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#aspirations to be a writer
devastator1775 · 1 year
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Should I or shouldn't I?
That is the question that's been floating around in my brain all day. Just hanging on with little hooks and not letting go.
And why is this question hanging around?
Because I am really, really considering setting the first steps of fulfilling a lifelong dream of mine ... and write an actual sci-fi novel, and become able to really call myself a real author.
And I ... I don't know. One the one hand: it's my dream, and I've had half of this idea for a story for a while now, and it could be fun.
On the other hand: it will take a few years, a lot of hard work that'll push me to the edge of my abilities and I have no idea how I would even get this publishes. How to even start at such a thing? And, you know, it might flop spectaculary.
Or people might like it.
They say 'everyone can write a book' and I would like to believe that ...I just ....fear I might quit.
Should I take the plunge? Or just stick to fanfiction?
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budugu · 3 months
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If this post gets a lot (let's say 10k because that's impossible) I'm going to start writing poetry again .
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blue-eyed-author · 6 months
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Writing rule:
Every character who speaks gets their own paragraph. If two characters are talking, each time they switch you must create a new paragraph.
Do not add more than one characters’s dialogue into a single paragraph or it will be too confusing for the reader.
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amicus-noctis · 8 months
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o-writers-woes · 2 years
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fanyawrites · 3 months
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Hey, you wrote today! Congratulations! It doesn't matter if it's 1000 words or half a page. You still did it, you're moving forward! Keep going!
You've got this ⭐
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chuunai · 17 days
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Dazai kisses you with the reverence of a worshipper. He’s eternally grateful that such a filthy, lowly demon such as himself received the affections of such an angel. His morning and nighty rituals begin and end with the same event—kisses all over your holy body, from the tips of your toes to the top of your head. They’re chaste and fleeting in the beginning, afraid to defile and corrupt you. But oh, he craves to hear the delicacies of your gentle hums and moans when he gets too messy later on and leaves a pretty mark. He knows mere mortals shouldn’t get too close to goddesses, but he can’t help but follow icarus’s steps and hope to touch the sun, you.
Chuuya kisses you like a man drunk in love. Your lips replace the bottle he used to seek comfort so often from, and the taste of red wine could never hold a candle to the taste of you. And not unlike the glasses full of alcohol, he finds himself asking for just one more kiss. They’re bold and clear to the point that he has given himself to you. He’ll proudly kiss the ground you walk on with the same energy he kisses you. He’s lost so many people in his life, and the one thing he wants is to keep you and your kisses all to himself. The finest wine deserves a knowledgeable man who won’t break the bottle.
Fyodor kisses you with the delicate touch of an artist. Every imprint of his lips on your skin is carefully arranged in an ethereal collage of devotion and intimacy. There’s no overdoing it or under-doing it, it’s the perfect amount. His words are always coated in sugary lies and webbed subsidiary secrets, and he opts to express his love through affectionate gestures such as a mere kiss. Being a man of God, naturally he strays away from anything too provocative and heated. Except sometimes in the dead of night, he thinks of Eve and the apple. He shouldn’t have you, no, but he can’t resist forever.
Sigma kisses you like he’ll lose you. The three years he has known this world has only taught him pain, anguish and anxiety. He’s so inexperienced, and he’s afraid that inexperience will frustrate you to the point of leaving him. There’s a bit of everything in a kiss with him, some tongue (he read about it online on a WikiHow article of how to kiss), the shaky hand on your cheek and hip and so much idolization. You lead most of the kisses by proxy, and he lets you. It’s okay if you use him like a toy. He’ll gladly be used as long as you don’t leave.
Nikolai kisses you with all the wild passion he can muster. The lipstick he wears smears across your skin, painting your Cupid’s bow red. Mutters of ‘pretty thing’ and ‘fucking delicious’ leave him with each deepening kiss. It’s a pity he’s thought about setting you free from this world during such a moment. Your heart bleeding around the knife, wails and whimpers of pain muffled by his lips while he guides you through the end of life. The last remnant of the chains holding him down would be gone if your kisses weren’t so hammering onto his soul. Every peck and smooch only solidifies his connection to you and this universe.
Tags: @twst-om-lover, @briars-castle, @little-miss-chaoss, @sinfulthoughtsposts @starrs20
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thatsbelievable · 8 months
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novlr · 1 year
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How to write charming characters
With both positive and negative aspects to their personalities, charming characters can be difficult to write convincingly.
Whether you're writing a romantic love interest or a compelling con man, here are some examples for giving your charming characters depth.
How do they behave?
Attentive listeners: they pay close attention to people around them
Take pride in their appearance
Are happy to share personal space
Speak with a strong voice and an energetic tone
Are often hospitable and give off an air of welcome
Always give the impression that they are happy to see you
Demonstrate empathy
How do they interact?
Have a firm handshake and make strong eye contact
Are often encouraging
Compliment freely
Use humour to create a fun atmosphere
Communicate physically (through touch and gesture)
Make a point of using a person's name
Initiate conversations
Describe their body language
Have a relaxed stance with a straight and confident posture
Inclusive and attentive
Mirroring: they will mirror the body language of the person they are interacting with
Will lean forward to show attention
Lightly touch to create connection
A slight head tilt to show interest
Rarely cross their arms or legs
Maintain eye contact
Describe their attitude
Carefree
Good sense of humour
Friendly and playful
Self-aware
Opinionated and confident
Exhude an impression of honesty
Good intuition
Highly social
Polite and respectful
Eager to please
Potentially manipulative
The positive aspects of charm
Charming characters put people at ease, praise them freely, and boost their confidence. They make friends easily, talk their way to favourable resolutions, and are often the centre of attention.
They have impeccable grooming, conveying trustworthiness and concern for others, leading to a sense that they have your best interests at heart.
The negative aspects of charm
A charming character can manipulate others for personal gain. They can be overbearing, exerting their will on less confident individuals.
Their charm often draws focus, making others feel inferior, making them perfect for a protagonist to exhibit personal growth, or for a villain that a reader will fall in love with.
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taytjiefourie · 2 years
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Showing when writing: Emotions [part 1]
Embarrassment
blushing
fidgeting
sweating
hiding their face in their hands
wide eyes
crossing their arms around their body
stutters
stammering
shifting their weight from side to side
exaggerated movements
nervous quirks appear such as picking at their nails, playing with their hair, and rocking on their heels.
avoiding eye contact
glancing or staring at random objects
stiff smiles
scratching the back of their head or neck.
subject changing
forced laughter
Anticipation
big smiles
wetting their lips
energized
constant movement
grinning
can't concentrate
clumsiness
fidgeting
questions
Awe
frozen
wide eyes
slack jaw
harsh or erratic breathing
grinning
staring
Surprise/shock
gasping
open mouth
slack jaw
wide eyes
covering their mouth with their hands
raised eyebrows
frozen
staring
stepping back
stutters or stammers
Triumph
Tilting back head and yelling out
fist pumping in the air
Jumping
Roaring
Whooping
laughter
bright smiles
grinning
Anger/Threatening
Shaking fist
Pointing
crossed arms
glares
frowning
scowling
Stabbing with finger
Slamming fist against something
Veins throbbing
Jutting out their chin
Clenched fist
Clenched jaw
flushed face
Eyebrows lowered or furrowed
squinting
Teeth bared
Wide stance
Tight-lipped smile
Rapid breathing
Sweating
aggressive stance
Flared nostrils
Puffed chest
loud voice
Nervous
lip biting
biting nails
blinking
tears
stepping back
awkward laughter
clumsiness
dry lips
dry mouth
fidgeting
darting eyes
wrapping their arms around themselves
repeatedly folding and unfolding their arms
clutching at themselves, their hip/shoulder/stomach
drawn in/furrowed brows
avoiding eye contact
jittery
pitched voice
no appetite or nervous eating so a bigger appetite
pacing
toying with things
restless
bouncing leg
rubbing at their face
scratching
sweating trembling
Hey there! I'm excited to share with you a new series I've created on Show Don't Tell. In this series, I dive deep into each emotion individually and provide a detailed list of ways to show it through body language, action, setting, and more. The first emotion we're exploring is Envy, and I promise you won't want to miss it! Check it out and let me know what you think. And if there's an emotion you'd like me to cover next, don't hesitate to leave a suggestion in the comments. Can't wait to hear from you!
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yvesdot · 1 year
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The corollary to "make bad art" is "let other people make bad art." And I mean individuals, not Marvel or Disney or whoever thinks they own stories nowadays. I mean, if you see a poem on the Internet and you think it is THE WORST CRINGE OF ALL TIME... just leave it. If some teen has written a Wattpad book you really hate, let it go. If you see a chain going around with everybody crapping on the same random artist they don't like online, don't reblog it. Ask yourself every time you're making fun of "bad art:" 1) is this really such a big deal? 2) is this in line with my ideals of allowing people to enjoy themselves making art which may not be "objectively" or "technically" sound? 3) am I making a positive impact by sharing this?
It's so difficult already to feel comfortable making and posting your own work online; just because someone's art is "cringey" or "boring" or whatever doesn't necessarily merit an online hate campaign. Please try to remember that the vast majority of people who "blow up" for this kind of stuff are the exact people we're trying to encourage: someone with an idea, and the confidence to execute it without worrying about being the best artist of all time. Especially when we're talking about teens, we have to let people make bad art. That's the only way we can do it ourselves.
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xisadorapurlowx · 5 months
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jouxlskaard · 14 days
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Strap in, fuckers. This is a long one.
I've seen a lot of discourse and discussion recently about why TMAGP isn't resonating with listeners as much as TMA did, with a lot of people pointing towards the infrequent structure of each episode and the lack of subtlety that TMA had once excelled in. And while both of these are true, I think the main culprit that has caused these problems for listeners is one thing: the pacing.
TMAGP is only going to be 60 (Edit: 90) episodes long, compared with TMA's absolute behemoth of 200. When I'd found out about this, I'd assumed that it meant TMAGP would have a much smaller story - not having to establish as much information as TMA did, and allowing the story to have lower stakes as a result. This certainly wasn't a bad thing, as many sequels that have tried to one-up their predecessors have gone disastrously wrong, but I knew that the structure would be different to TMA as a result.
However, from the 12 episodes that we've seen so far, it appears that TMAGP is going to have similar levels of stakes to TMA - not the same stakes, of course, but they'll likely be on close to equal footing. This means that TMAGP has to establish the same amount of information to listeners with significantly less time to do it in, and the pacing has to speed up to adhere to that. In the first 12 episodes of TMA, we had established one possible recurring statement character (Gerry), a disturbing worm woman (Prentiss), and the fact that Jon doesn't like his assistant and refuses to believe any of the statements. In the first 12 episodes of TMAGP, we've established every important protagonist and what they sound like, two recurring statement characters (Bonzo and Ink5oul) with one that has already physically appeared, much of Sam's backstory and his ties to the Magnus Institute and the fact that something is deeply wrong with their workplace. That is a big difference.
This difference in pacing is what I believe is turning listeners away from what they'd originally enjoyed about TMA, because there's no longer that warm, comforting atmosphere when you listen to it. Its sound isn't designed to come from a tape recorder and a tape recorder only anymore; it's no longer a sit-down and listen to the Archivist tell you spooky stories for 20 minutes anymore; and, like I mentioned earlier, the structure is no longer the same throughout each episode. The horror anthology aspect, whilst still being there, has now taken a back-burner to the metanarrative because so much has to be established in so little time. To many, that's a bad thing. They listened to the original because they liked the statements, and the little things connecting them hinted to a much larger story at play. When this story was revealed, we got to see Jonny Sims and his brilliant prose at its best, because there was no longer anything to hide and the statements were in their purest forms - no longer having to establish information to the audience, and simply basking in the fear.
I'm sure we'll get to see the same thing in TMAGP once the narrative reaches that point, but the current pacing has uprooted a lot of listeners' expectations for the show. I'm going to listen to the entire thing, personally; yeah, it's different, and it doesn't deliver the same vibes and comfort as TMA did, and I probably won't be able to fall asleep whilst relistening to the more obscure episodes like I could before, but in a frankly disturbing way, I'm still fascinated with what Jonny, Alex and the other writers have created. This type of horror is the only kind that I genuinely enjoy, and I'm excited to see what direction Protocol goes in.
Edit: I feel like I should clarify that I don't see this comparison as something that takes away from TMAGP. Alex has said that it's going to be different from the get-go, and I do think that comparing it to TMA is an exercise in futility to an extent. I just wanted to talk about the shows together because I feel like they complement one another, and the narrative beats that I've talked about are less to do with TMA on its own and more to do with general narrative structure. We have buildup, payoff and pacing no matter what show it is, because that's what makes a story. I think TMAGP could be taken a little bit like Deltarune in terms of its relation to the original source material: separate entities with some overlap in character and themes. At the end of the day, it's still early days for the show and this entire spiel could just end up gathering dust - I just think it's a cool thing to think about, and it gives me an excuse to infodump about how pacing can affect a narrative and the audience's response to it.
I wrote this while my cat was laying on me. Have a picture as a reward for reading this whole thing.
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blue-eyed-author · 7 months
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Dear fellow writers,
‘Said’ is beautiful. Please use it more. It isn’t anything to be feared of hated. It’s not boring or overused. It makes all the other dialogue tags more special when they’re used on occasion.
‘Said’ makes your writing less cluttered. It can be a simple way of reminding the reader who is talking without bombarding them with synonyms.
“Use it along with action to make it more interesting,” she said, picking up her pencil.
He smirked, and said, “Or with expressions and body language.”
“Or,” she said, “just as a quick reminder of who is talking.”
“And if you know who is talking, a dialogue isn’t always necessary.”
Of course you can use other dialogue tags, but please don’t exclude ‘said’. It’s heartbroken from being ignored.
‘Said’ is beautiful.
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amicus-noctis · 8 months
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o-writers-woes · 1 year
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