deus ex machina is a plot device where a character’s seemingly insurmountable problem is abruptly resolved by an outside force, rather than their own efforts. These endings are bad for various reasons, but Vinny discouraged them because he wanted us to understand how important it was for our characters to confront their struggle and its consequences.
5. No deaths.
Death is inherently dramatic and can be used to good effect, but many writers use death as a crutch to create drama and impact. Writers should be able to craft engaging, meaningful stories, even without killing off their characters, so this rule challenged us to find other methods of giving weight to our stories (such as through internal conflict).
How these rules helped me grow as a writer
First things first, I’ll say it again: apart from #4 (deus ex machina), these rules were never meant to be universally applied. Instead, their purpose was to create temporary barriers and challenges to help us develop key skills and write in new, unfamiliar ways.
For me, the experience was invaluable. I liked the way the rules challenged and stretched my abilities, driving me to write stories I’d have never otherwise attempted. They made me more flexible as a writer, and while I don’t follow the rules anymore (I LOVE me some fantasy), I’ll always be thankful for how they shaped my writing.
My recommendation to you?
Give some of these rules a shot! Follow them temporarily while writing 2-4 short stories — but remember to always keep their purpose in mind, because the rules themselves will only help if you understand what they’re trying to achieve.
Write with purpose, and you’ll always be growing.
— — —
For more tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.
how to write creepy stories
over describe things
under describe things
short sentences in rapid succession build tension
single sentence paragraphs build dread
uncanny valley = things that aren't normal almost getting it right
third person limited view
limited expressions
rot, mold, damage, age, static, flickering, espsecially in places it shouldn't be
limited sights for your mc - blindness, darkness, fog
being alone - the more people there are, the less scary it is
intimate knowledge, but only on one side
your reader's imagination will scare them more than anything you could ever write. you don't have to offer a perfectly concrete explanation for everything at the end. in fact, doing so may detract from your story.
Why the Protagonist Must Be a Problem-solver
In some ways, this post's topic sounds obvious, in others . . . not so much. On the surface, the tip seems simple, and yet, it is easily and often overlooked.
Your protagonist must be a problem-solver.
Yup.
A problem-solver.
I don't care if she's the laziest, most passive, most dimwitted person on the planet, within the context of the plot, she must be a problem-solver (even if a reluctant one).
Otherwise, she'll feel like a weak character.
Otherwise, the plot will feel weak.
Of course, I'm sure you can find rare exceptions to this.
But 99% of the time, your protagonist needs to be a problem-solver.
So let's talk about why.
Why it's Important for The Character
Imagine a protagonist who doesn't problem-solve. She encounters the antagonist, reacts emotionally, but doesn't do anything to try to win the conflict, or at least gain the upper hand of the conflict. She won't be interesting for very long. It's hard to care about what happens to her, when she's putting no effort in to resolve it, when she doesn't care enough to try to fix it herself. It may start to feel like she's stuck in a loop--just circling the same internal responses over and over again, never really progressing, never really moving on.
Sometimes writers mistakenly think this makes her more sympathetic, but in reality, as counterintuitive as it may sound, the opposite is true. Audiences lose interest or become annoyed.
We've all met people who talk, and whine, and fume about their problems but don't do anything to better their situation. We may feel sorry for them at first, but eventually, we want them to take action to improve their predicament. Often we may even find ourselves giving advice (or in some cases, doing the problem-solving work for them).
We feel the same way about characters.
Your protagonist doesn't need to be the next Sherlock Holmes or Violet Baudelaire to be a "problem-solver."
At the most basic level, what this means is that when she encounters an antagonistic force (a problem), she's coming up with--or perhaps shifting--goals and plans (however big or small, or grand or modest), and taking action to try to make those a reality.
If she's not doing that, she's probably too passive in the plot and not exercising enough agency. The story is happening to her, but she's not doing anything to make the story happen. She's not influencing the direction of the story.
When the protagonist is the one coming up with goals and plans, and implementing them, the audience becomes more invested in her. They want to stick around to see if she's successful. She also now holds some accountability over what happens--the consequences--and that actually makes her more interesting and more sympathetic. What happens, good or bad, is on her. She holds responsibility.
If your protagonist isn't problem-solving, it may be a sign that her wants aren't strong enough. Solid stories will showcase the protagonist's deepest desires (however big or small, or grand or modest), what she would sacrifice almost anything to obtain, avoid, or maintain. If the right desire is in jeopardy, the protagonist should naturally be driven to problem-solve. Characters with strong wants are more compelling. And in reality, we all have powerful wants we house deep within our hearts.
Great stories will test and challenge the deep desires of the protagonist's heart. And if that's not happening, you likely haven't figured out your protagonist's deepest desires or you need to alter the character so that she desires what she desires more deeply. Don't settle on something she kinda wants. Find what she'd be tempted to sacrifice her life for--literally or figuratively (meaning her current lifestyle). What does she want to obtain, avoid, or maintain bad enough, that she'd consider doing things she wouldn't ordinarily do? That's the kind of want you should showcase--whether it be obtaining recognition as employee of the month, avoiding responsibility by taking on a new identity, or maintaining control by offing all rebels.
It's usually helpful to focus on an abstract want--obtain recognition, avoid responsibility, maintain control--that can then manifest into various concrete goals. Most people aren't going to give their "lives" to become "employee of the month," but many have gone to such lengths to obtain recognition; becoming employee of the month is just one way to obtain that. So even if the goal seems modest on the surface, tie it to a deep abstract want. (A bit of a tangent, but it's useful, so I left it in here 😉)
When the protagonist is problem-solving, it conveys to the audience what she cares about. If the rebels are increasing in power, and she doesn't do anything about it, then obviously she doesn't really care about being in control very much. That's not a deep desire of her heart. So we need the protagonist to problem-solve to help convey character.
And finally, if she's not struggling to overcome (problem-solving), she's probably not growing through a character arc. She's stagnant. She's not changing her worldview as she strives for success, nor is she wielding her beliefs, growing in resolve. This can make any attempt at an internal plotline feel repetitive or nonexistent, because the character isn't progressing on an internal journey. She's just stuck in the same spot.
Why It's Important for the Plot
Solid stories will showcase the protagonist's deepest desires, and even if those desires are abstract (obtain recognition, avoid responsibility, maintain control), if the character wants them bad enough, they will manifest into concrete goals (employee of the month, new identity, off the rebels) that have specific plans (show up on time to work, move to a new city, locate the rebels' base).
So the protagonist has a goal. The antagonist opposes the goal.
And since there should be an antagonist for nearly every scene, this means there are problems in nearly every scene.
If the protagonist isn't trying to solve those problems, by adjusting his goals and plans, then it's likely the plot isn't properly progressing. Like I mentioned with the internal journey above, the external journey probably feels repetitive, or in some ways nonexistent. It's just circling the same situation over and over, in the toilet bowl.
If you find yourself arguing against this, then it's likely because another character is the one doing most of the problem-solving, in which case, it's also highly likely that character is the true protagonist, and your "protagonist" is really more of a viewpoint character spectating the external plotline.
The plot needs conflict in order to progress properly. If the antagonist shows up, and the protagonist allows himself to just get beaten, it's not strong conflict. Sure, stuff is happening, but if the antagonist is hammering him to the ground without his resistance, it's not much of a conflict. It's passive victimization. And while that might work in a scene or two, it's not going to hold for a whole story, or even a whole act.
A passive victim isn't a problem-solving protagonist. Obviously.
So, suffice it to say, your protagonist needs to be a problem-solver.
me: *writes fic*
me: great! time to post to ao3-
ao3 summary box: *exists*
me:
ao3 summary box:
me:
ao3 summary box:
me:
the worst
Show, don’t tell
"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:
1. Use Sensory Details
Tell: "The room was cold."
Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."
Tell: "He was scared."
Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."
2. Focus on Actions
Tell: "She was angry."
Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."
Tell: "He was exhausted."
Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."
3. Use Dialogue
What characters say and how they say it can reveal their emotions, intentions, or traits.
Tell: "She was worried about the storm."
Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.
4. Show Internal Conflict Through Thoughts or Reactions
Tell: "He was jealous of his friend."
Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."
5. Describe the Environment to Reflect Mood
Use the setting to mirror or hint at emotions or themes.
Tell: "The town was eerie."
Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."
6. Let Readers Infer Through Context
Give enough clues for the reader to piece things together without spelling it out.
Tell: "The man was a thief."
Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."
7. Use Subtext in Interactions
What’s left unsaid can reveal as much as what’s spoken.
Tell: "They were uncomfortable around each other."
Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."
8. Compare to Relatable Experiences
Use metaphors, similes, or comparisons to make an emotion or situation vivid.
Tell: "The mountain was huge."
Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."
Practice Example:
Tell: "The village had been destroyed by the fire."
Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."