Writing Tips - Blog Posts

A great Twitter thread on character-driven stories, character arcs, and agency by Naomi Hughes

(The link she referenced is this article)

Tips for Writing a Difficult Scene

Every writer inevitably gets to that scene that just doesn't want to work. It doesn't flow, no matter how hard you try. Well, here are some things to try to get out of that rut:

1. Change the weather

I know this doesn't sound like it'll make much of a difference, but trust me when I say it does.

Every single time I've tried this, it worked and the scene flowed magically.

2. Change the POV

If your book has multiple POV characters, it might be a good idea to switch the scene to another character's perspective.

9/10 times, this will make the scene flow better.

3. Start the scene earlier/later

Oftentimes, a scene just doesn't work because you're not starting in the right place.

Perhaps you're starting too late and giving too little context. Perhaps some description or character introspection is needed before you dive in.

Alternatively, you may be taking too long to get to the actual point of the scene. Would it help to dive straight into the action without much ado?

4. Write only the dialogue

If your scene involves dialogue, it can help immensely to write only the spoken words the first time round.

It's even better if you highlight different characters' speech in different colors.

Then, later on, you can go back and fill in the dialogue tags, description etc.

5. Fuck it and use a placeholder

If nothing works, it's time to move on.

Rather than perpetually getting stuck on that one scene, use a placeholder. Something like: [they escape somehow] or [big emotional talk].

And then continue with the draft.

This'll help you keep momentum and, maybe, make the scene easier to write later on once you have a better grasp on the plot and characters.

Trust me, I do this all the time.

It can take some practice to get past your Type A brain screaming at you, but it's worth it.

So, those are some things to try when a scene is being difficult. I hope that these tips help :)

Reblog if you found this post useful. Comment with your own tips. Follow me for similar content.

I've got a protagonist and an antagonist who are part of small rival kingdoms with their own armies. Guns and other such items don't exist (and I have a plausible explanation). They want to kill each other. How can I allow them to enter in combat with each other multiple times and have both of them walk away alive and able to fight another day (even if it takes a few months of recuperation) and still make it realistic? They're both trained in combat, one uses a spear and the other uses a sword. I need to keep them alive for Plot but also need them to fight for Plot and I don't know how to write them realistically fighting without dying. Also there's magic involved so healing is slightly less of a problem but necromancy doesn't exist.

So, something useful to remember about most feudal societies: There are much larger pressures acting upon the individual participants. You could have two kingdoms who want to eradicate one another, but, aren't able to because it would result in fatal reprisals from other powers.

Narratively, stories like this tend to operate in a bipolar structure (in this case, bipolar literally means that there are two relevant powers, your protagonist's faction or alliance, and those who they're arrayed against.) However, in many historical cases like this, there would be a wide array of other competing states (or kingdoms, if you prefer.)

The entire system maintained (relative) stability, because any aggressive action by one participant would leave them weakened and vulnerable to other nearby powers. In European history, this stability was further, “encouraged,” by the Roman Catholic church, whose scribes were often responsible for reading and writing the diplomatic missives sent between lords, with those communications not always, completely reflecting the original intent of their illiterate kings.

So, while full mobilization against a rival kingdom is an option, it's a very dangerous one, even if your king feels they're in a relatively strong position with their other neighbors.

And then they want to kill each other. This is pretty reasonable. However, it's very dangerous for your character.

There a lot of social structures in Medieval Europe were designed to keep anyone from killing the nobility. A bit part of that is the risk of reprisal from your neighbors, or a larger power. Defeating a hostile king on the battlefield would often see them captured and ransomed back to their relatives (or in some cases, simply held hostage for years because their relatives were happy with their new throne, and didn't want to cough up the cash to recover their lost lord.)

If your king wants to kill their rival, they're going to need a very good cover for that slaying, or they'll be branded as a kingslayer, and may face serious consequences, up to and including the loss of their title, excommunication, or a coalition of the dead king's relatives coming for them, with the assistance of other kings who aren't eager to be the next name on your character's hypothetical climb to the top.

Also, again, if we're using Medieval Europe, there are a lot relatives spread around. The nobility in Europe mingled and intermarried, creating a fairly complex web of different blood relations. So, while your character's rival may not have any relatives at home, it's quite possible that he'd have siblings and cousins in dozens of other nearby kingdoms, and potentially even be a blood relation of your characters as well.

There are exceptions to this, such as if they're a non-royal usurper, but in that case, they wouldn't have any protections, and your character would probably have a pretty easy time forming an impromptu alliance to stomp them out, before “restoring” someone with a legitimate claim to that throne. In that case, if their rival really was a peasant usurper, your character could probably get away with executing them on the battlefield with little fanfare. However, if they're actual nobility, even if their claim is shaky, that kind of a killing could have serious consequences.

So, the short version is, your character probably can't politically afford to kill their rival. It really is that simple, and they'd need to find a way to politically insulate themselves against the consequences, or make sure that their rival's death in battle looked like a normal casualty, and not a directed murder.

-Starke

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20 Ways to Show Extreme Fear in Your Writing

As I dive into researching signs of fear for my horror WIP, I wanted to share some of the most compelling and visceral reactions I’ve come across. Whether you’re writing a chilling scene or crafting a character’s panic, these 20 signs of fear can help bring tension and realism to your story.

Physical Reactions

Hyperventilating — sucking in air but never feeling like it’s enough

Chest tightens — feels like a weight or hands pressing down

Limbs shaking violently, knees buckling

Complete loss of muscle control — collapsing or unable to stand

Cold sweat soaking through clothes

Heart hammering so hard they feel it in their throat or head

Tunnel vision — the world narrowing down to one terrifying focal point

Ringing in the ears or sudden deafness, like the world drops away

Dizziness / feeling faint / vision blurring

Dry mouth — unable to speak or even scream

Uncontrollable Behavior

Screaming / sobbing / gasping — involuntary vocal outbursts

Panic run — bolting without thinking, tripping over everything

Clawing at their own skin / chest / throat — like trying to escape their body

Begging / pleading out loud even if no one’s there

Repeating words or phrases — “No, no, no” / “This isn’t happening”

Hiding instinctively — diving under tables, closets, or corners

Desperate grabbing — reaching for someone, anything solid

Loss of bladder or bowel control (for extreme terror)

Total mental shutdown — frozen, slack-jawed, staring blankly

Memory blackout — later can’t recall what happened during the worst moment

Write Believable Intelligent Characters

╰ Let their intelligence show in how they notice things

Smart people aren’t always the ones talking, they’re the ones observing the tiny detail that everyone else misses. They connect dots faster. They clock micro-expressions. They’re already ten moves ahead while everyone’s still arguing about step one.

╰ Don’t make them know everything

The smartest characters have gaps. A genius hacker who can’t do small talk. A professor who’s never seen Shrek. An expert in ancient languages who has zero street smarts. Give them blind spots, and suddenly they feel real—not robotic.

╰ Let their intelligence shape how they argue

A clever character doesn’t always win by yelling louder. Sometimes they cut deep with one sentence. Sometimes they bait someone into proving their point for them. Or smile while delivering verbal chess moves that leave everyone stunned two scenes later.

╰ Smart doesn’t mean wordy

Sometimes the smartest thing your character can say is nothing. Sometimes it’s “Huh.” Or one line that lands like a hammer. Intelligence isn’t just about complexity, it’s about clarity. Bonus points if they say the thing everyone else was dancing around.

╰ Show them solving problems, not just explaining them

Whether it’s picking a lock or defusing a political standoff, let them act. Watching them think on their feet, adapt, and surprise people is way more compelling than giving them long-winded monologues about the history of poison.

╰ Let them struggle with being misunderstood

A smart character might say something that’s totally logical but lands like a slap. Or they assume people see the obvious when they don’t. Intelligence can be isolating. That tension makes them human.

╰ Don’t make them the author’s mouthpiece

If your “smart” character exists to deliver the moral of the story, they’ll feel like a soapbox in a trench coat. Let them be flawed, biased, wrong sometimes. Let them learn. Otherwise, they stop being a character and start being an essay in disguise.

╰ Make their intelligence emotional, too

Book smart is one thing. Emotional intelligence hits differently. Maybe they’re intuitive. Maybe they know how to read a room. Maybe they see through someone’s bravado in five seconds flat. Brains plus empathy? Lethal combo.

╰ Smart doesn’t mean nice

Intelligence can be cruel. Calculated. Detached. Don’t be afraid to let your clever character weaponize their smarts if that’s who they are. Sometimes the coldest characters are the ones who know exactly how to hurt you—and choose not to. Or do.

Three ways to spark story ideas

Dance like crazy to your book/fic playlist (while obsessively thinking about your characters and your plots)

Just live and breathe (it can do wonders)

Read the whole book/fic again (and the notes)

Talk to a friend about where you're stuck

Think outside the box. You do it when you stop trying to fit your book/fic into your first expectations of it (my first concept of this entry was about three ways to find new ideas, but as I wrote, more stuff came out! Embrace ~the new stuff~)

Pet an animal

Have a proper meal

Do something good that you used to do when you were a child

Read your fav books/fics again (or watch movies, series, you got the idea)

Accept the unknown. You'll always lack, you'll always struggle. When stuff gets really shitty, accept that sometimes you can only write a phrase. But try anyway. It's the small victories that win out, in the end.

Best thing about music:

When I have no clue what to write next, I just throw on a carefully curated playlist, hit play, and dance so silly the gods cringe from the heavens.

The ideas come.

Every. Time.

(If they don’t, keep dancing. Sometimes it takes 15 hours or so)

HIII!! I'm planning on creating something apocalyptic, what are some key things to think about? Clothing, food, water, etc wise.

Not to mention places and things to add?

site that you can type in the definition of a word and get the word

site for when you can only remember part of a word/its definition 

site that gives you words that rhyme with a word

site that gives you synonyms and antonyms

hi! pretty new account.

riley/ry 🥖

any prns

desi queer 🇮🇳🏳️‍🌈

minor, bday june 8

communities !

wwatt/will wood (no way??) 👁

gravity falls + adventure time ! 🌀

markiplier + jacksepticye 📷

brandon rogers + helluva boss 🔥

good omens + our flag means death 🫶

ouran high school + saiki k ☕️

cinderellas castle + newsies 🎭

interests !

psychology <3 i can talk about ts for hours

greek + indian literature

HAMLET.

any and all music. learning the uke and drums rn 🥁🥁🥁

astronomy! trying to get more into it but ykyk

tags ?

#ry-rants - usually long paragraphs of random bullshit that make it out of my notes app

#ry-drifter - a new oc that I've been obsessed with for a while

#ry-art - why did i make this one

Tips for writing those gala scenes, from someone who goes to them occasionally:

Generally you unbutton and re-button a suit coat when you sit down and stand up.

You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.

When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.

A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)

Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)

The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.

Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.

Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.

Ways I Show a Character is In Love But Doesn't Know It Yet...

This one’s for the emotional masochists writing the slowest of burns, where your readers are screaming “just kiss already!” by chapter twenty... I Love and Hate you... ♥

They compare everyone else to the person… and everyone else comes up short. Even when they’re not consciously doing it. No one’s laugh is as warm. No one’s eyes crinkle that way.

They remember the weirdest little things about them. Birthdays? Whatever. But that time they snorted laughing at a dumb joke? Locked and loaded.

They feel weirdly guilty when flirting with someone else. Like they’re cheating… except they’re not even dating. Or are they? Or—ugh, feelings are the worst.

They notice every damn detail when the other person isn’t around. "They’d like this song." "This smells like their shampoo." "I wonder what they'd say about this weird squirrel."

They use weird, overly specific compliments. Not “You look good,” but “That color makes your eyes look like a storm in a novel I’d cry over.”

They get weirdly intense about that person being hurt or in danger. Like, irrationally intense. "He’s just a friend," they say while planning to murder anyone who makes them cry.

They feel safer around them than anyone else, and it freaks them out. Like: “I’m always on guard. Except with you. That’s... suspicious.”

Vulnerability Confessions

"Some days, I don’t even like myself. But you, you look at me like I’m worth loving."

"I act like I’m fine, but if you left, I don’t think I’d recover."

"Loving me isn’t easy, I know that. But I swear, I love you in a way no one else ever will."

"I don’t need you to fix me. Just sit with me in the dark until I can find the light."

"You make me feel seen in a way that scares the hell out of me."

"I’m terrified of losing you, but even more terrified of never telling you how much you mean to me."

Small fantasy worldbuilding elements you might want to think about:

A currency that isn’t gold-standard/having gold be as valuable as tin

A currency that runs entirely on a perishable resource, like cocoa beans

A clock that isn’t 24-hours

More or less than four seasons/seasons other than the ones we know

Fantastical weather patterns like irregular cloud formations, iridescent rain

Multiple moons/no moon

Planetary rings

A northern lights effect, but near the equator

Roads that aren’t brown or grey/black, like San Juan’s blue bricks

Jewelry beyond precious gems and metals

Marriage signifiers other than wedding bands

The husband taking the wife's name / newlyweds inventing a new surname upon marriage

No concept of virginity or bastardry

More than 2 genders/no concept of gender

Monotheism, but not creationism

Gods that don’t look like people

Domesticated pets that aren’t re-skinned dogs and cats

Some normalized supernatural element that has nothing to do with the plot

Magical communication that isn’t Fantasy Zoom

“Books” that aren’t bound or scrolls

A nonverbal means of communicating, like sign language

A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)

I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.

10 Non-Lethal Injuries to Add Pain to Your Writing

New Part: 10 Lethal Injury Ideas

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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Some advice for when you’re writing and find yourself stuck in the middle of a scene:

kill someone

ask this question: “What could go wrong?” and write exactly how it goes wrong

switch the POV from your current character to another - a minor character, the antagonist, anyone

stop writing whatever scene you’re struggling with and skip to the next one you want to write

write the ending

write a sex scene

use a scene prompt

use sentence starters

read someone else’s writing

Never delete. Never read what you’ve already written. Pass Go, collect your $200, and keep going.

words to use instead of ______

"Very"

Mild: clearly, decidedly, distinctly, markedly, considerably, notably, largely, recognizably, especially, indubitably Moderate: especially, surprisingly, substantially, uncommonly, chiefly, incredibly, obviously, unmistakably, considerably, awfully, wonderfully, particularly Bold: profusely, unequivocally, strikingly, astonishingly, exceedingly, absolutely, exceptionally, extremely, unquestionably, vastly, incontestably

"A Lot" (time)

Mild: often, oftentimes, sometime Moderate: frequently, usually, various, generally Bold: regularly, recurrent, persistent

"A Lot" (size)

Mild: many, much, several Moderate: numerous, bountiful, considerable Bold: multitude, profuse, vast

"Big"

Mild: sizable, ample, large, considerable, great, above average, important Moderate: ponderous, significant, crucial, vast, copious, magnificent, substantial Bold: enormous, immense, colossal, extensive, endless, paramount, boundless, prodigious, imposing, gigantic, voluminous, limitless, essential

"Small"

Mild: slight, limited, trivial, minor, light, puny, superficial, undersized, dinky, negligible, faint Moderate: scant, petite, inconsiderable, microscopic, dwarf, unsubstantial, minimum, miniature, tiny Bold: insignificant, minute, meager, infinitesimal, ineffectual, undetectable, inconsequential

"Good"

Mild: acceptable, favorable, agreeable, pleasing, satisfactory, satisfying, super, able, relevant, accomplished, efficient, reliable, ample, useful, profitable, adequate, adept Moderate: great, honorable, admirable, commendable, sound, splendid, superb, valuable, wonderful, worthy, clever, proficient, qualified, apt, skillful, thorough, wholesome Bold: excellent, exceptional, gratifying, marvelous, reputable, stupendous, superior, exemplary, virtuous, expert, solid, advantageous, flawless, extensive, perfect

"Bad"

Mild: cheap, dissatisfactory, faculty, off, mean, wrong, unpleasant, unwell, low, grim, sour, regretful Moderate: careless, defective, inferior, imperfect, deficient, rough, ill-suited, inadequate, unsatisfactory, delinquent, sinful, unruly, wicked, rancid, grave, harsh, terrible, downcast Bold: awful, unacceptable, corrupt, dreadful, putrid, erroneous, detrimental, ruinous, vile, villainous, diseased, adverse, evil

more words to use instead other words to use instead even more words to use instead

Understanding Internal Conflict in Storytelling

Internal conflict is a vital tool in storytelling, enriching characters and deepening narrative impact. Understanding and effectively using internal conflict can transform a good story into a compelling, unforgettable one.

Introduction to Internal Conflict

Definition: Internal conflict refers to a psychological struggle within a character, often involving emotions, desires, or beliefs.

Purpose: It adds depth to characters, making them more relatable and complex.

Types of Internal Conflict

Moral Dilemmas: Situations where a character must choose between right and wrong, often with no clear answer.

Emotional Struggles: Conflicts arising from feelings like love, guilt, fear, or jealousy.

Identity Crises: Moments when characters question who they are or what they believe in.

Conflicting Desires: When a character's wants or needs are at odds with each other.

Examples of Internal Conflict

Classic Literature: Hamlet's indecision about avenging his father's death.

Modern Fiction: Katniss Everdeen's struggle between her survival instincts and her growing sense of rebellion in "The Hunger Games".

Film: Frodo Baggins grappling with the burden of the One Ring and its corrupting influence in "The Lord of the Rings".

Importance of Internal Conflict

Character Development: Drives growth and transformation, showing how characters evolve.

Engagement: Keeps readers invested in the character’s journey by creating empathy and tension.

Theme Exploration: Allows writers to explore complex themes like morality, identity, and human nature.

Crafting Internal Conflict

Believability: Ensure the conflict is realistic and relatable to the audience.

Depth: Give characters more than one internal conflict to make them richer and more interesting.

Resolution: Show how characters resolve or cope with their internal struggles, even if it’s not a happy ending.

Questions to Consider

What is the character’s main internal struggle?

How does this conflict affect their decisions and actions?

In what ways does the internal conflict drive the story forward?

*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!

─── ･ ｡ﾟ☆: *.☽ .* . ───

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When your Character...

Gets into: A Fight ⚜ ...Another Fight ⚜ ...Yet Another Fight

Hates Someone ⚜ Kisses Someone ⚜ Falls in Love

Calls Someone they Love ⚜ Dies / Cheats Death ⚜ Drowns

is...

A Ballerina ⚜ A Child ⚜ Interacting with a Child ⚜ A Cheerleader

A Cowboy ⚜ A Genius ⚜ A Lawyer ⚜ A Pirate ⚜ A Spy

A Wheelchair User ⚜ A Zombie ⚜ Beautiful ⚜ Dangerous ⚜ Drunk

Funny ⚜ In a Coma ⚜ In a Secret Society ⚜ Injured ⚜ Shy

needs...

A Magical Item ⚜ An Aphrodisiac ⚜ A Fictional Poison

A Coping Strategy ⚜ A Drink ⚜ A Medicinal Herb ⚜ A Mentor

Money ⚜ A Persuasion Tactic ⚜ A Quirk ⚜ To be Killed Off

To Become Likable ⚜ To Clean a Wound ⚜ To Self-Reflect

To Find the Right Word, but Can't ⚜ To Say No ⚜ To Swear

loves...

Astronomy ⚜ Baking ⚜ Cooking ⚜ Cocktails ⚜ Food ⚜ Oils

Dancing ⚜ Fashion ⚜ Gems ⚜ Herbal Remedies ⚜ Honey

Mushrooms ⚜ Mythology ⚜ Numbers ⚜ Perfumes

Roses ⚜ Sweets ⚜ To Argue ⚜ To Insult ⚜ To Kiss

To Make False Claims ⚜ Wine ⚜ Wine-Tasting ⚜ Yoga

has/experiences...

Allergies ⚜ Amnesia ⚜ Bereavement ⚜ Bites & Stings

Bruises ⚜ Caffeine ⚜ CO Poisoning ⚜ Color Blindness

Facial Hair ⚜ Fainting ⚜ Fevers ⚜ Food Allergies

Food Poisoning ⚜ Fractures ⚜ Frostbite ⚜ Hypothermia

Injuries ⚜ Jet Lag ⚜ Kidnapping ⚜ Manipulation ⚜ Mutism

Pain ⚜ Paranoia ⚜ Poisoning ⚜ More Pain & Violence

Scars ⚜ Trauma ⚜ Viruses ⚜ Wounds

[these are just quick references. more research may be needed to write your story...]

Writing Resources PDFs

A few words to describe Voices

Angelic (Light, soft, calm and considered very beautiful.)

Breathy (Speaking with a lot of audible breathing.)

Brittle (About to cry.)

Croaky (Sounds as if the one speaking has a sore throat.)

Dead (Showing absolutely no emotions.)

Flat (No tone, or in other words, not going up and down.)

Grating (Laughing, but in an annoying/unpleasant way.)

Honeyed (Nice sounding, but untrustworthy.)

Husky (Deep and hoarse in a positive sense.)

Low (Either used to describe quiet or deep voice.)

Monotonous (Boring and unpleasant voice. Changes neither tone, volume nor speed.)

Nasal (Speaking “through the nose”.)

Orotund (Loud and clear.)

Ringing (The same as orotund, loud and clear.)

Rough (Not soft, rasp/hoarse but usually in an unpleasant way compared to husky.)

Shrill (Very high, loud and unpleasant.)

Singsong (Rhythmic, melodic.)

Smoky (Rasp, usually used for a sexy and mysterious sounding voice.)

Thin (Very high, to an uncomfortable degree.)

Throaty (Deep voice and speaking “from the back of your throat” as the word says.)

Wheezy (Speaking while having trouble to breath.)

Wobbly (Nervous, frightened, not confident or about to cry.)

The most valuable chart…

Just daydreaming about your stories or what you want to write truly is being productive despite what your brain demanding immediate results to and gratification from your productivity might tell you, like it lets you work through details, figure out what you want, rotate scenes around and change things up if you're still unsure about them, have a little fun without committing just quite yet, even if it's not being written down, it is being processed in your mind nonetheless and it is contributing to future productivity and the eventual endgame of wherever you want to be going with it all, even if you're not physically interacting with or creating or consuming something at the moment, you are creating thoughts, coming up with the blueprints, and maybe those blueprints won't always come to fruition, but maybe one day they'll help you build something great, or maybe they just brought you some joy or intrigue at the time and that's fine too, and etc, etc, so yeah, let yourself daydream more

Hey. I dunno what writer needs to hear this, but,

using the same word twice in the vicinity of the other/same paragraph is okay.

*kisses you on the forehead*

this might be weird to ask, but how do I critically look at another person's writing and implement what I like in their writing in my own writing? I've been having trouble improving in my writing, and frankly Im not sure how to go about doing that, even. It's easy to see what I like about another person's writing, but hard to pinpoint exactly why...

THIS IS NOT WEIRD TO ASK. It is, in fact, the most important question EVER.

How to Read Like a Writer

Re-read. If you get halfway into a chapter and think, Wow this chapter is super creepy–I wonder how they did that. Or get to the end of a book and think, I feel the poignancy of the fragility of human life in an inherently volatile economic system–I wonder how the writer made me feel that way… Go back and re-read that shit.

Read slowly. When you read like a reader, you read pretty fast. When you go in for your second, or third, or fourth re-read of a passage, chapter, or book that you want to know more about, read it slowly. Really. Slowly.

Read for technique, not content. Readers read for content (”In this paragraph, Damien gave Harold a classified envelope.”). Writers read for technique. (”In this paragraph, the writer made me feel curious about the contents of the envelope by giving sensory details about its appearance and weight.”)

Ask the right questions. They usually start with HOW: How did the writer make me feel? How did they accomplish that?

Read small. Did a chapter make you feel sad? Find out WHERE EXACTLY. What paragraph, sentence, or WORD did it for you? Was it a physical detail? A line of dialogue? A well-placed piece of punctuation? Stories are made of words and sentences. Narrow it down.

Practice. Reading like a writer is a skill that takes time to develop. Over time, you’ll get better at it!

How about y’all? Anything to add to this list? I made it off the top of my head so I’m sure I’m forgetting something. What have been your experiences with learning to read like a writer?

Hope this helps!

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The Literary Architect is a writing advice blog run by me, Bucket Siler. For more writing help, check out my Free Resource Library or get The Complete Guide to Self-Editing for Fiction Writers. xoxo

how do i write when i have adhd and cant even outline the first three chapters:( i always get stuck after three, get bored, and never come back. any advice ?

Writing with ADHD (by a writer w/ adhd)

1. Consume caffeine and/or do cardio for 30min before sitting down to write. Listen to music, a themed playlist perhaps. Do not log onto the internet or have any distractions nearby (books, pets, clutter, food, unfinished projects). Keeping a dohickey like a stress ball around or even a lightweight dumbbell is a decent proxy when your brain craves distraction. Chewing gum can also help you focus.

2. Don’t outline by chapter, I cannot get farther than five or six when I do that. Outline from beginning to end, but make sure to have a middle! Write a synopsis of what happens and break it into chronological chunks. Only outline by chapter once you’ve got a general outline of the whole story, and even then only outline a couple chapters at a time.

3. Write whatever comes to you, but keep it in order in your document. You want to write how your character discovers a secret, but you know that’s not until chapter 20. Write it anyway and title it chapter 20. Do this with every scene you’re inspired to write, then slowly fill in the gaps. If that proves difficult, it’s okay to make the reveal chapter 9 instead and connect everything with [and then this happened] so you’ll know to sew it up later.

4. However short or long the story ends up being, finish it. You can set a goal of 30 chapters, but if 10 is easier finish by chapter ten. Come back (much) later, reread, and add any new ideas you come up with. A short story is sweet! A novella is nice! Train your brain to write longer passages until it can achieve a story of the length you want.

5. (optional) Outlining is for people who can focus, just start writing somewhere and figure it out along the way. I had a very general outline for my longest novel, but mostly I made everything up and ignored it. Maintain focus, know your end goal, and even if you stumble there and take some shortcuts it still counts. Any messiness can be improved in future drafts.

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Hm. As a hearing person, it’s not my place to speak authoritatively, so d/Deaf and HOH people feel free to correct me, add on, etc, but I haven’t seen many people talking about this and I think we should. From what I’ve seen, we as Supernatural fans could do a little bit better with portrayal of sign language and Deafness (primarily in fic) with regards to the character of Eileen. This isn’t regarding any specific person, but I’ve seen a few ficlets on my dash where there’s a note like “just assume all dialogue is being signed at the same time so Eileen can understand!” or the fic itself has Eileen read lips the whole time. With just a little bit of googling one can easily realize that’s not the ideal way of communicating for a d/Deaf person, and we owe the character more respect than the show gave her.

Here’s an article on SimCom, or simultaneous communication, which is what the show usually has Eileen (or Sam) use, and why it may not be as good as it seems to hearing people. https://blog.ai-media.tv/blog/what-is-simcom

Here’s a few guides to writing d/Deaf characters in general, that I found just with a few google searches:

https://disabilityinkidlit.com/2017/05/19/asl-writing-a-visual-language/

https://kathymacmillan.com/2014/02/27/10-things-writers-need-to-know-about-american-sign-language-and-deaf-culture/

And for people who like to stick to tumblr: https://concerningwolves.tumblr.com/post/169084548979/faq-on-writing-signed-language (and their blog tag for #sign language)

So I write and I can get through the first chapter, but after breaking for the night or something, I can't get back into the story. Any tips on how to overcome this? It feels almost as if I have lost motivation for writing the story but still have a passion for it.

I will gently place my hands on the sides of your face, lean really close, and say, quite loudly, "OUTLINE."

Okay, seriously, apologies to all you pantsers out there, but outlining will save your life when it comes to making story progress and pushing past the initial flare of inspiration. Also all pantsers should be held with the highest suspicion and may be liars. Or wizards. They are probably wizards.

Anyway, it is very normal to start strong and then hit a wall regardless of how much you want to do something, especially just starting out. Finding other ways to keep going regardless is how to keep feeding that urge. Some general tips:

Outline! Know how the next chapter goes? Get it down any way possible, as detailed or as minimal as you want. Whatever keeps the story going.

Worldbuild/Character Built. If you can't go straight, go sideways, filling out the details you'll use later.

Inspiration Hunt. Make that playlist, create that image board. You want to recapture that spark, and it's going to be in the stuff you surround yourself with.

Figure out what works for you. This might take a little bit more time, but when do you write best? Where? How can you replicate the situations that make you write best?

Sometimes you begin a project too soon, and it sputters right out of the gate. This is also very common, and it doesn't mean you're a bad writer, it means you need to shove that idea back to that dark corner of your brain where it can grow like a fungus. My current work in progress is based on a novel concept I had TWENTY YEARS AGO, so trust me - your ideas won't die, they just might take some time to get where they're going.

This is also hard, because you want to be working on something, and not writing is frustrating. Sometimes the best thing to do is to take those old first chapters and go through them, and see which ones have roots and which need more time to grow. Some people work great picking at several projects at once. Some people have to pick one project and stick to it, and you have to figure out whatever works for you.

So, in sum:

Sometimes the best way to write a story is to do everything but writing the actual story

Sometimes ideas need to percolate a bit longer and it's okay to give them time to grow

All pantsers are evil wizards that are not to be trusted

For writers: historical women’s clothing

Those who have been with me for a while know that although I’m not an expert,  I’m super enthusiastic historical clothing. Which means I also notice when it’s totally butchered in writing (I’m looking expecially at you, smut fics). So here are some pointers for your historical/fantasy lady’s clothing, for my peace of mind:

Not everything with laces is a corset. Although terms overlap, we mostly only talk about corsets from mid-19th century. Before that you have stays or bodies, maybe even jumps (unboned, quilted garment). You’re pretty safe with simply saying stays.

Stays cannot be tight-laced! You can only tight-lace if your garment has metal eyelets (otherwise the lacing would tear the fabric, ruining the garment), and those only came in mid-19th century. Your 18th century lady won’t be gasping for air (I’m looking at you, PotC)

That being said, even tight-laced ladies are unlikely to gasp for breath.

Your character won’t be wearing a corset/super structured stays under an empire gown/Regency style dress. That would be totally unnecessary (looking at you, Bridgerton). Character instead would be wearing “transitional stays”–a short, boned garment somewhere between a modern bra and a corset–, or lightly boned/unboned stays. The point of these is to push the boobs up, not to slim down the waist/create a silhouette.

Instead of stays, your early 16th century/fantasy character can wear a boned kirtle–in this case, the bodice and the skirt are made up of one garment.

Stays/corsets can be back laced (mostly earlier stuff), front/front-and-back laced (a bit later), back laced with clasps at the front (Victorian)

Some stays can be worn as outerwear. They can be colorful and intricately decorated.

Gentlemen can and will help their lovers dress; they know how women’s clothing works.

There is always a chemise/shift under the stays! (looking at you, The Tudors.) That is your first layer–it protects the character’s skin from chafing and the character’s clothes from sweat.

Stockings are held just under the knee/mid-thigh with garters/ribbons.

No panties! No underwear, whatsoever. Ruck up those skirts and the banging can commence

There’s such a thing as split drawers (19th century)–which is like a pair of knee-lenght underpants, only the two legs are not connected at the groin area.

Ladies can have pockets–they are basically big pouches that can be tied around the waist with a string. They can be worn over or under the overskirt.

If the pockets are worn under the skirt, then they can be accessed via slits on the sides. This happens when the skirt has a kind of “apron like” fastening: basically, the top of the skirt is made of two rectangular pieces, both of them having their own ties. You first tie the back part on the front, then the front part in the back. And voila! Slits on the sides.

Those were just from the top of my head. If you have any question, feel free to ask*–or better yet, look up ladies on the internet who know more than me on this topic, like Bernadette Banner, Karolina Zebrowska, or Abby Cox.

Also feel free to correct me if I said something stupid

site that you can type in the definition of a word and get the word

site for when you can only remember part of a word/its definition 

site that gives you words that rhyme with a word

site that gives you synonyms and antonyms