And...it's finished, all chapters are uploaded - I'm a bit sad😭 BUT I already have (several) ideas for other (and probably shorter) stories for these two😌 - one will take place in Mortimer's, Jonathan's and Teddy's childhood - but as we say in German "sie steckt noch in den Kinderschuhen" (it's stil in its infancy - huh, well, that's almost the same saying🤷🏻♂️). There's also a bonus scene at the end that didn't quite fit the tone of the story (a bit too silly - or not, I'm not so sure anymore) but was too dear to me for it to be deleted....😊
Q&A: If Cowardice is the Absence of Courage, Clichés are the Absence of Detail
Anonymous said to howtofightwrite:
Do you have any advice on writing a “cowardly” character without making them “cliché”? Usually people write “brave” characters as not being afraid of rushing headfirst into combat, or the “cowardly” character is also shy but I find that boring.
Well, you know there is the saying, “only fools rush in.”
The issue with the labels of brave versus cowardly is not that the issue is complex, but rather that people tend to apply them to actions instead of motivation. The same action can be brave or cowardly or neither, depending on who is doing it and why.
I’ll break it down for you:
Coward – Cowards always take the easy way out.
“Cowardice is a trait wherein excessive fear prevents an individual from taking a risk or facing danger. It is the opposite of courage. As a label, “cowardice” indicates a failure of character in the face of a challenge. “ – Wikipedia
Whether you will be a coward or not depends on the challenge you’re facing, those challenges can be physical (commonly understood as part of physical conflict and violence), but they’re also emotional, social, or facing what causes you fear or anxiety. A coward is defined by specifics, not abstracts.
Example: a great hero who goes on a quest to save the world in order to escape the emotional difficulties of dealing with their significant other or loved ones is, ironically, a coward.
Example: an anti-social individual who is circumspect and distant from strangers, but not afraid of social interaction isn’t a coward.
Example: an individual who rushes in because being called a coward negatively affects their self-image is… a coward.
There are plenty of times when people are called cowards when they aren’t, usually this has to do with confusion over action versus motivation and cultural bullshit about courage.
Courage – Merriam Webster’s definition of courage is “mental or moral strength to venture, persevere, and withstand danger, fear, or difficulty.”
I think the key word for you to understand is “difficulty.” Courage is not about being fearless, it’s about facing what you’re afraid of. In a limited scope, only the individual can define what actions are courageous for themselves. No one else can tell you what to be afraid of, or define what’s difficult for you. If you are someone for whom the words and labels applied to you by others define who you are, then rejecting those cultural standards may be courageous.
You want to be careful about saying bravery is the absence of fear, or logic. Stupidity isn’t courage. Someone who lashes out because they’re afraid isn’t more brave than the person who runs. Running at your problem can be the same as running away. When you don’t consider the problem, you’re still practicing avoidance. Building up walls, filling your day up with pointless tasks, putting off dealing with what’s bothering you, those are all symptoms.
A character who isn’t bothered by or afraid of physical conflict isn’t brave or courageous. There are plenty of characters, like people, who will use physical conflict or action to escape from what makes them emotionally uncomfortable.
If you’re retreating into what makes you comfortable, you’re not being brave. If you’re taking stupid risks trying to prove you’re not scared of something, you’re probably afraid of it.
Example: adrenaline junkies aren’t brave, they’re looking for a high.
If your character is talking back to a villain who would kill anyone else who wasn’t the protagonist for doing the same thing, they aren’t being brave… they’re engaging in author sanctioned stupidity. (I mean it too, there are plenty of authors who can’t handle their protagonist being powerless and use witty comebacks as a means of restoring control. Undercutting their villain, and the scene’s tension, in the process.)
How do you write it?
This part isn’t easy.
Writing characters who are brave versus characters who are cowards requires sitting down and figuring out what your characters are afraid of. You have to figure out what situations and scenarios are physically, emotionally, or morally challenging for them. That’s complicated, usually requiring a fair amount of self-reflection. However, it’s the only way to escape clichés.
No one likes dealing with uncomfortable situations or making challenging choices. If you use your writing as an outlet for your personal fantasies then writing characters who are courageous can be difficult because what is uncomfortable disrupts that fantasy. The power fantasy, for example, is tenuous and reliant on a narrative where things aren’t specific even if they’re difficult emotionally. Fears begin to define a character and the more a character becomes an individual, the more difficult it is for the reader to insert themselves into the story.
Depending on what you’re reading, many authors will steer toward the generic rather than specific or gloss over the fears entirely. We can make as many jokes as we like about “Pants” the protagonist, but the vague outline and generics serve a specific narrative purpose.
If you’re using a novel where the protagonist is Pants for reference, then you might run into difficulties when writing. The narrative outline will steer you into generics, specifically for your protagonists. Pants can’t really be brave because Pants isn’t a person, they’re a simulacrum cobbled together from stereotypes. A shadowy outline of a person designed for self-insertion. While this is an intentional choice on the part of the author, it won’t help you when you’re writing.
Your characters are built from you, so the best point of reference is always going to be yourself. Which means self-reflection, acknowledging situations social or otherwise which make you or made you uncomfortable.
It is easier, for example, to have a conversation about your emotions and struggles with a complete stranger than someone who knows you. The reason is that the stranger doesn’t know you, can’t affect you, and you don’t need to see them every day so the conversation can’t have any lasting impact on your life. If you’re afraid of change, of the consequences of voicing your opinion, of those you care about disregarding what you have to say, then this can be a safe release which ultimately changes nothing. Is this courage? Not really, no.
Delving into our own weaknesses isn’t easy, it isn’t comfortable, and it isn’t always fun. Poking at the wounds inside your mind or figuring out what you’ve been avoiding, what makes you feel insecure or unsure. Then taking those feelings to your writing, to the scenarios you’re structuring. You ask yourself questions about what your characters are feeling. If it’s hard, then why is it hard? If they’re running away, why are they running away? If they’re charging forward, why are they charging forward? What motivates their actions?
Specificity combats clichés. Clichés are by their nature generic, a character who provides specific detail to make the cliché about their personal experiences isn’t.
-Michi
This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.
Q&A: If Cowardice is the Absence of Courage, Clichés are the Absence of Detail was originally published on How to Fight Write.
Tips for fight scenes
- If you get punched in the nose your eyes will water, a lot, even if it didn’t really hurt
- Your body follows your head, your head gets pushed one way and your body will want to go that way
- Getting hit in the stomach isn’t good, it hurts, getting hit in the diaphragm is worse. Causes your lungs to kinda spasm and make it hard to breathe (diaphragm is between stomach and chest)
- When fighting a larger person they will have an easier time forcing you back
- The jaw is the knockout button. Hit it hard enough and down for the count
- Back of the head is very vulnerable, can cause serious damage if hit there
- Kidney punches. They hurt. A lot.
- People with experience will try to be where they are comfortable. A wrestler will try to get their opponent on the ground, a boxer will stay on their feet, etc.
- Easiest counter to a kick is to get closer to whoever is throwing it, then they won’t have enough room for it to be effective
- If you want realism, avoid fancy, flashy moves. They’re less practical and easier to counter.
I will definitely be using these tips in the future. I don’t write fight scenes very often, but given that I’ve never been in an actual fight of any sort … yeah, definitely need to know this stuff for those scenes. Very helpful!
Of note, the jaw is also the “Break your hand and get Eikenella” button, so uh. be careful.
"Bullshit!", Herman exclaimed, his ears growing red at Jonathan's disbelieving stare. "Uhm...I mean, no! No, it's not, Jonathan!", vehemently he shook his head and looked Jonathan firmly into the eyes, his ears still pink.
I love it so much making Herman curse and Jonathan going all soft/blush ☺️
Imagine me cackling like a semi-maniac wizard while adding/editing the above sentences (from chapter 16 of my Arsenic fanfic) 😁
Prompt List #5
- “Have you ever kissed anyone before?”
- “Can I kiss you?”
- “You’re not hurting me, you’re not heavy. I’ve got you, love.”
- Kissing on sofa, foreheads pressed together, breathy, soft tender.
- “Sometimes I wonder if you even like me…it sure feels like you hate me sometimes.”
- “You were supposed to be my friend. That’s all…that’s all I asked of you. To be my friend. To care.”
- “I look at him/her/them and I just..it’s like when the Grinch’s heart grows three sizes.”
- “I don’t…i’ve never…been in a relationship and i’m going to make mistakes…I just need you to tell me. I need you to talk to me.”
- “You really thought I was dead?”
- “I want to believe, I do…I just…how can I believe in something that I can’t see?”
- “You didn’t tell me your friend was cute! Now what am I going to do?”
- “I feel sick…so anxious and sick and like my heart is trying to beat its way out of my chest.”
- “Can we just make a decision? Please?”
- “You don’t know what you do to me, do you?”
- “I just want you to be safe. That’s all i’ve ever wanted for you!”
- “I want you to be happy…even if its not with me.”
- “I want to feel like this forever.”
- “You give me a reason to be better, to do better.”
- “God, you are so fucking cute.”
- “I love you, but I need you to go away because you’re really bloody distracting and I have to pass this test tomorrow.”
- “I…I can’t do this without you.”
- “Don’t forget me?”
- “You weren’t there…why weren’t you there?”
- “I needed you! I needed you!”
- “Now it’s over…I don’t really know what to do.”
- “Do you ever think?”
- “I’m going to die. I’m going to die with an absolute idiot!”
- “How can you drink that stuff?”
- “Oh no…he’s/she’s/they’re cute.”
- “I can’t talk to cute people, okay? I don’t know how to flirt!”
- “Sometimes you love someone and you don’t want them to leave…because if they’re beside you, you can see that they’re safe and you can keep them safe. But, if they go somewhere without you…you might lose them”
- “No one has a romantic bone in their body anymore! What happened to playing songs outside windows, glitter and sparkles on handmade Valentine’s cards, dancing in the rain!? What happened?!”
- “I can’t imagine my life without you in it. You are so important to me, you are such a big part of my life, that I just…I can’t imagine you not here.”
- “I just want you to be happy…”
- “You don’t have anything to be sorry for.”
- “Stop apologising for other people! You’re not the shitty one!”
- “I want someone I can melt around. I want someone who melts around me too…I don’t want this standoffish, unromantic love that you’re offering. I want more than that.”
- “I want to write you poetry, to write songs about you and draw your portrait! I want to make things for you! It frustrates the hell out of me hat I can’t draw and I can’t sing or write or play instruments or paint…You inspire me so fucking much…”
- “You don’t own her/him/them. You don’t get to choose who they choose. I don’t get to choose who they choose. No one, but them, gets to make that decision.”
- “Stop being a fucking dick.”
- “That’s another way of saying you’re an arsehole.”
- “Can anyone else hear those Jumanji like drums? Or is it just me?”
- “God, I love your face.”
- Twirling a strand of their hair
- Foreheads pressed together, breath intertwining, slow, content affection
- “Please don’t say that about yourself. Please don’t believe that. You’re so much more than that. You’re so…”
- “I’m only important when you need something from me.”
- “I am fed up of half measures. I deserve better”
- “Don’t look at me! I’m a mess!”
- “I love it when you’re a mess!”
- “Please stop rolling your shirt sleeves up, it’s terribly distracting”
- “I don’t think you’re annoying…I know…I don’t…I really like listening to and hearing what you have to say even if its a lot sometimes..”
- “I just want to be swept off my feet…is that so bad? I’m fed up of being alone.”
- One reaching for the others hand to comfort them, to provide support. A thumb brushing lightly against skin.
- Reciting poetry at the other in a dramatic and very public fashion
- Those period shirts with the puffy sleeves and the deep v and one staring at the other like… oh no he/she’s hot.
- Heart eyes when the other talks, sings, dances, argues, does literally anything especially things which others make fun of them for or find annoying
- “Oh, my ankle! I think it must be broken!” *wink* *wink*
- “I want you to be proud of yourself. I want you to believe that you’re good enough because you are. You’re so amazing.”
- “Did you get any sleep last night?”
- “I haven’t slept since they/him/her left/died”
- “You are an uncultured swine! There I said it!”
- “I know I should be happy…I did well…I always do well…so why can’t I believe in myself?”
- “Please do your homework, for me? Just one time…”
- “I said one time, y’know…you didn’t have to actually start studying. Not that I’m not proud or anything.”
- “Go big or go home”
- “I’m already home.”
- “I lost my wellie boot in the river…”
- “I wish I knew who they were…”
- “It was that bad here?”
- “I look at you and I…I feel so sad because I love you but I also have been hurt so many times that I don’t think I can forgive and forget.”
- Brushing hair from their face
- Leaning into the others hand, turning their head and pressing a kiss to the palm
- “I didn’t take you for the settling down type.”
- Speaks in a terrible Shakespearean/Elizabethan style to woo/make the other laugh
- “Should I go first or…do you want to go?”
- “If you want to leave, we can leave.”
- “I don’t want to ruin your party.”
- “You could never ruin anything.”
- “Your comfort and happiness is more important to me than some stupid dinner.”
- “Please don’t make me choose.”
- “I can finally understand why you call them your arch-nemesis…What. A. Dick.”
- “Poetry isn’t supposed to be good, it’s supposed to make you feel things!”
- “If you don’t get that stick out of your arse, i’ll do it myself and beat you with it.”
- “Could you come get me?”
- “Stop moving! I’m going to have to start counting all over again!”
- “I just thought that since you weren’t feeling too good, maybe this would help.”
- The one stumbling to the other’s front door after getting hurt/beaten up etc.
- “Oh my heart it breaks! It shall never be whole again!” “She/He/They break up with you every other month. Shouldn’t it be used to the disappointment by now?”
- “I thought you said no more dangerous stunts?”
- “I’m not kissing you in the rain! We’ll catch our death!”
- “Where’s your adventurous spirit?!”
- “A walk in the woods might do you some good. Clear your head.”
- “You have wronged me so bitterly…”
- “Do you talk to your mother with that mouth?”
- “Please get me away from him. He hasn’t left me alone all night and I am this close to committing a murder.”
- “I apologise sincerely if my handsome/beautiful face has kept you awake all night.”
- Massages but the sort that are actually practical and helpful. Like babe, you’re so uncomfortable let me help because you’re clearly in pain
- “Would it help if I stayed?”
- “So I had this really vivid dream…”
And...it's finished, all chapters are uploaded - I'm a bit sad😭 BUT I already have (several) ideas for other (and probably shorter) stories for these two😌 - one will take place in Mortimer's, Jonathan's and Teddy's childhood - but as we say in German "sie steckt noch in den Kinderschuhen" (it's stil in its infancy - huh, well, that's almost the same saying🤷🏻♂️). There's also a bonus scene at the end that didn't quite fit the tone of the story (a bit too silly - or not, I'm not so sure anymore) but was too dear to me for it to be deleted....😊
Besides there's so much left - even within the fanfic-canon - that I could write about... The two years in San Francisco, the rest of the time in Indiana, the time after Indiana (besides the time spent in the Brewster household) -> will Rose appear again? Will she marry Claude 😏 because I think they could -> would Herman get invited to the wedding?? What if he brings Jonathan with him😉🤣 - I can only imagina Claude's face🤣, not to mention all the time before London....
And...it's finished, all chapters are uploaded - I'm a bit sad😭 BUT I already have (several) ideas for other (and probably shorter) stories for these two😌 - one will take place in Mortimer's, Jonathan's and Teddy's childhood - but as we say in German "sie steckt noch in den Kinderschuhen" (it's stil in its infancy - huh, well, that's almost the same saying🤷🏻♂️). There's also a bonus scene at the end that didn't quite fit the tone of the story (a bit too silly - or not, I'm not so sure anymore) but was too dear to me for it to be deleted....😊
And...it's finished, all chapters are uploaded - I'm a bit sad😭 BUT I already have (several) ideas for other (and probably shorter) stories for these two😌 - one will take place in Mortimer's, Jonathan's and Teddy's childhood - but as we say in German "sie steckt noch in den Kinderschuhen" (it's stil in its infancy - huh, well, that's almost the same saying🤷🏻♂️). There's also a bonus scene at the end that didn't quite fit the tone of the story (a bit too silly - or not, I'm not so sure anymore) but was too dear to me for it to be deleted....😊
And the next 5 chapters are up. Also a small additional scene in chapter 12 "Sydney" - I wanted to add a humming Jonathan and couldn't at first decide where... 😁
And the next 5 chapters are up. Also a small additional scene in chapter 12 "Sydney" - I wanted to add a humming Jonathan and couldn't at first decide where... 😁
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
Cheers @mj_kuhn.
Accurate
I’m 5 for 5 ✌️
How can I get better at taking constructive criticism? My friends don't mean to hurt my feelings, and they're doing everything right - but my writing and my fanfic is so personal that any kind of criticism about anything beyond spelling or grammar feels like a personal attack to me. I have never worked with a beta because I can't handle it. I feel guilty that I take it so personally.
*hugs* You have nothing to feel guilty about. Really.
Accepting criticism, no matter how constructive, is a difficult thing to do. Even more so when that critique is delivered about something personal. Dozens of books and movies have been written about the hurt that comes with a parent dismissing a child’s hopes and dreams, and having someone give critique on fantasies or on personal stories can be just as crushing.
This is a case where, instead of changing yourself, I suggest communicating with your friends and potential betas. Let them know what you are and aren’t comfortable receiving feedback on.
Boundaries are a good thing to have. Learning where your limits are will allow you to communicate them as best you can. It might take some back and forth. It might take a bit of experimentation around what is and isn’t okay for you. That’s okay! You’re learning! It might be you’re alright with someone identifying a potential plot hole but you’re not okay with someone commenting on characterization. Think things through and find where the sensitive places are.
And if you’re not in the frame of mind where you’re ready to feel out what’s okay and what’s not, that’s fine too. Keep it to spelling and grammar. There’s no rule out there that says you need to ask for or accept any feedback at all.
I do encourage you to let your friends know that you’re not comfortable with their critiques, though. I’m sure they’d feel bad knowing that they hurt you, and they’ll want to save you that discomfort in future.
Not wanting a critique isn’t a personal failing. It’s not a sign of weakness, and it’s not something you need to change if you don’t want to. But if you want to try again in future, maybe start with something that you feel less personally intertwined with. That will make it a bit easier.
I don’t know the particular details about the anon’s situation/personality/background, but I will make a sidenote here.
I had a writer friend who never wanted constructive criticism. None. Ever. She wanted everything she wrote to be perfect the first time around and she wanted to be traditionally published in the blink of an eye.
That’s not going to happen.
If she didn’t receive glowing praise for her rough draft, she wallowed in a pit of self-loathing and self-pity, wailing about what a terrible writer she was and how she should just quit.
This (ex)friend had a host of other issues that factored into her wisp-like self-esteem. If you’re struggling to take criticism in any form, you might need to look into other aspects of your life and smooth out any hang ups.
I’m not saying criticism will be easier to take. It’s not. Never will be. I fully agree that there is a time and place for recognizing when you’re ready for criticism with your writing and when you’re not.
But if you’re NEVER accepting criticism (even though you kind of actually want it), then you’re sabotaging yourself and there might be some underlying issues that you need to address.
At some point, you need to decide what your relationship with writing will be.
If you just want to write fanfiction, you don’t necessarily need criticism. Will it help? Yes. But writing fic is a hobby and if you have a plot hole or two or ten, it’s not the end of the world.
If you want to take your writing to a professional level, i.e. publication, you will need to learn how to take (and reject!) criticism.
It is going to suck. It is going to hurt.
But you will get better. I promise.
One last thing to keep in mind:
The moment you show your writing to someone else, you are exposed to feedback of any kind. You can’t prevent that. End of story. If you don’t want criticism, keep your writing in a box and show no one.
Mmmmm, I take issue with that last paragraph, and these tags in particular: #you don’t get to command an entire battalion of readers #to never criticize your stuff #especially for fanfiction #because fanfiction is based off of criticism for the source material
First of all, fanfiction is not always–or even mostly!–based off criticism for the source material. It’s usually about exploring things the writing didn’t, or couldn’t, go into–I don’t think anyone who writes a coffee shop slowburn AU thinks that should’ve happened in canon, but it’s a scenario they’re interested in exploring with their favorite pairings, and so they do. AUs of all stripes happen because of this, and fics for canon pairings as well as noncanon–it’s not usually about ‘what canon should have been’ (although it can be–it really depends on the fandom and the source material), because at least as often it’s about ‘well I love these two characters and I want to see them in any number of AU scenarios that would never have been able to happen in canon’.
And secondly: just because you can’t stop someone from leaving unsolicited critique on your works doesn’t mean they aren’t jerks for ignoring your boundaries and leaving critique anyway.
No, I can’t stop someone from coming up to me on the street and telling me that my outfit is ugly, the colors clash, and the lines are totally mismatched on my clothing. I can’t stop someone from telling me that my lipstick and eyeshadow colors are totally wrong for my skintone, and I used too much blush, and my contour is totally off for my face.
But if someone came up to me on the street and said all of those things? That would make them an asshole of epic proportions. And it’s the same deal with fanfiction. Yes, it’s out there in public, and yes, technically anyone can leave any comment they want, from glowing praise to constructive criticism to outright negative commentary. But if a fanfic author hasn’t explicitly consented to getting constructive criticism in their feedback (if the author’s note says ‘concrit welcome!’ that is explicit consent, and as such it wouldn’t count as unsolicited critique unless there’s nothing constructive about it), and you give it anyway? You’re that jerk who just walked up to someone vibing on the street and told them their outfit sucked and what they should be wearing instead.
It’s also entirely not the same thing as leaving a review on a goodreads page for a novel you bought. At that point, you paid money for a product, and you are entitled to give feedback on that product. The author already got your money, and they have the option of entirely ignoring any reviews they do get, because they aren’t appended to the text of their book the way fanfic comments are. (They also probably aren’t sent directly to the author’s e-mail.)
You didn’t pay any money for that fic you just read, and unless you know the author and their stance on concrit, or unless they welcome it in their author’s notes, you don’t know what there boundaries are and what they are willing to take and listen to. You also don’t know if they even care about ‘improving their craft’, because sometimes, fanfic is just for fun! Not everyone intends to eventually make money off their writing. If I put up some scans of my shitty drawings and someone tried to give me ‘constructive criticism’ about them, I’d ignore them because I know my drawing sucks, it was just a fun thing I do occasionally, and I don’t really intend on trying to get better, because it’s not my primary focus.
Now, if someone intend to move into professional publishing, then yes, they’ll need to get used to taking constructive criticism–but that still won’t be coming from random strangers on the internet. At that point, either they or the publishing house will be paying a professional editor to go through the manuscript and point out weak points and help with polishing the piece–someone whose qualifications they know and trust, which cannot be said of Internet Rando #1 who might not even know what they’re talking about in the first place. And, again, just because someone enjoys writing fanfic, and may even hope to improve, that doesn’t mean they ever intend to write professionally. And if they do, it’s not gonna be random internet strangers they go to for concrit.
At the end of the day, no, you can’t stop people from being jerks to you online–but you can establish boundaries, and it’s not unreasonable to expect people to respect them. Jerks will be jerks, and it’s just as reasonable to delete their comments and ignore them completely. Just because you can do something, doesn’t mean you should, or that you’re not an asshole for doing it despite someone asking you not to.
when you’re writing a fic and it just feels so good but then you’re like “is it actually good? is this actually going to make ppl feel things? are ppl actually going to be invested in this? am i just projecting my own hopes onto this fic? am i just imagining im a good writer?”
reblog if you agree
A small list of random ass sites I’ve found useful when writing:
- Fragrantica: perfume enthusiast site that has a long list of scents. v helpful when you’re writing your guilty pleasure abo fics
- Just One Cookbook: recipe site that centers on Japanese cuisine. Lots of different recipes to browse, plenty of inspiration so you’re not just “ramen and sushi”
- This comparing heights page: gives you a visual on height differences between characters
- A page on the colors of bruises+healing stages: well just that. there you go. describe your bruises properly
- McCormick Science Institute: yes this is a real thing. the site shows off research on spices and gives the history on them. be historically accurate or just indulge in mindless fascination. boost your restaurant au with it
- A Glossary of Astronomy Terms: to pepper in that sweet terminology for your astrophysics major college au needs
Adding to this since I’m working on a shifter au one-shot:
More:
- Cocktail Flow: a site with a variety of cocktails that’s pretty easy to navigate and offers photos of the drinks. You can sort by themes, strengths, type and base. My only real annoyance with this site is that the drinks are sometimes sorted into ~masculine~ and ~feminine~ but ehhhh. It’s great otherwise.
- Tie-A-Tie: a site centered around ties, obviously. I stumbled upon it while researching tie fabrics but there’s a lot more to look at. It offers insight into dress code for events, tells you how to tie your ties, and has a section on the often forgotten about tie accessories
Even more:
- Types of High Heels: A page describing twenty five different types of high heels. It gives a description and pictures. Shake it up from just “stilettos and kitten heels”
- Random Job Generator: Exactly as it says. The site offer more generators like characters, plots, or town names.
- Glossary of Hosiery Terms: Figure out what is what on a pair of stockings.
- Men’s Dress Shoe Guide: A quick guide describing the eight most common types of men’s dress shoes. Pics included.
- Types of Women’s Coats: Descriptions and pics of various different types of coats.
WRITING REFERENCES
A page on the colors of bruises+healing stages: well just that. there you go. describe your bruises properly😍😍😍yes!!! Perfect!!
writing multi-chapter fics be like
Character: blah, blah, blah
Me: Wait….did I write a scene like this already? Or…or does this contradict something else I wrote…I can’t…FUCK *scrolls back through ENTIRE fic trying to remember what the hell I wrote*
Oh gosh, it’s true 🤣🤣
Do other writers ever get this like, hyper-specific dialogue exchange drop into their brains and you know exactly where these character are standing and what they’re doing and how they’re saying these words but that’s all you get. You don’t have much other context and this specific moment that exists only at this time in your headspace??