English Teacher Problems

I love writing, literature, and, even, teaching but sometimes doing what you love is turbulent.

[sakakoura-deactivated20180112]

I know everyone realizes that disney amvs are a gold mine but as someone who has been collecting them for years I am telling you right now: the ones that blow up on tumblr are only the absolute tip of the iceberg.  

here’s some personal favorites of mine.  synopsis included. 

keep in mind that none of these are parody videos.  they’re all 100% serious I promise you

cinderella’s sister gets plastic surgery because she doesn’t think jim from treasure planet likes her so she turns into jessica rabbit 

a “the fault in our stars” trailer made with footage of elsa from frozen and raphael from teenage mutant ninja turtles

 willy wonka and the guy from howl’s moving castle break up

anna from frozen has to choose between actors ashton kutcher and owen wilson

twilight sparkle hates herself for falling in love with jim from treasure planet because he’s a human boy

sleeping beauty has an affair with rule 63 esmerelda and they get caught and die

andy and woody from toy story turn into the men from brokeback mountain and fall in love with each other

in this one titties are edited onto jasmine for jim from treasure planets possessed fuck fest 

real life porn is used to show that loki and draco malfoy are having sex

everyone is harley quinn and the joker. every single person

peter pan loses a beyblade competition to aladdin and I think his dad leaves him for it but they fall in love

[raptorials]

idk who will see this but if anyone has the andy and woody brokeback mountain amv downloaded i am BEGGING you to message me. i loved that video so bad and i have shown it (along with many other videos in this post) to so many people at parties. but the uploader deleted their youtube account recently, and i am deeply upset that i didn’t save it. i have exhausted every other avenue. please help me.

[raptorials]

im in. shock. the amv i was talking about in the tags above. the one that had been on my mind for years. i genuinely cannot believe this. it suddenly was unprivated. oh my god. oh my god. i never thought i would see it again. please watch.

[so-many-ocs]

practical writing advice

part 2

avoid writing in bed if you can. writing in bed is the mind-killer. writing in bed is the little death that brings obliteration. you may think "but i can write AND be cozy" you will get sleepy so fast. 98% of the time when i try to get a nighttime writing session done in bed i go to sleep. maybe 70% of the time if it's an afternoon writing session. also it fucking kills your wrists.

STRETCH before writing. stretch as many parts of your body as possible ESPECIALLY YOUR WRISTS! i have chronic tendonitis in both of my arms from not doing this and it is manageable but it is Not Fun!

plug your phone in on the other side of the room. better yet, plug it in and leave it in another room. better yet, power it off and leave it in another room. "i'll just check one quick thing" do not underestimate the power of the doomscroll.

do a warmup. look up writing prompts (i like one-word prompts or prompts that focus on a general theme as it's easier to integrate into my writing style), set a timer for fifteen minutes, or ten, or five, and go ham. make it shitty or incomprehensible, as long as you make it. create a dump document for all your warmups. i currently have two novels in the works that started as one of these fifteen minute little warmups.

pick your background noise ahead of time if you use it, and look for something long. i listen to 3-hour-long silent hill ambient mixes on youtube dot com.

take breaks. around every 45 minutes, as i'm noticing myself begin to lose focus, i get up, grab a drink, get my blood flowing, and give myself some space to breathe.

sometimes i sit down to write and i think "every atom in my body is averse to doing this right now. i would rather dance barefoot on a bed of nails than open my laptop and start typing." and you know what i do? i go do something else instead. don't force it! it will become a chore.

that being said! write as often as possible. try to write every day. try to write at the same time. don't beat yourself up if you can’t, BUT the more often you write, the more often you'll want to write.

if you're stuck on a scene or a page or a chapter, go back to the last place where you felt like you knew what you were doing and start writing from there. keep a copy of your other writing in case you want to reuse it or refer back!

i don't know if this is something that will be helpful for other people but i start mentally preparing myself for my writing session a few hours ahead of time. i will say to myself, "today, at this time, i'm gonna sit down and write that scene where mina walks out on her book club, and it's going to be awesome and i'm looking forward to it." then, by the time i actually begin, i basically have the whole thing written out in my head and can just put it down to paper. it's a good way to at least kickstart the session !

ok thanks bye

[theliteraryarchitect-deactivate]

“Show Don’t Tell”? Not Always. Here’s When to Use Summary.

I was inspired to write this post after getting a great anonymous question in my Ask: “What’s your opinion on the whole ‘show don’t tell’ advice? Do you have any tips for when to show and when to tell?”

Here’s my response:

I honestly think that “show don’t tell” is one of the most over-quoted and least-understood pieces of writing advice out there.

For those of you who aren’t familiar, “show don’t tell” means that instead of explaining or telling something to your reader (“Sheila was reckless and impulsive”), you should show Sheila’s impulsiveness through action or dialogue. For example, “Even though her rent was overdue, after she got her paycheck Sheila spent $400 on an antique toilet.” This would allow the reader to draw the conclusion that Sheila was impulsive for themselves, rather than being told.

Theoretically, this is great advice for new fiction writers, who, left to their own devices, tend to write their stories entirely in “telling” mode.

But summary (telling) has a place in fiction as well, and it’s an important one.

For one thing, summary allows you to pace your story. If everything is shown in the moment, a story can sometimes seem to be unfolding with breathtaking speed. Alternating with a bit of summary allows your reader to slow down for a break every once in a while.

Secondly, scene takes a lot longer to write than summary. In the earlier example, it might take several scenes or hundreds of words to thoroughly show and convince the reader of Sheila’s impulsiveness. Whereas the sentence “Sheila was impulsive” takes three words. So summary can allow you to fit more into your story or novel and keep it a reasonable length whereas if you wrote every single little thing that happened in scene your story might be prohibitively long.

So summary helps control the pacing of the story and also helps the writer moderate the story’s length.

Even the most fervent supporters of “show don’t tell,” as far as I know, do not dispute that every story can make use of and benefit from summary.

Try it yourself: Pick up your favorite story or book off of the shelf and see if you can locate parts of the story that are told, explained, or summarize to the reader. It’s there. It’s part of the package. Good writers use summary, and they know how to use it well.

So how do you decide when and where to use summary?

The answer is in itself another question and topic. But here’s a quick guideline:

Use summary to give the reader any information she needs which is not important enough to the story to warrant a scene, or to show the passing of time between important parts of the story.

Example #1 Using summary to quickly present inconsequential information.

If the fact that Sheila is reckless and impulsive is a central part of the story—maybe this is a story about how Sheila, your protagonist, learns to overcome her impulsiveness, for example, or maybe in this story it becomes a major issue in Sheila’s relationship that she is impulsive, etc.—then by all means show Sheila’s impulsiveness in scenes.

But if Sheila is, for example, a minor character who is only mentioned by two or three times in passing, and whose behavior doesn’t really affect the story one way or another, then go ahead and summarize Sheila’s behavior. For example, if Sheila is a distant cousin of the protagonist and is only mentioned in a few sentences when the protagonist bumps into her at a family reunion. She is not a central part of the story, but for whatever reason it’s important for the reader to know a few minor details about her.

Example #2: Using summary to show time passing between important scenes.

If your story is about a couple being trapped inside a cabin for a long winter, by all means show the bitter cold days in full scene. That’s the essence of your story, you wouldn’t want to summarize it and deny the reader the chance to experience it.

But if your story is about two friends who share a friendship at summer camp every year, you might want to recap the winter that passed between their visits in a paragraph or two.

Another time to quickly summarize time passing is to use a sentence or two when characters transition from one important location to another, e.g. “They left the movie, drove back to the house, and started dinner.” Again, check up on your favorite writers. I promise you they are not showing every single tiny action blow-by-blow. It would be tedious as hell and make it almost impossible for the reader to figure out what’s important and what’s not.

A few final words about “show don’t tell”:

If you’re having a hard time deciding what to put in scene and what to put in summary, you might not understand your story well enough yet. Go back and make some notes, or have someone you trust read your story and give you feedback.

Everyone has different levels of tolerance for summary and exposition. Find out yours. You want to be the kind of writer that you would want to read, right? Go through your favorite short stories and novels with a highlighter and highlight any passages or sentences that are telling. Are you the kind of reader who loves a page of summary about the snow falling outside, or do you prefer your stories to be more action-heavy?

There is a lot of bad advice out there about showing versus telling. Some writers would have you write: “She sighed deeply as a single crystalline tear gently glided down her face, tracing the line of her button nose before splashing onto the yellow formica countertop” instead of “She cried.” “She cried” is not telling! Cried is a verb: it shows. “She was sad” or “She was upset” is telling.

Similarly, beware of anyone who applies the “show don’t tell” advice prescriptively, or who seems to be repeating it like a parrot. Those people usually don’t know what they’re talking about. They heard that advice somewhere, and they’re just repeating it. Anytime anyone reads your writing and says, “You should show more,” without giving any further explanation, question them. Get them to specifically tell you what they’re talking about. If they can’t, find someone else to look at your writing.

Summary doesn’t have to be boring. When it is appropriate to summarize, look for ways to add verbs and sensory details to your summaries to keep them more vivid. Give your reader something to visualize. “My father was restless” is hard to visualize. “My father was like a squirrel on cocaine. By the time I woke up, he’d been out in the yard for hours, stuffing Easter eggs into his pocket like they were acorns,” is, well, absurd. But easier to visualize.

/ / / / /

@theliteraryarchitect is a writing advice blog run by me, Bucket Siler, a writer and developmental editor. For more writing help, download my Free Resource Library for Fiction Writers, join my email list, or check out my book The Complete Guide to Self-Editing for Fiction Writers.

[literaryvein-reblogs]

what are some ways to describe people other than eye and hair color

I am assuming you are looking for physical descriptors. Here are some examples. I may just make a different post on psychological descriptors.

Arms: Long, Muscular, Pudgy, Short, Skinny, Thin

Back: Bent, Hunched, Ramrod Straight, Rounded

Build: Anorexic, Athletic, Beefy, Brawny, Burly, Chubby, Coltish, Compact, Fat, Gangly, Gaunt, Gawky, Haggard, Heavy-set, Herculean, Husky, Lanky, Lithe, Muscular, Obese, Overweight, Petite, Rangy, Reed-like, Scrawny, Skinny, Slender, Slight, Solid, Spindly, Statuesque, Stocky, Strapping, Sylphlike, Taut, Thickset, Thin, Trim, Underweight, Voluptuous, Well-built, Willowy, Withered

Cheeks: Blushing, Bold, Curved, Dimpled, Bold, Curved, Dimpled, Disturbed, Glorious, Glowing, Hairless, High (cheekbones), Hollow, Honey, Livid, Pale, Pallid, Pink, Plump, Puffy, Radiant, Reddened, Rosy, Rounded, Ruddy, Shining, Smooth, Soft, Sun-burnt, Sun-bronzed, Sunken, Sun-tanned, Tanned, Tearful, White

Chin: Angular, Bony, Bumpy, Chiseled, Defined, Doughy, Firm, Protruding, Round, Smooth, Soft, Square, Strong

Ears: Jug-like, Large, Protruding, Tiny

Eyebrows: Arching, Bushy, Emphasized, Near, Spaced, Thick, Thin

Eyelashes: Artificial, Beaded, Beautiful, Blinking, Dark, Dark-fringed, Dense, Dusky, Heavily-fringed, Long, Mascaraed, Sandy, Sooty, Sopping, Tear-drenched, Thick, Uplifted

Eyes: Almond-shaped, Bright, Bulging, Expressive, Frightened, Gentle, Languishing, Little, Luminous, Made-up, Round, Shining, Shortsighted, Smart, Stunned, Thin, Wide, Woeful

Face: Baby, Blood-stained, Bold, Chiseled, Contorted, Dead, Expressionless, Fair, Familiar, Fierce, Flat, Frightened, Furrowed, Honest, Indifferent, Little, Pale, Poker, Pretty, Radiant, Rough, Ruddy, Sallow, Square, Stained, Swollen, Trim, Weather-beaten, Wry

Feet: Athlete's, Big, Flat, Pigeon-toed, Small, Sore, Stinky, Stubby, Swollen

Fingers: Gnarled, Long, Short, Stubby

Finger Nails: Bitten, Broken, Claw-like, Dirty, Hooked, Long, Painted, Sharp, Talon-like

Hair: Afro, Bald, Beehive, Braided, Bristles, Bun, Chignon, Coiffure, Combed, Corkscrew, Corn rows, Cowlicked, Crew cut, Curly, Disarrayed, Disheveled, Dreadlocks, Dry, Flattop, Flecked, French braid, French twist, Fringe, Greasy, Grizzled, Knotted, Layered, Locks, Matted, Messed up, Mohawk, Mussy, Muttonchops, Neat, Oily, Page boy, Perm, Pigtails, Plait, Pompadour, Ponytail, Ragged, Receding, Ringlets, Ruffled, Shaggy, Shorn, Shoulder-length, Skinhead, Spiky, Split-ended, Straight, Tangled, Thick, Thinning, Tidy, Topknot, Tousled, Twisted, Uncombed, Unshorn, Untidy, Wavy, Wiry, Wisps

Hand: Big, Elegant, Small

Height: Big, Knee-high, Medium, Short, Shoulder-high, Sky-high, Small, Tall, Towering, Waist-high

Legs: Amputated, Bandy, Bony, Bowed, Brawny, Bulging, Fluted, Gartered, Gouty, Graceful, Hacked, Hairy, Jagged, Knotted, Leaden, Long, Lower, Muscular, Pitiful, Rickety, Shapely, Shivering, Short, Sinewy, Slender, Slim, Spindle, Stockinged, Sturdy, Thin, Thread-like, Tinder, Tiny, Toothsome, Tree trunks

Lips: Blue, Cracked, Cupid's Bow, Downturned, Dry, Fat, Full, Grim, Large, Luscious, Parched, Parted, Red, Ruby, Small, Smiling, Thin, Wet

Mouth: Arch, Ascetic, Baby, Cavernous, Churning, Compressed, Cooing, Coral, Cracked, Cruel, Delicate, Dumpled, Distended, Dry, Fine, Firm, Frothy, Full, Funnel-shaped, Gaping, Grim, Handsome, Hungry, Insistent, Irritable, Large, Luscious, Munching, Musty, Perilous, Puckered, Querulous, Relaxed, Resolute, Sardonic, Sensuous, Serious, Slobbering, Small, Sulky, Sweet, Tender, Thin, Wide, Winsome, Wrinkled, Yawning

Neck: Bullnecked, Elegant, Long, Short, Swan-like, Thick

Palm: Broad, Oval, Rectangular, Square

Skin: Acned, Alabaster, Albino, Apricot, Black, Blemished, Blistered, Blooming, Blotchy, Blushing, Bronzed, Cadaverous, Calloused, Caramel, Clear, Craggy, Cream, Ebony, Fair, Flush, Freckled, Glowing, Greasy, Ivory, Jaundiced, Leathery, Lily-white, Lined, Milky, Mottled, Nut-brown, Olive, Pale, Pallid, Pasty, Peeling, Pimpled, Pink, Pitted, Pockmarked, Red, Rosy, Rough, Ruddy, Russet, Sallow, Scabby, Scarred, Smooth, Splotchy, Spotty, Sun-burnt, Tan, Wan, Waxen, White, Wrinkled, Yellow

Stomach: Bulging, Distended, Empty, Firm, Flabby, Flat, Heroic, Hollow, Lean, Paunchy, Protruding, Unbounded

Teeth: Artificial, Black, Blunted, Buck, Canine, Chattering, Clenched, Clinched, Compressed, Crooked, Dagger-like, Dazzling, Decayed, Deciduous, Extracted, False teeth, Feeble, Ferocious, Filed, Flashing, Fluoridated, Foam-laced, Fractured, Gap-toothed, Gleaming, Glistening, Glittering, Gnashing, Goofy, Grinding, Hooked, Horrid, Ivory, Jagged, Lacquered, Large, Milky, Mottled, Neglected, Pearly, Perfect, Pretty, Protruding, Razor-like, Sharp, Shining, Short, Small, Snowy, Sore, Spaced, Straight, Sweet tooth, Tender, Tiny, Toothless, Toothy, Ugly, Unrelenting, White, Wisdom, Wolfish, Yellow

Hope this helps! If it does, do tag me or send me a link to your writing. I'd love to read your work.

More: On Character Development

[raan-miir-tah]

You motherfuckers yes I hate Kamala too but when she is announced to be the Democratic candidate we are all going to shoot fireworks and go to the goddamn polls

[raan-miir-tah]

GRIPPING EVERYBODY’S SHOULDERS SO TIGHTLY RIGHT NOW. YOU WILL VOTE FOR HARRIS. YOU WILL RECOGNIZE THAT THERE IS NO MORAL WAY TO BE PRESIDENT OF THE US AND YOU WILL STILL VOTE TO STRATEGICALLY PROTECT YOURSELF AND OTHERS.

[raan-miir-tah]

YOU ARE THE REALEST MOTHERFUCKER ON THIS SITE!!!

[phantomrose96]

You’re voting to choose your opponent. All protests, all “call your representatives”, all that for the next four years are going to be you calling action against an opponent. You get to choose that opponent. You’re not voting as a fan club.

[writingquestionsanswered]

I really need to work on my transitions. I have been relying on scene breaks but for shorter "jumps" I just don't like the way the segues are coming out. The "When she got back to the office"s and "An hour later"s and "When she got to the pub"s. Something about them feels even more jumpy, literal, or even amateur to me than a plain old scene break. Maybe I need a scene break with a transition sentence, maybe I need more than that, I don't know. :(

Subtle Scene Transitions

It’s important to remember that the very existence of a scene break or chapter break tells the reader that something–location, time, POV–has changed. So, sometimes it isn’t necessary to be as direct as “An hour later…” or “When she got back to the office.” Often, you can clue the reader in using contextual clues. Take the following paragraphs as an example…

Direct:

Melinda finally dragged herself out of bed, painfully aware that her entire career hinged on her ability to pull this meeting off without a hitch. She hated the uncertainty of what lay ahead, hating even more the only thing she did know for certain: it was going to be one hell of a shitty day.

# # #

Two hours later, Melinda stood in front of the board, coffee in hand, trying to exude confidence she in no way truly felt. The tired, stoic faces of eleven other men and women gazed back at her, plainly ready for whatever it was she was about to unleash upon them. She only wished she felt as ready as they appeared to be.

Less Direct:

Melinda finally dragged herself out of bed, painfully aware that her entire career hinged on her ability to pull this meeting off without a hitch. She hated the uncertainty of what lay ahead, hating even more the only thing she did know for certain: it was going to be one hell of a shitty day.

# # #

All eleven faces of the other board members gazed back at Melinda, stoic and tired as she stood before them, coffee in hand, trying to exude a confidence she in now way truly felt. It was clear they were prepared for whatever she was about to unleash upon them, and she could only wish she was equally prepared.

In the second example, even though you don’t specifically say “two hours later,” it’s clear right away from the context that the time and place have changed. No one is going to read “all eleven faces of the other board members” and assume that they’re waiting for her in her bathroom as she goes in to brush her teeth. As often as possible, try to reserve the “two hours later” and “when she got back to the office” transitions for when the context would otherwise be unclear, or when those specific details (how much time has passed, a specific location) is immediately important. :)

[rlyehtaxidermist]

one of the best academic paper titles

[rlyehtaxidermist]

for those who don't speak academia: "according to our MRI machine, dead fish can recognise human emotions. this suggests we probably should look at the results of our MRI machine a bit more carefully"

[derinthescarletpescatarian]

I hope everyone realises how incredibly important this dead fish study is. This was SO fucking important.

[imightbeobsessedwithsocks]

I still don’t understand

[derinthescarletpescatarian]

So basically, in the psych and social science fields, researchers would (I don't know if they still do this, I've been out of science for awhile) sling around MRIs like microbiolosts sling around metagenomic analyses. MRIs can measure a lot but people would use them to measure 'activity' in the brain which is like... it's basically the machine doing a fuckload of statistics on brain images of your blood vessels while you do or think about stuff. So you throw a dude in the machine and take a scan, then give him a piece of chocolate cake and throw him back in and the pleasure centres light up. Bam! Eating chocolate makes you happy, proven with MRI! Simple!

These tests get used for all kinds of stuff, and they get used by a lot of people who don't actually know what they're doing, how to interpret the data, or whether there's any real link between what they're measuring and what they're claiming. It's why you see shit going around like "men think of women as objects because when they look at a woman, the same part of their brain is active as when they look at a tool!" and "if you play Mozart for your baby for twenty minutes then their imagination improves, we imaged the brain to prove it!" and "we found where God is in the brain! Christians have more brain activity in this region than atheists!"

There are numerous problems with this kind of science, but the most pressing issue is the validity of the scans themselves. As I said, there's a fair bit of stats to turn an MRI image into 'brain activity', and then you do even more stats on that to get your results. Bennett et. al.'s work ran one of these sorts of experiments, with one difference -- they used a dead salmon instead of living human subjects. And they got positive results. The same sort of experiment, the same methodology, the same results that people were bandying about as positive results. According to the methodology in common use, dead salmon can distinguish human facial expressions. Meaning one of two things:

Dead salmon can recognise human facial expressions. OR

Everyone else's results are garbage also, none of you have data for any of this junk.

I cannot overstate just how many papers were completely fucking destroyed by this experiment. Entire careers of particularly lazy scientists were built on these sorts of experiments. A decent chunk of modern experimental neuropsychology was resting on it. Which shows that science is like everything else -- the best advances are motivated by spite.

[daily-prompts]

I need everyone’s best character advice. STAT.

[theidealistcynic-deactivated202]

You're not creating real people, you're creating the illusion of real people. You don't have to mention their favorite food if it doesn't come up, you don't even have to know it, though if they were actual people they'd have one. You can throw plot events at your characters to force them to take certain actions, or you could just rewrite the characters to be the kind of characters who would take those actions anyway. Your characters have a life of their own in their own little world, but don't be afraid to play god to get what you want out of them.

[derinthescarletpescatarian]

In the vast majority of cases, a character's strengths and flaws should be the same thing. There are exceptions (you can have a character be clumsy for the lols without needing to find some way that it's an advantage), but for most character traits, the difference between a flaw and a strength is the situation at hand and learning when to indulge it.

[roach-works]

desire is the source of action, so your characters should WANT things. all of them should have something they want that's good for them, something they want that's bad for them, and something that's just a little silly, for spice.

[kedreeva]

Treat your secondary characters like they are the main characters of another story. I don't mean you have to know everything about them, but if their role in the story could be replaced by a cardboard cutout, then the story will feel flat where it encounters them. Give them their own motivation/wants/desires, and it will help you immensely in writing their interactions with the main character, and make the world seem bigger/more real to the reader.

[silentsnowdrop]

Unlike real life, if you want anything out of your characters, you need to put them through meaningful hardship. Angst for the sake of angst is fun to toy with, but at the end of the day, there needs to be a reason for it or it's just not going to be interesting. Make sure that it's something that will get you more character out of your character.

[ckret2]

some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

[librarysilverfish]

What popular writing advice or tools have you never heard of?

GMC--Goal, Motivation and Conflict

Snowflake plotting

The seven basic plot archetypes

Chekov's gun

Adverbs v.s. said is dead v.s. no dialogue tags at all

Three-act structure: inciting incident, climbing action, climax/resolution

"It was a dark and stormy night"

"It was all a dream"

Hook-related advice; start in the action v.s. start with dialogue v.s. etc.

If you want to write, read

More than one

I've heard of all of these

Voting ended onFeb 14, 2024

If you don't know what the hell it's referring to count that one lol.

(I know it's probably going to be a whole lot of "I've herd of all of these" but I just wanna know ok?)

[theliteraryarchitect-deactivate]

this might be weird to ask, but how do I critically look at another person's writing and implement what I like in their writing in my own writing? I've been having trouble improving in my writing, and frankly Im not sure how to go about doing that, even. It's easy to see what I like about another person's writing, but hard to pinpoint exactly why...

THIS IS NOT WEIRD TO ASK. It is, in fact, the most important question EVER.

How to Read Like a Writer

Re-read. If you get halfway into a chapter and think, Wow this chapter is super creepy–I wonder how they did that. Or get to the end of a book and think, I feel the poignancy of the fragility of human life in an inherently volatile economic system–I wonder how the writer made me feel that way… Go back and re-read that shit.

Read slowly. When you read like a reader, you read pretty fast. When you go in for your second, or third, or fourth re-read of a passage, chapter, or book that you want to know more about, read it slowly. Really. Slowly.

Read for technique, not content. Readers read for content (”In this paragraph, Damien gave Harold a classified envelope.”). Writers read for technique. (”In this paragraph, the writer made me feel curious about the contents of the envelope by giving sensory details about its appearance and weight.”)

Ask the right questions. They usually start with HOW: How did the writer make me feel? How did they accomplish that?

Read small. Did a chapter make you feel sad? Find out WHERE EXACTLY. What paragraph, sentence, or WORD did it for you? Was it a physical detail? A line of dialogue? A well-placed piece of punctuation? Stories are made of words and sentences. Narrow it down.

Practice. Reading like a writer is a skill that takes time to develop. Over time, you’ll get better at it!

How about y’all? Anything to add to this list? I made it off the top of my head so I’m sure I’m forgetting something. What have been your experiences with learning to read like a writer?

Hope this helps!

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The Literary Architect is a writing advice blog run by me, Bucket Siler. For more writing help, check out my Free Resource Library or get The Complete Guide to Self-Editing for Fiction Writers. xoxo

[mckitterick]

this is SO IMPORTANT for creatives! understand WHY you love things, why they move you, how the writer (or artist or whomever) did the thing that made you laugh or cry or see the world through a fresh perspective

I like to mark passages that really work for me, that reveal some insight into the human experience or deliver a beautiful image that lingers in my mind or a powerful scene our great dialogue or whatever. by marking it, one can go back later for inspiration or insight, especially when stuck in a revision or feeling uninspired

[bitchfitch]

I need to draw men being obnoxious to their partners and getting In The Way right now immediately.

[bitchfitch]

it is it's nature to Be In The Way.

[ecurps]

Just... Pick them up??? Grab a blanket, wrap 'em up, then move them out of the way.

[bitchfitch]

the consequences of doing that:

[bitchfitch]

just needed to make a conclusion to this

[bitchfitch]

tbh this post is Just for the it/its crowd now. keep shining.

(but for real it makes me happy other it/its folks are getting a lil joy out of an it/its character like. casually existing and having a fun gender.)

[derinthescarletpescatarian]

"The trannies should be able to piss in whatever toilet they want and change their bodies however they want. Why is it my business if some chick has a dick or a guy has a pie? I'm not a trannie or a fag so I don't care, just give 'em the medicine they need."

"This is an LGBT safe space. Of COURSE I fully support individuals who identify as transgender and their right to self-determination! I just think that transitioning is a very serious choice and should be heavily regulated. And there could be a lot of harm in exposing cis children to such topics, so we should be really careful about when it is appropriate to mention trans issues or have too much trans visibility."

One of the above statements is Problematic and the other is slightly annoying. If we disagree on which is which then working together for a better future is going to get really fucking difficult.

[june-egbert-official]

Someone who says they don't care if dudes wear dresses and makeup is a better ally than someone who says they're a safe space for women and non-binary people. I am not joking.

[redrook]

yeah I went to a gay bar recently with my husband tumblr user beemovieerotica, and a VERY confused capital S Southerner straight man in cargo shorts and a trucker hat showed up

apparently he (who through my drunken memory I remember only as Earl) liked some woman, and she told him that he wasn't cultured enough and needed to attend his first drag show (she also flaked on him)

Now I'm reasonably androgynous and was wearing makeup, a short leather skirt, and black heeled boots, but still when this guy came up to me when I was standing off alone and asked "So. Do you come here often?" with a very earnest expression, I thought. Surely not. This guy doesn't think I'm a straight woman does he????

Anyway I start talking with this guy and he has no idea what the fuck is going on but he is just a very kind and earnest dude and asked a lot of questions (while asking if it was alright if he asked those questions). I track down my husband and friends and I'm like y'all. We need to make sure that Earl has a Good Fucking Time tonight.

Man was completely out of his depth. At one point they put on a puppy auction to raise money for Pride, that started with a 6 ft drag queen in all her glory leading a leather pup out on a leash to the tune of that damned RSPCA "in the arms of the angels" song

We look at Earl. Nervous. He squints, laughs, and then goes "I was wondering why people were dressed like that!" He turned to me and asked "So they're like dogs?" And I said yeah pretty much. And he just chuckled and went "Yeah I thought so with the tails! Never seen this before!"

When the first drag king came out, Earl looked at me wide eyed and went "There's a dude version too?!" And I said yeah they're called drag kings. And he said, low, "Drag kings."

During one of the queens performances, he frowned, shook his head and told me, "Your legs are better than hers." in a tone that implied he thought there was some travesty taking place and I should also be getting paid

When he found out I was there with my husband (and that I am not a woman) he profusely apologized and said "I'm so sorry, it's dark in here and I thought you were a hot chick! I wouldn't have said nothing if I knew you had a husband, I'm so sorry about that."

When beemovie invited me to the dance floor with him later and I still had a drink in my hand, Earl said "Oh don't worry about that I can hold your drink, you get on out there and shake your ass with your husband!" Then before we left, Earl bought me drinks for "Putting up with me all night and answering everything. Y'all helped me have a great time tonight."

like. You gotta recognize there's going to people who have never had interacted outside of their of their own community. This includes you. And just because your community is familiar with all the right vocabulary and how to correctly say something, it doesn't mean they're actually going to support you. If someone like Earl shows up, confused and out of their depth but kind and curious and earnest, you gotta have patience and truck through the small things, so when he goes back to his friends and his coworkers and they snicker asking how the drag show was, he can genuinely talk about how included we tried to make him feel and that he had a great time

The person matters more than the language

[wowhead]

[ryebreadgf]

[will-of-this-heart]

[crevicedwelling]

Bear was not a huge fan of her daughter Pear when the two first met. maternal instinct has been bred out of domestic Coturnix quail, so Bear was quite suspicious of this mysterious peeping bundle!

when Pear grew up (4 weeks later) the two eventually found some common ground in their shared attributes of roundness and brownness and would spend most of their time together. Pear ended up larger than her mother but inherited her gentle disposition and love of sitting around staring blankly into space

[crevicedwelling]

thinking about these dumplings today. I’ve met very few birds that were this excellent at sitting

[daily-prompts]

I need everyone’s best character advice. STAT.