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team chimaera

@elivanto / elivanto.com

hanna, 31, they/she. gifmaker.
SW animation, high republic, chiss ascendancy. and now also mxtx i suppose
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reblogged
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lyralit

show, don't tell:

anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking

frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping

sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps

happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking

boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails

fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands

disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm

tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile

confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions

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WEBSITES FOR WRITERS {masterpost}

  1. E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
  2. Hiveword - Helps to research any topic to write about (has other resources, too);
  3. BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
  4. Charlotte Dillon - Research links;
  5. Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
  6. One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
  7. One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
  8. Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
  9. National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
  10. Penguin Random House - Has some writing contests and great opportunities;
  11. Crime Reads - Get inspired before writing a crime scene;
  12. The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
  13. Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
  14. QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
  15. Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
  16. Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

(Also, check my blog if you want to!)

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reblogged
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adhduck

hey fic writers, in case you’re nervous you’re too cliche or not original enough or something, please know a lot of those things readers actively live for. as proof, here are some of infinite examples of things i see in fics all the time that i never ever get tired of

• “uh,” they said, intelligently

• a character realizing they’re in love and immediately thinking “fuck”

• them seeing someone who’s normally well-dressed in comfy/‘unfashionable’ clothes and silently losing it

• stupid poetry about a first kiss. idc if it’s “it feels strangely normal” or “there are fireworks” or “it feels like home/safe” or WHATEVER. go tf for those first kisses babes

• are you writing a fic entirely about friendship? literally you can do no wrong. literally everything you’ve ever done has been correct and i would die for you

• holding hands feeling more intimate than kissing/sex (especially right after the latter happens)

• characters blushing. idgaf if people don’t blush that much irl, i want the bright-tipped ears and the flushes down the neck and the pink-stained cheeks

• “all ___ and ____ and _____”

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fanfic speedrun: write the scene you want to write and skip the rest of the fic

(same goes on the reader side of things)

I’m seeing people on this post who think that what I’m saying is, “Write out of order, starting with the things you enjoy most.” And while that’s fine advice, it’s not actually what I said.

What I said was, “Only write the thing that’s fun, and don’t write the rest.”

Write one shots. Write drabbles. Write ficlets. If you have 5 interesting scenes but you can’t figure out how to tie them together into a fic, then write 5 separate ficlets, post them in a series, and when you get another idea for that series just plop it right in there and rearrange the works into the right order.

You don’t have to write longfic to write fanfic.

I love one shots. One shots are awesome. One shots don’t fuck around. One shots are a hit of pure, distilled fandom straight into the veins. They know what they’re here to accomplish and by God they accomplish it with as little extraneous bullshit as possible. Sometimes you don’t want a 30 chapter slow-burn epic five course meal; it too much. Sometimes you just want to down a double-expresso one shot of your favorite character and ride that high for the rest of the afternoon.

If you have 5 interesting scenes but you can’t figure out how to tie them together into a fic

I would like to reintroduce you to ye olde fanfic classic “Five times [whatever]” with bonus variant “Five Times [whatever] and One Time [whatever adjacent]”

let’s say we want to write Destiel pining. Great “Five Times Dean Didn’t Say I Love You (and One Time Cas Died Did)”

You don’t need filler, you don’t need connective tissue, “[number] times [thing i want to write about]” is a perfect framing device for just hitting the highlights

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Anonymous asked:

Hi there. I've got lots of work in progress' I haven't gone back to in years, thing is I really like writing and want to get back into it but I just don't know how? I'm starting to think I might just not have what it takes to be a writer.

So as someone who is quite an extensive writer, what advice would you give to someone who desperately wants to write but won't ?

ooooof, Anon, your ask hit home with the accuracy of a flipping missile!! I know you’re not the only one struggling right now, and the key I think is to be a mix of very gentle with yourself and simultaneously just a little bit stern.

I burnt out completely in December 2020, and didn’t write anything for nearly five months, which was devastating. I’m a writer! That’s who and what I am. And I couldn’t do it??? I was deeply shaken by it, and I’m only just starting to claw my way back to my identity as a writer. I’ve had creative slumps before, but never a complete inability to write at all, and no one really... got it? I’ve had to postpone working on my novel, despite constant pressure from my family, which sucks.

I can’t tell you what will work for you for certain, obviously, but I can tell you what has helped me a bit, and hopefully something there will resonate, and you’ll be able to use it for your own struggles. Hang on in there, Anon!

  • First off, and I cannot stress this enough, you are still a writer. You don’t have to be sitting at the keyboard and typing actively all the time to call yourself a writer. You can be a writer while also taking a break, no matter how long that break is. If you want your identity to be that of ‘writer’, then you are. Tell yourself you are a writer, even when you’re not actively writing.
  • Force yourself to stop trying to write for a while. It sounds bonkers, and counterintuitive, but if you’re on a forced break, it might help recharge your energy. Tell yourself you’re not going to try and write for at least a whole month. Don’t open any WIP docs. Don’t re-read stuff you’ve got stuck on in the hopes that this time you’ll finish it. You’re on break, and you’ve given yourself permission not to be writing.
  • While you’re on your break though, feel free to use a little notebook or something to jot down any ideas you have, or snippets of dialogue/scenes etc., as scraps for the future. Just don’t try to make them into a big complete work just yet.
  • Read. Read lots of new books and stories. Push the boundaries of your usual genre comfort zones and try a new genre. Analyse the writing of these authors closely. Why do you like their style? What makes their style unique? Why does that sentence work so well, and why does that one feel flat or clunky? Be active in your reading, and it might trigger some enthusiasm for your own creativity. Hold onto that feeling, and see if you want to have another go after your break.
  • Write something for someone else. I took on some commissions recently, knowing I would be obliged to finish them, but I set a limit on the wordcount so I didn’t get super overwhelmed each time. (This is the ‘being a little bit stern’ part.)
  • Once your break is over (if you decide a break suits you in the first place!), write just one sentence and then walk away. Close the document and go and do something else. If you want to come back and write more later, then do. If not, you still wrote something. Do the same the next day.
  • Go outdoors if you can and think about your story somewhere else. Perhaps the change of environment will make it feel more refreshed. Take a notebook with you and write somewhere else. It might even feel like a treat!
  • Make sure you’re comfortable when you’re going to write. Turn your phone off, disconnect your laptop from the wifi, have some water or tea or whatever nearby, go to the bathroom first, put a jumper on or open the window. Just... give yourself permission to write for the joy of it. Remember why you wanted to tell these stories in the first place.
  • If you’re still not really feeling it, try creating character moodboards on Pinterest, or colour palettes for your characters, abstract watercolours, or whatever creative medium you fancy. Draw maps of the world, or just try and be creative within the universe of your stories without writing them.
  • Try a writing exchange with another author.
  • Take writing prompts for ten sentence drabbles or something.
  • And if none of that helps, forgive yourself for not having the energy to be creative in this way at the moment. Find a way to let go of the guilt and self-flagellation that a lot of creatives go through when their main focus isn’t playing ball. It’s ok to go into a creative slump, and it can take a long time to come out of it.

Hopefully some of that is helpful? It sucks, it really really sucks, when you’re not able to do something you love for whatever reason. Check out my ‘writing advice’ tag because I’ve written a few posts on creative block/writer’s block/creative hibernation before, and I might have missed some points in answering this.

Good luck, and go gently with yourself.

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Cheat Sheet for Writing Emotion

Anger:

  • Grinding teeth
  • Narrowing eyes
  • Yelling
  • A burning feeling in the chest
  • Heavy breathing
  • Unjustified or justified accusations towards other characters
  • Jerky movements
  • Glaring
  • Violence
  • Stomping
  • Face reddening
  • Snapping at people

Sadness:

  • Lack of motivation
  • Messy appearance
  • Quiet
  • Slow movements
  • Crying
  • Inability to sleep
  • Frowning
  • Red eyes
  • Isolating oneself
  • Fatigue
  • Not concentrating
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reblogged

Thoughts from an inadequate fanfiction author

I just read a Reddit post about feelings of inadequacy and jealousy in relation to other’s writing, that clawing in your stomach when you read something that is so gripping, so incredibly paced, or simply so wildly popular (dripping with kudos, comments, what have you) that you just want to quit, because you can’t write like that, you will never be as talented, as popular, etc, etc.

It’s such a ugly emotion that I hate to even admit to it, but I just feel like so many writers need to hear this and need to know they are not alone when they’re overcome with this feeling.

The thing that has really helped me is remembering that I’m the only person on earth who can tell the stories I tell.

Every person has a history and background that makes them uniquely capable of creating what they do.

I try to equate it to music. There are indie artists whose music I adore (Bright Eyes is a band that specifically comes to mind). What if your favorite band listened to Mozart or Beyoncé and thought, I will never be as talented at composing as Mozart or as famous as Beyonce, and therefore, I will never write another song.

How sad would you be, how bereft, if the artists you love gave up because they weren’t “the best?”

You are that perfect writer, not to everyone, but to someone.

That means something. It is so difficult to remember, but it all comes back to self-esteem. You are worthwhile and your writing is worthwhile NOT because it’s the best, but because there’s only one person in the world who could write it, and there is someone out there who needs to read it. Maybe you can make a stranger smile or feel or laugh, if only for a minute, and what an incredible gift that is.

So I urge you not to dim your shine for any reason. Keep going, find your audience, get better, KEEP AT IT. The worst thing you can do is give up, because that’s the only sure way you will never be that kind of amazing writer you wish to emulate.

If you’re curious, I wrote in college, then took a 10 year break due to feelings of inadequacy after having writer’s block and receiving a lukewarm response to some chapters I posted. I decided 2020 was my year and have written 42 works (some short stories, some long ones) since January. I swore to myself that I wouldn’t let anything stop me from enjoying my hobby again, and that’s why I want to encourage myself and others to feed their passions. 

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i’m currently helping a dear friend edit their first-ever piece of creative fiction and I’m realizing several things:

a) writing is valuable in all its forms.

When she sent me the draft, she apologized “for having a policy brain” instead one like mine, which is far more abstract and creative. I told her that writing policy was just as important as the kind of work that I do. I, for one, could certainly never effectively write or evaluate public policy.

So be it policy, or manuals, articles, emails, fic, non fiction, poetry: your writing is valid. It’s an expression of who you are.

b) writing is really hard.

I think we all know this. If you’re a writer, you know the feeling of writers block and blank documents and abandoned WIPs. And if you’re not a writer, well, there’s probably a reason for that, yeah? I mean, I’m not an artist because it’s freaking difficult; I’ll stick to my coloring books, thanks.

My point here is that no matter how much innate talent you may posses for your craft, it’s still going to be hard. And that’s okay. We didn’t all just start spewing out perfectly characterized fics from the womb; it’s a process that takes years.

I’m giving her the same advice I tell myself every single day when I sit down to write — make them feel. show, don’t tell. use your senses. And hell, I’ve been writing since I was five years old.

c) writing is brave

I’ve talked about this before, but it’s worth repeating. creating is an act of courage. going one step further and sharing what you create requires immense valor.

Was my friend’s prose stunning? Did it knock me off of my feet? Well no, not exactly. But the important thing is that she’s trying. She’s willing to try something completely new and out of her comfort zone. And isn’t that the point? To learn new things about ourselves and others?

d) it doesn’t have to be perfect

drafts and half thoughts and abandoned WIPS are just as valid as the ones you complete. The process of creation is no different there than completed works. Saying that WIPs or abandoned ideas are “bad” or “shameful” is like saying that you never should have dated before you met your partner. Those past relationships may not have worked out, but you still learned something.

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ms-mazarin

Words to replace said, except this actually helps

I got pretty fed up with looking for words to replace said because they weren’t sorted in a way I could easily use/find them for the right time. So I did some myself.

IN RESPONSE TO Acknowledged Answered Protested

INPUT/JOIN CONVERSATION/ASK Added Implored Inquired Insisted Proposed Queried Questioned Recommended Testified

GUILTY/RELUCTANCE/SORRY Admitted Apologized Conceded Confessed Professed

FOR SOMEONE ELSE Advised Criticized Suggested

JUST CHECKING Affirmed Agreed Alleged Confirmed

LOUD Announced Chanted Crowed

LEWD/CUTE/SECRET SPY FEEL Appealed Disclosed Moaned

ANGRY FUCK OFF MATE WANNA FIGHT Argued Barked Challenged Cursed Fumed Growled Hissed Roared Swore

SMARTASS Articulated Asserted Assured Avowed Claimed Commanded Cross-examined Demanded Digressed Directed Foretold Instructed Interrupted Predicted Proclaimed Quoted Theorized

ASSHOLE Bellowed Boasted Bragged

NERVOUS TRAINWRECK Babbled Bawled Mumbled Sputtered Stammered Stuttered

SUAVE MOTHERFUCKER Bargained Divulged Disclosed Exhorted

FIRST OFF Began

LASTLY Concluded Concurred

WEAK PUSY Begged Blurted Complained Cried Faltered Fretted

HAPPY/LOL Cajoled Exclaimed Gushed Jested Joked Laughed

WEIRDLY HAPPY/EXCITED Extolled Jabbered Raved

BRUH, CHILL Cautioned Warned

ACTUALLY, YOU’RE WRONG Chided Contended Corrected Countered Debated Elaborated Objected Ranted Retorted

CHILL SAVAGE Commented Continued Observed Surmised

LISTEN BUDDY Enunciated Explained Elaborated Hinted Implied Lectured Reiterated Recited Reminded Stressed

BRUH I NEED U AND U NEED ME Confided Offered Urged

FINE Consented Decided

TOO EMO FULL OF EMOTIONS Croaked Lamented Pledged Sobbed Sympathized Wailed Whimpered

JUST SAYING Declared Decreed Mentioned Noted Pointed out Postulated Speculated Stated Told Vouched

WASN’T ME Denied Lied

EVIL SMARTASS Dictated Equivocated Ordered Reprimanded Threatened

BORED Droned Sighed

SHHHH IT’S QUIET TIME Echoed Mumbled Murmured Muttered Uttered Whispered

DRAMA QUEEN Exaggerated Panted Pleaded Prayed Preached

OH SHIT Gasped Marveled Screamed Screeched Shouted Shrieked Yelped Yelled

ANNOYED Grumbled Grunted Jeered Quipped Scolded Snapped Snarled Sneered

ANNOYING Nagged

I DON’T REALLY CARE BUT WHATEVER Guessed Ventured

I’M DRUNK OR JUST BEING WEIRDLY EXPRESSIVE FOR A POINT/SARCASM Hooted Howled Yowled

I WONDER Pondered Voiced Wondered

OH, YEAH, WHOOPS Recalled Recited Remembered

SURPRISE BITCH Revealed

IT SEEMS FAKE BUT OKAY/HA ACTUALLY FUNNY BUT I DON’T WANT TO LAUGH OUT LOUD Scoffed Snickered Snorted

BITCHY Tattled Taunted Teased

Edit: People, I’m an English and creative writing double major in college; I understand that there’s nothing wrong with simply using “said.” This was just for fun, and it comes in handy when I need to add pizzazz. 

I see it and I gotta reblog it. Hopefully a writer in need will see it 💕

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writing is simple. i put my characters into a situation that i, the author, cannot figure out how to get them out of and i close the document

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How to write a character-driven plot

The Character-Driven Plot Wheel

1. Emotions drive actions.

Make your hero act on their deepfelt emotions. This not only adds meaning to their actions, but also helps communicate to readers your hero’s core emotional struggle.

2. Actions trigger consequences.

When your hero acts, give their actions consequences that affect the plot, themselves, and/or the surrounding characters. For example, driven by curiosity, maybe your hero opens Pandora’s box; maybe they act recklessly and someone dies; or maybe they stand up for what they believe in, but at great personal cost. Consequences raise the stakes and empower your hero with agency.

3. Consequences compel change.

Use the consequences of your hero’s actions to create a crucible of growth — challenges and situations that force them to take the next step on their character journey. That step may be forward, or backward, and it may be large or small; but something inside them changes.

4. Change influences emotions.

When a character goes through a change, even a small one, allow it to affect them emotionally. Maybe they feel increasingly frustrated or guilty. Maybe they’re afraid, having just taken another step closer to abandoning their old way of seeing the world. Or maybe they finally feel peace.

Regardless of the form it takes, remember to reflect your hero’s change in their emotions. Then let their emotions drive action, to trigger consequences, which will compel further change.

Lather. Rinse. Repeat.

And there you have it! That’s how you write a character-driven plot.

So what do you say?

Give the wheel a spin.

— — —

Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

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Writing advice from my uni teachers:

  • If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.
  • Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.
  • Don’t overuse metaphors, or they lose their potency. Limit yourself.
  • Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.
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What I can tell you as a transgender woman is that occasionally I will read trans woman characters written by cisgender authors. And I can pretty much always tell when the author is cis, even if the character is portrayed respectfully, because they get some details wrong or something. But I certainly don’t think that they shouldn’t be allowed to take a stab at it, and I actually appreciate any representation that isn’t egregiously harmful. And I certainly don’t think that only transgender women should be allowed to write transgender women because then it falls on me, and that’s rather tokenizing, isn’t it?

Also it seems like demanding that only #OwnVoices authors should be allowed to write certain characters is an excellent way to enforce a situation where most books are about cishet white people.

And no: you probably won’t get all of the specific details of someone else’s lived experience correct, in much the same way that most authors don’t get all of the specific details about how, say, nuclear reactors or space work. But so long as your character passes as realistically human and not a one-dimensional caricature of what you think that other types of people are like, then I think that that’s reasonable.

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irisbleufic

Also, sensitivity readers are a thing, and enhance all of the above actions! Paying a reader from the demographic you have written to go over your writing and give constructive feedback is a wonderful thing to do. It benefits both parties involved not only in the financial and craft-honing senses, but also in the exchange of ideas and learning about someone whose perspective and lived experience are different from yours.

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dreamwidth update: The Dreaded Homonymn List

Homonyms are words that sound the same but mean different things (and are usually spelled differently).  They are the bane of writers, ESPECIALLY in the modern era, because spellcheck often doesn’t catch them.  So if you aren’t sure which one is which, or just make a mistake … your first line of defense isn’t going to help.  (Also, ironically, I misspelled “homonym” and had to go back and fix it.) Anyway!  Here is a list of common homonym fails.  If you aren’t sure of something, you can check it here. Accept / except.  To accept something is to receive it, and often to receive it with approval.  You accept someone’s apology, for example.  To except something is to exclude it.  “I like all chocolate except for ones with citrus flavor like those chocolate oranges.“  Remembering that “ex” means not or out may help you remember which is which. Allude / elude.  Allude means to suggest or call attention to indirectly; hint at.  “He alluded to her past indiscretions.“  Elude means to evade or escape from, or to fail to grasp something.  “The thief could not escape the great Sherlock Holmes for long.“  This one you can actually remember phonetically; allude is pronounced "uh-lood” (short “a” sound) and elude is pronounced “ee-lood” or “eh-lood” (long or short “e” sound).  See also “elusive” vs. “illusive” below. Altar / alter.  An altar is a religious table or pedestal around which worship is centered.  In most Christian churches, the altar is the big piece of furniture at the front of the sanctuary.  When a wedding happens in a church, it happens in front of the altar, so sometimes “going to the altar” with someone is slang for marrying them.  If you have a fantasy setting and someone or something is getting sacrificed, they are being sacrificed on an altar.  To alter something is to change it or make a difference.  You alter garments to fit better, or alter a ship’s course.  Superman is Clark Kent’s alter ego, his different self. Bare / bear.  Bare means uncovered or unclothed or empty.  Naked people bare their bodies; stores with nothing in stock have bare shelves.  Bear has many meanings.  A bear is an animal.  To bear can also mean to carry something, as in “the right to bear arms” which doesn’t mean Americans have the right to sleeveless shirts, but rather the right to carry weapons.  To bear something can also mean to endure it, as in “he could hardly bear to think about ____” or “how are you bearing up under the stress?"  Basically, English has a lot of different meanings for "bear,” but only one meaning for “bare."  So if you don’t mean "uncovered or empty,” you mean bear. Bated / baited.  Bated means in great suspense; very anxiously or excitedly.  Baited is to deliberately annoy or taunt someone, or prepare a trap.  If you are talking about a military ambush, or putting a worm on a hook while fishing, you mean baited.  If you’re describing someone who can barely sit still because of anticipation, you mean bated.  Especially if you’re using the phrase “bated breath.” Bath / bathe.  Bath is a noun, bathe is a verb.  A bath is what you bathe in.  A bath is the tub filled with water.  “Bath” rhymes with “path” and “math."  "Bathe” is pronounced like “baythe,” it has the same vowel as “mail.” Bread / bred.  Bread is the thing you make sandwiches with.  Bred is the past tense of breed.  Border collies have been bred to herd animals,  they haven’t been bread anything. Breath / breathe.  Breath is a noun, breathe is a verb.  A breath is the air in your lungs, or the air you have just expelled from your lungs.  The vowel sound in “breath” is the same sound in “bread."  "Breathe,” on the other hand, rhymes with “teethe” and has the same vowel as “me."  Breathe becomes breathing.  If you are breathing, you are taking air in and out.  Breathing is the act of doing it; a breath is the stuff that you are doing it with. Cloth / clothe.  Cloth is a noun, clothe is a verb.  Cloth is another word for fabric (and where the word "clothing” comes from, as clothing is made from cloth).  To clothe someone means to put clothing on them.  I am clothed in a dress made out of cotton cloth.  “Cloth” rhymes with “Hoth” and “clothe” rhymes with “loathe”. Compliment / complement.  A compliment means to politely praise someone.  Something that goes perfectly with something else complements it.  “You look wonderful!” is a compliment.  “That hat matches your shoes perfectly!” describes how two accessories complement one another and is ALSO a compliment. Conscience / conscious. Your conscience (kon-shehns) is your sense of right and wrong, your internal measuring stick which you use to judge your actions.  If you are conscious (kon-shuhs), you are awake or alert or aware of something.  If you know what your ethical code would think of your actions, you are conscious of your conscience. Cue / Queue.  A cue is a hint, or stage directions in a play, or something that helps you figure out timing.  It’s also the name of the stick used to play pool or billiards or shuffleboard.  A queue is a line you wait in, or when you have your hair in a low ponytail or single braid down your back. Defiantly / definitely.  Defiantly is doing something with open resistance or bold disobedience.  Definitely means without doubt or clearly. Dibs / dips.  Dibs are a claim or right.  A dip is a sauce to dip things into.  You dip something by letting it drop briefly downward (possibly into something). Discreet / discrete.  Discreet is a form of discretion, it describes someone who is careful and inconspicuous.  Discrete describes things that are individually separated. Disillusion / Dissolution.  Disillusion is to take away an illusion.  Dissolution comes from the same root as dissolve, and means dissolving a whole into its component parts.  If you’re talking about the legal ending of a marriage, you mean dissolution (although the spouses might have become disillusioned about one another). Elusive / illusive / allusive.  Elusive refers to something that is hard to pin down, that keeps getting away or evading or hiding.  Illusive refers to something that is an illusion, and it’s a very rare word.  Allusive means working by suggestion rather than explicit mention, and again is very rare (the cognate ‘allusion’ is much more common).  Elusive is the one you probably meant, unless you’re talking about art (in which case you might mean illusive) or having a literary discussion (in which you probably mean allusive). Hoard / horde.  A hoard is a carefully-guarded collection of things, like a dragon’s hoard, or the action of building such a collection.  A horde is a large crowd, often unorganized, often moving or in action.  The word originated as a description of Eurasian nomadic bands, such as the Mongols but can now refer to anything from tourists to reporters to, well, any large group of people. Gauge / gouge.  When used as a noun, gauge is the thickness, size, or capacity of something, or a device used for measuring.  When used as a verb, it means estimating the amount or volume of something.  It’s pronounced “gayj."  Gouge, on the other hand, means to make a hole  or groove, often with a sharp object.  In slang use, it means to swindle or overcharge someone.  Gouge is pronounced "gowje.” Lose / loose.  You probably mean lose.  “I lost her in the crowd."  "I’m losing my mind."  "You can win the battle but still lose the war."  Loose, on the other hand, means untied/unbound/unfastened.  A screw that is almost coming out is loose.  When you rescue someone and you undo their manacles, you are loosing them. Manner / manor.  Your manner is the way you act.  It can also mean the characteristic or customary way of doing, making, or saying things in a region or era.  A manor is the house or hall of an estate. Marshal / marital / martial.  A marshal is a person in charge in certain specific contexts.  The fire marshal is in charge of the fire department, a field marshal is an officer of high military rank.  To marshal something is to place it in proper order, or to bring it together in an effective way.  Martial is an adjective used to describe military or war things: a court-martial, for instance, is a military court.  It comes from the same root, but the difference is that a marshal is a person’s rank or title (a noun!) and martial is a description (an adjective!).  To confuse things, a person can be described as "martial” (meaning they are very much a warrior or soldier).  A marshal can be martial! Marital, on the other hand, is COMPLETELY different.  It’s an adjective, too, but it relates to marriage: the marital bed, for instance, is a married couples’ bed.  The wedding vows are marital vows.  You can remember the difference by looking for the “i."  In "marriage” the i comes right after the r, just like it does in “marital.” Palette / pallet / palate.  A palette is a range of colors or the board an artist uses to hold paints on.  A pallet is either a crude bed, like a straw-filled mattress on bare ground, or a platform for moving things (a pallet of supplies).  A palate is the roof of your mouth, or the taste of something. Peers / pears / pairs.  A pear is a fruit; something can go “pear-shaped” if it is all going wrong.  Your peer is your equal, someone from your own social rank; a peer of the realm is a nobleman.  Pair means two. Per say / per se.  Per se means in itself, or intrinsically.  For example: “This candidate is not a pacifist per se, but he is in favor of peaceful solutions when practicable."  It comes from Latin.  "Per say” is simply wrong, used when you’ve heard it said but never seen it written. Poring / pouring.  Poring is “be absorbed in the reading or study of."  Pouring is (especially of a liquid) to flow rapidly in a steady stream.  You pore over a text, you don’t pour over it (unless you are dribbling a liquid on the book for a magic ritual or something like that). Property / propriety.  Property is something you own.  Propriety means how proper you are.  Like, picture a Victorian lady who’s fulfilling all the social rules, she is acting with propriety. Rogue / rouge.  Rogue means scoundrel, villain, defiantly independent (think "Rogue Squadron”).  Rouge is another word for makeup blush, it’s pronounced “roozh” because it comes from the French word for red (think “Moulin Rouge”). Recon / reckon.  Recon is short for reconnaisence, the scouting run before an attack.  To reckon is to calculate or estimate, or to have an opinion. Sew / sow.  To sew is to use needle and thread to attach two pieces of cloth together.  To sow is to plant.  You do not “sew [chaos/destruction/suspicion/etc.],” you “sow [chaos/destruction/suspicion/etc.]” because it’s a contraction of a longer metaphor: “sow the seeds of [chaos/destruction/suspicion/etc.]."  Alternately, a sow is a mother pig.  Confusingly, unless you are talking about pigs, sew and sow are both pronounced the same (and both pronounced like the conjunction "so”).  When you are talking about a mother pig, “sow” is pronounced like it looks, so that it rhymes with “ow” and “how.” Stake / steak.  A stake can be a pointed piece of wood or other material driven or to be driven into the ground as a marker or support or method of execution (being “burned at the stake”).  Or a stake can be something you are gambling about or with.  A high stakes poker game is one where people are betting a lot of money.  A steak is a cut of meat. Straight / strait.  Straight is the one you probably want.  It means direct, a line that does not bend, heterosexual, a continuous sequence of five cards in a poker hand, and many other things–it has a lot of meanings both literal and colloquial.  Strait has two possible meanings: a narrow passage of water connecting two seas or two large areas of water, or something that is narrow, cramped, difficult.  The only metaphorical use is “dire straits."  If you do not mean a geographical feature, or are not talking about a dire situation, you mean straight. Undo / undue.  Undo means to open or loose by releasing a fastening, or to reverse or disturb something.  Undo is the present tense, undone is the past tense.  Undue means something is excessive.  Undue violence is more violence than necessary.  If there is an act of undue violence, a sci-fi character might travel back in time to undo the wrong. Viral / virile.  Viral means it has to do with viruses, or spreading rapidly and organically.  Things on the internet that spread rapidly go viral.  Virile means having strength, energy, and a strong sex drive (used almost exclusively to describe men). Viscous / vicious.  Viscous is a description of stuff that is stiff but flows, like syrup or lava.  ("VIS-kas”)  Vicious means cruel or violent in an immoral way.  (“VISH-as”) Volition / violation.  This one is a bad one to get mixed up.  Volition is your will, and more specifically your exercise of that will.  Volition is the ability to choose and make it stick.  If you do something of your own volition, you are not being coerced in any way.  Violation is the opposite.  Violation is breaking the rules, violation is a deliberate harming of another.  It’s a common euphemism for rape.  If you have been violated, it was against your volition.  So please, please do not get these two words mixed up. Wanton / wonton.  Wanton means being sexy, without restraint, seductive, obsessed with sex.  A wonton is a Chinese dumpling. Wretched / retched.  Wretched describes something that is poor quality or uniformly bad.  Retched is the past tense form of the verb to retch, which means to vomit. Along a similar vein, here are some phrases that commonly get misspelled because a word or two gets misheard: It’s not “could of” it’s “Could have” (also “should have” and “would have”)  Can be abbreviated “Could’ve” It’s not “all intensive purposes” it’s “all intents and purposes” It’s not “anti-room” it’s “anteroom” (meaning, an outer room that opens into another, often used as a waiting room–literally, it means the “before-room”). It’s not “make due” it’s “make do”, because you are “making [something] do [well enough to serve your purpose]” comments Comment? https://ift.tt/3g9argT

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How to write a character-driven plot

The Character-Driven Plot Wheel

1. Emotions drive actions.

Make your hero act on their deepfelt emotions. This not only adds meaning to their actions, but also helps communicate to readers your hero’s core emotional struggle.

2. Actions trigger consequences.

When your hero acts, give their actions consequences that affect the plot, themselves, and/or the surrounding characters. For example, driven by curiosity, maybe your hero opens Pandora’s box; maybe they act recklessly and someone dies; or maybe they stand up for what they believe in, but at great personal cost. Consequences raise the stakes and empower your hero with agency.

3. Consequences compel change.

Use the consequences of your hero’s actions to create a crucible of growth — challenges and situations that force them to take the next step on their character journey. That step may be forward, or backward, and it may be large or small; but something inside them changes.

4. Change influences emotions.

When a character goes through a change, even a small one, allow it to affect them emotionally. Maybe they feel increasingly frustrated or guilty. Maybe they’re afraid, having just taken another step closer to abandoning their old way of seeing the world. Or maybe they finally feel peace.

Regardless of the form it takes, remember to reflect your hero’s change in their emotions. Then let their emotions drive action, to trigger consequences, which will compel further change.

Lather. Rinse. Repeat.

And there you have it! That’s how you write a character-driven plot.

So what do you say?

Give the wheel a spin.

— — —

Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

This sort of reminds me of scene/sequel structure, but I really like the terminology here. I feel like the focus on emotion and internal change ties in a lot better with character arc.

I’ve never heard of scene/sequel structure! I took a look, and there definitely is some overlap. If anybody else is interested, you can check out an overview of scene/sequel structure here.

Thanks for sharing, @poisonouscephalopod !

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