Hiya, my main blog is @a--clockwork--lemon , this sideblog is for writing-related things probably 𓂃✍︎ I am not a writer, just someone who gets obsessive rather easily - i hope you enjoy the fruits of my labour [read: autism]
i'm making a pinned post because this blog ended up changing from what i originally intended it to be for~~
this is my sideblog where i pretty much post fashion and literature things.
a lot of what i post is goth outfits and alternative makeup, but the way i dress does flicker between a lot of different alternative aesthetics.
some of my main interests are :
⋆ classical literature, particularly gothic literature
⋆ music of many genres (punk, emo, post-hardcore, pop punk (sue me idc), jazz, ska, goth, honestly the list goes on)
⋆ tarot, witchcraft, and non-organised religions (not practicing, i just find them interesting)
⋆ politics!! particularly modern conflicts and political theory. i do protest, i currently don't organise
⋆ creating!! i make jewellery, i paint, i draw, i sew and embroider. i'm not great at it, but i love it nonetheless
⋆ psychology : honestly, this might be self-centred but being as mentally ill and neurodivergent as i am, i quite enjoy learning
.....
anyway, if you wanna be mutuals i would love that :) i struggle to respond and i'm not very active (see mental illness) but i could definitely do with some friends
Not watching my father get weaker every day and knowing I can’t do what he needs.
He needs surgery.
Not later. Not someday.
He needs it now.
But we are living in conditions where even simple things feel impossible. Medicine is hard to find. Proper care is out of reach. Even food is not always there.
I sit with him and try to act normal.
But inside, I am thinking about everything we cannot give him.
And that feeling…..... it doesn’t go away.
I am not writing this easily.
Asking like this is not easy.
But I don’t want to lose my father because we couldn’t reach help in time.
Help my father. Help my family. Share this.
📌 Fundraiser vetted (#167 by el-shab-hussein & nabulsi), But we created a new GoFundMe page because GoFundMe suspended the beneficiary’s account on the platform, which put us in a very difficult situation.
a beautiful cameo i found in a charity shop. i've been struggling to think of an outfit or an upcycling project because it's beautiful and i want to make it perfect.
(it isn't antique or anything, i think it's just a plastic replica, but it's gorgeous nonetheless)
Establishing a strong narrative voice is incredibly important, particularly when writing from a specific character's perspective. It's even more important if you're writing from multiple points of view.
The narrative voice does not include spoken dialogue or monologues. It involves the inner voice of the narrator and/or character. Depending on the perspective you're writing in, some of the following questions will be more relevant than others, but these are questions I find helpful when developing an identifiable narrative voice.
✧ How would a character describe themselves to someone else? How would they describe themselves internally?
✧ How is your character feeling? What might they focus on setting-wise? What might they ignore or overlook?
✧ Does your narrator have an accent? Where are they from? How old are they? Are there any figures of speech or idioms they would use as a short cut?
✧ Do they use colloquialisms naturally or for those around them?
✧ Do they have a unique cadence?
✧ Does your character code-switch? Have they picked any expressions up off of people around them?
✧ How intelligent are they? How educated are they?
✧ How do they approach conflict? Analytical/emotional/logical/avoidance?
✧ Do they have any specific mindsets? Are there any pitfalls or thought patterns they consistently get stuck in?
✧ Are they very all-or-nothing? Do they believe they're in control or fate is? Are they a pessimist or an optimist? Are they ironic?
✧ How might they label something before consideration?
✧ Are they prone to minimising/magnifying situations? Do they have any false beliefs and do they know that they're false beliefs?
✧ What do they expect of themselves? What do they wish for themselves? What is the most important thing to them?
✧ What do they blame?
✧ Do they effectively communicate their feelings? Do they even know their feelings?
✧ How do they feel logically? How do they feel emotionally? How do these differ and which does your character value?
✧ What do they tell themselves? Is it accurate?
✧ What outcome do they want? What do they fear will happen?
✧ What is the reader privy to? What does the reader know that the other characters don't? What do the characters know that the reader doesn't?
✧ What's the pace of your narrator's thoughts? Are they anxious? Obsessive? Desperate? Under pressure?
✧ Is the narrator bored or enthusiastic?
✧ What do they focus on? What do they cling to?
✧ Is the pacing of the narration intended to subvert the reader's expectations? Are the reader and narrator feeling the same way based on their knowledge/feelings?
✧ Do they practice their words before they say them? Or does dialogue spill out without any prior consideration?
✧ Are they physically comfortable? Hot/cold/itchy/sore?
✧ Is there anything distracting or intrusive? Smells, sounds, tastes, etc.?
✧ How easily do they get distracted? What do they focus on naturally?
✧ How do their emotions, thoughts, and opinions change through the scene? Why?
✧ Are they getting interrupted? Are they used to how they're being treated? Do they spend a lot of time with their thoughts?
✧ How conscious are they of themselves and their movements/face?
✧ Is there something not being said? How does your character feel about it?
✧ Do they have a habit they've stopped partaking in? Do they swear internally, but not externally? How short of a fuse do they have?
✧ Do they have repetitive thoughts? Are they confident? Are they forgetful?
✧ How do they approach new things? Are they willing to fail? Are they naturally gifted? Are they used to getting what they want? Are they hiding discomfort?
✧ How do they interact with things they don't like about themselves? What do they do when they have a thought they aren't comfortable with?
✧ Do they hate in others what they hate in themselves? What might they project onto other characters? What do they envy? What are they lacking?
✧ How do they cut someone off?
✧ Are they direct? Do they use complex language? Are they an expert in the subject?
✧ How do they see themselves in the context of the situation? How do they see themselves in the context of the other characters?
✧ Favourite words and/or phrases?
✧ Do they think very much at all? Are their thoughts more active or passive?
✧ How much energy do they have? Are they tired? Are they waking up?
✧ Are they sober? Are they lucid? Do they believe things are real that aren't? Does the reader know?
I wrote this because I used to struggle a lot with narrative voice, particularly when I wanted them to stand out from other characters. Hopefully this is helpful to people other than me :)
beautiful candlesticks that i found clearing out my grandparents house. i've been looking for some like this for so long!!! i have no clue how i got so lucky :')
Nonchronological narrative - a narrative technique in which the storyline is told out of chronological order.
Instead of starting at the earliest point in time and presenting events in the order in which they happened, a nonchronological story might work its way backwards or jump around in time.
Nonchronological storytelling can take many forms: By using flashforwards, flashbacks, dream sequences, or foreshadowing, nonchronological plotlines can mimic the recall of human memory or weave in fantastical elements like time travel or clairvoyance.
Tips for Writing Nonlinear Narratives
One of the biggest challenges of nonchronological writing is that it can sometimes feel disjointed. You can use that feature to your advantage, creating suspense or mimicking the way humans experience time in real life, but it’s important that you, as the writer, don’t get lost in your own nonchronological story. Here are some tips for successfully telling a story out of order:
Use markers to indicate time change. In screenwriting, time changes are often indicated by visual cues. For example, the psychological thriller Memento (2000) presents two different timelines: Chronological scenes are black and white, and a separate sequence in reverse time order is shown in color. At the end of the film, the two timelines converge to reveal a shocking twist. Writers use different techniques to let readers know where they are in time, such as chapter breaks, chapter headings or sub-headings, and sensory details that reflect the time period. In fantasy or science fiction writing, authors often introduce a device that indicates time travel such as a magical object.
Stay organized. When you’re bouncing between different timelines, it’s easy to get lost. If you’re someone who typically flies by the seat of their pants when it comes to writing (aka a “pantser”), you might have to buckle down and become an outliner, or “plotter,” if you’re writing a nonchronological narrative. Writing out of order will be much easier if you’ve already pinned down your story structure, main plot points, and subplots. This is especially useful if it’s your first time writing in a nonchronological order. Bonus: A solid outline can help you beat writer’s block since you already have a writing frame for future scenes.
Pay attention to point of view and tense. In nonlinear storytelling, it often makes sense to inhabit different perspectives by changing point of view and tense. Maybe the bulk of your story is written in the present tense from the first-person POV of your main character, while flashbacks are written in the past tense and in third-person. Or, you may want to include multiple points of view from different characters existing in different time periods. All of that is possible, but make sure you’re keeping track of point of view and tense changes to avoid confusing your reader. Avoid changing POV or tense in the middle of a scene, and consider making a chapter break every time you change point of view.
Reasons to Write a Nonchronological Story
Nonchronological narrative structures might be a challenge to pull off (the order in which everything is presented must still be logical, if not chronological), but when done well, it allows a more nuanced, masterful story to emerge. Here are some of the advantages of nonlinear storytelling:
Suspense: By disorienting the reader, a nonchronological structure creates a puzzle that requires more engagement with the individual pieces of the story. Cause and effect cease to be predictable or immediately visible, allowing the reader to curate their own logic. When a novel opens with a murder, the series of events that follow carry greater weight and add to the anticipation of the final (known) outcome. When the reader knows more about a character’s fate than the character does, opportunities also arise for moments of irony, be they tragic or comic. Nonchronological storytelling is especially popular in thrillers, since playing with time allows authors to withhold and reveal information at the perfect time, creating shocking twists. Hooking your reader by placing them in the middle of the story is called in medias res, and it’s a technique that works for all kinds of writing, including persuasive and informative texts.
Worldbuilding: A nonlinear structure can give readers different points of view and new perspectives on aspects of the setting—think subplots that take place on the other side of the world and will eventually become meaningful, or perhaps historical events that come to bear on the lives of your characters. Nonlinear narratives allow you to expand your worldbuilding and give your readers a glimpse into other time periods.
Character development: The more the reader learns of your main character’s backstory, the better they understand the choices they make throughout the narrative. Instead of simply telling the reader your character is an orphan, send them back to the moment the character became one. Those experiences stay with the reader as they continue through the story.
Writing conventions are used to maintain clarity and understanding for the reader. That being said, conventions are not rules and some writers choose to subvert them. Whether learning conventions to use them or ignore them, being intentional and aware is ideal.
Either single or double quotation marks can be used for dialogue. Whichever you choose, the other can be used for quotes within dialogue. This is why consistency is non-negotiable.
Typically, the UK uses single quotation marks, double for quotes within the dialogue. Whereas the USA uses the opposite.
'The book states that, "British English uses single quotes",' she said.
"It goes on to say, 'American English uses double quotes'," he responded.
𝔓𝔲𝔫𝔠𝔱𝔲𝔞𝔱𝔦𝔬𝔫 𝔓𝔩𝔞𝔠𝔢𝔪𝔢𝔫𝔱
In the case of dialogue, punctuation should never come immediately after quotation marks. If a tag precedes the dialogue, punctuation will come before the quotation marks. Quotation marks for dialogue cannot be closed without punctuation.
He penned a note in the margin: 'Punctuation before quote marks. It's not an essay, it's a story!'
𝔄𝔠𝔱𝔦𝔬𝔫 𝔗𝔞𝔤𝔰 𝔳𝔰. 𝔇𝔦𝔞𝔩𝔬𝔤𝔲𝔢 𝔗𝔞𝔤𝔰
An action tag is a sentence that goes alongside dialogue and explains an action that is distinct from speaking. For example :
'I think this it right." She frowned.
A dialogue tag is a phrase that refers to producing speech. It described the dialogue directly (said, screamed, whispered, etc.). For example :
'I think this is right,' she muttered.
She muttered, 'I think this is right.'
Dialogue tags cannot be stand-alone sentences; a comma should always join the speech and dialogue tag together.
Action tags, on the other hand, are always stand-alone sentences. They are separate from the dialogue.
ℭ𝔞𝔭𝔦𝔱𝔞𝔩𝔦𝔰𝔞𝔱𝔦𝔬𝔫
Incorrect capitalisation in dialogue tends to happen due to misidentifying the start and end of sentences. The first word of dialogue, for example, is always capitalised (even when it is preceded by a dialogue tag).
He shouted, 'See! Just like this.'
If dialogue is bisected by a tag, the second section of dialogue is only capitalised if it marks the start of a speaker's sentence.
'No need to shout,' she drawled. 'We get the idea.'
'I'll shout,' he yelled, 'whenever I bloody want to.'
'Action tags always need capitalisation,' someone whispered, 'because they're stand-alone sentences.' The shadowy figure slunk away, leaving the pair to argue.
Question marks and exclamation marks do not mark the end of a spoken sentence. They indicate the tone. Dialogue tags must be in lowercase following any of these.
'Like this?' she asked.
'I don't know!' he exclaimed.
𝔔𝔲𝔬𝔱𝔞𝔱𝔦𝔬𝔫𝔰
When citing something, only the quoted material should be inside the quotation marks. If this explicitly includes punctuation, keep it within the quotation marks, if not, leave it out. For example :
He read the post, 'Dialogue : Rules and Conventions'.
The poster wrote, 'consistency is non-negotiable.'
Quotations should never deviate from the source material, and remain as faithful as possible to the original words/punctuation/spelling. Adding or subtracting should never happen.
ℑ𝔫𝔡𝔦𝔯𝔢𝔠𝔱 𝔇𝔦𝔞𝔩𝔬𝔤𝔲𝔢
Indirect dialogue is when the narrator paraphrases what a speaker has said. It should not have any quotation marks, and a new paragraph is not necessary (though some prefer for readability). For example :
He mentioned something about streams and consciousness. She couldn't remember his exact words.
Both external and internal indirect dialogue have the same rules.
ℑ𝔫𝔱𝔢𝔯𝔫𝔞𝔩 𝔇𝔦𝔞𝔩𝔬𝔤𝔲𝔢
Direct internal dialogue refers to the characters exact thoughts as opposed to their spoken words. The grammatical rules are almost interchangeable with those of external dialogue, thus, the main 'rule' is about distinction.
Some use italics, some use alternative quotation marks (single if using double for regular dialogue). Be consistent with whichever is chosen! For example :
Nobody knows what I'm thinking, she mused. Unless mind readers exist, of course.
𝔈𝔪 𝔇𝔞𝔰𝔥𝔢𝔰 𝔞𝔫𝔡 𝔈𝔩𝔩𝔦𝔭𝔰𝔢𝔰
In dialogue, an em dash indicates an interruption, whereas an ellipsis suggests the speaker trailing off.
Em dashes indicate an interruption of dialogue. They are placed immediately after the speaker's last word, inside the quotation marks.
'You mean like—'
'Yeah, just like that,' he interjected, before entering the office.
'—tuning in as well.' His secretary's head swung round as the door opened.
Dialogue can also be interrupted by the speaker's own actions. When this happens, the em dashes surround the action and sit outside the quotation marks. This should not be treated like a dialogue tag!
'Okay' —she scratched her head— 'I think I've got it.'
𝔓𝔞𝔯𝔞𝔤𝔯𝔞𝔭𝔥𝔰
A new paragraph is needed:
When there is a change in speaker.
When a different character becomes the focus (this could be through action, consideration, speech, etc.).
One speaker's dialogue can have several paragraphs. Here, an opening quotation mark is assigned to the beginning of each new paragraph. However, there remains only one closing quotation mark at the end of the speaker's dialogue.
Within a section of dialogue, a new paragraph is needed:
If the intended recipient(s) of the dialogue changes part way through.
If there is a shift (this could be in theme, focus, direction, etc.). Paragraphing like this is quite intuitive, keep in mind that it's intended to create readability and understanding.
A new paragraph is not necessary:
To separate a character's actions right before their dialogue. If the character and the pacing is consistent, there's no need for a new line.
If dialogue is followed by the speaker's actions.
To switch between the speaker's internal and external dialogue.
my second handmade rosary, this ones a lot more gothic (and lowkey feels a bit more blasphemous) but it definitely fits most of my outfits a little bit better.
fun fact (maybe) : this is a seven sorrows rosary specifically for devotion to Mary and all her hardships. personally, as an atheist i still quite like this conceptually because truly if she existed, this poor girl went through so much
all of the pieces are from different items of jewellery (even the black beads are from two separate necklaces) and both of the charms were from a charity shop (think it may be second hand shein because its not super high quality but better here than in landfill).
hope you like it :)) the hyperfixation wore off after two but hopefully i can get some dopamine back in my system because i really loved making them.
i made two rosaries by tearing apart a load of old jewellery i have and i'm so proud of them!!! i am not catholic (any more) but personally i'm trading in catholic guilt for goth jewellery.
this one's golden beads and pearls (faux from vintage jewellery) with a few gold chains tugged apart. i got sort of obsessed with handmade chainmail so i also encased a pearl in a chain bag(?) box (?)
i'm gonna post the second one separately because they're quite different vibes.
Prophet : (n.) Someone who speaks for God.
(n.) A seer, someone who foretells the future.
Profit : (n.) Financial gain.
(v.) To gain advantage.
The monetisation of religion and the financial influence of the Church makes this homonym so poignant.
Ramification : (n.) Consequences, often unforeseen.
Ramification : (n.) The structure of branches in trees/plants- getting increasingly small.
The understanding we have of nature, fate and unavoidable consequence in contrast to natural imagery is always very effective in my opinion. Nature is not under our control, yet we have a very complex and varied views on actions/consequence.
Pray : (v.) To offer devotion, worship often to a God/deity.
Prey : (n.) A creature hunted for food
(v.) To victimise others; to exert harm
Similar to prophet/profit, religion as something that victimises or controls is so interesting to me. Often throughout older literature we see predatory characters as innately irreligious. Religion is so tied up in mythical creatures (vampires, demons, etc.) yet many might argue that organised religion has caused far more harm than atheism.
I often find myself on the precipice of an idea, just flowing conceptually between ideas - typically about metaphors for poetry. I just sort of have that idea that:
