I Am But A Bitter Poet

President of the "took three years to write five chapters" club Sideblog to @Lilybugarini

[anomaly00-archive]

Person/writing advice/whatever: what is the theme of your story? What message are you trying to tell to the world?

Me:

[unfocused-overwriter]

Does my story really need a message? Isn’t it not enough to vicariously live my unattainable fantasies through characters?

[unfocused-overwriter]

Why must my novel have a plot? Is it not enough to leave my OCs in a room and observe what happens?

[quillwritten]

[carnation-damnation]

FUCK

[nikasholistic]

My weird yet effective writing routine

To me, writing is quite an intuitive process. I basically just follow my gut. Nevertheless, throughout the years, I’ve been able to develop a pretty effective routine, and I’m going to share it with you now!

Writing circuits. I don’t know about you, but I’m super lazy, and I also love to procrastinate. So, instead of writing for three hours straight, I split this time into little circuits and plan them throughout the day. Let’s say I’ll write for an hour in the morning, then an hour and a half in the afternoon and so on. It’s also incredibly beneficial for your health – both mental and physical.

Have a plan.  I’m a discovery writer, and I don’t really outline that much. But as I go about my day – eg. when working out, or running, or cooking, or eating, or sitting and doing nothing because of this procrastination right – I think about what I want to accomplish. And I usually ask myself the following questions. What is the purpose of this scene? Which characters should appear in this scene? Should it be more visual or more internally-focused? What actually happens? How should I describe it? Thanks to this, I have a general plan, and I’m much more motivated to actually write instead of visualizing that scene in my head (we all know this, don’t we?).

Write. Then I write. I write whatever pops into my head. I don’t care if it’s logical. I don’t care how many times I use abruptly, saw, felt, etc. I just allow my imagination to create this story.

Notes. When I end my final little session, I usually leave some comments for myself. What’s going to happen next, what’s the next big thing I want for my characters, etc. Having these notes makes everything easier; I immediately know what I’m supposed to do.

Having fun. I don’t care about the word count, deadlines, or anything like that. I enjoy the process, and I’m always very grateful for everything I write. I actually have this cute/weird habit: Whenever I end my writing session, I say ‘thank you’. Out loud. (Yeah, awkward, huh?) Thank you for my amazing imagination which allows me to create places and people in my mind! This kind of approach always makes me happy and even more motivated for my next writing session.

[penny-anna]

the problem w making up OCs is before you can get the rewards of shitposting about them you must first submit yourself to the mortifying ordeal of explaining who they are.

[writeworld-blog]

How to Write a Fight Scene (Rebloggable Version)

Admin Note: This post is a rebloggable copy of our page on fight scenes. The page is being phased out, so from now on all updates will be made on this post and not on the page. 

Among the typically difficult scenes writers face in their stories, the fight scene definitely ranks high on the list. Below you will find several resources with tips for writing a good fight scene.

Action with a Side of Zombies: One of our articles focused specifically on writing action scenes. Bonus:  the examples all include zombies.

ArchetypesAndAllusions: An article on the three main types of fighters and their various approaches to kickin’ ass (or not).

TheCreativePenn.com: Alan Baxter, speculative fiction author, gives some great advice on characterization, setting, martial style, and cliches. 

StoryHack.com: A PDF that takes you through writing a fight scene step by step by Randy Ingermanson, compiled by Bryce Beattie.

MarilynnByerly.com: An extremely good guide to writing fight scenes. This guide includes tips on character viewpoint, mapping the fight, and tricks for writing each type of fight. 

Shelfari.com: This site is an interview with famed fantasy author R.A. Salvatore on how to write great fight scenes.

TheBusinessOfWriting: C. Patrick Schulze gives some good, solid advice on identifying and writing your fight scene.

EzineArticles.com: Marq McAlister explains how to make a fight scene pack some serious punch. This article is good for fine-tuning.

Martin Turner: Focusing specifically on sword-fighting scenes, Martin Turner writes in great detail on every conceivable detail of this type of time-honored fight scene. 

SeriousPixie.com: Susan tells you about the three types of fight scene writers and explains how to fix the problems that arise for each type.

David Alan Lucus: This multi-part guide gives advice in exhaustive detail on how to write an awesome fight scene.

NightFoot: This Tumblr post offers some great tips for writing fight scenes.

Film Crit Hulk: A shoe-in for screenwriters, the Hulk and special guest Tom Townend talk shop on how to write a great movie action scene.

Harry Edmundson-Cornell: Harry writes a series on the fight scene geared toward writers of Superhero comics.

How To Fight Write: The knowledgeable and thorough admins of this exceptional Tumblr blog will teach you everything you ever wanted to know about fight scenes and weaponry—even if they have to beat it into you.

Scholagladiatoria: A YouTuber with lots of weapons teaches you how they were/are properly used to their greatest advantage.

These links provide advice specifically for writing battle scenes:

Gerri Blanc: eHow’s article on battle scenes is a basic step-by-step list for you. It’s a good introduction to writing battle scenes.

StormTheCastle.com: This article takes you through an in-depth guide on how to write battle scenes for fantasy stories.

Rhonda Leigh Jones: Jones lists some dos and don’ts of writing battle scenes.

Other resources:

List of Martial Arts: Looking for a fighting style? Find it here!

List of Weapons: Every type of weapon you can think of is listed here.

List of Military Tactics: From troop movements to siege warfare, this list has got you covered.

Asylum.com: A few examples of awesome battle tactics from history.

BadassOfTheWeek.com: Get some inspiration for awesome fight scenes and fighting characters from this compendium of badassitude.

Thearmedgentleman: Austin has offered to share his knowledge on weaponry with any writers who have questions. Thanks, Austin! 

Don’t see what you’re looking for here? You can find every post we’ve ever made or reblogged about fight scenes in our “fight” tag. You might also find our “action scene” tag useful. 

We hope this helps! If you have another link or a tip for how to write fight/battle scenes, hit up our ask box and let us know!

[agirlfrommarz]

what do you mean i have to write the story that i came up with the idea for

[just-shower-thoughts]

“Forgive me Father for I have sinned” and “I’m sorry daddy; I’ve been very naughty” are simultaneously saying very similar and very different things.

[angelrinisadork]

Pro tip for writers: This is what people mean when they say “sure they’re synonyms but it still dramatically changes the entire meaning of a sentence.”

[heywriters]

There truly is a difference between "whispered" and "said quietly."

You can even write "said softly" or "in a low tone" and each evokes something slightly different when read. Do not take the No Adverbs advice so hard. So much of dialogue is tonal, so when you need a different word use it. Don't sacrifice meaning and character in important scenes for the sake of a "rule."

[sorcerersage-deactivated2025042]

Remember friends:

There are no rules for writing. Do whatever the FUCK your heart desires

[erikaofrp]

Stop using the word "Walk". We don't want that word to die together with "Said".

Here are a few words you can replace walk with.

AMBLE: WALK EASILY AND/OR AIMLESSLY

BOUNCE: WALK ENERGETICALLY

CAREEN: PITCH DANGEROUSLY TO ONE SIDE WHILE WALKING OR RUNNING

CLUMP: WALK HEAVILY AND/OR CLUMSILY

FALTER: WALK UNSTEADILY

FLOUNDER: WALK WITH GREAT DIFFICULTY

FOOT IT: (SLANG) DEPART OR SET OFF BY WALKING

FOOTSLOG: WALK HEAVILY AND FIRMLY, AS WHEN WEARY, OR THROUGH MUD

GIMP: LIMP; HOBBLE

HIKE: TAKE A LONG WALK, ESPECIALLY IN A PARK OR A WILDERNESS AREA

HOBBLE: WALK UNSTEADILY OR WITH DIFFICULTY; SEE ALSO LIMP

HOOF IT: (SLANG) WALK; SEE FOOT IT

LEG IT: (SLANG) SEE FOOT IT

LIMP: WALK UNSTEADILY BECAUSE OF INJURY, ESPECIALLY FAVORING ONE LEG; SEE ALSO FALTER

LUMBER: WALK SLOWLY AND HEAVILY

LURCH: WALK SLOWLY BUT WITH SUDDEN MOVEMENTS, OR FURTIVELY

MARCH: WALK RHYTHMICALLY ALONE OR IN A GROUP, ESPECIALLY ACCORDING TO A SPECIFIED PROCEDURE

MEANDER: WALK OR MOVE AIMLESSLY AND IDLY WITHOUT FIXED DIRECTION

MINCE: WALK DELICATELY

MOSEY: SEE AMBLE; ALSO, USED COLLOQUIALLY IN THE PHRASE “MOSEY ALONG”

NIP: WALK BRISKLY OR LIGHTLY; ALSO USED COLLOQUIALLY IN THE PHRASE “NIP (ON) OVER” TO REFER TO A BRIEF WALK TO A CERTAIN DESTINATION, AS IF ON AN ERRAND

PACE: WALK PRECISELY TO MARK OFF A DISTANCE, OR WALK INTENTLY OR NERVOUSLY, ESPECIALLY BACK AND FORTH

PAD: WALK WITH STEADY STEPS MAKING A SOFT DULL SOUND

PARADE: WALK OSTENTATIOUSLY, AS IF TO SHOW OFF

PERAMBULATE: SEE STROLL; TRAVEL ON FOOT, OR WALK TO INSPECT OR MEASURE A BOUNDARY

PEREGRINATE: WALK, ESPECIALLY TO TRAVEL

PLOD: WALK SLOWLY AND HEAVILY, AS IF RELUCTANT OR WEARY

POUND: WALK OR GO WITH HEAVY STEPS; MOVE ALONG WITH FORCE OR VIGOR; SEE LUMBER

POWER WALK: WALK BRISKLY FOR FITNESS

PRANCE: WALK JOYFULLY, AS IF DANCING OR SKIPPING

PROMENADE: GO ON A LEISURELY WALK, ESPECIALLY IN A PUBLIC PLACE AS A SOCIAL ACTIVITY; SEEPARADE

PROWL: WALK NOISELESSLY AND CAREFULLY IN A PREDATORY MANNER

PUSSYFOOT: WALK STEALTHILY OR WARILY

RAMBLE: WALK OR TRAVEL AIMLESSLY

ROAM: GO WITHOUT FIXED DIRECTION AND WITHOUT ANY PARTICULAR DESTINATION, OFTEN FOR PLEASURE; SEE RAMBLE

ROVE: TRAVEL CONSTANTLY OVER A RELATIVELY LENGTHY TIME PERIOD WITHOUT A FIXED DESTINATION; WANDER

SASHAY: GLIDE, MOVE, OR PROCEED EASILY OR NONCHALANTLY; SEE PARADE

SAUNTER: WALK ABOUT EASILY

SCUFF: WALK WITHOUT LIFTING ONE’S FEET

SHAMBLE: WALK OR GO AWKWARDLY; SHUFFLE; SEE SCUFF

SHUFFLE: WALK WITHOUT LIFTING THE FEET OR WITH CLUMSY STEPS AND A SHAMBLING GAIT; SEESCUFF

SKULK: MOVE IN A STEALTHY OR FURTIVE MANNER

SOMNAMBULATE: WALK IN ONE’S SLEEP

STAGGER: WALK UNSTEADILY

STALK: WALK STEALTHILY, AS IN PURSUIT

STEP: WALK, OR PLACE ONE’S FOOT OR FEET IN A NEW POSITION

STOMP: WALK HEAVILY, AS IF IN ANGER

STRIDE: WALK PURPOSEFULLY, WITH LONG STEPS

STROLL: WALK IN A LEISURELY WAY; SEE SAUNTER

STRUT: WALK WITH A STIFF, ERECT, AND APPARENTLY ARROGANT OR CONCEITED GAIT; SEE PARADE

STUMBLE: WALK CLUMSILY OR UNSTEADILY, OR TRIP

STUMP: WALK HEAVILY, AS WITH A LIMP; SEE LUMBER

SWAGGER: WALK WITH AGGRESSIVE SELF-CONFIDENCE

TIPTOE: WALK CAREFULLY ON THE TOES OR ON THE BALLS OF THE FOOT, AS IF IN STEALTH

TODDLE: MOVE WITH SHORT, UNSTEADY STEPS, AS A YOUNG CHILD; SEE SAUNTER AND STAGGER

TOTTER: WALK OR GO WITH FALTERING STEPS, AS IF FROM EXTREME WEAKNESS; SEE STAGGER(ALSO, SWAY OR BECOME UNSTABLE)

TRAIPSE: WALK LIGHTLY AND/OR AIMLESSLY

TRAMP: WALK HEAVILY OR NOISILY; SEE LUMBER AND HIKE

TRAMPLE: WALK SO AS TO CRUSH SOMETHING UNDERFOOT

TRAVERSE: WALK ACROSS OR OVER A DISTANCE

TREAD: WALK SLOWLY AND STEADILY

TRIP: WALK LIGHTLY; SEE ALSO STUMBLE

TROMP: TREAD HEAVILY, ESPECIALLY TO CRUSH UNDERFOOT; SEE LUMBER

TROOP: WALK IN UNISON, OR COLLECTIVELY

TROT: PROCEED AT A PACE FASTER THAN A WALK; SEE NIP

TRUDGE: WALK SLOWLY AND WITH HEAVY STEPS, TYPICALLY BECAUSE OF EXHAUSTION OR HARSH CONDITIONS; SEE PLOD

WADDLE: WALK CLUMSILY OR AS IF BURDENED, SWINGING THE BODY

WADE: WALK THROUGH WATER OR WITH DIFFICULTY, AS IF IMPEDED

WANDER: TO MOVE FROM PLACE TO PLACE WITHOUT A FIXED ROUTE; SEE RAMBLE

RESOURCES: (X) (X) (X) (X) (X)

[zewrites]

This is a good resource for alternatives to “walk (adverb)”, however, I feel compelled to add that it’s okay to use walk if you aren’t trying to establish any particular descriptor along with it and you don’t overuse it. By all means, write “She ambled” over “She walked casually”, but don’t be afraid to use the simplest terms when you really do just mean walk. Just don’t overdo it, and you’ll be fine. And please, PLEASE don’t be afraid to use said. I don’t care what elementary language teachers told us, said is not dead. 

[unfocused-overwriter]

[msavignon]

[mayday1284]

[lexwritesgayshit]

I really appreciate that writeblr as a whole sees the words “last Line Tag” and goes “ah last paragraph you say?” Like that is beautiful. Keep sharing larger chunks of your work you funky little writers.

[septembercfawkes]

When to "Tell" Emotions

Over the years, I’ve written a lot of posts about emotions, how to get them on the page, how to get them in the reader, how strong they should be and when, and so on. Writing an emotionally powerful story is super important, but honestly, other than Angela and Becca at Writers Helping Writers, I don’t see a ton of solid advice on how to actually infuse your story with it.

In the past, I’ve talked about how one of the most important things is to create an empathetic experience in the reader, so they feel like they are experiencing those emotions instead of just reading about them. This is equivalent to the “Show, don’t Tell” rule, even if “showing” emotions, is often less about describing them, and more about describing what causes them and/or getting into the deepest POV penetration available.

Basically, what I’m trying to say is that usually if you want to have your audience have a very powerful emotional experience, you write in a way that allows them to vicariously feel those emotions, rather than just “telling” the audience what emotions were felt (i.e. Patricia was sad).

However, like the traditional “Show, don’t Tell” rule, if you never “tell” the audience what emotions characters are feeling, you run into some problems. So today, I want to talk about when you should absolutely consider simply telling the audience your characters’ emotions, or at least simply demonstrating them in a short amount of space.

1. It’s Important for the Audience to Know the Emotion, but Not Necessarily to Experience it.

Sure, for a powerful story, we want our audience to experience the same emotions as our protagonist (usually). If a character is devastated, we want our audience to feel devastated.

But sometimes the point isn’t to experience the emotion. Sometimes the point is just to know about it.

I’ve used this example elsewhere, but in The Hunger Games, after Katniss shoots the apple out of the pig’s mouth, Collins writes something like, “I cried about it all afternoon.” In that instance, it’s not important that the audience feels like crying. It’s just helpful to know that Katniss did.

Not all of the protagonist’s emotions will be important enough to experience. Some of them are just important to know.

2. Pacing

If Collins had instead tried to write a whole passage to elicit those feelings in the audience, it would have taken up a lot more space, and therefore would have slowed the story’s overall pacing. Sometimes pacing is more important than feelings (especially if you are going so slow that the audience doesn’t feel the intended feelings anyway because they are yawning).

With that said though, depending on the setup of the scene, you can sometimes elicit emotion in very few words. Other times? Well, it might be best to just say “I cried about it all afternoon.”

3. Emotional Context

Context is the stuff that helps us accurately interpret and understand what’s going on in the story. Usually, the viewpoint character provides the audience with needed context.

In some passages, the audience needs emotional context to properly interpret the narrative. This may be especially true of speculative fiction, where the audience may be encountering other worlds, cultures, and customs. For example, when Harry sees someone walk out of a picture frame for the first time in the Wizarding World, he looks to Ron in surprise. Ron says, unconcerned, “Well, you can’t expect him to hang around all day.” Ron’s nonchalance clues us into the fact that this is normal for the Wizarding World (while Harry’s surprise validates our own).

In similar ways, your viewpoint character’s emotions may provide context for how readers are supposed to view the world and certain situations. A lot of times, the best way to get this across, is to just tell us straight out what the character is feeling, rather than try to get the audience to feel that way (which would be extremely difficult if the subject matter was otherworldly).

4. Emotional Validation

In the last example, I mentioned that Harry’s surprise validates our own. If Harry wasn’t surprised, we’d probably think he was odd, or maybe that there is something wrong with us for having that response.

Sometimes you need to simply address and tell emotions in order to validate the audience’s. If something really terrifying happens, and the viewpoint character or protagonist doesn’t show any sign of emotion, we might be left scratching our heads. Were they terrified? Is there something wrong with them? Did we misunderstand how that passage should be read?

Validation and context often interrelate. You can learn more about validating the audience here.

5. Hooks

Sometimes the best hooks address emotions directly. Something like, “When William went to sleep last night, he hadn’t expected to wake up in terror,” can have readers drooling to read on. Or perhaps, “As Emily stared into Jack’s eyes, she thought this must be what it felt like to fall in love with a villain.” Or maybe, “Clark walked into his mother’s motor home and was shocked.” Whatever the case, labeling an emotion can be a great hook.

6. To Cut Back Overpowering Emotions

In some cases, you might elicit emotions so powerfully, that it’s simply too much. It’s possible to write too strong of a scene. In situations like that, simply telling an emotion can weaken it enough to make it digestible for the audience.

So there you have it, six instances where you don’t necessarily want the audience to feel empathetic emotions.

[concerningwolves]

rational me: this story can be told in one book

gremlin brain: but consider…….. multiple books

me: w

gremlin brain: stay in this world forever

me: no, wait, don’t —

gremlin brain: comfy world. familiar world. many stories

me:

me:

me: comfy world

[unfocused-overwriter]

Good luck for 2020 everyone! I believe in you all!

[landprince]

what if writers did streams like artists did

[sodacune]

[adventures-in-a-world-of-fiction]

I think it was a Monty Python sketch that showed an author writing with a commentary like a sports commentator.

“And he’s started writing… no, he’s just written his name at the top of the page. He’s written ‘the’, a very strong opening, used in several of his books. Oh, no, he’s crossed it out again.”

[gingersnapwolves]

“Ah, look, she’s opening the thesaurus again … perhaps she’s realized she used the same word six times in two paragraphs”

“Now that sentence is lovely, an excellent example of her style in - oh, no, she’s deleting it, never mind”

“This scene is clearly over, yet the brave author forges onward regardless…”

“She’s really picking up steam now, the words just flowing out from her - she’s stopped midsentence for some reason and is opening Buzzfeed”

“Choosing to google ‘which countries are nonextradition countries’ is a risk but it’s one some authors must take…”

[unfocused-overwriter]

Okay but are we talking golf commentator or football commentator?