I was little, then I grew up.
I was little, then I grew up.
- Character 1: How can you betray your own kind?
- Character 2: MY kind? Since the day I was born, people like you have made it abundantly clear that I am NOT "your kind." I have been hearing this since I was a child. And in spite of that, I've never stooped to your level and hated myself the way people like you clearly want me to. Honestly? Despite everything, I always figured that...someday...if we just *talked* more, if I was *nicer*, then maybe we could all be friends. Now that I'm older? And I see things a lot more clearly? I'm really glad that I'm not.
I feel like this segment needs more editing, for sure. A lot of what I post here is a work in progress.
2: "Stop. You do not get to congratulate yourself for talking, for having a conversation with me. You do not get to pat yourself on the back and feel good for making an actual effort to not insult me in public. No more than I get to feel good about my personal effort not to drop-kick you in the face."
Day 2: Create a character. Write a brief scene of them in a setting. Also use this paragraph to introduce the character to the reader by how they react to their setting.
Day 3: Think about the character you created for Day 2. Write their seven word biography.
Day 4: What world does your character exist in? Real or imagined? Scientific? Fantastical? Write a scene where your character is shown in their world.
Day 5: Your character is getting ready in the morning. Write a scene of their morning (or even mid day) routine.
Day 6: How was your characters childhood? Write a scene about them as a child. How was their home life? Their family? Their upbringing? Where did they grow up? What friends did they have?
Day 7: FREE DAY! Write any scene you want!
Day 8: What about their earlier school days? Write a scene of your character in grade school or middle school.
Day 9: How was your characters first kiss? Who with? Where was it? How old were they? Write the scene.
Day 10: Your character has dreams, ambitions, and goals dont they? What are they? What are they doing to achieve them? Write a scene that shows these aims.
Day 11: What does your character do on a daily basis? What is their job? Do they have one? Write a scene from a normal day in your characters life.
Day 12: What does your character do when their day isnt a normal day? Write a scene where something goes amiss in your characters day to day life.
Day 13: Your character has a whole day off to do whatever they want. Write a scene of them enjoying this free day.
Day 14: FREE DAY! Write any scene you want!
Day 15: Your character is upset. What about? How does it affect them? Does anyone come to comfort them? Write a scene where your character is distraught.
Day 16: Your character is going on a trip. Where to? Who with, if anyone? Why are they going on a trip? Write a scene of them either getting ready or departing on their journey.
Day 17: Your character has fallen in love. With who? Is it serious? Are they in a relationship with this person? How did they meet? Write a scene of your character either contemplating this significant other or directly interacting with them.
Day 18: Your character has a conversation with an influential person in their life. It can be a parent, a teacher, a mentor, anyone your character looks up to. Why are they having the conversation? Write the scene.
Day 19: Today is a day that will change your characters life forever. What course of events occurs? How does your character react? Write a scene from this day.
Day 20: Your character is in a new place. What brought them there? Why are they there? How are they reacting to this change of scenery? Write a scene of your character in this new place.
Day 21: FREE DAY! Write any scene you want!
Day 22: Today is the end of an era in your characters life. How do they feel about this? What is happening today? Write a scene of your character on this day.
Day 23: Write a scene between your character and another character of your choice (whether brought up previously in the other scenes or not) using only dialog. The setting and situation is up to you, but you cannot not use descriptive exposition, only dialog.
Day 24: Write, in second person, a dream your character is having. Whether it be a nightmare or something happier, describe the dream in its entirety.
Day 25: Today, your character is saying goodbye to someone. Who are they saying goodbye to? Why? Are they emotional? Are they going away or is the other person? Write the scene.'
Found this on tumblr, not sure who to give proper credit to.
so-overt-its-covert replied to your post: I sorta want to read my “Writer’s Guide to Poisons” right nowwhere do you find a writer’s guide to poisons??? that sounds fantastic
it’s a mystery writer’s book series (in the top picture). My mom found them for me and they are FANTASTIC.
Most of them are on Amazon—just search the “Howdunit Writing” series:
Deadly Doses: A Writer’s Guide to Poisons
Murder One: A Writer’s Guide to Homicide
Modus Operandi: A Writer’s Guide to Criminals and How They Work
Scene of the Crime: A Writer’s Guide to Crime-Scene Investigation
Missing Persons: A Writer’s Guide to Finding the Lost, the Abducted, and the Escaped
Police Procedural: A Writer’s Guide to the Police and How They Work
PLUS THERE ARE MOAR THAT I NEED TO GET.
If this is indeed the year of reading more and writing better, we've been right on course with David Ogilvy's 10 no-bullshit tips, Henry Miller's 11 commandments, and various invaluable advice fromother great writers. Now comes John Steinbeck—Pulitzer Prize-winner, Nobel laureate, love guru—with six tips on writing, culled from his altogether excellent interview it the Fall 1975 issue of The Paris Review.
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn't exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn't belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
But perhaps most paradoxically yet poetically, 12 years prior—in 1963, immediately after receiving the Nobel Prize in Literature "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception"—Steinbeck issued a thoughtful disclaimer to all such advice:
"If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes, but by no means always, find the way to do it. You must perceive the excellence that makes a good story good or the errors that makes a bad story. For a bad story is only an ineffective story."
If you feel bold enough to discount Steinbeck's anti-advice advice, you can do so with these 9 essential books on more and writing. Find more such gems in this collection of priceless interviewswith literary icons from half a century of The Paris Review archives.↬ Open Culture
How to write a kiss
Rebloggable version, as requested by davrosbro. :)
Oooh! Yes! I love kisses. Kisses are where it all starts ;).
Okay, first, remember that kiss is much, much more than just lips. It is lips, but also tongues, teeth, eyes, faces, hands, noses, bodies, heartbeats, breath, voice- and most importantly, a kiss isemotions. A kiss without emotion is just wet mushy lips stuck together. Ew. Gross. The most important part of a kiss isn’t the how, but the who- because of the emotions between the two people.
lips- Lips can slide, glide over each other smoothly, or they can be chapped and rough and dry and get stuck on each other. They can match, top-to-top and bottom-to-bottom, or they can overlap, with one person’s top or bottom lip captured between the other person’s lips (yummy). If there is lipstick or chapstick there is lipstick or chapstick flavor, otherwise, lips don’t have a taste (can you taste yours?). Lips also can smack- the sound of two of them coming together or pulling apart, because they’re wet and warm and soft.
tongue- Tongues are always wet, and always warm. They’re very versatile. They can trace over lips, teeth, or another tongue. They can be smooth and graceful or teasing and flicking. When tongues are involved, there is drool. It’s only sexy when you like the person you’re kissing, or else it’s kinda gross. :P
teeth- teeth can clack together awkwardly, or teeth can bite down sensually. A person biting their own lip is cute, a person biting another’s lips is sexy. A person biting gently is sensual, a person biting roughly is sexual.
eyes- Eyes can be wide open with surprise, half-lidded with desire, fully closed with pleasure. Eyes can gaze lovingly, lustfully, wistfully, hungrily, seductively- it all depends upon the emotions of your characters. Have them do whatever you like, but don’t leave them out- give them at least a mention!
faces- Faces are what the lips are attached to. Noses bump, cheeks flush, ears turn red, foreheads either wrinkle or relax. Kisses can leave lips, quite easily, and become kisses on chins, cheeks, noses, foreheads, ears, necks, throats. Kisses on noses or foreheads are cute and adorable, kisses on cheeks are sweet, kisses on chins, ears, and throats are very sexual. And a kiss on the lips can be all of those! <3
hands- Hands are super-important. In order to describe a kiss, usually you want to also describe the hands. Where are they? Does one character have on on the back of the other’s head or back, holding them close? Are they on someone’s shoulders pulling them near, or pushing them away? Fingers brushing someone’s cheek or palms grabbing someone’s ass convey two very different kinds of situations, even if the kiss itself is exactly the same.
noses- Noses are annoying. They easily get in the way, especially for first kisses! People have to tilt their head to one side or the other, and if they don’t, noses bump. I’d only mention noses if a kiss is supposed to be awkward or uncertain or nervous.
bodies- bodies are either close together, or far away. Someone can be surrounded comfortingly by someone’s arms, or terrifyingly trapped by them. Bodies are warm or hot, they are calm or nervous, relaxed or tense. Body language says a lot. Is your character pulling away, or moving closer?
heartbeat- Hearts can beat fast or slow, and that’s about all they can do- but there are lots of reasons why they do! A heart can beat fast with fear or excitement or nervousness; a heart can pound with lust or race with terror or sing with joy. Hearts can glow, cower, or shatter. When you really want to drive the emotions of a character home, mention the heart.
breath- To me, the most consuming part of a kiss is the breath. The air that someone else has just breathed going deep into your lungs is very intimate. Lips and tongues don’t have a taste, but breath does. Each person’s breath tastes different, smells different, and surrounds a person differently than anyone else’s breath. Breath can be warm and sweet, breath can be hot and sexy, breath can be hot and frightening. It is something that is very present and should not be left out. A lot of writers leave breath out. And it’s so important; it’s the most intimate part of a kiss. Someone else is breathing into your lungs, and it’s either heaven or it’s hell.
voice- Voice conveys much, even without words. A voice can groan, whimper, gasp, moan, catch, whine, scream, sigh. Voice can convey emotion powerfully, and while some kisses are silent, usually they’re not.
emotion- Emotion is the most important- and the thing you try not to say. You want to describe it, through all of the things above, so that it’s perfectly clear what your characters are feeling, without you ever using the “feelings words”. If they’re in love, their bodies will lean close, their eyes will smile, their voices will giggle softly. If they’re nervous, their palms will sweat, their noses will bump, their voices will shudder. If they’re afraid, their muscles will be tense, their faces will grimace, their lips will not open. Emotion is the color that you keep inside your mind as you write; it’s the base line that drives the description behind everything else you say.
Wow, that was a lot! Gosh I hope it wasn’t too much! Keep in mind not every kiss has all these things- this is just a list of things to consider when writing a kiss, and based on how long of a kiss you want to make. Keep in mind that typing “they kissed for a long time”…that’s six words, it takes half a second to read, so that’s a short kiss! If you want a long kiss, you need long sentences that make the reader linger.
So maybe to start off, pick three things on the list to describe in your first kiss. Don’t try to do it all- that would be too much for even the most epic kiss. Just pick what’s most important to this particular scene, to these particular characters, and describe those parts along with the lips, and you’ve got yourself an awesome, emotional kiss. <3
Gee, I don’t know how to research writing Characters of Color tastefully:
"1.) It’s not hard to figure out what to do, there are plenty of resources.
People say you have to get it right, do your research, but … what else are you supposed to research? It’s not like people with more pigment in their skin have completely different personalities than those with less, any more than any individual. It’s frustrating when I can’t even figure out what the heck people are talking about.
Bam. Research step one done for you.
2.) Writing characters of color/minorities is a good thing.
I don’t like the notion that fantasy authors are under some kind of obligation to present ethnically diverse worlds. I’m English, and a fair sized part of English history consists of unwashed beardy white people in mead halls. If I’m inspired by my own history and cultural heritage, then that’s what I’m damn well going to write about. I’m not writing about some other culture just to appease the people who think there aren’t enough black characters in fantasy, or whatever. You want it, you write it. Nothing to do with me.
3.) Your all White Fantasy Land Didn’t Exist in Real Life:
…the rather medieval one has more diversity than real medieval Germany probably had […] In a world with medieval means of transport, it just doesn’t seem natural to me to mix dark-skinned people with blue-eyed blondes in one setting. I just try to give the people a colour that fits the place where they live.
You mean like the people from Africa and the Middle east who began to take over Southern Spain, as well as the Jews who were pretty well spread out throughout Europe, the Middle Easterners they would have met on the Crusades, and the incoming Mongol Hordes who spread to the very edges of Eastern Europe before the empire finally collapsed? Don’t forget that Turkey is right there, and the silk road would have gone from Song Dynasty China, through India, and ended in Turkey before moving further westwards into places like Germany. Also the attempts at the Franco-Mongol alliance would have been pretty interesting. (That’s about the 13th century - arguably smack dab in Middle Ages Europe and definite contact between France/Christian Europe and the Mongolian Empire.)
Unless you’re writing everything in the far reaches of Denmark or something, historically speaking, I call bullshit on people who have societies that are only all white ever, because it’s just inaccurate. Consider the relative closeness of Northern Africa to Spain, or Turkey to the rest of Europe, the conquests of Alexander the Great, the Crusades, Slavery existing in Europe, including England, the slave trade, imperialism, Pax Mongolica, The Silk Road, Jewish Diaspora, the Islamic Empire vs The Holy Roman Empire, Egypt, Algeria, China’s sailing across the world, The Maruyan/Gupta Empires of India, tea trades, Columbus sailing in hopes of finding China, etc, etc, etc.
4.) I mean I just don’t believe you anymore. It’s unrealistic. Seriously guys.
You’d think I’d just denied the holocaust or something. Get a grip. All I said was that I’m going to write about my own cultural experience and anyone who thinks I should do otherwise for the sake of political correctness can bugger off.
This isn’t even about being PC this is just not being wrong about everything."
I wish I could say what my favorite word was, but I can't think of one off the top of my head.
What I do know for certain is that I tend to go through phases of using certain phrases, usually following the trends of others, like "just sayin'."
Picking favorites is always difficult for me, because there's always something new on the horizon that could always become my new favorite.
A few words I do like:
To name a few.
If I had turned left instead of right, if I had done this instead of that, how different would my life be? Was I destined to walk this path, since I didn't take those other ones?
Love is pure emotion, so it definitely tugs at one's senses when talking about a pair that "were made for each other." It's very romantic. But is it reality? Is love a choice?
People say, "you can't choose who you fall in love with." I wonder at that.
I guess, if someone is able to get past all your defenses, it is possible.