Interiorblink

&. 𝐬𝐨𝐟𝐭 𝐚𝐧𝐝 𝐬𝐰𝐞𝐞𝐭 𝐬𝐞𝐧𝐭𝐞𝐧𝐜𝐞 𝐬𝐭𝐚𝐫𝐭𝐞𝐫𝐬.

(  various  fluffy  dialogue  prompts  so  soft,  so  sweet,  just  for  you!  )

Writing a novel when you imagine all you stories in film format is hard because there’s really no written equivalent of “lens flare” or “slow motion montage backed by Gregorian choir”

You can get the same effect of a lens flare with close-detail descriptions, combined with breaks to new paragraphs.

Your slow-motion montage backed by a Gregorian choir can be done with a few technques that all involve repetition.

First is epizeuxis, the repeating of a word for emphasis.

Example:

Then there’s anaphora, where you write a number of phrases with the same words at the beginning.

This kind of repetition effectively slows the pace of your writing and puts the focus on that small scene. That’s where you get your slow pan. The same repetition also has a subtle musicality to it depending on the words you use. That’s where you get the same vibe as you might get from a Gregorian choir.

Damn I made relatable reblog- bait post and writer Tumblr went hard with it. This is legitimately very good advice. 

For more neat tricks (aka figures of rhetoric) like epizeuxis and anaphora, read THE ELEMENTS OF ELOQUENCE by Mark Forsyth. It’s both educational and delightful, not to mention overflowing with wry wit. Great book. 

Holy shit.

These sound like techniques for making prose have more in common with poetry, or even with music. I just put the book on hold at the library!

Romance Writing Resources

~~~

fantasy characters: “Geez”

me: who the fuck spread Christianity there

this two-years-old shitpost just gained a hundred notes who the snickerdoodles dug it up

W H A T

@rogha

In moments like this I always fall back on the fact that they also aren’t speaking English because they don’t have England or the many languages and conquering peoples that contributed to the creation of the English language and therefore the work must be a translation into recognizable terms in our world’s terms. Call that Tolkien Brainrot.

Corners of Boston.

So good.

Just adding on to say that language acquisition is hard and if you know more than one then you’re already a pretty incredible person. As leslie said people criticising grammar are not worth it and I say - can go **** themselves.

I feel like we often forget the way language progresses. The art of taking a text (not in native tongue) and reading it, analysing and interpreting it, and then writing it for an audience is not easy. And argument is more developed and specific compared to having a conversation. Just as writing a report or assignment would be harder than writing in the group chat. And anyone who feels like they aren’t good at writing remember it’s just one specific thing and we only get better by trying and practising and giving things a go.

short fic challenge

Write a fic of no more than 2000 words for each of the following prompts. Post each one as a standalone story. If you wish, gather them together in a series or a collection, but do not post them as chapters of a single fic.

Minimum length: 10 characters (as required by the AO3 posting form)

i am very tired of the idea that if your question is unresolved and unanswered that means that sjm doesn't think about her writing

like

yeah some of the issues with acotar have to do with sjm potentially not thinking through plot and world building holes but a lot of the time it's more that we/fandom/you have just interpreted something differently from how the author meant it? like the way that Nesta's arc ends up revolving around physical exercise and didn't delve into her being an alcoholic or addicted to sex is different from how many of us envisioned it but like

the text explicitly addresses those things? and it's literally not sjm's fault or a crisis of her being a bad writer when character arcs do not resolve the way you wanted them to?

there are valid things to critique ofc, but the line between that and "well this didn't work out the way i wanted or envisioned so sjm is a shit writer" is...thinner and thinner these days.

like. i personally hate gwynriel as a ship and have a lot of very valid reasons for why i personally think they wouldn't work irl but...if/when they do I'm not going to sit there and say SJM "wrote Az's arc incorrectly" or whatever. like. she is just going to write it the way she envisions and....just because it doesn't add up to who I understand him to be doesn't like.....mean she didn't plan it correctly or carefully

I always have questions about things, it’s just how my mind works. In general I think it’s important to remember that she might have the answers and she might have written them down - we just don’t know. Everyone has this deficient type of thinking, if it’s not in the book then she hasn’t even thought about it.

So going back to my neverending world building questions. If I was been given world and magic answers that didn’t relate to my ‘romance novel reading/interpretation’ I would be annoyed. If it was just thrown in to show the audience - hey I’m so clever look at this thing I did! - I would be mad. I would be asking her editor why they didn’t cut out the words that weren’t relevant to the story in the moment. Big reveals wouldn’t be revealing if we already knew how everything worked and it would be a boring story.

I don’t think we give SJM enough credit because a lot of people think it’s fun to hate on popular authors. I’m not saying she’s perfect either, I just think sometimes as a fandom we can get a little extreme in our generalisations about what someone is or isn’t doing in their books.

The Weaver’s Lament

Hope you like this, a little fictional song/poem for the weaver to sing/recite at her loom. This is my first go at something a little more creative, so hopefully you enjoy it  - Renee :)

A Tale from a time long forgotten…

The Weaver’s Lament

I formed in the darkness from desire and lust Spent most of my time avoiding kings and dust. Preening, exploring and finding my way I learned of escape and sent spiders that day.

Wed to a brother, the oldest of three This was not the life I wanted for me Creature of Darkness and Death incarnate Soul stealer, sin eater, life falls, before it.

The three kings ruled and dominated the land Blistering cold , frost, barrenness came from their hand Fearful and tired of being trapped I waited and watched, then I snapped.

Jumping from realm to realm until I found A place that was bright and light and full of sound. Glittering light fell and scattered on dark stone The world I was now in, would be my new home.

Weiterlesen

• An Oxford comma walks into a bar, where it spends the evening watching the television, getting drunk, and smoking cigars.

• A dangling participle walks into a bar. Enjoying a cocktail and chatting with the bartender, the evening passes pleasantly.

• A bar was walked into by the passive voice.

• An oxymoron walked into a bar, and the silence was deafening.

• Two quotation marks walk into a “bar.”

• A malapropism walks into a bar, looking for all intensive purposes like a wolf in cheap clothing, muttering epitaphs and casting dispersions on his magnificent other, who takes him for granite.

• Hyperbole totally rips into this insane bar and absolutely destroys everything.

• A question mark walks into a bar?

• A non sequitur walks into a bar. In a strong wind, even turkeys can fly.

• Papyrus and Comic Sans walk into a bar. The bartender says, "Get out -- we don't serve your type."

• A mixed metaphor walks into a bar, seeing the handwriting on the wall but hoping to nip it in the bud.

• A comma splice walks into a bar, it has a drink and then leaves.

• Three intransitive verbs walk into a bar. They sit. They converse. They depart.

• A synonym strolls into a tavern.

• At the end of the day, a cliché walks into a bar -- fresh as a daisy, cute as a button, and sharp as a tack.

• A run-on sentence walks into a bar it starts flirting. With a cute little sentence fragment.

• Falling slowly, softly falling, the chiasmus collapses to the bar floor.

• A figure of speech literally walks into a bar and ends up getting figuratively hammered.

• An allusion walks into a bar, despite the fact that alcohol is its Achilles heel.

• The subjunctive would have walked into a bar, had it only known.

• A misplaced modifier walks into a bar owned by a man with a glass eye named Ralph.

• The past, present, and future walked into a bar. It was tense.

• A dyslexic walks into a bra.

• A verb walks into a bar, sees a beautiful noun, and suggests they conjugate. The noun declines.

• A simile walks into a bar, as parched as a desert.

• A gerund and an infinitive walk into a bar, drinking to forget.

• A hyphenated word and a non-hyphenated word walk into a bar and the bartender nearly chokes on the irony

- Jill Thomas Doyle

@red-hot-chili-tiefling

types of writing sessions

absolutely true and valid every one of youse