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"I'm Dorothy Gale from Kansas"
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Today's Document
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Lint Roller? I Barely Know Her
noise dept.
DEAR READER
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almost home
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@drabblesofawannabeauthor
Hi!
I’m Aureha. This is my writing blog. So I just wanted to make a little post that eventually will have a tag list.
I do take requests but reserve the right to refuse.
Please enjoy what you find!
Fandoms I currently write for:
One Piece
Jujutsu Kaisen
Demon Slayer
Attack on Titan
Beyblade
Devil May Cry
Chainsaw Man
Solo Leveling
Mass Effect
Dragon Age
Resident Evil
Gachiakuta
Alien Stage
Witch Hat Atelier
Prompt #1292
"We waited 1000 years for you."
"Oh. So, do you feel like it was worth it?"
EMOTIONAL BEATS FOR WRITERS!!<3
Do you have advice for writing scenes in which a large number of significant characters (like 5-6+) are present? How does one make sure they all contribute to the scene like they normally would without turning the scene into a long and cumbersome list of actions?
Glad you asked about this specific topic because my old advice felt stale. It does get cumbersome and distracting to include everyone who is not immediately relevant to a scene. However, I found that as a writer I worried about this more than I did as a reader.
If five characters enter a room and only two of them have dialogue while the other three are ignored, as a reader I never forget those other three are there! As long as we have an idea of setting and a few basic actions—fast food joint, picked a table and sat down—my imagination fills in the blanks as to what the other characters may be up to.
Now, if they should all be contributing, for instance in an important meeting, it's fair to let the most outspoken ones do much of the talking. Then other characters can be written as "they agreed with that" or "they stayed silent on that" and other small observations. This works best for 3rd POV.
If writing in 1st POV with a narrator who is not known to or responsible for noting every detail about others in their group, you can again leave out some characters. If your narrator was only listening to or watching one other character, that is all they will reflect—this is common in most POVs.
Lastly, extra characters can always be remembered for their contributions after the scene has ended. Perhaps one of them comments on something another character left unsaid or a face they made, etc. Stretching out the conversation by sprinkling in details of less immediate importance later is a big relief for group scenes that feel too bulky.
Hope this helps :)
And if it's an action scene you can always pick a couple to take out of the fight quickly and then bring them back when a couple others go down or get distracted. It's why a lot of shows will split into groups for big action scenes.
WRITING TIPS: Hidden Anger
tips to help you write a character with hidden or unresolved anger! no credit needed. p.s, my main was terminated for a few days, but it came back.
＊ Getting overly angry over small problems/or nothing at all.
＊ Tensing or avoiding as much contact or communication with the person or thing that angers them.
＊ Being stiff, evasive, or uncaring in the presence of what makes them angry.
＊ They let their hidden anger out through small things; music, yelling, hand-clenching, hair pulling, criticism, etc.
＊ Letting out anger on other people, if they can't let it out at the trigger.
＊ Trembling or shaking from anger, shaky shoulders or tense in the back.
＊ Much easier to annoy or irritate, they might randomly have bouts of anger.
＊ Back or body pains from the anger, best described as a tense sore feeling.
Ways to worldbuild (Animals) <3
Micro-Tensions You Can Add to Any Scene
Sometimes you don’t need a plot twist, you just need a little discomfort.
• Someone pretending they're not running late • A question that doesn't get answered • A phone buzzing that no one acknowledges • Eye contact that lingers too long, or flits away too soon • A compliment that feels loaded • Someone being overly agreeable • A forced laugh • A character checking the time repeatedly • A subtle change in tone halfway through a sentence • Using another character's actual name instead of a nickname • A character standing when everyone else sits • One person doing all the talking • A topic that keeps almost coming up • A physical space feeling too small for the emotions within it
Declarations of Devotion
❥ “Every day spent with you is worth living.”
❥ “Forget you? Please. Even when I have found rest in my grave, I will remember these days.”
❥ “My heart is yours to break, though I wish you'd nurture it instead.”
❥ “I'll follow you anywhere. Just say the word.”
❥ “I am who I am because of you.”
❥ “You must know that all I have ever done was for you.”
❥ “I'm yours, even if you may never be mine.”
❥ “To die for you would be the greatest honor.”
Romantic and attraction Facial Micro Expressions <3
ultimate character development template
basics
name: meaning of name: nicknames/titles: age: gender: location: birthday: strengths + example where it's shown: weaknesses + example where it's shown: how it affects others:
emotional depth
attachment style + how it manifests in the story: physical fear: emotional/abstract fear: happy memory: sad memory: object of significance: philosophical outlook/belief: what characters are ignorant about themselves: how confident are they: goal: long-term dreams: what they're embarrassed/ashamed to tell others about: regrets: source of pride: source of misery: what they admire above all else: do they believe in fate:
personality
mbti: enneagram: big five: character archetype: star sign: who they pretend to be on the outside: who they actually are/how they feel towards the mask: mental health conditions: how it manifests for them: iq: eq: humour: reputation:
habits
bad habits: mannerisms when stressed: mannerisms when content: mannerisms when scared: mannerisms normally: verbal mannerisms/distinctive speaking style: how do they move across a room: what do they say and what remains unsaid: how they express love: hobbies:
appearance
defining features: eye shape + colour: hair texture + colour: skin texture + tone: vibe: height: build: clothing: any bodily disfigurement (scars, etc.): overall attractiveness: their opinion on their appearance: appeals to:
relationships
who they trust most: what they wish they could do for them: what's holding them back: who they hate most: what they wish they could do to them: what's holding them back: relationship with the protagonist: relationship with the antagonist: siblings: relationship with them: parents/step-parents: relationship with them: previous broken relationships: why did it break: what others expect of them: who believes in them: their mentor character/who they look up to: political/religious/other affiliations: what makes them different from every other character: non-human relationships + why: romantic "type" + why: relationship dynamics:
backstory/background
primary emotion towards their past: primary feelings while in their past: where did they grow up: defining incidents: earliest childhood memory: saddest memory: happiest memory: major accomplishments: their opinion on it: notable people in their backstory: effect on them today: trauma: what have they already lost: financial circumstance:
progression
why are they important (eg. why're they the only one able to do something?): what do they learn about themselves throughout the story: what do they learn about the world: how do they feel towards their newfound knowledge: character arc (positive, negative, neutral): how relationships change because of their actions: what mistakes do they make: what scene is their character highlighted: do they get what they want: why or why not: what happens to them after the story ends:
Shadow & Darkness Names!!
˙⋆✮ Nox ˙⋆✮ Shade ˙⋆✮ Raven ˙⋆✮ Sable ˙⋆✮ Dusk ˙⋆✮Vesper ˙⋆✮ Onyx ˙⋆✮ Lethe ˙⋆✮ Maren ˙⋆✮ Erebus ˙⋆✮Noctis ˙⋆✮ Wren ˙⋆✮ Umbra ˙⋆✮ Silvan ˙⋆✮ Void ˙⋆✮ Lyra ˙⋆✮ Murk ˙⋆✮ Dorian ˙⋆✮ Eclipse ˙⋆✮ Seren ˙⋆✮ Tenebris ˙⋆✮ Gloom ˙⋆✮ Calder ˙⋆✮ Obsidian ˙⋆✮ Nadia ˙⋆✮ Hollow ˙⋆✮ Aldous ˙⋆✮ Noir ˙⋆✮ Ember ˙⋆✮ Cinder ˙⋆✮Mist ˙⋆✮ Silas ˙⋆✮ Penumbra ˙⋆✮ Lorn ˙⋆✮ Ashen ˙⋆✮ Nora ˙⋆✮ Dread ˙⋆✮ Theron ˙⋆✮ Murk
Writing Worlds: Multiple POV
I’ve talked before on the merits of a shifting pov in my last POV post, but I wanted to go on a bit further about the topic. Broadly speaking, multiple POV works best when a single character cannot possibly know everything happening in the story, the world and story is too large for one single character to care about everything, or you want the readers or viewers to be personally invested in a complex narrative of interwoven stories.
Interwoven Narratives
In shows like Game of Thrones, Once Upon a Time, or the 2nd season of Why Women Kill, there may be a central narrative, but each character for the most part has their own story. In an interwoven narrative, each character is going to have their own arc and story. Each story is going to have its own call to adventure, darkest hour, rising action, etc. Depending on how closely interwoven these stories are, a single story’s climax can very well be the climax of multiple storylines within the narrative. You can even spice this up, where the Point of No Return for story A is simultaneously the Call to Adventure for Story B. In an interwoven narrative, several stories may be ongoing, but certain characters will rarely if ever interact. This is why it feels uncanny for Missandei to sit in the same room as Sansa Stark. Their narratives have been so disjointed that seeing them together feels odd, even though they are from the same show and have appeared separately in other episodes. Game of Thrones takes this a step further by having 3 major overarching narratives: King’s Landing, the Knight’s Watchmen, and Essos. Objectively speaking, there is a protagonist and something of an antagonist in each setting. King’s Landing has Ned Stark, later Tyrion and then arguably either Brienn or Jaime, with Cersei as the big bad. The Night’s Watchmen has Jon, with the Night King as the big bad. Essos has Daenerys, though she doesn’t really have a singular antagonist the way the other two do. Her antagonist is Essos itself. Essos is like her training area. The tutorial on how to rule before she stops playing in the sandbox to go get the real thing over in Westeros. Her hurdles, such as the slave masters, the dothraki warlords, and the many assassins all prove to place various kinds of obstacles in her way that she would need to face as a queen. These stories work best in drama with large casts of complex characters with complicated relationships and competing desires. Game of Thrones wouldn’t work if Ned or Daenerys was the sole protagonist because limiting the scope to a single protagnist would rob the story of what’s happening elsewhere in the world, and hearing events second-hand as gossip and rumors isn’t as fun as seeing it. George could have given the story an ominsicent narrator who could see everything (such as the Three-Eyed Raven), but this would place a barrier between the audience and the action, as events would feel less personal and in-the-moment. Shifting POV was the best choice for this story because the world and cast is too big for any one narrator to suffice, and because the civil war of shifting alliances is a perfect fit for different characters giving the audience their personal insights into the ongoing events of the story.
Parallel Narratives
Similar to, but distinct from the the Interwoven Narrative, the Parallel Narrative is a story where there is only a few POV characters, most likely just two, although it is possible to do more than two. Shows like Avatar: The Last Aribender, She-Ra: and the Princesses of Power, and Xiaolin Showdown take the time to give the villain faction screen time, allowing the characters to have their own stories, arcs, and characters. Some shows may show what the villains are up to, but checking in on the villains is different from giving them large swaths of the narrative. These stories are best with complex or otherwise entertaining villains. In Xiaolin Showdown, most of the villains fall under the Saturday Morning Cartoon variety, with only Wuya and Chase being actually interesting. But all of the villains are rather charming, enough that stopping by to see what Jack Spicer, Evil Boy Genius is up to in his mother’s basement is entertaining, if nothing else. Xiaolin Showdown doesn’t showcase the villains as heavily as ATLA and SatPoP do, but I felt the Haylin forces get enough focus to warrant counting them on this list. Meanwhile, Zuko and Iroh from Avatar get the same level of devotion as the Gaang does, as do Catra, Scorpia, and Hordak in She-Ra. Zuko is a narrative foil to Aang, making him the Deuteragonist. Catra serves a similar role, being the foil to Adora. Aang and Zuko are on parallel journeys. In a sense, both are seeking redemption for past mistakes. Zuko believes he must regain his honor for disgracing his father, while Aang feels guilty and responsible for “abandoning” the world for 100 years, and not being around sooner to put a stop to the Hundred Years War. Catra and Adora foil off one another as both respond to emotional and mental abuse from Shadowweaver. Adora had it drilled into her from a young age that she is responsible for what Catra does, meaning that she thinks she has to be responsible for everyone and everything. Meanwhile, Catra has grown up with Adora always being responsible for her actions and has no idea how to take accountability because if she messes up, it’s Adora’s fault. Parallel narratives are perfect for creating a juxtaposition between conflicting sides, ideologies, or other dynamics. Showing how these sides differs is what makes them interesting. They don’t have to be Hero/Villain. Romeo and Juliet is a prime example. We get insights into both the Montagues and the Capulets, and neither side is inherently painted as the good side or the bad side.
Ensemble Narrative
In an ensemble narrative, there may be multiple POV characters, but they are all united in a single story. They may have their own arcs and goals, but going from a chapter or episode focused on Character A to one focused on character B will still be advancing the overarching narrative instead of being disjointed. Heroes of Olympus shifts between narrators, but the overarching goal of stopping Gaea is the collective goal of the entire team. In TV shows, this manifests in what I would call The Team shows, where there is no central main character, but each major character gets their own arc or episodes dedicated to them. Teen Titans, Avatar: the Last Airbender, and Voltron: Legendary Defender are shows where there may be a “Cyborg Episode” or a “Raven Episode”, but the show is about all five of the Titans, and each gets their own turn in the spotlight with the story focused on them. Unlike other multiple POV stories, you can switch up the focus character without disrupting the flow of the story, and allow each character to feel more important. The cast doesn’t have to be together for the full story to work either. For the first two books, the Heroes of Olympus has two sets of heores, with Jason, Piper, and Leo in book 1, then Percy, Hazel, and Frank in book 2. Percy and Annabeth also get separated from the rest of the party when they fall into Tartarus, leaving those two to have their own disconnected storyline. Likewise, Keith spends time with the Blade of Marmora away from Team Voltron, and Zuko goes on life-changing field trips with Sokka and Katara in book 3 of Avatar. The Teen Titans spend most of season 5 separated or in smaller groups, and Beast Boy is left all alone for most of the finale, having to scrounge up a ragtag team of minor super heroes and old allies to bring down the Brain and his legion of doom. An Ensemble Narrative is best when you have a collective of equally interesting heroes all working together toward a common goal, and especially in television leans toward being an episodic format with an overarching plot, rather than a highly serialized plot. A serialized plot leaves too little time for character-driven episodes where each team member gets a moment to shine and be the central character for that episode, though some shows like Once Upon a Time accomplish similar things, where one episode will be about Snow White, and then the next might be about Belle and Rumpelstiltskin or Little Red Riding Hood. It’s definitely more serialized than the cartoons I listed, but it will still take a given episode to put the spotlight on a particular character or a particular storyline. Some characters, like Aurora or Snow White, get full season-long arcs, while characters like Cinderella and Ariel get an episode to their stories, making Once Upon a Time a rather interesting mix of Ensemble and Interwoven.
Fractured Narratives
Stories like Once Upon a Time and the 1st season of Why Women Kill use utterly disconnected multiple POV stories to tell completely isolated stories that follow a theme, or connect back to one another in poignant ways. Why Women Kills uses its first season to tell 3 disjointed stories of affairs and relationship drama, all tied together by a single house, even connecting the stories in one episode by showing a neighbor who saw all three murders in the house, from the time he was a little boy in the 60s to being an old man in the 2010s. Aside from this one neighbor and the house itself, there is no connection between any of the stories. Once Upon a Time uses a different approach, splitting the story between the current events in Storybrooke, Maine, contrasted by the backstory events in The Enchanted Forest. Many of the backstory scenes are used to give context clues or flesh out motivations, and are mirrored and repeated in the mundane world. The backstory elements are also not told in chronological order, freeing up the writers to add as much convoluted backstory as their hearts desired. In the second season, Mary Margaret and Emma get sent to the Enchanted Forest, and this creates a story where Mary Margaret and Emma have their own side plot, but functionally the story still only has two fractured halves, because the past events of the Enchanted Forest don’t ever connect with ongiong plotpoints in the Storybrooke timeline. Emma and Mary Margaret may be in the Enchanted Forest, but they are still firmly in the Storybrooke timeline. The Enchanted Forest Timeline is still in Mary Margaret and Emma’s past. In both of these stories, the fractured multiple POV is used to tell a story across a wide stretch of time, separating the past and present, while highlighting recurring themes, motifs, symbols, and imagery as they repeat again and again. These stories excel when history repeating itself or destiny being impossible to escape is a recurring theme. Movies like Titanic are similar to this, but fail to properly become a Fractured Narrative because even though there is a story set in two different time periods with different characters, the ones in the modern setting aren’t developed enough to have similar arcs to the characters in the backstory, or to play out similar events to those found in the backstory. It’s a wonderful movie, and I will fight to get Rose DeWitt Bukater recognized as an action heroine, but the characters in the modern day timeline don’t get enough time to shine to really say that the story is split evenly between two parallel stories with recurring themes or ideas. It’s a story set in the past with a modern day framing device.
Patchwork Narratives
This is what happens when you combine the Fractured Narrative with the Interwoven Narrative. Cloud Atlas is the only example of this that I know off the top of my head, as each story is its own self-contained narrative, but then, certain stories will overlap as well. The narrative of Sonmi ends up connecting to the postapocalyptic story as the speech she gives from her part of the story ended up becoming the holy doctrine of this new society in which she has become a goddess. There’s also an ongoing motif of a birthmark that resembles a shooting star or comet. In a patchwork narrative, context for one story is found in another disjointed part of the story, where all of the parts come together to tie everything together, making a story of sewn-together components that, together, tell one whole story. Like with the Interwoven stories, this is better for grandiose ideas and large casts, and like with a Fractured narrative, it allows the story to jump across time and space to put emphasis on themes, motifs, and symbols. Because I can only really name one story I know that does this story structure (and quite well I might add), I can’t really highlight any further advice on how to construct such a narrative, except to tell you to pop in Cloud Atlas, turn on subtitles to understand the post-apocalyptic part of the story, and take notes.
Hopefully, after looking at a few examples of multiple POVs and the ways they’re used, this can give you a better sense of how you want to structure your own stories, what you should aim to do with the story, or reference materials for you to check out if you want to learn a certain storytelling style. There is no one single perfect point of view, but I like to think the shifting POV to be one of the most challenging and interesting when done correctly.
Underused Microexpressions for Characters Hiding Something
Everyone writes about characters "not meeting Character's gaze." Let’s retire it for a minute.
• A smile that doesn’t reach the eyes • Holding eye contact a beat too long • Laughing half a second too late • Over-correcting posture when addressed • Clearing their throat before answering • Adjusting sleeves, cuffs, jewelry repeatedly • A visible swallow before speaking • Exhaling through the nose instead of responding • Looking at the exit mid-conversation • Nodding too quickly
Tiny tells create big tension.
Doomed Chosen One
✯ “You can't be a child. You are meant for greater things.”
✯ “I don't want greatness. I want to fall in love and know I can do so without inevitably breaking their heart.”
✯ “They broke his back with the responsibility of us all laid upon it, and now he is paralyzed knowing what is to come.”
✯ “I was born and raised to be killed. How am I supposed to live with that?”
✯ “I wish I knew how to be gentle. I wish my hands knew how to be something other than a weapon.”
✯ “How am I supposed to see the beauty of this world and come to love it, when I know that I will end up laying my life down for it?”
✯ “You shouldn't fall for me. I'm already doomed, and so is this love.”
✯ “Does the reason truly change the horror you feel when your hands are once again soaked in blood?”
✯ “Why would the gods hate me enough to chose such a fate for me?”
✯ “Please, don't. Don't... Say that. Just... treat me like a regular person. If I am to die for humanity tomorrow, I want to know today that I lived at least one day like a real person.”
✯ “'What have I done?' I did what was demaded of me, and still I am not good enough for you?”
✯ “Will the gods weep when I die, or celebrate for I will have done as they asked of me?”
[Prompt Calender: February 11th, National Hero Week]
Ways to express the vibe of “Oh. Oh.” without writing “Oh. Oh.”
because we all know the line is a classic for good reason but perhaps a bit too cliche
Oh. Oh no, I know what this is.
Well. That’s inconvenient.
Wait, why is…. Oooooh….
Okay, I know what this looks like. But… Oh man, who am I kidding?
Wait… Oh.
“Oh.” A blink. Then, slower, “Oh…”
“Wait…” Fuck.
What? Why would I feel that way when… Oh.
This is going to hurt, isn’t it?
“What the—“ Oh.
Everything aligns just right then. I’ve been a damn idiot.
“Oh my God!” … Oh my god…
Oh. Oh no…
My hands are shaking and suddenly I understand why my throat feels tight and my heart is pounding. I’m an oblivious fool.
Nope, nope. Not happening. … “Fuck.”
Oh. Oh?
Writing Tips for messy Writers #2 <3
specific tropes in romance that always heal something in me that it never broke
like, forehead kisses, soft love confessions, peppering kisses all over the lover's face. promises that are kept, hands those are held with a gentle love, and hugs that engulf the heart too.
or when they rest their head on your chest, or lean on you for support.
"your tears kill me," kinda thing. or when a sunshine character finally cries and bawls their entire life's hurt out into their comfort grumpy character (plus point, if the grump feels guilty thinking if they had done something to trigger this emotional outburst)
communication. no matter hard the topic is, how big your differences are.
listening to the other person yap
admiring their facial features and seeing not just the outer structure but the person that they really are.
them getting angry on ur behalf
cradling each other in hugs basically
feeling emotional walls break when you're with that one person particularly
gentle communication. yearning to do more for your lover (!!!!)
affectionate smiles and eyes crinkling with a smile that's directed specially at you.
finding their laugh contagious.
the feeling of being accepted, despite flaws and all
silent domestic acts like being in the kitchen together, dressing up together, them drying ur hair while u sit between their legs
occasionally stolen kisses
or one deep kiss that just lights your world and fulfills your soul and heart.
sleepily nuzzling into each other!!
reaching for each other despite being asleep, with mumbled endearments and whispers of need!!!
laughter coming easily by their side, like happiness is just another day to day thing (this can also be about self love. when u truly love urself and prioritize your own rights and cherish the fact that you're you. happiness becomes beautiful even in solitude)
their fingers buried deep in yo- OOPS.?! :)
