Color Me Curious
untitled
"I'm Dorothy Gale from Kansas"
pixel skylines
almost home
Lint Roller? I Barely Know Her
EXPECTATIONS
cherry valley forever
Noah Kahan
tannertan36
Fieri Frames
occasionally subtle
Not today Justin
Jimmy Eat World
No title available
Claire Keane
PUT YOUR BEARD IN MY MOUTH
Cosmic Funnies
#extradirty
YOU ARE THE REASON
seen from Spain
seen from Germany
seen from Malaysia
seen from United Kingdom
seen from Colombia
seen from United States
seen from Spain
seen from Canada
seen from United States
seen from United States
seen from Ecuador
seen from United States
seen from Türkiye
seen from Germany
seen from United States
seen from Germany
seen from Malaysia
seen from United States
seen from United States
seen from United States
@addled-confused-blog
Google like a boss!
This is relevant to librarian-ing.
This would make such an excellent hand out for students.
Wheee I use these! They make Google a much more effective search tool.
Thank you! Ppl don’t know these things when I tell them they don’t know how to use a computer
The Emotions of Horror
In order to successfully write horror, you must first understand fear. Fortunately, fear is a universal experience, and likely something you have intimate first-hand knowledge of - the key is learning to harness your fears so they can be translated for the page.
First, recognize that different techniques and approaches will work better in different media. What works well in a horror movie may not translate well to a written story, and vice versa. Understanding your medium and your goals will help you work to the strengths of the medium and provide the most effective approach.
Second, remember that horror, perhaps more than any other genre, is at its core interactive. Even a linear story told through writing or visual cues invites participation from the reader: You need them to engage so that they will bring their own fears to the table. Simply seeing characters interact with frightening things isn’t enough; you need to invoke fear in the reader by inviting them to experience the things that you describe. That’s something I’ll delve into in greater detail in a later post, but for now, keep it in the back of your mind.
Two Main Types of Horror
There are two primary types of horror reactions you can create in a reader: Visceral horror, and cerebral horror.
Visceral horror is felt in the gut. It preys upon the lizard brain and taps into basic primal fears. Visceral emotions include disgust and shock. It is most effective in visual media, where a viewer sees images and responds to them before their brain has a chance to process them, but you can still invoke these feelings through the careful use of description. More on that in a minute.
Cerebral horror is felt in the brain. It’s the type of horror that you think about hours or days or years later, the kind of disturbing ideas that implant themselves in there and become more frightening the more you consider them. These are rooted in anxiety rather than the primal lizard brain. Cerebral horror includes fridge horror and dread. A tightly crafted story will beat a movie every time when it comes to cerebral horror, because written media is more intimate. Use that to your advantage.
The Emotions of Horror Stories
Let’s talk in a little more detail about the emotions that you should work to create in your reader when crafting a horror story. In order of most-difficult to most-natural for the written medium, try experimenting with:
Shock: Films and video games can fall back on the “jump scare,” a tactic wherein you rapidly break suspense with a sudden visual cue, almost always accompanied by a loud noise. If you need an example for some reason, turn to the nearest Five Nights At Freddy’s game.
Jump scares work by temporarily startling the viewer, short-circuiting their conscious brains and tapping directly into their oldest and most primal reflex. Newborns startle when they are exposed to too much sensory input - it’s literally their first line of defense. When you jerk, scream, or flail, you are tapping in to the newborn infant part of your brain.
Can you do a jump scare in a novel? Probably not. For one, there is no sound, and sound is extremely important to a successful jump scare. For another, reading involves conscious interaction with text; you can’t really bypass their thought processes enough to invoke a jump scare response (except for the occasionally really susceptible reader).
But you can still shock them, and that’s just as good.
Shock occurs when a reader is totally blind-sided by new information. They think they know what’s going on, but in reality, the truth is something unexpected (and perhaps far more sinister). They think a certain character is safe, only for them to be suddenly and brutally murdered. They think they’ve solved the puzzle, but the rabbit hole actually goes much deeper. I’ll talk about shock in greater length in another post, because it is so difficult to do well and requires a lot more attention.
Disgust: Gore and “splatterpunk” relies on the visceral response of disgust. We are naturally repulsed by certain things, and that too may be hardwired into our DNA (although it’s also partly based on nurture and cultural factors). But basically, disgust exists to keep us away from things that may hurt us, like diseased things.
Triggering disgust in your reader will mostly fall to writing effective descriptions. Word choice matters a lot when it comes to writing gore. Some words just feel gross (think “moist”), and some invoke really icky mental images. I’ll write a whole thing on tricks to writing gore at a future point, but for now a word of caution: Horror cannot rely on gross-out scenes alone. You might invoke a kind of sick fascination in the reader, but you won’t really scare them.
Dread: Suspense and dread are vital ingredients to horror in any medium. They work by drawing the reader into the story, enticing them to think ahead - but stripping away their certainty about what will happen. A really good story will alternate between shock and dread, building up tension before twisting the narrative in an unexpected direction.
I wrote a little bit about invoking dread here, and I’ll delve into the topic at greater length later. But for now, remember: Suspense lies in giving the reader the pieces to a puzzle, but withholding context. It forces the reader to think ahead, to try and make sense of what they’re seeing, and to imagine terrible conclusions. It encourages the reader to think “what if…?” or “something terrible is going to happen but when? how? what?”
This is something you can only do well if the reader is invested in the characters and truly cares about them. Fortunately, because writing is so intimate, it’s easier to delve into a character’s mind and forge a strong connection between them and the reader.
Fridge horror: Fridge horror is basically when something becomes creepier or more disturbing the longer you think about it. It’s when the implications of something are more horrifying than what you see on the surface. It’s the part of the story the reader takes with them, the part that makes them question their own beliefs or world-view or even reality.
It is a cerebral horror, and it’s the thing that written stories can really excel at. I will - you guessed it - write a whole post on the topic in the near future, but until then, realize that fridge horror relies in part on logic (”oh god, this means THAT!”) and part empathy (”can you imagine what it must be like….?”)
The best fridge horror moments will be pulled from your own personal experiences and fears. While anyone can tap into primal fears (the dark, the unknown, disgusting things), fridge horror is often deeply personal and oddly specific. It’s raising a question and leading the reader to think “Oh god, I never thought of that, but it is terrible.”
I’ve rambled on a long time now, and I have many things to come back to and explain in more detail - but for now, hopefully this gives you something to think about! Until next time, stay scared :)
Not a horror writer myself, but still found this super interesting!
Ofuro Agari No
Due to a typo, your local store/mall/etc. put out a request for an appearance by Satan instead of Santa. He follows through with the request.
He shows up and reads through the entire job contract, notes the spelling ‘Santa’ and just corrects each one with a red pen. He eyes the mall representative, who is sweating bullets, but says nothing about the fact that the contracts he’s making are with children, or that they don’t involve souls of any kind. He signs on the bottom line in a strange, bony quill. There’s a strange red flash, and the mall rep is super reluctant to ask. Or touch the contract.
Satan wears the red suit and the hat and the boots, if awkwardly (those cloven hooves, don'tchaknow).
The elves stand well away, but he’s hardly bothered by that, casually waiting on a throne that’s far more cheerful and composed of significantly less bone than the one he’s used to. The children are hesitant at first, until a little girl marches up, sans-parents, and plops herself on his knee, looking up at him with the set jaw of someone who isn’t interested in this farce.
“I want a pony,” she says with a roll of her eyes. She’s no more than nine. He arches an eyebrow “Do you?” he asks. She scoffs.
“Tch, no, but you’re just a man in a suit, it’s not like you can’t get me what I want.” He smiles at her assertiveness and steeples his fingers, careful not to jostle her from her perch. “Try me.” She narrows her eyes at him, studying his inscrutable face before folding her arms. “There’s a bully at my school, and I want him to go away,” she said. His eyebrow arched a little higher and he tilted his head. “And if I do this, I believe the standard contract is that you will be a ‘good girl’ and behave appropriately towards your most favored parent?’ he replied. The child rolls her eyes. “Yeah, sure,” she says. He nods and holds out his hand, which curls around hers entirely when she puts hers out.
“It will be done.”
After that, the children are a lot less hesitant, although several adults attempt to leave. Several hundred bargains are made. For toys. For new family. For present family to suffer. For puppies. And kittens. For understanding. For acceptance.
He declines anything borne of pettiness - of momentary squabbles between jealous children - and redirects them towards more productive desires.
He turns away anyone over the age of eighteen, though several adults attempt to approach. Later they are plagued with horrible nightmares.
At the end of each day, he returns to the underworld and assembles teams of demons, handing out assignments to each of them, to be researched heavily and then executed the night of December 24th. The demons are confused, but do as they’re told, because the dark lord’s edicts are undeniable. His secretary gives him an odd look, but Satan is immune to searching looks, and says nothing, just retires to his room, gets up in the morning, has his coffee, and returns to the mall, donning the suit and heading for the chair.
At the end of the week, he has made more than a thousand deals. The demon hordes are scurrying back and forth between hell and the physical plane.
There are many confused parents, come Christmas morning. Some find themselves with various pets they don’t remember registering for. Others with children. Others still find that their children have undergone some sort of personality shift, to the delight of their siblings.
The first girl is bitter in her heart as she opens gifts, until a letter is personally delivered by a strange mailman, detailing the removal of a teacher from the school she attends. She reads and rereads the letter after her parents finish with it, heart beating strangely lighter in her chest. Her parents are bemused and delighted about the hugs she gives them, and about the enthusiasm with which she ravages her other presents.
They are far less bemused by the black, hellfire-maned pony that is left on their doorstep, a tag attached to the pommel of the saddle that reads, ‘To Katie, Regards, Satan’
best.
the best Christmas story I have read so far
This is the best fuckin thing EVER
(Jamie Berry)
ProleteR - April Showers
A little confession: Without this song, I may not have written Cyanide Tea, a short story I wrote back in October. It was obsessively listening to it while I was writing it out.
Pavlov’s Daughter, by Regina Spektor
Oh and it was far away and hazy like a dream not a dream, but the ocean not the ocean, but forever
Okay, I’m a couple of minutes into 2018 and I see early signs that it will be a good year.
I just discovered the term “tango pirate” and I’m 100% convinced that it should come back into popular usage
I’ve been feeling rather overwhelmed...
Overwhelmed by all I want to do and all that I’m not doing. This especially in my creative sphere but I’m trying to shake it off. There’s so much I want to do and if this year has taught me anything, doing the thing is the best cure. Even just speaking on it makes me feel a little better.
“Ballad of Czolgosz” Assassins Neil Patrick Harris and Ensemble
I’ve been listening to this song obsessively for the last two months!
Do not sit there like, ‘Oh, I don’t feel like it today, I don’t feel like it tomorrow.’ Feel like it. Do it. Force yourself.
James Patterson (via writingdotcoffee)
Don’t be afraid to write crap, because crap makes great fertilizer.
Jessica Brody
(via
psliterary
)
CHARACTER FACIAL EXPRESSIONS (WRITING REFERENCE)
EYES/BROWS
his eyes widened
her eyes went round
her eyelids drooped
his eyes narrowed
his eyes lit up
his eyes darted
he squinted
she blinked
her eyes twinkled
his eyes gleamed
her eyes sparkled
his eyes flashed
his eyes glinted
his eyes burned with…
her eyes blazed with…
her eyes sparked with…
her eyes flickered with…
_____ glowed in his eyes
the corners of his eyes crinkled
she rolled her eyes
he looked heavenward
she glanced up to the ceiling
she winked
tears filled her eyes
his eyes welled up
her eyes swam with tears
his eyes flooded with tears
her eyes were wet
his eyes glistened
tears shimmered in her eyes
tears shone in his eyes
her eyes were glossy
he was fighting back tears
tears ran down her cheeks
his eyes closed
she squeezed her eyes shut
he shut his eyes
his lashes fluttered
she batted her lashes
his brows knitted
her forehead creased
his forehead furrowed
her forehead puckered
a line appeared between her brows
his brows drew together
her brows snapped together
his eyebrows rose
she raised a brow
he lifted an eyebrow
his eyebrows waggled
she gave him a once-over
he sized her up
her eyes bored into him
she took in the sight of…
he glared
she peered
he gazed
she glanced
he stared
she scrutinized
he studied
she gaped
he observed
she surveyed
he gawked
he leered
his pupils (were) dilated
her pupils were huge
his pupils flared
NOSE
her nose crinkled
his nose wrinkled
she sneered
his nostrils flared
she stuck her nose in the air
he sniffed
she sniffled
MOUTH
she smiled
he smirked
she grinned
he simpered
she beamed
her mouth curved into a smile
the corners of his mouth turned up
the corner of her mouth quirked up
a corner of his mouth lifted
his mouth twitched
he gave a half-smile
she gave a lopsided grin
his mouth twisted
he plastered a smile on his face
she forced a smile
he faked a smile
her smile faded
his smile slipped
he pursed his lips
she pouted
his mouth snapped shut
her mouth set in a hard line
he pressed his lips together
she bit her lip
he drew his lower lip between his teeth
she nibbled on her bottom lip
he chewed on his bottom lip
his jaw set
her jaw clenched
his jaw tightened
a muscle in her jaw twitched
he ground his jaw
he snarled/his lips drew back in a snarl
her mouth fell open
his jaw dropped
her jaw went slack
he gritted his teeth
she gnashed her teeth
her lower lip trembled
his lower lip quivered
SKIN
she paled
he blanched
she went white
the color drained out of his face
his face reddened
her cheeks turned pink
his face flushed
she blushed
he turned red
she turned scarlet
he turned crimson
a flush crept up her face
WHOLE FACE, ETC.
he screwed up his face
she scrunched up her face
he grimaced
she winced
she gave him a dirty look
he frowned
she scowled
he glowered
her whole face lit up
she brightened
his face went blank
her face contorted
his face twisted
her expression closed up
his expression dulled
her expression hardened
she went poker-faced
a vein popped out in his neck
awe transformed his face
fear crossed her face
sadness clouded his features
terror overtook his face
recognition dawned on her face
SOURCE
T h i s h e l p s s o m u c h t h a n k y o u
Writing Deaf Characters | Speech is Speech
Before I get going, I’m 75% deaf, as some of you know, semi-reliant on hearing aids and lip reading. My first languages were Makaton sign and then BSL. I now use spoken English.
There are a lot of issues I find with how deaf people are represented in books, when represented at all. I would love to see more deaf and hard of hearing characters in the books I read- without having to read books specifically about deaf/HoH people- but when I find them, they’re grossly undercharacterized or stereotyped. Authors write them in a way that sets signing language characters apart from speaking characters as if they are inferior, and this makes my blood boil.
Some technicalties
I’ll keep this brief.
You may have heard that “deaf” is a slur and you should use “hearing impaired”. Don’t. I’ve never met a deaf or hard of hearing person who believed that. Use deaf for people who are deaf, and Hard of Hearing (HoH) for people who lack hearing. These can be interchangeable depending on the person. This is why sensitivity readers are a useful part of the beta process.
Sign language is incredibly varied. It developes in the same way as spoken language. Fun fact: in BSL there are at least half a dozen ways to say bullshit, my favourite of which is laying your arms across one another with one hand making a bull’s head sign and the other hand going flat, like a cowpat. It’s beautifully crude, and the face makes the exclamation mark. Wonderful.
There are different sign languages. Knowing more than one would make a character multi or bi-lingual, even if they are non-speaking.
Makaton is basic sign language used by children, and it mirrors the very simple language used by toddlers.
Yes, we swear and talk shit about people around us in sign language sometimes, and no, it isn’t disrespectful to have signing characters do this. Just remember that we also say nice things, and random things, and talk about fandoms and TV shows and what we’re having for dinner, too.
Each signed language is different from another. ASL and BSL? Nothing alike. Just google the two different signs for horse.
Remember that sign language is a language, equal to the spoken word
Therefore, treat it as such. Use quotation speech marks and dialogue tags. You only need to explicitly state that this character uses signed language once, and then let your modifiers and description do the rest. It isn’t a form of “sub-speech" or “making hand actions”- sign language is a language all on its own: it has its own grammar rules, syntactical structures, punctuation, patterns, idioms and colloquialisms. For example, “what is your name?” becomes “Your name what?” with the facial expression forming punctuation in the same way that spoken English uses alterations of prosodic tone (inflections). There is even pidgin sign; a language phenomenon usually associated with spoken language.
In the same way that you would describe a spoken-English character’s tone of voice, you would describe a signed-English speaker’s facial expressions and the way that they sign- keeping in mind that these things are our language’s equivalent of verbal inflection.
So please, none of that use of “special speech marks” or italicised speech for sign. If your viewpoint character doesn’t understand signed speech, then you take the same approach that would be used for any other language they don’t understand, like French or Thai. E.g “He said something in rapid sign language, face wrinkling in obvious disgust.” is a good way of conveying this. The proof that you’ve done this well is in whether or not you can switch “sign language” for French or something else, and it would read the same.
Don’t be afraid to describe how things are said, either. Sign language is such a beautiful and expressive way of talking, and to see a writer do it justice would be truly fabulous. Putting this into practise:
“Oh, I love maths!” She said, fingers sharp and wide with sarcasm. She raised her eyebrows.
“I’m sorry.” He replied and made his face small, but could not keep the grin forming. She was starting to laugh, too.
This is part one of two, for the sake of readability and keeping the information simple as I can. Part two- writing the deaf characters themselves- is coming up over the weekend. See you then and best luck with your writing until that point :D
This is part of my weekly advice theme. Each week I look at what you’ve asked me to help with, and write a post or series of posts for it. Next week: settings and character development (including heroes, anti-heroes, villains, and every other kind of character).
Thank you, this is wonderful and helpful.
TO BE HOPEFUL in bad times is not just foolishly romantic. It is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness. What we choose to emphasize in this complex history will determine our lives. If we see only the worst, it destroys our capacity to do something. If we remember those times and places—and there are so many—where people have behaved magnificently, this gives us the energy to act, and at least the possibility of sending this spinning top of a world in a different direction. And if we do act, in however small a way, we don’t have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory.
Howard Zinn (via freckles-and-books)
And lo!
After a week of standing out in the cold and skipping through misting rain, I have a fiery throat. Something about this reminds me of those hapless maidens in Victorian novels who got caught in the rain ONCE and died a week later.
