writing 'n stuff

writing tips, inspo and memes. european gal. i love me some coffee, writing, horses, psychology, drawing, pole dance, netflix and mental breakdowns (in any order). i have a fantasy wip called 'realm of blues' and im always looking for new writeblr friends so dont hesitate to reach out and scream about your wips with me!

[freeliw]

my fav ship dynamics! feel free to tag ur favs <3

[wondrousworldbuilding]

Deepening Social and Political Conflict in your Fiction

In many speculative fiction works, war or civil unrest is common, sometimes it’s a given. And yet so often, these grand, world-shattering wars are shallow when looked at straight-on. If you think about the history of the conflict or the spark that sent the nations to war, you can come up kind of dry. A lot of readers are tired of “WAR” being the default backdrop of a story, especially when it’s used as a prop rather than handled with the care it should be.

So how do you make sure that your social and political conflicts don’t just provide a canvas to your story, but help deepen and strengthen the world and the characters therein? Simple! Just do a little thinking! 

General Questions

What are they fighting over/why are they fighting?

Land

Pettiness

Resources

Religion

Safety/Peace-of-mind

Debt

Misconceptions or misunderstanding

Political or social ideologies

Power

Lies

Something stupid

Freedom (revolution)

Who is the root of the conflict between?

Nation & Nation

Government & People

Two factions of people

Parts of the same government

Government & Church/Religious group

Church & People

Government & Private institution

Or does it span numerous groups?

How has it spread?

How long has this conflict been going on?

What was the origin point of this disagreement?

How quickly have things escalated? 

How has magic or technology figured into the conflict as it is and as it’s developed?

What has motivated the continuation of this fighting?

What level of devastation have the people dealt with?

What is the military structure of the two sides?

How much do your characters know and understand about the history or reasons surrounding the war? How does that influence their feelings toward it?

Are there outside influences that are escalating the situation by getting involved? Perhaps manipulating or aiding one side?

Long-Time War

What event triggered the initial conflict? The war (if they’re two separate things)?

Do the people remember what started the war, or has too much time passed?

How has the constant presence of war altered the society and culture? 

How much fear is present in the day-to-day life of the citizens?

How do parents handle the knowledge that their children will undoubtedly go off to war at X age?

How has the family structure changed with the constant absence of soldiers?

Does lineage play any part in how likely a child is to be recruited or what level they start at?

How hardened have people come to war and death?

When does soldier training start for children? Is there a gender divide on who fights and who doesn’t? How is “fitness” determined for combat?

Has there been any tries at peace between the warring factions? How were they handled? Why did they fail?

Have art, literature, music etc. survived the enduring war? How has the umbrella of unrest affected the arts?

What do the people believe this war is trying to accomplish? Or do they accept it as a part of life that will likely never go away?

Sudden War

How do people cope with the upheaval of their lives?

How are soldiers selected and trained?

How informed are the general citizens?

How in-danger are the non-combatant people?

Are emotions running rampant, or are they in check? Or is ignorance bliss for most people?

How quickly did the inciting incident lead to the full-on war?

How well- or ill-tempered are the leaders of the sides and how does that contribute to the way the delegations, exchanges, and treaties are handled?

Are the people of the general public on board with going to war, or are they angry about their leaders’ involvement?

How well-documented and reported are the goings-on at the front lines/in governmental offices?

Civil Unrest

Why are the people unhappy or unsettled?

What groups are trying to resolve the issues or help the needy during the fragile times?

What are the opposing sides/ideas trying to accomplish and how are they balanced over discontentment rather than heading straight to war?

How much pressure is there to start an uprising?

Has the disagreement between some groups brought unity to others?

Is the unrest more mental and political, or are there mobs rioting in the streets?

Are there rumors (true or not) circulating that are adding to the tension?

Is there a press involved? How are their reportings affecting the people? How are they viewed by the ones in power?

How long has this unrest been present? Do people think that it will eventually lead to a revolution or war…or are they just resigned to the way things are?

Happy writing!

Check out the rest of the Brainstorming Series! Magic Systems, Part One Magic Systems, Part Two New Species New Worlds New Cultures New Civilizations Politics and Government Map Making Belief Systems & Religion Guilds, Factions & Groups

[cassieisnotapie]

41 Emotions as Expressed through Body Language

Found Here x

41 Emotions as Expressed through Body Language Unique 

This list, while exhausting, is soooo not exhaustive; it barely scratches the surface. And each entry could easily become cliché (if it isn’t already). But, it should be enough to get you started. Want more? Start watching people (not in a creepy way), and take notes of what they seem to do when expressing different emotions. Your repertoire of expression will double in no time. PS—do not use these for actual, real-life body language reading; you will fail. These are strictly novelistic.

Awed  -Slack -jawed, raised eyebrows, staring  -Frozen, slack body language (Self? What self? There is only Zuul.)  -Take a step back and put a hand to his heart

Amused  -Smiling and throwing back her head laughing  -Slapping her thighs, stamping her feet, clapping her hands  -Shaking her head (That’s so wrong!)

Angry/Aggressive  -Sharp movements, like shaking a fist, pointing, slashing, or slamming a fist on a table  -Flushed face, patchy red blotches  -Tension in neck—chords standing out, veins throbbing—and jutting or tucked chin  -Arms akimbo, or clenching fists  -Entering someone else’s space and forcing them out  -Poofing up with a wide stance (I am big! Very big!), arms wide (Bring it!)  -Lowered eyebrows, squinting eyes  -Teeth bared, jaw clenched, snarling

Annoyed  -Pressing lips together into a thin line  -Narrowing eyes sometimes with slight head tilt (Why do you still exist?)  -Rolling eyes, often paired with a long-suffering sigh

Anxious  -Fidgeting, such as tearing grass into little pieces, playing with a ring, or chewing on a pencil  -Biting lower lip, swallowing unnecessarily  -Quickened breathing or holding breath  -Darting eyes  -Pallor, sweating, clammy palms  -Unusually high-pitched, “nervous” laughter  -Hunched shoulders  -Pacing

Attentive  -Slow head nodding with a furrowed brow  -Leaning forward, toward the speaker, and sitting up  -Taking notes  -Looking over the top of her glasses

Bored  -Resting his head on his palm, peeking out between the fingers, maybe even slipping so his head “accidentally” hits the table  -Tapping toes, twirling pencil, doodling, and otherwise fidgeting  -Staring out a window, or at anything remotely more interesting (Which is everything …)

Confident  -Arms clasped behind body  -Head lifted, chest out, standing tall  -Walking briskly and making firm, precise movements

Confused  -Tilting head with narrowed eyes  -A furrowed brow  -Shrugging

Contempt/Superiority  -Lifted chin (The better to look down the nose.)  -Pursed lips, sneering, slight frown  -Circling a shoulder, stretching her neck, turning away—anything to indicate she doesn’t see the person as a threat or worthy of her attention  -Grabbing her lapels, or tucking her thumbs in her waistcoat (See this clothing? It is much nicer than yours.)  -Dismissive hand-waving

Cynical/Sarcastic/Bitter  -Twisted lips or a half-smile  -Sneering, sometimes with shaking the head and other defensive body language  -Pressed lips with a slight frown  -Eye rolling

Defensive  -Crossed arms, legs, crossed anything, really (Well, maybe not fingers … or eyes …)  -Arms out, palms forward (Stop!)  -Placing anything (sword, shield, book, backpack) in front of her body

Disgusted  -Crinkling his nose  -Curling his lip and/or showing the tip of his tongue briefly  -Flinching back and interposing a shoulder or turning away  -Covering his nose, gagging, and squinting his eyes shut—hard—for a moment. (It assaults all the senses.)

Displeased  -A plastered-on fake smile (You suck; but I can’t tell you that. So here: a fake smile! Enjoy.)  -Pouting or frowning (I’ll cry if you don’t give me what I want—don’t test me, I will!)  -Crossed arms and other defensive/frustrated body language (I will not let that terrible idea influence me!)

Distressed  -Wide eyes and shallow, rapid breathing  -Beating the walls, or huddling into a corner  -Clasping hands over his head protectively  -Rocking himself  -Handwringing  -Running his hands through his hair

Earnest/Passionate  -Leaning forward, nodding, wide eyes with strong eye contact and raised eyebrows  -Hand on heart, or presented palms-up, or otherwise visible  -A double-handed handshake (I really want to make sure you understand me!)

Embarrassment  -Blushing  -Stammering  -Covering her face with her hands or bowing her head (I’m so embarrassed, I can’t look!)  -Difficulty maintaining eye contact, looking down and away

Excited/Anticipation  -Rubbing hands together (I can’t wait to get my hands on it!)  -Licking lips (It’s so close I can taste it!)  -A vigorous, pumping handshake (I can’t wait to get started!)  -Jumping up and down (Look at me being literal here! I am jumping for joy.)  -A wide and easy grin

Flirty  -Eye play, like winking, looking up through the lashes, over the shoulder glances, and eye catching   -Preening, like hair flipping or smooth, clothing straightening, spine straightening, etc.  -Striking a cowboy pose, with his thumbs gripping his belt tight

Frustrated  -Shaking his head (You are so wrong!)  -Massaging temples (My brain—it hurts.)  -Clasping his wrist in his opposite hand, behind his back (Bad arm! No biscuit.)  -Running his hands through his hair (All this frustration is making my hair mussy. I can feel it.)  -Grabbing onto something like armrests, or white-knuckled interdigitation (Restrain yourself!)

Happy  -Smiling and laughing  -Eyes and nose crinkling  -Swinging her arms, spinning loosely, dancing, jumping

Impatience  -Quick head nodding (Get on with it!)  -Toe/finger tapping (Hear this? These are seconds. Wasted. Listening to you.)  -Sighing, checking the clock/sundial/freckles (Time. It is moving so slowly.)

Jealous  -Tight lips, or a sour expression  -Narrow eyes locked on the perpetrator, to the point of a stare down  -Crossed arms, and additional frustrated, angry, possessive, or bitter body language

Lying  -Scratching their nose, ear, neck, miscellaneous part of face  -Sudden change in behavior or demeanor, including shifty eye contact, lots of long blinking, shrugging -Ill-timed smiles or laughter (This is how I normally smile, right? Right???)  -Additional anxiety body language  -Shaking head no while saying “yes” (I can’t believe I just lied.)  -Licking lips, covering mouth, touching mouth, etc.

Overwhelmed  -Both palms to forehead, fingers splayed (This gives me a headache.)  -Covering eyes with one hand (If I can’t see the world, it can’t see me …)  -Eyes wide and staring into space, hands gripping the table in front of her (… Woah.)

Playful/Friendly  -Winking  -Waggling eyebrows  -Tiny shoves or nudge

Pleasure  -Head tilted back, lips parted slightly, eyes wide or closed  -Slow, languorous movements, stretching (such as arching her neck or back)  -Slight flush, quickened breath and pulse

Possessive  -Handshake with arm clasp  -Putting hands on or around someone’s shoulders, neck, waist, back, or even just the wall near them  -Standing in someone’s personal space, body positioned toward that person  -Any one-sided act of intimacy, like running a knuckle down someone’s cheek  -Staring down any who get too close

Proud/Dominant  -Chin up, chest out, shoulders back  -A painfully hard handshake that not only squishes the bones, but also forces his hand on top  -Leaning back with his hands behind his head, and his feet up  -Strong, unblinking, focused eye contact

Reluctance/Resistance  -Arms crossed, sometimes with fists (Not happening.)  -Dragging feet (But I don’t wanna!)  -Pinching nose (You want me to do what now?)  -Clamping hands over ears (La la la la!)

Sad/Upset  -Droopy body (and anything held, like a sword), bowed in shoulders, wrapping arms around self  -Slow movements with hesitation  -Bottom lip jutting out and/or quivering  -Crying, sobbing, body shaking, sniffling, wet eyes

Secretive  -A tight-lipped smile (My lips are zipped.)  -Hiding her hands in her pockets (What has it got in its nasty little pocket?)  -Looking away

Scared  -Hunched shoulders, shrinking back from others (Don’t hurt me!)  -Wide eyes and lifted eyebrows (The better to see them coming.)  -Shaking, trembling, or freezing  -Rocking from side to side, sometimes holding self (It’ll all be okay, self, it’ll all be okay.)

Shame  -Slumped shoulders (Don’t look at me.)  -Trouble meeting your gaze, looking down and away  -Burying her face in her hands or bowing her head (I can’t face the world right now.)

Shocked  -Hands covering her mouth, or mouth hanging open, sometimes with a gasp (If I had words, I would be saying them.) -Freezing and staring with wide eyes and eyebrows raised (Diverting all resources toward staring.)  -Smacking a palm into his forehead (Clearly, my head isn’t working right, or I wouldn’t have seen that)

Shy  -Avoids eye contact, or has only fleeting eye contact (Eye contact means you might speak to me.)  -Keeps a fair distance from everyone, and will back away if someone steps closer (Space invaders!)  -Folded arms, head down, and other defensive body language (If I make myself small, they can’t see me.)

Smug  -Slight, close-lipped smile (occasionally one-sided) and sometimes one raised eyebrow (I know something you don’t know.)  -Chin slightly tucked, Mona Lisa smile, raised eyebrows (I know better.)  -Finger steepling (I am so smaaaht.)

Suspicious/Skeptical/Disbelief  -Narrowed eyes, sometimes with a sidelong glance or raised eyebrow (Perhaps if I look at it out of the corner of my eye, I will catch it unawares.)  -Rubbing his eyes (I can’t believe what I’m metaphorically or literally seeing!)  -Shaking his head (I—I don’t believe it.)  -Blowing out cheeks (Well , I don’t know …)

Tired  -Rubbing his eyes, eyes staring into space, raised eyebrows (Raising my eyebrows helps keep my eyes open.)  -Yawning and/or stretching (I am tired—see? Tired! Too tired to care!)  -Almost nodding off and jerking awake (Cannot. Stay. Awa—snnnnurzzzz.)  -Gritting teeth to stay awake (Cannot—yawn—dang it!)

Thoughtfulness/Thinking  -Steepling fingers (I will think better if I center myself and focus.)  -Pinching nose, sometimes with closed eyes (Focus, focus—I just need to focus.)  -Tugging on an ear (This will help me remember!)  -Stroking a real or imaginary beard (People with beards look smart.)  -Furrowed brow, narrowed eyes, sometimes tilted head and pressing lips together (I can’t see it—I will try harder!)  -Resting his chin on his hand (Thinking makes my head heavy.)

Triumphant  -Hands clenched and held above head while grimacing (She is invincible!)  -Head tilted back with a yell (She is fierce!)  -Arm pumping in the air, jumping (Woohoo!)

[rayinberkeley]

These exchanges between a bigot named Brendan Sullivan, and a heroic troll named Robert Graves, will be the best thing you read all day, I promise.

[officialprydonchapter-deactivat]

ROBERT GRAVES IS BACK ON MY DASH

[sinick]

robert graves: 5/7 pwnage

[jaywrites101]

Let’s face it, we all know a Brendan in our lives. 

[frayedcobweb]

Robert Graves, the hero we don’t deserve but definitely need.

[sangled]

if your favorite ship doesn’t boil down to ‘they’re both stupid but they help each other be less sad’ then What’s The Point

[bookmania]

Seven years after, I see you again 😚

[scripturient-manipulator]

Guys this completely changed my writing, heed it. I often do an entire draft just looking at sentence variation and oftentimes the results are absolutely transformative in the difference.

[lady-of-crowns]

[writersyoga]

Exposition (#fromthestart)

Exposition is for explaining the basic rules of the story’s universe, introducing the main characters and conflict, helping to set the tone of the story, and generally trying to get the reader hooked and interested.

Introducing the basic rules:

Universes have rules.  What kind of things are possible in this setting and what kind of things are not?  If there’s a magic system, periodic table science probably isn’t a possibility.  If there are aliens, witches probably aren’t a possibility.

Worldbuilding!  This would be the time to introduce very basic differences in science/history/planetary construction.  Running face first into a cyborg  and cursing about their extraordinarily solid (and sexy) build is one way to do it.

Introducing the Main Characters:

Keep them proactive.  Show the reader who they can be at their best, before the plot comes around to take them down.

Show them in their Ordinary Life.  Give the reader a sense of what the MC’s consider to be normal for them, so when things turn upside down there’s a frame of reference to compare to.

Give them a tangible goal at the start, if you can.  It doesn’t have to be big and dramatic, just give them a goal.  Simple is sometimes the best.  

What are the limits/flaws that the protagonist has?  The limits that get set help determine the character growth arc later on.

Don’t worry about making the character likeable, focus more on making them who they are.  People tend to like complete personalities more than flat friendly characters.  Remember, not everyone in real life is likeable, and what people like depends an awful lot on the individual anyway.

Introducing the conflict:

Someone or something is stopping the protagonist from what the protagonists wants.  How and why?  It’s not important to go into extensive detail, but a basic introduction would be useful.  Try throwing some cannon fodder minions at them, perhaps.

Avoid making the protagonist reactive to this threat.  For example, starting the first chapter with the protagonist’s life being threatened often ends up coming off as cliche and emotionally manipulative, since it’s rather easy to assume that the protagonist survives later on.

To help avoid infodumping, remember:

Readers don’t need to know all info about every character right away.  It gets overwhelming and takes out the fun of discovering what’s going on.  Same with the world’s history.  The point of the story is to explore.

Writing out all the information and biographies about the characters are fine, but keep it out of the draft.  Make a separate document for these notes, and add in small details later on as needed.

Most importantly:  Give yourself permission to suck.  Performance anxiety can be crippling, and the best way to prevent it is to remind yourself that First Drafts are always going to need fixing.  Better to get things out of the way and down on the page before the order gets shuffled around.

You can’t fix something if it doesn’t exist.  If something does exist, it can always be improved.

[ms-mazarin]

Words to replace said, except this actually helps

I got pretty fed up with looking for words to replace said because they weren’t sorted in a way I could easily use/find them for the right time. So I did some myself.

IN RESPONSE TO Acknowledged Answered Protested

INPUT/JOIN CONVERSATION/ASK Added Implored Inquired Insisted Proposed Queried Questioned Recommended Testified

GUILTY/RELUCTANCE/SORRY Admitted Apologized Conceded Confessed Professed

FOR SOMEONE ELSE Advised Criticized Suggested

JUST CHECKING Affirmed Agreed Alleged Confirmed

LOUD Announced Chanted Crowed

LEWD/CUTE/SECRET SPY FEEL Appealed Disclosed Moaned

ANGRY FUCK OFF MATE WANNA FIGHT Argued Barked Challenged Cursed Fumed Growled Hissed Roared Swore

SMARTASS Articulated Asserted Assured Avowed Claimed Commanded Cross-examined Demanded Digressed Directed Foretold Instructed Interrupted Predicted Proclaimed Quoted Theorized

ASSHOLE Bellowed Boasted Bragged

NERVOUS TRAINWRECK Babbled Bawled Mumbled Sputtered Stammered Stuttered

SUAVE MOTHERFUCKER Bargained Divulged Disclosed Exhorted

FIRST OFF Began

LASTLY Concluded Concurred

WEAK PUSY Begged Blurted Complained Cried Faltered Fretted

HAPPY/LOL Cajoled Exclaimed Gushed Jested Joked Laughed

WEIRDLY HAPPY/EXCITED Extolled Jabbered Raved

BRUH, CHILL Cautioned Warned

ACTUALLY, YOU’RE WRONG Chided Contended Corrected Countered Debated Elaborated Objected Ranted Retorted

CHILL SAVAGE Commented Continued Observed Surmised

LISTEN BUDDY Enunciated Explained Elaborated Hinted Implied Lectured Reiterated Recited Reminded Stressed

BRUH I NEED U AND U NEED ME Confided Offered Urged

FINE Consented Decided

TOO EMO FULL OF EMOTIONS Croaked Lamented Pledged Sobbed Sympathized Wailed Whimpered

JUST SAYING Declared Decreed Mentioned Noted Pointed out Postulated Speculated Stated Told Vouched

WASN’T ME Denied Lied

EVIL SMARTASS Dictated Equivocated Ordered Reprimanded Threatened

BORED Droned Sighed

SHHHH IT’S QUIET TIME Echoed Mumbled Murmured Muttered Uttered Whispered

DRAMA QUEEN Exaggerated Panted Pleaded Prayed Preached

OH SHIT Gasped Marveled Screamed Screeched Shouted Shrieked Yelped Yelled

ANNOYED Grumbled Grunted Jeered Quipped Scolded Snapped Snarled Sneered

ANNOYING Nagged

I DON’T REALLY CARE BUT WHATEVER Guessed Ventured

I’M DRUNK OR JUST BEING WEIRDLY EXPRESSIVE FOR A POINT/SARCASM Hooted Howled Yowled

I WONDER Pondered Voiced Wondered

OH, YEAH, WHOOPS Recalled Recited Remembered

SURPRISE BITCH Revealed

IT SEEMS FAKE BUT OKAY/HA ACTUALLY FUNNY BUT I DON’T WANT TO LAUGH OUT LOUD Scoffed Snickered Snorted

BITCHY Tattled Taunted Teased

[writing-reigns-deactivated20200]

reblog to save a writer 

[whispersandwhiskerburn]

Reblog because the titles for each category are comedy gold.

[relatablegenzwriter]

god i love cg drews tweets

[viragowriter-archive]

[taylortut]

you know no one would be upset about the gay or trans characters dying if they got the same treatment as other movie protags. like if you want me to follow the adventures of Jimmothy WhiteStraightMan and give him one (1) lesbian friend, I want her to fucking live because she’s all we got. but if you make a movie about, say, an entire crew full of lady pirates with a good spread of races and sexualities and let them kick ass for the whole movie, we’re not gonna complain when the captain gets run through with a sword in the end tryna protect her crew, ya feel?

it’s not that you can’t kill off gay characters it’s that you can’t make a gay character an emotional pawn that only gets to exist for three episodes and call that representation

[fireandwonder]

If you have 20 straight characters, and two of them die, that’s a 10% mortality rate for the straights.

If you have 2 gay characters and 1 of them dies, that’s a 50% mortality rate.

If you have 1 gay who dies after 2 episodes, congratulations, you just killed every gay in the universe.

[keyboardsmashwriters]

10 ways to hit your readers in the gut

One of the strongest bonds that link us to our favorite stories is the emotional tie, or books that sink a fist right into our guts. When you finished a book where you couldn’t let go of after the last page, chances are, the author successfully punched you in the spleen. If you’ve ever wondered how to do just that, here are some of my favorite methods:

Make your reader root for your main character(s). Make your character stretch out their arm toward their goal, as far as they can to reach, until their fingertips barely brush it. Make your character want something so much that your reader wants it, too.

When your character trips and stumbles and stops to question themselves, the readers will hold their breath.

Push your character to their very limit, and then a little further.

When your character hits the bottom, they should scrape themselves back together and get back up. Give readers a reason to believe in your character.

If your character is challenging your plot, your plot should challenge your character.

Leave a trail of intrigue, of questions, of “what if?” and “what next?”

If a character loses something (a battle, an important memento, part of themselves), they must eventually gain something in equal exchange, whether for good or bad.

Raise the stakes. Then raise them higher.

Don’t feel pressured to kill a character (especially simply to generate emotional appeal). A character death should serve the plot, not the shock factor. Like anything else in your story, only do it if it must be done and there’s no other way around it.

What’s the worst that can happen? Make it happen. Just make sure that the reader never loses hope.

[kiramartinauthor]

Please write stories that are problematic. 

Stories need conflict.

Write them to show what’s healthy. Write them to show what’s unhealthy.

Write them because problematic behaviors exists, and writing is a medium to explore and show– to teach and make the reader think. Shying away from these topics only creates ignorance. 

I see so many people telling writers to avoid anything that could be problematic, like writing about it is supporting it. They fail to see the importance of writing with depth and meaning. 

Writing has always been about conveying thoughts and ideas without fear of censorship. Being able to present problematic situations in a healthy way is important. 

[lovesick-amateur-deactivated201]

Dialogue Prompts

These are prompts that I came up with! Dedication isn’t necessary, but it would be nice. Please, enjoy!

“I will run away with you.”  

“I am never coming back.”

“I forget time and space when I’m with you.”  

“I don’t belong in your universe.”  

“I’m dynamite ready to explode.”  

“I don’t know where you’ve gone. It’s like you aren’t here anymore.”  

“We are in this together – for better or for worse, do you hear me? I’m not giving up that easily.”  

“You don’t even have to hold me, and I still feel safe with you.”  

“Be with me.”  

“I’m vulnerable around you, and it only gets worse when you smile.”  

“Everything you think I need isn’t what I need. What I need is you.”  

“I always come back to you.”  

“You have to keep fighting.”  

“I’m surrendering myself to you; body and soul. What more do you want?”  

“I’m begging you. Please.”

“I need you to let me all the way in.”  

“This was all just a game to you… wasn’t it?”  

“I will give you heaven and I will give you hell.”

“Please, be gentle with me. I’ll break if you aren’t careful enough.” 

“I promise I’ll be tender.” 

“I can assure you that you are safe here… with me.”

“It is my duty to take care of you, so stop forcing me away.”

“Never trust a man whose smile steals the breath right from your lungs.” 

“Take it – I don’t care. Take it all!”

“I’ll feel much better if you let me walk you home.”

“You make me feel things that I’m not supposed to feel. Why? Why do you have this control over me? You’ve taken over most of my thoughts. It’s infuriating.” 

“Would you look at that? Anger does fuel me.” 

“I don’t even remember the last time I got a decent amount of sleep. I’m hallucinating things, I can’t focus for more than five minutes… I’m going crazy.”

“You were always beside me.”

“What happened to us? To you? I miss it.” 

“There is no good in goodbye.”

“Say it again.” 

“You look happy. I’m sorry I couldn’t be the reason for it.” 

“Sometimes we get hurt and we just have to find a way to overcome it, and sometimes… sometimes it’s not enough to heal the wounds.” 

“You’ll understand. You have to.” 

“You lit a fire in my veins ever since the first time we held hands.” 

“Don’t stop.”

“Please, just… touch me.” 

“I don’t care! I don’t!”

“There are times I can drink the pain away, but this time it’s become impossible.” 

“This pain… it’s still fresh. Give me time.” 

“Your memory will burn like a fire.”

“It just keeps spreading and spreading and spreading and I can’t stop it.” 

“I won’t ever forget you.” 

“I think I’m losing myself, and I don’t know if I can ever come back from this.” 

“I prefer being alone.”

“To see you smile, I would do anything.” 

“If you’re reading this then that means… that means I didn’t make it. I’m sorry.”

“Fuck, I wish I could give you one more kiss, to feel your warmth, to see you smile… I miss you so much.” 

“Don’t go too far, alright? I wanna be able to catch up to you, just give me time.” 

“I’m sorry I couldn’t be there.”

“You stood up for me.” 

“You keep giving me excuses, what’s your problem?”

“Always be kind.” 

“You’re so warm.” 

“Oh my god! That was so not funny. These are fake tears, and that was sarcasm.” 

“Damn damn diggity damn.”

“Daddy.”

“Run me over with your car.” 

“Ew. Emotions.” 

“I’m sorry, was I supposed to laugh?” 

“Stab me. No, seriously. Stab me.” 

“That’s so stupid. Please, do it again.”

“But I’m not her.”

“I need you to see yourself as I do.” 

“Breathe.” 

“What are you running from? Why are you so scared?” 

“Let’s do something spontaneous!”

“I can still feel every little kiss you pressed to my cheek.” 

“I need to be closer to you.” 

“It’s feels like I’m suffocating.” 

[snazzycookies-blog]

How to write a kiss

Rebloggable version, as requested by davrosbro. :)

Oooh!  Yes!  I love kisses.  Kisses are where it all starts ;).

Okay, first, remember that a kiss is much, much more than just lips.  It is lips, but also tongues, teeth, eyes, faces, hands, noses, bodies, heartbeats,  breath, voice- and most importantly, a kiss is emotions.  A kiss without emotion is just wet mushy lips stuck together.  Ew.  Gross.  The most important part of a kiss isn’t the how, but the who- because of the emotions between the two people.

Okay so:

lips- Lips can slide, glide over each other smoothly, or they can be chapped and rough and dry and get stuck on each other.  They can match, top-to-top and bottom-to-bottom, or they can overlap, with one person’s top or bottom lip captured between the other person’s lips (yummy).  If there is lipstick or chapstick there is lipstick or chapstick flavor, otherwise, lips don’t have a taste (can you taste yours?).  Lips also can smack- the sound of two of them coming together or pulling apart, because they’re wet and warm and soft. 

tongue- Tongues are always wet, and always warm.  They’re very versatile.  They can trace over lips, teeth, or another tongue.  They can be smooth and graceful or teasing and flicking.  When tongues are involved, there is drool.  It’s only sexy when you like the person you’re kissing, or else it’s kinda gross. :P

teeth- teeth can clack together awkwardly, or teeth can bite down sensually.  A person biting their own lip is cute, a person biting another’s lips is sexy.  A person biting gently is sensual, a person biting roughly is sexual. 

eyes- Eyes can be wide open with surprise, half-lidded with desire, fully closed with pleasure.  Eyes can gaze lovingly, lustfully, wistfully, hungrily, seductively- it all depends upon the emotions of your characters.  Have them do whatever you like, but don’t leave them out- give them at least a mention!

faces- Faces are what the lips are attached to.  Noses bump, cheeks flush, ears turn red, foreheads either wrinkle or relax.  Kisses can leave lips, quite easily, and become kisses on chins, cheeks, noses, foreheads, ears, necks, throats.  Kisses on noses or foreheads are cute and adorable, kisses on cheeks are sweet, kisses on chins, ears, and throats are very sexual.  And a kiss on the lips can be all of those! <3

hands- Hands are super-important.  In order to describe a kiss, usually you want to also describe the hands.  Where are they?  Does one character have their hand behind the other’s head or back, holding them close?  Are they on someone’s shoulders pulling them near, or pushing them away?  Fingers brushing someone’s cheek or palms grabbing someone’s ass convey two very different kinds of situations, even if the kiss itself is exactly the same.

noses- Noses are annoying.  They easily get in the way, especially for first kisses!  People have to tilt their head to one side or the other, and if they don’t, noses bump.  I’d only mention noses if a kiss is supposed to be awkward or uncertain or nervous.

bodies- bodies are either close together, or far away.  Someone can be surrounded comfortingly by someone’s arms, or terrifyingly trapped by them.  Bodies are warm or hot, they are calm or nervous, relaxed or tense.  Body language says a lot.  Is your character pulling away, or moving closer?

heartbeat- Hearts can beat fast or slow, and that’s about all they can do- but there are lots of reasons why they do!  A heart can beat fast with fear or excitement or nervousness; a heart can pound with lust or race with terror or sing with joy.  Hearts can glow, cower, or shatter.  When you really want to drive the emotions of a character home, mention the heart.

breath- To me, the most consuming part of a kiss is the breath.  The air that someone else has just breathed going deep into your lungs is very intimate.  Lips and tongues don’t have a taste, but breath does.  Each person’s breath tastes different, smells different, and surrounds a person differently than anyone else’s breath.  Breath can be warm and sweet, breath can be hot and sexy, breath can be hot and frightening.  It is something that is very present and should not be left out.  A lot of writers leave breath out.  And it’s so important; it’s the most intimate part of a kiss.  Someone else is breathing into your lungs, and it’s either heaven or it’s hell.

voice- Voice conveys much, even without words.  A voice can groan, whimper, gasp, moan, catch, whine, scream, sigh.  Voice can convey emotion powerfully, and while some kisses are silent, usually they’re not. 

emotion-  Emotion is the most important- and the thing you try not to say.  You want to describe it, through all of the things above, so that it’s perfectly clear what your characters are feeling, without you ever using the “feelings words”.  If they’re in love, their bodies will lean close, their eyes will smile, their voices will giggle softly.  If they’re nervous, their palms will sweat, their noses will bump, their voices will shudder.  If they’re afraid, their muscles will be tense, their faces will grimace, their lips will not open.  Emotion is the color that you keep inside your mind as you write; it’s the base line that drives the description behind everything else you say.

Wow, that was a lot!  Gosh I hope it wasn’t too much!  Keep in mind not every kiss has all these things- this is just a list of things to consider when writing a kiss, and based on how long of a kiss you want to make.  Keep in mind that typing “they kissed for a long time”…that’s six words, it takes half a second to read, so that’s a short kiss!  If you want a long kiss, you need long sentences that make the reader linger. 

So maybe to start off, pick three things on the list to describe in your first kiss.  Don’t try to do it all- that would be too much for even the most epic kiss.  Just pick what’s most important to this particular scene, to these particular characters, and describe those parts along with the lips, and you’ve got yourself an awesome, emotional kiss. <3

[annabethisterrified]

I judge how good a book is based on how disoriented I am with my physical surroundings after closing it.

[movedto-snubs-stuff-deactivated]

me after finishing a good ass book