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Shadowless Dreams

@avalonsilver / avalonsilver.tumblr.com

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roane72

Best trick I ever picked up. Seriously.

I have also learned this is great for [PICK A COOL NAME FOR A SHIP] and [LOOK UP THE FACTS ABOUT OXYGEN LEVELS] and [WHAT’S THE WORD] and [DOUBLECHECK CHARACTER’S EYE COLOR] and ALL KINDS OF THINGS.

Anything that isn’t critical in the moment, and could be filled in later while I’m currently trying to burn through writing pages that will be lost if I don’t get them out right now? Brackets.

This is seriously the best advice, and it really helps put it into perspective that the first draft is just that- a draft. There’s no reason to agonize over a particularly tricky bit of writing when you could just leave it in brackets and skip to the good parts, the parts you’ve visualized. I also use brackets for [fact-check this], [use a stronger verb], [is this in character?] and other notes as I write, just so I don’t forget what I want to work on when I go back and edit. 

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petermorwood

Note the good sense of [brackets] not (parentheses).

Parentheses AKA round brackets can appear in fiction, usually as an afterthought in a character's thoughts or narration (as I saw them used just recently), but square brackets hardly ever do.

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What's up with "will" and "would"?

An overlooked difference between will and would is this fact:

In terms of meaning or usage, here are the differences:

Will expresses certainty, i.e., something that is going to happen in the future.

Here are the many ways in which would is used:

Would is also used in hypothetical situations:

A quick grammar lesson for you.

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Too scared to Write? The One-Two Punch That Got Me Writing.

So, there I was.

Feeling guilty that I’ve spent more time looking up writing tips and tutorials then actually writing.

When I finally decide to sit down and write, I mean really truly write, I decide to write 10,000 words that day to make up for the lost time.

You laugh, but this is how my brain works.

Of course, that cranks up the panic. Because everything is riding on this, right? I mean, I said I’m a writer. I claimed the title. I launched an entire blog about writing. I blog about writing every week. I read about writing every day. I dream up little scenes for my stories, jot down plans, and add to my outline.

And then I don’t write. Because it’s scary. And I lack skills.

So I lay down in bed. Because naps are better than panic attacks. But what’s better than naps? Scrolling through Pinterest and then napping.

That’s when I come across this crazy helpful writing tip snippet pinned to The Writer’s Sandbox. (Bear with me, this is important.) It was a small insight. At first, I didn’t take it seriously. Too easy. Just one tip among thousands of other writing tips.

But somehow it got me writing.

Little did I know, I was onto something that would help me write every day for the rest of the week. While actually enjoying it.

The Anxiety-Busting Writing Combo: Write While Lying down + Write Only 50 Words

You’ve heard of authors who wrote while lying down. Truman Capote did it. So did Mark Twain.

Maybe it sounded like artsy-fartsy nonsense to you. It did to me. And when I didn’t think it was hooey, I thought it impractical. Because no way I don’t fall asleep if I lay down to write. You know? And how could I possibly write fast enough to keep up with the story while two-finger typing? And how could I hold my arms up that long without getting tired?

I thought of a million reasons why it couldn’t work. So I never tried it. Not on purpose.

Instead, fate took my resistant hand, forced me into bed, and said “There dummy. Get writing.”

I should have tried it sooner. Because, come one, where do my best ideas happen? Yep, in the shower. But after that, it’s definitely while lying in bed.

And all those problems I was worried about? Well, they totally happened. But the cool thing is, they ended up working in my favor.

But first, why this method works in the first place.

Why It Works: The Psychology Behind This Two-Pronged Approach To Writing

Writers block is about fear. When it’s time to write, the record plays familiar fears on familiar ruts.

Will I measure up? Will my story be as good on the page as it is in my head? What if I’m disappointed? What if people think my story’s dumb? What if they think I’m dumb?

So this approach, lie down + write 50 words, reduces the pressure we put on ourselves and our stories to be epic. Here’s how:

1.) Sends your body the signal to relax

The reclining position tells your body that it’s time to relax. And that relaxed state is ideal for writing. Have you ever wondered why you think of your best ideas just before you fall asleep? That’s when we’re most free of expectations. Our minds are free to roam and come up with ideas.

We’re not sitting at a desk doing work. We’re just being.

2.) Eases you through the Hardest Part

The write-50-words goal gets you focused while supporting relaxation. It’s this low-pressure approach that got me through the hardest part of writing: getting started. Once I was through the barrier, it was easy to keep going. And that was just a bonus.

3.) Keeps your focus on Accomplishable Mini-goals

The other thing that helped?

You can’t tell your entire story in 50 words (unless we’re talking about flash fiction). So I thought more about each sentence. Because I had no choice but to focus in on one moment at a time. A hat brim buffeting on the breeze. Foam spilling over a beer glass. Wet fingertips fogging a polished bar.

50 words left no space to get lost in big concepts. It was about moving my story forward one sentence at a time.

4.) Slows the process down and gives you time to think

Lying down helped focus my mind too. I composed my next sentence carefully each time I had to rest my arm. I couldn’t rush through a mad-dash of panic-stricken sentences on my way toward a finish line that felt too far away.

Instead, I had to annunciate each syllable for the talk-to-text software to understand.

It forced me to slow down. To consider where I was going. And the goal was small enough that I had plenty of time to do it right along the way.

You’ve got the Key to Busting Your Writing Angst.

So what now?

Lie down in your cozy bed, and write 50 words. You can do it.

Because this is the moment you’ve been waiting for, writer. And you’re exactly where you need to be. Go.

I hope this helped you guys.

If you have any questions, feel free to go to my ask box

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I am so, so sick of writing “advice” that tells writers not to use certain words or phrases. (This is not directed at the people putting those posts on my dash but at the OPs of those posts.)

You wouldn’t tell an artist to never use a certain color, would you?

Wait, I bet some of you would, and you’d be wrong then too.

Writers, find your own voice, your own style. Use whatever words or phrases you want, the “experts” be damned.

Adverbs, passive voice, filler words, and everything else “experts” want you to stop using, all of them have their place in English, it’s why they still exist.

Experiment. Figure out what works for you and what doesn’t.

Give me “am,” “is,” “are,” “was,” “were,” and especially “said.”

Give me all the adverbs. Stephen King can just bugger off.

But most of all, give me you, the real you, when I read your works, not what some “expert” wants you to write.

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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.

This is tremendously useful. I use #2, 3, and 4 often, and I can’t wait to try #1.

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When you are writing a story and refer to a character by a physical trait, occupation, age, or any other attribute, rather than that character’s name, you are bringing the reader’s attention to that particular attribute. That can be used quite effectively to help your reader to focus on key details with just a few words. However, if the fact that the character is “the blond,” “the magician,” “the older woman,” etc. is not relevant to that moment in the story, this will only distract the reader from the purpose of the scene. 

If your only reason for referring to a character this way is to avoid using his or her name or a pronoun too much, don’t do it. You’re fixing a problem that actually isn’t one. Just go ahead and use the name or pronoun again. It’ll be good.

Someone finally spelled out the REASON for using epithets, and the reasons NOT to.

In addition to that:

If the character you are referring to in such a way is THE VIEWPOINT CHARACTER, likewise, don’t do it. I.e. if you’re writing in third person but the narration is through their eyes, or what is also called “third person deep POV”. If the narration is filtered through the character’s perception, then a very external, impersonal description will be jarring. It’s the same, and just as bad, as writing “My bright blue eyes returned his gaze” in first person.

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cimness

Furthermore, 

if the story is actually told through the eyes of one particular viewpoint character even though it’s in the third person, and in their voice, as is very often the case, then you shouldn’t refer to the characters in ways that character wouldn’t.

In other words, if the third-person narrator is Harry Potter, when Dumbledore appears, it says “Dumbledore appears”, not “Albus appears”. Bucky Barnes would think of Steve Rogers as “Steve”, where another character might think of him as “Cap”. Chekov might think of Kirk as “the captain”, but Bones thinks of him as “Jim”. 

Now, there are real situations where you, I, or anybody might think of another person as “the other man”, “the taller man”, or “the doctor”: usually when you don’t know their names, like when there are two tap-dancers and a ballerina in a routine and one of the men lifts the ballerina and then she reaches out and grabs the other man’s hand; or when there was a group of people talking at the hospital and they all worked there, but the doctor was the one who told them what to do. These are all perfectly natural and normal. Similarly, sometimes I think of my GP as “the doctor” even though I know her name, or one of my coworkers as “the taller man” even though I know his. But I definitely never think of my long-term life partner as “the green-eyed woman” or one of my best friends as “the taller person” or anything like that. It’s not a sensible adjective for your brain to choose in that situation - it’s too impersonal for someone you’re so intimately acquainted with. Also, even if someone was having a one night stand or a drunken hookup with a stranger, they probably wouldn’t think of that person as “the other man”: you only think of ‘other’ when you’re distinguishing two things and you don’t have to go to any special effort to distinguish your partner from yourself to yourself.

This is something that I pretty consistently have to advise for those I beta edit.  (It doesn’t help that I relied on epithets a lot in the earlier sections of my main fic because I was getting into the swing of things.)  I am reblogging this so fanfic writers can use this as a reference.

A good rule of thumb: a character’s familiarity with another character decreases the need for an epithet (and most times you really don’t need one at all).

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frownyalfred

tricky words I always see misspelled in fics: a guide

  • Viscous/viciousViscous is generally used to describe the consistency of blood or other thick liquids. Vicious is used to describe something or someone who is violent. 
  • Piqued/Peaked/Peeked – To pique someone’s interest is to catch or tease their attention. When something peaks, it reaches its total height or intensity. To peek (at) something is to look briefly, or glance. 
  • Discrete/Discreet – this is a tough one. Discrete means to be separate, or distinct, i.e., two discrete theories. Conversely, when someone is discreet, they are being secretive or cautious to avoid attention. 
  • Segue/Segway – one is a transition between things, the other is a thing you can ride at the park and definitely fall off of.
  • Conscious/Conscience/Conscientious – to be conscious is to be awake, i.e., not unconscious, or to be aware of something. Your conscience is the little voice in your head telling you not to eat the entire pint of ice cream. Finally, to be conscientious is to be good, to do things thoroughly, to be ruled by an inner moral code. 

Hope this helped! Please add more if you think of them!

Counsel/Council - counsel is advice, the advice giver, or the verb form of giving said advice. Council is the group of people who come together to discuss and/or make decisions.

Desert/Desert/Dessert - desert is a barren landscape where little precipitation occurs. desert - abandon (a person, cause, or organization) in a way considered disloyal or treacherous. dessert - a usually sweet course or dish (as of pastry or ice cream) usually served at the end of a meal.

OH MY TIME IS HERE! I HAVE MADE A POST I KEEP FOR THIS EXACTLY

Taunt/Taut - Taunt is a jeer or provocation, taut means to be pulled tight, or not slack

Weary/Wary - weary means tired and wary means cautious

Rogue/Rouge - rogue is a person who has unaffiliated themselves from what they were before (is the general understanding); a person or thing that behaves in an aberrant, faulty, or unpredictable way - rouge is red

Wonton/Wanton - a wonton is a dumpling, wanton is (of a cruel or violent action) deliberate and unprovoked and/or sexually unrestrained

Haphazard/Halfhazard - haphazard means to  have a lack of plan, order, or direction - the other isn’t a word

Corporal/Corporeal - corporal is a lack of plan, order, or direction and corporeal is to have a physical existence: to be tangible: of a person’s body

Peck/Pec - the first is a kiss (peck) and the second is the shortened version of pectoral (pec)

Virile/Viral - to be virile is to have strength, energy, and a strong sex drive (typically said about men) and then this last year (2020) has personally taught us, is how viral a plague can really be, so of the nature of, caused by, or relating to a virus or viruses

Vulnerable/Venerable - vulnerable means being susceptible to physical or emotional attack or harm, and if a person is venerable they’re accorded a great deal of respect, especially because of age, wisdom, or character (or if you’re religious, holy)

Dyed is something that is colored, and died is deceased

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mamapluto

Chalk (it up to something) ; chock (-full of something); choked (to cutoff air).

to affect is the action, the effect is the end result

If something doesn’t bother you then you weren’t fazed by it. If you are between two states of being that is a phase.

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justgot1

Please. For the love of all things holy. I beg you.

Loose: the opposite of tight

Lose: to misplace something or the opposite of win.

I BEG YOU.

breath is the noun, breathe is the verb

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wordsnstuff
Anonymous asked:

I struggle with... Sitting down and staying focused. Some days I write for hours, but most days, I write 3 lines and can't seem to get more in for no reason apparent

This one is a tricky issue to solve, because in all honesty, no matter how many articles you read or motivational quotes you scroll through, you will never actually be productive unless you make yourself, and that’s the sad truth of writing. I do have some resources that may help you with this, though. 

I’m not sure where your sporadic writer’s block is coming from, but if you’re having a case of falling out of love with writing temporarily, here are some things for you:

If you simply need some tips on staying motivated consistently, or at least staying productive and holding yourself accountable, here are some things that will help:

If you need some warm up inspiration, I usually find following a prompt when I’m stuck very helpful. Writing a hundred words on some prompt usually gets me into the zone with low pressure compared to actually getting my writing done.

Here are all of my one-off, daily prompts
Daily Writing Prompts
Here is my masterpost of prompt lists that may suit your fancy or help you get into the writing mood you need for a scene.
Prompt Lists Masterlist

Some playlists based on scene types for every scene mood:

Here are some asks I’ve previously answered that are similar to yours:

Hope this helps. Happy writing!

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee or supporting me on Patreon.

I’d also really appreciate it if you would check out my separate blog dedicated to my current work in progress, as well as my studyblr, which helps keep me motivated as a full time student.

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wordsnstuff

Tips on Writing Cold & Distant Characters

PLEASE REBLOG | Tumblr suppresses posts with links :/

Backstory Is The Key

When you’re writing a character who is cold and detached, you’re most likely writing a character who is not an antagonist, but a secondary character with an arc, and this means that you’ll have to fit backstory into the plot. This is easy to do with a B-story, or a subplot, and it’s important that while this backstory should be concise, it should also be impactful. Make the reader understand why the character is so determined to remain unbothered, and do that by showing them how.

What Are They Attached To?

Every Spock is going to have a crack somewhere. A “weakness”. You need to make that chink in their armor clearer and clearer to the reader as the conflict moves forward. It could be the main character, platonically or romantically, it could be someone who means a lot to both the cold character and the main character, or it could be a connection between their self image and the conflict at hand. Everyone has a boundary.

What Breaks Them?

Where in the story is this boundary crossed? It’s important that when you enlist a cold and distant character in your story, you understand that you’re promising a reader a payoff, and that is usually them getting to see that character’s mask come off at some point. The easiest way to do this is to identify that tiny point that chips away that them, and then smashing it with a hammer. It can also be a great plot point in the story and help build up to the climax for the main character. 

Rationale

When someone decides they’re not going to be emotionally invested in their principles or other people, they choose to latch onto their personal goals. Everyone wants something, and when a cold and detached character is free of obligation of emotional attachment, they are able to focus 100% of their time and effort on whatever they want. You as the writer, need to observe your character and build their actions around the pursuit of their goals. Even if at some point in your story, they divert their attention to whatever is poking at their weakness, they will act out of instinct to serve their own self-interest. 

Do You Want Them To Be Likable?

This is the big one. Are they a small bad, or a “smol bean”? Do you want the reader to ultimately forgive the character for their shortcomings in the wake of learning why they are the way they are, as well as seeing them grow through assisting the protagonist? Or, do your want the reader to see the character as a hinderance to the positive resolution and a small obstacle that deserves little empathy because of the harm their (arguably) selfish attitude has caused? That’s up to you. 

Also, I want to take the time to specify that when I’ve written about “cold” and “distant” and “detached”, I do not mean awkward, introverted or solitary. Those are not selfish or harmful traits, and I recognize that someone in real life who embodies these characteristics could have an underlying reason like trauma, anxiety, or depression. Coldness and self interest are choices, and if one decides they should behave in that way all the time, the impact of their actions is a consequence they must take responsibility for. This perspective is in regards to fictional characters in fictional conflicts.

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

Shoutout to my $15+ Patrons, Jade Ashley & Douglas S.!

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20 Writing Tips from Fiction Authors

Writing success boils down to hard work, imagination and passion—and then some more hard work. iUniverse Publishing fires up your creative spirit with 20 writing tips from 12 bestselling fiction authors.

Use these tips as an inspirational guide—or better yet, print a copy to put on your desk, home office, refrigerator door, or somewhere else noticeable so you can be constantly reminded not to let your story ideas wither away by putting off your writing.

Tip1: "My first rule was given to me by TH White, author of The Sword in the Stone and other Arthurian fantasies and was: Read. Read everything you can lay hands on. I always advise people who want to write a fantasy or science fiction or romance to stop reading everything in those genres and start reading everything else from Bunyan to Byatt.“ — Michael Moorcock

Tip 2: "Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.” — Zadie Smith

Tip 3: "Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.“ — Michael Moorcock

Tip 4: “In the planning stage of a book, don’t plan the ending. It has to be earned by all that will go before it.” — Rose Tremain

Tip 5: "Always carry a note-book. And I mean always. The short-term memory only retains information for three minutes; unless it is committed to paper you can lose an idea for ever.“ — Will Self

Tip 6: "It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.” — Jonathan Franzen

“Work on a computer that is disconnected from the internet.” — Zadie Smith

Tip 7: "Interesting verbs are seldom very interesting.“ — Jonathan Franzen

Tip 8: "Read it aloud to yourself because that’s the only way to be sure the rhythms of the sentences are OK (prose rhythms are too complex and subtle to be thought out—they can be got right only by ear).” — Diana Athill

Tip 9: "Don’t tell me the moon is shining; show me the glint of light on broken glass.“ – Anton Chekhov

Tip 10: "Listen to the criticisms and preferences of your trusted ‘first readers.’” — Rose Tremain

Tip 11: "Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money.“ — Jonathan Franzen

Tip 12: "Don’t panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends’ embarrassment, the failing career, the dwindling income, the repossessed house, the divorce … Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there’s prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.” — Sarah Waters

Tip 13: "The writing life is essentially one of solitary confinement – if you can’t deal with this you needn’t apply.“ — Will Self

Tip 14: "Be your own editor/critic. Sympathetic but merciless!” — Joyce Carol Oates

Tip 15: "The reader is a friend, not an adversary, not a spectator.“ —Jonathan Franzen

Tip 16: "Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.” — Elmore Leonard

Tip 17: "Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.“ — Neil Gaiman

Tip 18: “You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.” — Will Self

Tip 19: “The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.” — Neil Gaiman

Tip 20: "The nearest I have to a rule is a Post-it on the wall in front of my desk saying ‘Faire et se taire’ (Flaubert), which I translate for myself as ‘Shut up and get on with it.’” — Helen Simpson

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