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we're not kids anymore.
❣ Chile in a Photography ❣
let's talk about Bridgerton tea, my ask is open
Cosimo Galluzzi
pixel skylines
One Nice Bug Per Day
dirt enthusiast
Game of Thrones Daily
Origami Around
tannertan36
ojovivo
Love Begins
oozey mess
Three Goblin Art
#extradirty
i don't do bad sauce passes
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Janaina Medeiros
Product Placement
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@cianawrites
Don’t Call Us Heroes WIP INTRODUCTION
There was no such thing as good and evil, as black and white. There were only choices. Choices that weren’t confined to a singular moment or situation. Choices that had to focus on the end goal and the bigger picture. She knew that now.
And as Nine closed her eyes, listening intently to the gentle creaks of the trees as they swayed, she made her choice.
He would have to die.
in 2026 DO NOT ask yourself whether your art is GOOD
instead ask:
is it SINCERE
was it CATHARTIC
was it FUN TO MAKE
is it MADE BY ME
and don't forget to stay silly
Fyodor Dostoyevsky // Alanis Morissette
"I did not like to be touched, but it was a strange dislike. I did not like to be touched because I craved it too much. I wanted to be held very tight so I would not break."
-Marya Hornbacher, Wasted
15 descriptive writing exercises
Here are 15 prompts to get you writing descriptively and honing those creative writing muscles!
Imagine you are in a room with an antique piece of furniture. Describe the history and story behind the object.
Write a scene set in a futuristic city, describing the technological advancements and innovations.
Describe a character's inner world, using metaphors and personification to give their thoughts and emotions a physical form.
Write a paragraph describing the sensation of falling, using vivid and sensory language.
Describe a character's experience of time, using time-related metaphors and imagery.
Write a scene set in a mystical forest, describing the fantastical creatures and magical elements.
Imagine you are in a crowded outdoor market. Write a paragraph describing the chaos and energy of the scene.
Describe a character's appearance, using creative language and vivid comparisons.
Write a paragraph describing the atmosphere of entering a haunted house.
Describe a meal in detail, focusing on the flavors and textures of the food, as well as the other imagery and sounds around the dining table.
Write a paragraph describing the experience of tasting a color, using synesthesia to evoke sensory details.
Imagine you are in a space station orbiting a distant planet. Describe the alien landscape below you.
Write a scene set in a post-apocalyptic world, describing the desolate and dangerous environment.
Describe a character's emotions as if they were a physical landscape, using terrain and weather to represent their inner world.
Write a paragraph describing a character's unique skill or talent, using technical language and jargon to showcase their expertise.
Have you heard about my 3 extensive workbooks for writers? It's filled with dozens of fully-customisable templates! These are my first ever original E-books and templates available outside of my coaching programs!
The Writer’s ToolBoox contains: The Character Bible, The Plotter’s Almanac, and The World-Builder’s Chronicle
Grab The Writer's Toolboox through [the link here] or below!
The Writer's ToolBoox is a pack of 3 extensive E-books that cover the areas of: character craft, world building, and plotting. It comes with
Rococo Noir Aesthetic
Black Glamour 🌙💕
your writing does not have to be good. your author’s note does not have to go on its knees for a hundred words before each chapter repenting. you only have to let the soft gremlin of your brain write what it wants.
“One man’s cringe is another man’s epic” and “a flawed story is still a thousand times better than a story never told” are two pieces of advice that a lot of people aspiring to be writers really need to take to heart. Stop tearing yourself up over getting every little insignificant thing right.
Do not love half lovers.
Do not love half lovers.
Do not entertain half friends
Do not indulge in works of the half talented
Do not live half a life and do not die a half death
If you choose silence, then be silent
When you speak, do so until you are finished
Do not silence yourself to say something
And do not speak to be silent If you accept, then express it bluntly
Do not mask it
If you refuse then be clear about it for an ambiguous refusal is but a weak acceptance
Do not accept half a solution
Do not believe half truths
Do not dream half a dream
Do not fantasize about half hopes
Half a drink will not quench your thirst
Half a meal will not satiate your hunger
Half the way will get you no where
Half an idea will bear you no results
Your other half is not the one you love
It is you in another time yet in the same space
It is you when you are not
Half a life is a life you didn't live, A word you have not said
A smile you postponed
A love you have not had
A friendship you did not know
To reach and not arrive
Work and not work
Attend only to be absent
What makes you a stranger to them closest to you and they strangers to you
The half is a mere moment of inability but you are able for you are not half a being
You are a whole that exists to live a life not half a life
-Kahlil Gibran
Do you have any advice for pointers or punching up dialogue? I've often gotten notes that characters aren't distinct enough.
One piece of advice? In dialogue, the person hearing a line is just as important as the person speaking the line. When writing fiction, you need to justify why Character A is offering information to Character B, using both A and B. The more personal the information is, the more justification you need.
In psychology, there's a thing called Social Penetration Theory. It says that, the less we know and/or trust a person, the less we share about ourselves, and vice versa:
When talking to a stranger, we either stick to social scripts ("How are you?"/ "I'm fine"), or we use conventional conversation topics ("Hate this weather."/ "Same here!").
When talking to an acquaintance, the topics get both broader ("Where'd you get that tie?"/ "Macy's!") and somewhat deeper ("You hanging in there?"/ "Stressed, but still going!") but not too broad and not too deep.
Friendships are marked by having broad shared topics to the point of in-jokes ("Last episode was plusungood, yeah?"/ "Try double-plusungood!") and conversations around real vulnerability ("How you doing?"/ "Today sucks").
It's only when you get to the really intimate relationships — best friendships, long romances, close siblinghood — that you start to see the heavy stuff come out ("I wish my mom supported me more"/ "Yeah, you deserve it").
Note 1: the levels are cumulative — close siblings can talk about almost anything from the weather to their deepest fears. Note 2: sometimes people do violate these norms (e.g. through telling strangers about their romantic troubles), but most listeners find such violations very off-putting.
Anyway, the common error in fiction is the California Conversation: when Character A starts telling Character B on their first date that deep down he feels he'll never be worthy of his father's love. The joke is that the California Conversation only happens in movies because maybe that's how Hollywood people talk to each other, but out in the real world people have a sense of boundaries. If A tells B all that father-stuff after knowing B for an hour, then the audience is going to conclude that a) A's father isn't that important to him, b) A is an awkward over-sharer, or c) this dialogue is weird and unrealistic.
One example of dialogue done wrong: the novel Throne of Glass. The protagonist Celaena is described as tough and aloof, but in an early scene she starts telling a guard she met that same day about how heartbroken she felt to have her hair cut off when she was sent to prison. There are several things that feel off about this moment. We humans do not, as a rule, tell near-strangers about things that break our hearts. A hardened assassin trained in secrecy seems especially unlikely to share like this. And a guard who is holding said assassin against her will seems like an especially unlikely target.
This kind of disclosure can come off like info-dumping: the author wants us to know the hair is important, so the character blurts it out. It can come off like social incompetence: maybe Celaena doesn't understand boundaries, which would be an interesting flaw if it fit with her other characterization. It can come off as implying that the subject isn't important, because if it was then you wouldn't tell a guard about it during your first meeting. Not ideal.
One example of dialogue done right: the novel What Could Be Saved. It's about a brother and sister rebuilding their relationship as adults, after the brother disappeared as a child 50 years ago. The brother's deepest disclosure [SPOILERS] is that, after he was kidnapped by Thai insurgents trying to get leverage on their American spy father, his captors told him that his family refused to ransom him. Being 11, he believed this and chose to run away rather than return home when he did get free; it was only much later he began to question that story enough to try and contact his family [SPOILERS END]. But it takes the entire friggin novel for the brother to build up to telling his sister that. Over the plot, the siblings go from stilted small-talk, to casual chats, to half-remembered in-jokes, to serious conversations, before finally feeling comfortable enough to edge their way up to the reason the brother never returned after his escape. That disclosure, when it finally comes, is a gut-punch. An earned gut-punch. A gut-punch that caused me to tear up, because I was on the entire journey it took to get these characters here.
If you don't feel like spending an entire novel building up to one conversation, simply establish who the characters are to each other before they start talking. A classic example is the story "Hills Like White Elephants." It's a stifling near-horror story about a man pressuring his girlfriend into an abortion, only no one ever uses the words "abortion" or "pregnancy." Not only does the couple's growing distance come through in their inability to discuss the issue directly ("'It's not really an operation at all,' the man said... 'It's just to let the air in'") but we see the woman repeatedly respond to her partner's assurances with "They're lovely hills... look like white elephants" or "Can we have another beer?". She's losing trust in him, so she's resorting back to small talk. Her discomfort is palpable, even though verbally she agrees with her partner. We learn a lot about him, and about her, through what they don't say to each other.
One last example: FBI tapes. NYTimes has an excellent set from January 6 rioters, and there are a lot of other transcripts around. They're interesting because they involve experts trying to get personal disclosures out of strangers, which ends up being the verbal equivalent of trying to pin down a drop of mercury. In the January 6 set, there is video evidence of the crimes, but there's still a ton of verbal dodging and distracting and soft-pedaling in the face of undeniable guilt. Note what words real people use when making real disclosures that personal, and note what they don't say. That's how dialogue works, and that's how you can inject characterization into your dialogue.
that whole "make your characters want things" does so much work for you in a story, even if what your characters want is stupid and irrelevant, because how people go about pursuing their desires tells you about them as a person.
do they actually move toward what they desire? how far are they willing to go for it? do they pursue their desires directly or indirectly? do they acquire what they desire through force, trickery, or negotiation? do they tell themselves they aren't supposed to feel desire and suppress it? does the suppressed desire wither away and die, or does it mutate and grow even stronger? is the initially expressed desire actually an inadequate and poorly translated different desire that they lack language for? does the desire change once the language has been updated, or when new experiences outline the desire more clearly? do they want something else once they have better words for it, or once they know that they definitely don't want something they thought they wanted before?
how does the world accommodate those desires? what does the world present to your character and in what order to update and clarify their desires? how does your magic system or sci-fi device correspond to those desires and the pursuit of them?
there's so much good story meat on those bones; you just have to be brave and decisive enough to let characters want specific things instead of letting them float in the current of the plot.
and I loved the responses of “Well, my character is very passive and doesn’t know how to want things, the story is about their process of learning to do that exactly”, because that’s fine, that’s all well and good, but passive people still want things. passive human beings who have been so thoroughly neglected that the articulation of a single desire is beyond them want what their internal sphere of control tells them they are allowed to want. they desire constancy and a lack of conflict. they desire nostalgic artifacts that remind them of prior constancy and lack of conflict. the desire to float is an engineered desire that runs in conflict with the development of a happy healthy human being. Who engineered it? How do you begin to chip away at something like that? How do small, passive desires lead up to that?
Words to describe facial expressions
Absent: preoccupied
Agonized: as if in pain or tormented
Alluring: attractive, in the sense of arousing desire
Appealing: attractive, in the sense of encouraging goodwill and/or interest
Beatific: blissful
Black: angry or sad, or hostile
Bleak: hopeless
Blinking: surprise, or lack of concern
Blithe: carefree, lighthearted, or heedlessly indifferent
Brooding: anxious and gloomy
Bug eyed: frightened or surprised
Chagrined: humiliated or disappointed
Cheeky: cocky, insolent
Cheerless: sad
Choleric: hot-tempered, irate
Darkly: with depressed or malevolent feelings
Deadpan: expressionless, to conceal emotion or heighten humor
Despondent: depressed or discouraged
Doleful: sad or afflicted
Dour: stern or obstinate
Dreamy: distracted by daydreaming or fantasizing
Ecstatic: delighted or entranced
Faint: cowardly, weak, or barely perceptible
Fixed: concentrated or immobile
Gazing: staring intently
Glancing: staring briefly as if curious but evasive
Glazed: expressionless due to fatigue or confusion
Grim: fatalistic or pessimistic
Grave: serious, expressing emotion due to loss or sadness
Haunted: frightened, worried, or guilty
Hopeless: depressed by a lack of encouragement or optimism
Hostile: aggressively angry, intimidating, or resistant
Hunted: tense as if worried about pursuit
Jeering: insulting or mocking
Languid: lazy or weak
Leering: sexually suggestive
Mild: easygoing
Mischievous: annoyingly or maliciously playful
Pained: affected with discomfort or pain
Peering: with curiosity or suspicion
Peeved: annoyed
Pleading: seeking apology or assistance
Quizzical: questioning or confused
Radiant: bright, happy
Sanguine: bloodthirsty, confident
Sardonic: mocking
Sour: unpleasant
Sullen: resentful
Vacant: blank or stupid looking
Wan: pale, sickly
Wary: cautious or cunning
Wide eyed: frightened or surprised
Withering: devastating
Wrathful: indignant or vengeful
Wry: twisted or crooked to express cleverness or a dark or ironic feeling
Assa Baradji By Kenny Germé For Interview Magazine April 2021
So I want to make a habit of practicing drawing but don't want to keep drawing my same characters over and over again all the time
Like/reblog/comment if you'd be cool with me trying to draw your OCs? I'm really shy about drawing people's characters unsolicited, but if I know you wouldn't mind then I'll go for it
I can't promise I'll get to it quickly or that they will exactly match your vision of them but yeah, just thought I'd throw this question out there
- IRIS -
Summary:
"Iris, teen resident of Claw Valley, had the unfortunate chance to discover a peculiar gem. During one of her underwater strolls in Pine Lake, the suburbs, she caught sight of it. Bringer of unlimited abilities, both a gift and a curse; the gem's power seemed as uncanny as it was uncontrollable. Only one individual in all Claw Valley had witnessed her powers. Despite his denial, Sam did not hesitate to help Iris out of trouble. Especially since a shadow creature was in constant attempt to kill her."
- GENRE: TEEN FICTION
- SUBGENRES: FANTASY, HORROR, SLIGHT-HUMOR, ACTION, DRAMA, ADVENTURE, LGBTQA+
UPDATES EVERY 7TH, 17TH AND 27TH, AROUND 5 P.M EET. ON WATTPAD.
Warning
Themes such as Body Horror and Kidnapping will appear or take place throughout certain parts of the story.
Shameless tagging:
@writingandlove , @mjmnorwood , @bethanywritesbooks , @silver-feathered , @thinkdrinkandsink , @talesofsorrowandofruin , @cath-crtic , @sjmahoney , @neonmime , @ryns-ramblings , @fleetingfictions , @athensthebandit , @writingamongther0ses , @ettawritesnstudies , @naps-tries-writing , @orangeismorethanacolour , @sippy-thestoryteller , @alecsaltylightwood , @myheartgoesuwus , @misswriteress , @dustylovelyrun , @writer-candy , @wayfaringauthorofficial , @umionmain , @kitastrophic-writing , @variationinmotion , @orange-is-the-happiest-colour and @ashen-crest .
Resources For Describing Physical Things
Setting
Abandoned Mine
Airplane
Airport Check-in
Alley
Amusement Park
Attic
Bakery
Bank
Basement
Bathroom (home)
Barn
*GE* Barn 2 (Dairy Focus)
Beach
Bedrooms
Birthday Party
Bonfire
Bowling Alley
Bridge
Bookstore
Cafeteria
Casino
*GE* Catacombs
Cave
Church
City Park
Classroom
Closet
Coffee House
Courtroom
Cruise Ship
*GE* Cryogenic Sleep Chamber
Daycare
Desert
Diner
Dragon’s Lair
Dungeon (Caution Graphic Description)
*GE* Egyptian Pyramids
Elevator
Farms
Forest
Frozen Tundra
Gallows
Garage
Garage Sale
Garden
Graveyard
*GE* GLOBAL WARMING (dystopian)
Grocery Store
Halloween Party
Haunted House
Herbalist Shop (fantasy)
High School Hallway
Hospital
Hotel Room
House Fire
House Party
Kitchen
*GE* Laboratory
*GE* Laboratory (secret genetic)
Lake
Library
Locker Room
Meadow
Medieval Castle Armory
Medieval Marketplace
Middle School Dance (informal)
*GE* Mindscape (Mind Magic)
Mountains
Movie Theatre
Night Club
Nursery
Ocean/Sea Bed
Old Pick-Up Truck
Pirate Ship
Playground
Pond
Pool Hall
Prison Cell
Pub
Public Pool (Outdoor)
Rainforest/Jungle
Ranch
Restaurant
River
School Bus
School Office
Shopping Mall
Sleep-Away Camp
*GE* Spaceport
*GE* Spaceship
Stands at a Sporting Event
Storm Sewer
Subway Station
Swamp
Taxi cab
Teacher’s Lounge
Toolshed
*GE* Trailer
Treehouse
*GE* Tropical Island City
Urban Street
Video Arcade
Waiting Room
Waterfall
Water Slide Park
Wedding Ceremony (Church)
Woods at Night
Zoo
Weather
Air Pollution
Avalanche
Blizzard
Breeze
Clouds
Dew
Drought
Dusk
Dust or Sand Storm
Earthquake
Eclipse
Fall
Falling Star
Flood
Forest Fire
Frost
Hailstorm
Heat Wave
Hurricane/Typhoon
Lightning
Mirage
Mist or Fog
Moonlight
Mudslide
Rain
Rainbow
Sky
Sleet
Snow
Spring
Summer
Sunrise
Sunshine
Sunset
Thunderstorm
Tornado
Vortex
Wind
Winter
Color, Texture, & Shape
Color
Black
Blue
Brown
Gray
Gold
Green
Orange
Pink
Purple
Red
Silver
Spotted
Striped
Transparent
White
Yellow
Texture
Bumpy
Barbed/Spined
Crackled
Crumbly
Crusty
Foamy/Spongy
Fuzzy
Gritty
Pitted
Powdery
Prickly
Saw-edged/Serrated
Slimy
Smooth
Sticky
Shape
Arch
Circular/Sphere
Crescent
Heart
Oval & Oval-like
Rectangle
Spiral
Star
Square
Triangular
Tube
Wavy
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Words to describe facial expressions
Absent: preoccupied
Agonized: as if in pain or tormented
Alluring: attractive, in the sense of arousing desire
Appealing: attractive, in the sense of encouraging goodwill and/or interest
Beatific: blissful
Black: angry or sad, or hostile
Bleak: hopeless
Blinking: surprise, or lack of concern
Blithe: carefree, lighthearted, or heedlessly indifferent
Brooding: anxious and gloomy
Bug eyed: frightened or surprised
Chagrined: humiliated or disappointed
Cheeky: cocky, insolent
Cheerless: sad
Choleric: hot-tempered, irate
Darkly: with depressed or malevolent feelings
Deadpan: expressionless, to conceal emotion or heighten humor
Despondent: depressed or discouraged
Doleful: sad or afflicted
Dour: stern or obstinate
Dreamy: distracted by daydreaming or fantasizing
Ecstatic: delighted or entranced
Faint: cowardly, weak, or barely perceptible
Fixed: concentrated or immobile
Gazing: staring intently
Glancing: staring briefly as if curious but evasive
Glazed: expressionless due to fatigue or confusion
Grim: fatalistic or pessimistic
Grave: serious, expressing emotion due to loss or sadness
Haunted: frightened, worried, or guilty
Hopeless: depressed by a lack of encouragement or optimism
Hostile: aggressively angry, intimidating, or resistant
Hunted: tense as if worried about pursuit
Jeering: insulting or mocking
Languid: lazy or weak
Leering: sexually suggestive
Mild: easygoing
Mischievous: annoyingly or maliciously playful
Pained: affected with discomfort or pain
Peering: with curiosity or suspicion
Peeved: annoyed
Pleading: seeking apology or assistance
Quizzical: questioning or confused
Radiant: bright, happy
Sanguine: bloodthirsty, confident
Sardonic: mocking
Sour: unpleasant
Sullen: resentful
Vacant: blank or stupid looking
Wan: pale, sickly
Wary: cautious or cunning
Wide eyed: frightened or surprised
Withering: devastating
Wrathful: indignant or vengeful
Wry: twisted or crooked to express cleverness or a dark or ironic feeling
