Who Gave Me A Pen

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
soratayuya
l-a-l-o-u

This is Colors, a short comic written by @monsieurtoast and illustrated by myself, about the influence we have on others around us. I had sooooo much fun working on this and I owe it all to Toast for coming up with such a creative concept! Take care of your colors my guys ♥

monsieurtoast

I’ve been working on this with Lalou for a while now, and I’m happy to say it’s finally complete! I’ve mostly kept quiet about it here until it was finished, but, with any luck, this is just the first of many, many comics to come.

It was an interesting experience writing for a comic, trying to keep the art and the constraints of panels in mind, and also my first stab at it, but I’m pretty happy with how it all turned out. Lalou did an incredible job bringing everything to life!

I hope you all enjoyed reading this as much as I enjoyed working on it, if not more!

Pinned Post colours comic i love this sm

a pause, a memory

image

@flashfictionfridayofficial for the prompt

This was kinda inspired by this one scene that im pretty sure is in one of the Magnus Chase books

Enjoy!

Phoenix is a creature of fire. Of hate. Of love. Of power. 

Sol and Aster were just the unfortunate two stuck in one of her outbursts.  

The first thing they notice is that it’s cold. It’s dark and cold in the “autumn evening” kind of way. Which is odd, considering it was just midday on the longest and hottest day of the year. 

The second thing they notice is that their eyes are closed. Which explains the darkness.  

It does not explain the cool air, nor the feeling of absolute contentment flowing through their body. 

Sol should open their eyes. Figure out how long they’ve been out, do an inventory on what they have, see if anyone’s around. But it just feels so nice, the cold air cooling the ever-present burn that has accompanied Sol since they could remember. All they were missing was Aster and- 

Aster! Where was Aster?! 

Their eyes flew open. 

This… wasn’t (place name).  

This was the meadow, near Sol’s grandparents’ house. They had gone stargazing there, Aster and them, one fall, when Aster’s visit had coincided with a meteor shower.  

Dazed, Sol walked down the little path, finding the old, beat-up truck.  

A younger Sol sat, curled up around a young Aster, clutching a blanket around them. 

This was a memory. A good one, a soft one, one Sol would never let go. They had been so excited, had rambled on and on about the different constellations and meteors and stars. Then the shower had started, and they’d been in awe, enraptured by the night sky. 

But now, as the meteors fell, they watched the younger version of their friend. Eyes fond, and smile soft, looking not at the sky, but at Sol’s younger self. 

And for a moment, ever so brief, Sol saw how Aster saw them. Bright and happy, eyes on the sky, in awe. 

It was mundane. It was extraordinary. They were extraordinary, in the eyes of their best friend. 

And then it was over. 

And then they awoke. 

And then there was heat, and fire, and light.

Word Count: 346

flash fic friday writing my writing
byoldervine
byoldervine

The Trick To Writing Filler

(TL;DR at the bottom)

Filler is when you spend a chapter padding the length of your story between plot-related events. Filler chapters have little to no impact on the overarching plot and can be self-contained, and thus in TV shows filler episodes are often reran the most as people unfamiliar with the show can casually watch without being confused without the knowledge of prior plot beats

So with the chapter being largely self-contained and acting outside of the plot, what do you use to make the filler chapter engaging? I’m going to use filler episodes from Avatar: The Last Airbender to provide examples

1. Worldbuilding. Zuko Alone depicts Zuko’s travels taking him through an Earth Kingdom village and becoming acquainted to the family that allows him to stay with them, especially their young son. He learns about what the Fire Nation’s impact on this village has been; destroyed houses, families torn apart, constant robbery and other abuses of power and injustices. And even after Zuko defends the villagers and his new friend, he’s venomously cast out from the village by even the little boy because he outed himself as a firebender. This episode explored the impact of the war on the people of the Earth Kingdom, the victims of war that have no involvement in it and no way of defending themselves from it

2. Character exploration. In The Beach, we learn more about Mai, Ty Lee, Azula and Zuko and how their own traumas and personal upbringings have impacted their personalities. For Zuko this is part of a turning point for him, but for the girls it’s more to understand why they are the people we’ve gotten to know over the seasons, especially Ty Lee and Mai. The episode also serves to showcase how Azula and Zuko are so out of place being just normal teenagers; Azula has no idea how to talk to her peers and no identity outside being Princess Azula of the Fire Nation, while Zuko’s hotheadedness and jealousy issues lead him to lash out and be far too confrontational and controlling for his own good. This episode isn’t really used to develop these characters, or at least not the girls, but instead explains and showcases their behaviours and the reasons behind them

3. Character development. Going back to The Beach, Zuko does indeed receive development rather than just character exploration like the girls do; he comes to understand that he’s not just angry at the world or angry in general, but angry with himself. This is a notable turning point for Zuko’s redemption arc, because he now understands fully that he truly regrets betraying Iroh and sacrificing his new start in life in favour of returning to the Fire Nation. He might not yet be fully decided on turning his back on Ozai, but without this moment I don’t know if he’d have gotten there, or at least not as quickly as he did

4. Relationship development. Sokka’s Master has a C plot of Aang, Katara and Toph all being rather bored and lost without Sokka’s presence. The A plot exploring Sokka’s feelings of inadequacy and uselessness in comparison to such powerful and formidable bending masters being contrasted with the Gaang unable to function without him already speaks volumes about their dynamics, but looking deeper into the C plot also shows how much value Sokka really does bring to the team; structure, planning, humour, a quick wit, strategic moves. The Gaang always supported Sokka and never seemed to view him as expendable outside of the occasional teasing, but having it acknowledged so clearly and plainly that they can feel a little aimless and flat without Sokka and being so delighted when he returns really shows us the kind of value Sokka brings to this team and brings us and the characters to further appreciate it

5. Downtime. The Ember Island Players depicts the characters taking a break to watch a comedic play based on their wacky adventures, only to be largely underwhelmed and displeased by how they’re portrayed. There are no stakes to this episode and barely any plot, just the Gaang taking a breather as they react to a bad play. This chance to relax and watch something inconsequential is just as important to the viewers as we’ve got the show’s finale in the next four episodes, which will be very plot-driven and intense. The Ember Island Players also has the additional viewer bonus of recapping the events of the show right before it all ends, giving the viewers time to reflect on the journey they’ve gone on with these characters. In order for the stakes to feel high and the tension to rise, there has to be downtime where there are low stakes and low tension; if things are intense all the time, the moments that are supposed to feel super intense will just feel average in comparison. Resetting that intensity right before such a big event while still acknowledging the looming threat coming soon will feel like the calm before the storm and allow your audience to soak it all up like the characters are

Wow, did I just go through all that without talking about Tales of Ba Sing Se? I’ll save that for another post if people are interested in more

TL;DR - filler provides a moment to breathe, reset the intensity levels the audience are experiencing and take a chance to step away from the external conflict (the overarching plot) in favour of worldbuilding and the characters within your setting. Small moments can amount to something big, and can help make large scale decisions or plot twists feel more build-up and in-character

writing reference don’t mind me filler
writers-potion
writers-potion

The Character Arc: 101

As opposed to the plotline, the character is a description of what ahppens to the inside of the character over the course of the story.

Your lead character should be a different person at the other end of the arc.

The character has a build to it. It must, or the change will not be convincing. A good character arc has:

  • A beginning point, where we meet the character and get a sense of his interior layers (more on layers in a moment)
  • A doorway through which the character must pass, almost always reluctantly
  • Incidents that impact the layers
  • A deepening disturbance
  • A moment of change, sometimes via an "epiphany"
  • An aftermath

Layers of a Character

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The layers get "softer" (easier to change) as you move outward. The point of the whole character arc is to crack these layers one by one with external pressure until the character changes in a major way.

As an example: Scrooge from <A Christmas Carol>?

  • Core Image = miser, misanthrope
  • Beliefs = pointlessness of charity
  • Values = money over people
  • Attitude = profit is more important than good works
  • Opinion = christmas is a humbug

The Beginning = The character is, well, what he usually is.

Impacting Incidents = There's pressure for the character to change.

  • it is best to underplay such moments.
  • Overdo it, and you will lapse into melodrama.

Deepening Disturbances = The initial "lesson" is followed up by an even more shocking pressure

Aftermath = There is an action which indicates that the character is changing, reacting to the external pressure.

The Epiphany = The big moment of change.

The Character Arc Table

  • List the impacting and deepening incidents in your novel in a table
  • Add the first (starting) and last (ending) points of your plot
  • Now, list how your character's inner world changes along with the external changes that take place.
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If you like my blog, buy me a coffee☕ and find me on instagram! 📸

writing reference character creation don’t mind me character arcs
deception-united
deception-united

Let's talk about pacing.

Pacing is crucial to consider in plot development. It refers to the speed at which events unfold in your story.

It's important to vary the pacing to keep readers engaged. By effectively managing it throughout, you can maintain reader interest, build tension, and create an overall compelling narrative.

  • Fast-paced scenes: Use quick, action-packed scenes during moments of high tension, such as intense action sequences or pivotal plot points. Short sentences and rapid-fire dialogue can help create a sense of urgency and keep readers on the edge of their seats.
  • Slow-paced scenes: Slow down the pacing during moments of introspection, character development, or when you want to build atmosphere. Take the time to delve into emotions, descriptions, and inner thoughts to deepen the reader's connection to the characters and world.
  • Transitions: Smoothly transition between fast-paced and slow-paced scenes to maintain momentum while allowing readers time to catch their breath and process information. (See here for more on how to effectively implement transitions!)
  • Avoid prolonged lulls: While it's essential to have slower moments for character development and world-building, be cautious of prolonged lulls in the story where nothing significant happens. Keep the plot moving forward, even during quieter scenes, by introducing new information, conflicts, or character dynamics.
  • Balance: have a balance between fast-paced and slow-paced scenes throughout your narrative to create a dynamic reading experience. Too much action without sufficient downtime can exhaust readers, while an excessive number of slow scenes may lead to boredom.

More writing help on my blog! ❤

writing reference don’t mind me pacing
writers-potion
writers-potion

image

So, You are Stuck in Act II.

  1. Analyze the stakes. Ask yourself what the main character will lose if he does not achieve his objective.
  2. Strengthen the adhesive. What is it that bonds the Lead and the opposition together?
  3. Add another level of complication.
  4. Add another subplot. Use this one sparinigly. Subplots must be organic and relate to the main plot.
  5. Push on through the Wall. Sometime, the Act II Problem is merely writer's exhaustion. A temporary loss of confidence.
  • Take one whole day off from writing.
  • Try to spend some time at a peaceful location
  • Spend at least thirty minutes sitting without doing anything.
  • Do something for pure fun
  • In the evening, drink a glass of warm milk and fall asleep reading one of your favorite writers.
  • First thing the next day, write at least three hundred words on your novel.

How To Trim An Overweight Middle

  1. Combine or cut characters.
  2. Absorb a subplot
  3. Trim the dullness. Cut the long descriptions and dialogues lacking tension.

If you like my blog, buy me a coffee!

Keep reading

writing reference don’t mind me act 2
3hks
3hks

Substitutes For "Dead Parents"

Okay you guys! I mentioned this in a past post, but when it comes to family, some of ya'll are just... not creative. And don't get me wrong, having deceased parents is deep, dark, and hard, but at this point, a lot of readers simply overlook that because it's just that common. Not to mention, a lot of you guys aren't doing nearly enough with that information! So, for this post, I'll give some new examples relating to "family struggles!"

>> Neglect: Neglectful parents often don't give their child enough attention, time, or care. They don't always hate their kid; quite the opposite, really, they can still love their offspring and are simply unaware that they are being neglectful. This happens for a multitude of reasons: all their attention is focused on a different child, they're busy, or they're just uninterested in their kid's activities.

>> Abuse: Abuse is rather straightforward; it can be physical, mental, or even both. Even if it's only physical abuse, it can heavily damage the child's mental health and make them question their self-worth.

>> Fighting: I think that a lot of us have endured our parents fighting, and I'm fully confident that none of us enjoyed it. It's incredibly difficult for a kid to listen to their parents fight without knowing how to stop it, being stuck in the middle, and even worse, being the center of the argument. As it escalates, the child may even feel neglected, because their parents are only focused on each other.

>> Absence: Like neglect, these parents don't devote nearly enough attention and time to their child. However, this is because they are hardly present in the household to begin with. Normally, it's their career that keeps them away, leaving their kid to raise themselves.

>> Controlling: Oftentimes, controlling parents are found in, believe it or not, more successful households. Kids who have parents that own a successful business or are powerful in general are sometimes raised to follow those footsteps regardless if they want to or not. If they don't want to, as a result, they are kept on a tight leash. Controlling parents can also be found in stricter households.

>> Toxicity: Toxicity, a form of emotional abuse, can come in many forms, gaslighting, demeaning words, constant criticism, comparison, etc. Frequently, the child is unaware that their parents are being toxic until a third party points it out to them. This is because they've only known their parents acting in toxic manners; thus, it becomes their norm. However, it's also entirely possible for the parent to be oblivious to the fact that they're being toxic.

>> Distant: Being distant doesn't always have to be because of some crazy reason; they might've been a very happy and close family once, but as time passes on, they just simply start drifting in their separate ways. It's not the same as neglect or an absence; the child is usually able to adjust to it easier, and it might've even been their choice to be distanced from their parents.

>> Child Responsibility: This is a scenario where the kid acts more like a parental figure--they have to take care of both themselves and their family. In some situations, they also have to work in order to supply their family with enough money to be able to pay for life necessities. This normally happens when a/the parent(s) are out of commission and struggle to provide for their family. If the household is poor, the child might be working alongside their parents in an attempt to make their lives easier.

Did I miss anything? Let me know what you guys think about these substitutes!

Happy writing~

3hks :D

writing reference don’t mind me parents
maccreadysbaby
maccreadysbaby

things people do after having a nightmare that isn’t crying

  • struggle to catch their breath
  • grab onto whatever’s close enough to ground themselves in reality
  • become nauseous / vomit
  • shake uncontrollably
  • sweat buckets
  • get a headache

things people do to combat having nightmares if they occur commonly

  • sleep near other people so they can hear the idle sounds of them completing tasks
  • move to a different sleeping spot than where they had the nightmare
  • leave tvs / radios / phones on with noise
  • just not sleep (if you want to go the insomnia route)
  • sleep during the day in bright rooms

things people with insomnia do

  • first, obviously, their ability to remember things and their coordination will go out the window
  • its likely they’ll become irritable or overly emotional
  • their body will start to ache, shake, and weaken
  • hallucinate if it’s been long enough
  • it becomes incredibly easy for them to get sick (and they probably will)


add your own in reblogs/comments!

writing reference don’t mind me nightmares insomnia
creativepromptsforwriting
writing reference don’t mind me relationships
saraswritingtipps
saraswritingtipps

Some tips for using a few words to describe voices:

1. Tone Words: Use tone words to convey the emotional quality of a voice. For example, you can describe a voice as "melodic," "soothing," "sharp," "gentle," or "commanding" to give readers a sense of the tone.

2. Pitch and Range: Mention the pitch and range of the voice. Is it "deep," "high-pitched," "raspy," or "full-bodied"? This can provide insight into the character's age, gender, or emotional state.

3. Accent and Diction: Describe the character's accent or diction briefly to give a sense of their background or cultural influences. For instance, "British-accented," "Southern drawl," or "formal."

4. Volume: Mention the volume of the voice, whether it's "whispering," "booming," "murmuring," or "hushed."

5. Quality: Use terms like "velvet," "silken," "gravelly," "honeyed," or "crisp" to convey the texture or quality of the voice.

6. Rate of Speech: Describe how fast or slow the character speaks, using words like "rapid," "slurred," "measured," or "rambling."

7. Mood or Emotion: Indicate the mood or emotion carried by the voice. For example, a "quivering" voice may convey fear or anxiety, while a "warm" voice may express comfort and reassurance.

8. Resonance: Describe the resonance of the voice, such as "echoing," "nasal," "booming," or "tinny."

9. Timbre: Mention the timbre of the voice, using words like "rich," "thin," "clear," or "smoky."

10. Cadence: Highlight the rhythm or cadence of speech with descriptors like "staccato," "lilting," "rhythmic," or "halting."

11. Intonation: Convey the character's intonation by saying their voice is "sarcastic," "apologetic," "confident," or "questioning."

12. Vocal Characteristics: If applicable, mention unique vocal characteristics, like a "lisp," "stutter," "drawl," or "accented 'r'."

writing reference don’t mind me voices
redwingedwhump
illarian-rambling

Yay, unsolicited advice time! Or, not really advice, more like miscellaneous tips and tricks, because if there's one thing eight years of martial arts has equipped me to write, it's fight scenes.

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Fun things to add to a fight scene (hand to hand edition)

  • It's not uncommon for two people to kick at the same time and smack their shins together, or for one person to block a kick with their shin. This is called a shin lock and it HURTS like a BITCH. You can be limping for the rest of the fight if you do it hard enough.
  • If your character is mean and short, they can block kicks with the tip of their elbow, which hurts the other guy a lot more and them a lot less
  • Headbutts are a quick way to give yourself a concussion
  • If a character has had many concussions, they will be easier to knock out. This is called glass jaw.
  • Bad places to get hit that aren't the groin: solar plexus, liver, back of the head, side of the thigh (a lot of leg kicks aim for this because if it connects, your opponent will be limping)
  • Give your character a fighting style. It helps establish their personality and physicality. Are they a grappler? Do they prefer kicks or fighting up close? How well trained are they?
  • Your scalp bleeds a lot and this can get in your eyes, blinding you
  • If you get hit in the nose, your eyes water
  • Adrenaline's a hell of a drug. Most of the time, you're not going to know how badly you've been hurt until after the fact
  • Even with good technique, it's really easy to break toes and fingers
  • Blocking hurts, dodging doesn't

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Just thought these might be useful! If you want a more comprehensive guide or a weapons edition, feel free to ask. If you want, write how your characters fight in the comments!

Have a bitchin day <3

redwingedwhump

-As mentioned, if you whack anyone in the nose, even lightly, their eyes will water and their vision will be briefly compromised.

BUT ALSO -If they're not a frequent/trained fighter they will automatically raise both hands to their face and drop their head downward, instinctively, to protect their face. You can use this.

-High kicks are for taekwondo tournaments or that VERY rare moment they're called for. Most people used to fighting won't swing a kick above the waistline because these are easy for another moderately adequate fighter to get under and shove UP. One of my favorite tactics because every dude tries to be Chuck Norris so they learn high kicks but not breakfalls.

  • Hitting the ground hard enough can end a fight really fast for anyone who doesn't automatically "roll". Breakfalls have to be trained enough to be involuntary, you do not have time to intend to do them, and they're a vital part of scrapping. If you don't have those built into your body's reactions, Mister Floor Is Not Your Friend.
writing reference don’t mind me fighting