Fanfic storage and findings

thehouseofthebrave is my main blog with all my random fandom stuff. This is old storage of mostly glee fics and now writing resources, information, and inspiration.

[jung-koook]

jungkook’s pretty nose for anon ♡ 

bonus:

[writingwithcolor]

Writing with Color: Description Guide - Words for Skin Tone

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

So let’s get to it.

S T A N D A R D  D E S C R I P T I O N

B a s i c  C o l o r s

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

C o m p l e x  C o l o r s

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

M o d i f i e r s 

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

D a r k - D e e p - R i c h - C o o l

W a r m - M e d i u m - T a n

F a i r - L i g h t - P a l e

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

U n d e r t o n e s

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

C R E A T I V E  D E S C R I P T I O N

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

N A T U R AL  S E T T I N G S - S K Y

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

F L O W E R S

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

A S S O R T E D  P L A N T S &  N A T U R E

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“ 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

"Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

W O O D

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

M E T A L S

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

G E M S T O N E S - M I N E R A LS

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

P H Y S I C A L  D E S C R I P T I ON

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

G E N E R A L  T I P S

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Things that are Brown (blog)

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics 3 2 1

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[wordsnstuff]

Resources For Writing Sketchy Topics

Medicine

A Study In Physical Injury

Comas

Medical Facts And Tips For Your Writing Needs

Broken Bones

Burns

Unconsciousness & Head Trauma

Blood Loss

Stab Wounds

Pain & Shock

All About Mechanical Injuries (Injuries Caused By Violence)

Writing Specific Characters

Portraying a kleptomaniac.

Playing a character with cancer.

How to portray a power driven character.

Playing the manipulative character.

Portraying a character with borderline personality disorder.

Playing a character with Orthorexia Nervosa.

Writing a character who lost someone important.

Playing the bullies.

Portraying the drug dealer.

Playing a rebellious character.

How to portray a sociopath.

How to write characters with PTSD.

Playing characters with memory loss.

Playing a pyromaniac.

How to write a mute character.

How to write a character with an OCD.

How to play a stoner.

Playing a character with an eating disorder.

Portraying a character who is anti-social.

Portraying a character who is depressed.

How to portray someone with dyslexia.

How to portray a character with bipolar disorder.

Portraying a character with severe depression.

How to play a serial killer.

Writing insane characters.

Playing a character under the influence of marijuana.

Tips on writing a drug addict.

How to write a character with HPD.

Writing a character with Nymphomania.

Writing a character with schizophrenia.

Writing a character with Dissociative Identity Disorder.

Writing a character with depression.

Writing a character who suffers from night terrors.

Writing a character with paranoid personality disorder.

How to play a victim of rape.

How to play a mentally ill/insane character.

Writing a character who self-harms.

Writing a character who is high on amphetamines.

How to play the stalker.

How to portray a character high on cocaine.

Playing a character with ADHD.

How to play a sexual assault victim.

Writing a compulsive gambler.

Playing a character who is faking a disorder.

Playing a prisoner.

Portraying an emotionally detached character.

How to play a character with social anxiety.

Portraying a character who is high.

Portraying characters who have secrets.

Portraying a recovering alcoholic.

Portraying a sex addict.

How to play someone creepy.

Portraying sexually/emotionally abused characters.

Playing a character under the influence of drugs.

Playing a character who struggles with Bulimia.

Illegal Activity

Examining Mob Mentality

How Street Gangs Work

Domestic Abuse

Torture

Assault

Murder

Terrorism

Internet Fraud

Cyberwarfare

Computer Viruses

Corporate Crime

Political Corruption

Drug Trafficking

Human Trafficking

Sex Trafficking

Illegal Immigration

Contemporary Slavery 

Black Market Prices & Profits

AK-47 prices on the black market

Bribes

Computer Hackers and Online Fraud

Contract Killing

Exotic Animals

Fake Diplomas

Fake ID Cards, Passports and Other Identity Documents

Human Smuggling Fees

Human Traffickers Prices

Kidney and Organ Trafficking Prices

Prostitution Prices

Cocaine Prices

Ecstasy Pills Prices

Heroin Prices

Marijuana Prices

Meth Prices

Earnings From Illegal Jobs

Countries In Order Of Largest To Smallest Risk

Forensics

arson

Asphyxia

Blood Analysis

Book Review

Cause & Manner of Death

Chemistry/Physics

Computers/Cell Phones/Electronics

Cool & Odd-Mostly Odd

Corpse Identification

Corpse Location

Crime and Science Radio

crime lab

Crime Scene

Cults and Religions

DNA

Document Examination

Fingerprints/Patterned Evidence

Firearms Analysis

Forensic Anthropology

Forensic Art

Forensic Dentistry

Forensic History

Forensic Psychiatry

General Forensics

Guest Blogger

High Tech Forensics

Interesting Cases

Interesting Places

Interviews

Medical History

Medical Issues

Misc

Multiple Murderers

On This Day

Poisons & Drugs

Police Procedure

Q&A

serial killers

Space Program

Stupid Criminals

Theft

Time of Death

Toxicology

Trauma

[darth-lumines]

Star Wars - The Complete Encyclopedia // Lightsaber Combat

[did-you-know]

Medieval castle stairs were often built to ascend in narrow, clockwise spirals so right-handed castle defenders could use their swords more easily. This design put those on the way up at a disadvantage (unless they were left-handed). The steps were also uneven to give defenders the advantage of anticipating each step’s size while attackers tripped over them. Source Source 2 Source 3

[severalowls]

Not really the best illustration since it totally negates the effect by having a wide open space for those ascending. Castle tower staircases tended to look like this:

Extremely tight quarters, with a central supporting pillar that is very, very thoroughly in the way of your right arm.

Wider, less steep designs tend to come later once castles moved away from being fortresses to simply noble family homes with the advent of gunpowder.

[mactiir]

Oh! Pre-gunpowder military tactics are my jam! I don’t know why, but this is one of my favorite little details about defensive fortifications, because the majority handedness of attackers isn’t usually something you think about when studying historical wars. But strategically-placed walls were used basically worldwide as a strategy to secure gates and passages against advancing attackers, because most of the world’s population is right-handed (and has been since the Stone Age).

Pre-Columbian towns near the Mississippi and on the East coast did this too. They usually surrounded their towns with palisades, and they would build the entrance to the palisade wall in a zigzag – always with the wall to the right as you entered, to hinder attackers and give an advantage to the defender. Here’s some gates with some examples of what I’m talking about:

Notice that, with the exception of the last four (which are instead designed to congregate the attackers in a space so they can be picked off by archers, either in bastions or on the walls themselves) and the screened gate (which, in addition to being baffled, also forces the attackers to defend their flank) all of these gates are designed with central architectural idea that it’s really hard to kill someone with a wall in your way. In every culture in the world, someone thought to themselves, “Hey it’s hard to swing a weapon with a wall on your right-hand side,” and then specifically built fortifications so that the attackers would always have the wall on their right. And I think that’s really neat.

[his-quietus-make]

Ooh, ooh, also: Bodiam Castle in Sussex used to have a right-angled bridge so any attacking forces would be exposed to archery fire from the north-west tower on their right side (ie: sword in the right hand, shield on the useless left side):

[petermorwood]

These tactics worked so well for so long because until quite recently lefties got short shrift and had it trained (if they were lucky) or beaten out of them.

Use of sword and shield is a classic demonstration of how right-handedness predominated. There’s historical mention of left-handed swordsmen (gladiators and Vikings), and what a problem they were for their opponents, but that only applies to single combat.

A left-handed hoplite or housecarl simply couldn’t fight as part of a phalanx or shield wall, since the shields were a mutual defence (the right side of the shield covered its owner’s left side, its left side covered the right side of his neighbour to the left, and so on down the line) and wearing one on the wrong arm threw the whole tactic out of whack.

Jousting, whether with or without an Italian-style tilt barrier, was run shield-side to shield-side with the lance at a slant (except for the Scharfrennen, a highly specialised style that’s AFAIK unique.) Consequently left-handed knights were physically unable to joust.

There’s a creditable theory (I first read it in “A Knight and His Horse”, © Ewart Oakeshott 1962, 1998 and many other places since) that a knight’s “destrier” horse - from dexter, “right” - was trained to lead with his right forefoot so that any instinctive swerve would be to the right, away from collision while letting the rider keep his shield between him and harm. (In flying, if a pilot hears “break!” with no other details, the default evasive direction is right.)

The construction of plate armour, whether specialised tournament kit or less elaborate battle gear, is noticeably “right-handed“ - so even if a wealthy knight had his built “left-handed” it would be a waste of time and money; he would still be a square peg in a world of round holes and none of the other kids would play with him.

Even after shields and full armour were no longer an essential part of military equipment, right-hand use was still enforced until quite recently, and to important people as well as ordinary ones - it happened to George VI, father of the present Queen of England. Most swords with complex hilts, such as swept-hilt rapiers and some styles of basket-hilt broadsword, are assymetrical and constructed for right handers. Here’s my schiavona…

It can be held left-handed, but using it with the proper thumb-ring grip, and getting maximum protection from the basket, is right-handed only. (More here.) Some historical examples of left-hand hilts do exist, but they’re rare, and fencing masters had the same “learn to use your right hand” bias as tourney organisers, teachers and almost everyone else. Right-handers were dextrous, but left-handers were sinister, etc., etc.

However, several predominantly left-handed families did turn their handedness into advantage, among them the Kerrs / Carrs, a notorious Reiver family along the England-Scotland Borders, by building their fortress staircases with a spiral the other way to the OP image.

This would seem to be a bad idea, since the attackers (coming upstairs) no longer have their right arms cramped against the centre pillar - however it worked in the Kerrs’ favour because they were used to this mirror-image of reality while nobody else was, and the defender retreating up the spiral had that pillar guarding his right side, while the attacker had to reach out around it…

For the most part Reiver swords weren’t elaborate swept-hilt rapiers but workmanlike basket-hilts. Some from Continental Europe have the handedness of my schiavona with thumb-rings and assymmetrical baskets, but the native “British Baskethilt” is a variant of the Highland claymore* and like it seems completely symmetrical, without even a thumb-ring, which gives equal protection to whichever hand is using it.

*I’m aware there are those who insist “claymore” refers only to two-handers, however the Gaelic term claidheamh-mòr - “big sword” - just refers to size, not to a specific type of sword in the way “schiavona” or “karabela” or even “katana” does.

While the two-hander was the biggest sword in common use it was the claidheamh-mòr; after it dropped out of fashion and the basket-hilt became the biggest sword in common use, that became the claidheamh-mòr.

When Highlanders in the 1745 Rebellion referred to their basket-hilts as claymores, they obviously gave no thought to the confusion they would create for later compilers of catalogues…

[chroniclesofrettek]

Also, muskets had their whole “Flint and steel and gunpowder” thing on the right side so if you tried firing it lefty you’d get a face full of fire. More recently, rifles eject their spent shell casings to the right, so if you’re a lefty you get some hot metal in your eye.

[writernotwaiting]

Ooooooohhhhhh this is so very cool and nerdy!

(Tags below: let me know if you want to be added to Tumblr’s nerdiest tag list.)

Keep reading

[peynirkizartmasi]

[the-writers-society-deactivated]

Are These Filter Words Weakening Your Story?

After putting my writing on hold for several weeks, I decided to jump back in. I expected to find all sorts of problems with my story–inconsistencies in the plot, lack of transitions, poor characterization–the works. But what began to stick out to me was something to which I’d given little thought in writing.

Filter words.

What are Filter Words?

Actually, I didn’t even know these insidious creatures had a name until I started combing the internet for info.

Filter words are those that unnecessarily filter the reader’s experience through a character’s point of view. Dark Angel’s Blog says:

“Filtering” is when you place a character between the detail you want to present and the reader. The term was started by Janet Burroway in her book On Writing.

In terms of example, you should watch out for:

To see

To hear

To think

To touch

To wonder

To realize

To watch

To look

To seem

To feel (or feel like)

Can

To decide

To sound (or sound like)

To know

I’m being honest when I say my manuscript is filled with these words, and the majority of them need to be edited out.

What do Filter Words Look Like?

Let’s imagine a character in your novel is walking down a street during peak hour.

You might, for example, write:

Sarah felt a sinking feeling as she realized she’d forgotten her purse back at the cafe across the street. She saw cars filing past, their bumpers end-to-end. She heard the impatient honk of horns and wondered how she could quickly cross the busy road before someone took off with her bag. But the traffic seemed impenetrable, and she decided to run to the intersection at the end of the block.

Eliminating the bolded words removes the filters that distances us, the readers, from this character’s experience:

Sarah’s stomach sank. Her purse—she’d forgotten it back at the cafe across the street. Cars filed past, their bumpers end-to-end. Horns honked impatiently. Could she make it across the road before someone took off with her bag? She ran past the impenetrable stream of traffic, toward the intersection at the end of the block.

Are Filter Words Ever Acceptable?

Of course, there are usually exceptions to every rule.

Just because filter words tend to be weak doesn’t mean they never have a place in our writing. Sometimes they are helpful and even necessary.

Susan Dennard of Let The Words Flow writes that we should use filter words when they are critical to the meaning of the sentence.

If there’s no better way to phrase something than to use a filter word, then it’s probably okay to do so.

Want to know more?

Read these other helpful articles on filter words and more great writing tips:

Filter Words and Distancing Point of View

The Reasons Editors reject Manuscripts

Filter Those words and Strengthen Your Writing

[the-right-writing]

Things you should know about each of your characters

These are what I would consider to be the most basic, bare-bones questions of character creation.

What would completely break your character?

What was the best thing in your character’s life?

What was the worst thing in your character’s life?

What seemingly insignificant memories stuck with your character?

Does your character work so that they can support their hobbies or use their hobbies as a way of filling up the time they aren’t working?

What is your character reluctant to tell people?

How does your character feel about sex?

How many friends does your character have?

How many friends does your character want?

What would your character make a scene in public about?

What would your character give their life for?

What are your character’s major flaws?

What does your character pretend or try to care about?

How does the image your character tries to project differ from the image they actually project?

What is your character afraid of?

What is something most people in your setting do that your character things is dumb?

Where would your character fall on a politeness/rudeness scale?

[the-writers-society-deactivated]

Hello! Would you mind doing an example of not using filter words in a first person point of view? While I know that you can just switch out the pronouns for I/me/my, I just want to see it in action and when you should (and shouldn't) use the filter words. Thank you!

Hi there! I would love to! I think I’ll start out with an example with filter words and then cut out the filter words to show you the difference.

For those of you who haven’t seen my post on Filter Words.

Now, for the example:

I felt a hand tap my shoulder as I realized I had made a huge mistake. I knew the consequences would be unsettling, but I had no other choice. I saw the light of my desk lamp bounce off of the officer’s badge before I had even turned around. It seemed like I always found my way into trouble.

It was the first thing off the top of my head, so it’s a bit rough sounding….

Now for without filter words (And a bit of revision):

A hand tapped my shoulder as it dawned on me: I had just made a huge mistake. The consequences would be unsettling if I didn’t get out of this mess, but I had no other choice. The light of my desk lamp bounced off of the officer’s badge. I always found my way into trouble.

By taking out filter words, you get right to the point.

I’d also like to add a few more notes that I didn’t have the chance to post previously.

Some Examples of Filtering:

I heard a noise in the hallway.

She felt embarrassed when she tripped.

I saw a light bouncing through the trees.

I tasted the sour tang of raspberries bursting on my tongue.

He smelled his teammate’s BO wafting through the locker room.

She remembered dancing at his wedding.

I think people should be kinder to one another.

How can you apply this?

Read your work to see how many of these filtering words you might be leaning on. Microsoft Word has a great Find and Highlight feature that I love to use when I’m editing. See how you can get rid of these filtering words and take your sentences to the next level by making stronger word choices. Take the above examples, and see how they can be reworked.

FILTERING EXAMPLE: I heard a noise in the hallway.

DESCRIBE THE SOUND: Heels tapped a staccato rhythm in the hallway.

FILTERING EXAMPLE: She felt embarrassed after she tripped.

DESCRIBE WHAT THE FEELING LOOKS LIKE: Her cheeks flushed and her shoulders hunched after she tripped.

FILTERING EXAMPLE: I saw a light bouncing through the trees.

DESCRIBE THE SIGHT: A light bounced through the trees.

FILTERING EXAMPLE: I tasted the sour tang of raspberries bursting on my tongue.

DESCRIBE THE TASTE: The sour tang of raspberries burst on my tongue.

FILTERING EXAMPLE: He smelled his teammate’s BO wafting through the locker room.

DESCRIBE THE SMELL: His teammate’s BO wafted through the locker room.

FILTERING EXAMPLE: She remembered dancing at his wedding.

DESCRIBE THE MEMORY: She had danced at his wedding.

FILTERING EXAMPLE: I think people should be kinder to one another.

DESCRIBE THE THOUGHT: People should be kinder to one another.

See what a difference it makes when you get rid of the filter? It’s simply not necessary to use them. By ditching them, you avoid “telling,” your voice is more active, and your pacing is helped along.

The above list is not comprehensive as there are many examples of filtering words. The idea is to be aware of the concept so that you can recognize instances of it happening in your work. Be aware of where you want to place the energy and power in your sentences. Let your observations flow through your characters with immediacy.

Ok, sorry for the lengthy answer, I know you just wanted an example…. sorry!

If you have any questions, feel free to ask at my ask box

[thewinterotter]

THIS IS SO GREAT. I dind’t even know there was a term for this (I should have figured, right, because writers have words for everything), but it’s one of those things that being aware when you’re doing it (and editing it right the fuck out) will improve your writing SO MUCH. Removing the filtering helps to draw your readers more intimately into the action of your story, and as the text above says, adds power and immediacy to every sentence. THIS IS SUCH AN IMPORTANT TIP I WANT TO SCREAM ABOUT IT.

[butteredonions]

FILTER WORDS MAKE A HUGE DIFFERENCE. I cannot stress how much better, how much more vivid and strong my writing is now that I go through and kill these with a sharp stabby red pen. It’s not necessarily easy but it makes SUCH A DIFFERENCE. 

[i-can-give-you-prompts]

14 Tips From Stephen King On Writing

1. If you want to be a writer, you must do two things above all others: read a lot and write a lot.

2. Stories consist of 3 parts. Narration: which moves the story from point A to point B. Description: which creates a sensory reality for the reader. Dialogue: which brings characters to life through their speech.

3. The situation comes first. The characters - always flat and unfeatured, to begin with - come next.

4. Whether it’s a vignette of a single page or an epic trilogy like the Lord of the Rings, the work is always accomplished one word at a time.

5. The most interesting situations can usually be expressed as a what-if question.

6. The best stories always end up being about the people rather than the event.

7. With a passive verb, something is being done to the subject of the sentence. The subject is just letting it happen. You should avoid the passive tense.

8. Talk, whether ugly or beautiful, is an index of character.

9. Description begins in the writer’s imagination, but should finish in the reader’s.

10. The road to hell is paved with adverbs.

11. Never use “emolument” when you mean “tip”.

12. Set a daily writing goal. As with physical excercise, it would be best to set this goal low at first. I suggest a thousand words a day.

13. Call that one person you write for your ideal reader. He or she is going to be in your writing room all the time.

14. If you can do it for joy, you can do it forever.

[writers-hq]

Forever indebted to @mostlysignssomeportents for this one. 

[holdouttrout]

Here’s the thing about writing advice: you don’t have to take any of it. It’s all optional.

If you want to use adverbs like they’re (still) going out of style, use them. If you want to substitute epithets for every proper name or pronoun, do it. If you want to write everything in first person, go for it.

Sometimes your choices will cost you readers. But maybe you weren’t writing for the person who hates first person. Maybe you were writing for the person who loves it because it give a sense of immediacy and intimacy.

People post writing advice for many reasons, and personal preference is often top of the list.

That’s not to say that if you really want to improve your writing, you should dismiss all the advice. Knowing that epithets throw a lot of people out of a story is useful. You can adjust for the effect that you want. Maybe you use a common phrase without thinking about what it actually means and see a rant about how people are using it incorrectly. Good! Now you get to decide if you agree and if you’re going to adjust in the future.

But don’t beat yourself up. Keep writing. Keep reading. Make the choices you want. If you want to improve, you will. If you don’t care and just want to share fun stories, do that. There’s room for everyone.

[rocket-sith]

This this this. Writing is a craft, and if everyone had the exact same style, reading and writing would both be boring as hell. 

IME the best thing to do with writing advice posts is to skim through them, and if something resonates with you - whether it’s a lightbulb moment, an indescribable mental ping, or even an indignant knee-jerk ‘hey, screw you advice person, WTF do you know about me anyway?!” - stop and ask yourself why. Especially with that last one.

Sometimes the info/suggestions in these posts are just the OP substituting personal preference for universal truth, which can be annoying, or they’re saying stuff that’s useful ground rules and guidelines for newbies - but some of those ground rules and guidelines also happen to be things that experienced writers take great joy in figuring out how to artfully break. Other times, those posts can hit on something pretty valid and your muse is up there flipping the bird and being all like “how dare this foolish mortal tumblr asshat bruise my ego and attack me so!” The trick with these posts IME is to figure out which things apply to you in the first place, and then decide what - if anything - you want to do about it.

[thisisnotpsychology-blog]

Using Real Psychology in Your Writing

What Will Your Character Do When Disaster Strikes? by Carolyn Kaufman, PsyD

Characterization and Conflict: Using Psychological Tests to Improve Your Writing by Carolyn Kaufman, PsyD

Gathering Information from Characters: Types of Questions by JJ Cooper 

Using Body Language in Writing by JJ Cooper

Body Language Cheat Sheet by Carolyn Kaufman, PsyD

USING ARCHETYPES IN YOUR STORIES

A Primer on Archetypes and the Collective Unconscious by Carolyn Kaufman, PsyD

Writing Better Romantic Relationships

This series looks at the Anima/Animus archetype, which is most often seen in romantic relationships, and how to use it to create more compelling romantic relationships, regardless of genre. Looks at what the anima and animus are, how they’re formed, and why fiction writers need to understand them. There’s also some and what makes love grow - and how happily ever afters really work.

Creating Riveting Romances: The Anima/Animus Archetype Defined by Carolyn Kaufman, PsyD

Writing Romance: Three Influences on the Anima/Animus Archetype by Carolyn Kaufman, PsyD

The Perfect Hero and the Perfect Heroine: Dark and Light Sides of the Anima & Animus by Carolyn Kaufman, PsyD

What Does it Really Take to Live Happily Ever After? A look at the psychological research on what makes or breaks romantic relationships. - by Carolyn Kaufman, PsyD

Creating Better Antagonists

Three-Dimensional Villains: Finding Your Character’s Shadow Using Jungian archetypes and hands-on exercises, this article teaches fiction writers to tap their own dark sides to create realistic villains who will really challenge the hero/es and keep tension high. - by Carolyn Kaufman, PsyD

FORENSIC PSYCHOLOGY

Basic Information on Forensic Science by Juan Salvo

The Truth about Forensic Psychology by Lisa Featherston

archetypewriting.com

[firemoon42]

Ways to un-stick a stuck story

Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.

Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.

Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.

Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.

Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.

Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.

Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.

Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.

Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.

Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.

Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.

Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.

Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.

Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.

Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.

Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).

Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.

What if? What if the hero kills the antagonist now, gets captured, or goes insane? When you write down different questions like these, the answer to how to continue the story will present itself.

Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.

[lichen-soup-scribe]

Writing Traumatic Injuries References

So, pretty frequently writers screw up when they write about injuries. People are clonked over the head, pass out for hours, and wake up with just a headache… Eragon breaks his wrist and it’s just fine within days… Wounds heal with nary a scar, ever…

I’m aiming to fix that.

Here are over 100 links covering just about every facet of traumatic injuries (physical, psychological, long-term), focusing mainly on burns, concussions, fractures, and lacerations. Now you can beat up your characters properly!

General resources

WebMD

Mayo Clinic first aid

Mayo Clinic diseases

First Aid

PubMed: The source for biomedical literature

Diagrams: Veins (towards heart), arteries (away from heart) bones, nervous system, brain

  Burns

General overview: Includes degrees

Burn severity: Including how to estimate body area affected

Burn treatment: 1st, 2nd, and 3rd degrees

Smoke inhalation

Smoke inhalation treatment

Chemical burns

Hot tar burns

Sunburns

  Incisions and Lacerations

Essentials of skin laceration repair (including stitching techniques)

When to stitch (Journal article–Doctors apparently usually go by experience on this)

More about when to stitch (Simple guide for moms)

Basic wound treatment

Incision vs. laceration: Most of the time (including in medical literature) they’re used synonymously, but eh.

Types of lacerations: Page has links to some particularly graphic images–beware!

How to stop bleeding: 1, 2, 3

Puncture wounds: Including a bit about what sort of wounds are most likely to become infected

More about puncture wounds

Wound assessment: A huge amount of information, including what the color of the flesh indicates, different kinds of things that ooze from a wound, and so much more.

Home treatment of gunshot wound, also basics More about gunshot wounds, including medical procedures

Tourniquet use: Controversy around it, latest research

Location pain chart: Originally intended for tattoo pain, but pretty accurate for cuts

General note: Deeper=more serious. Elevate wounded limb so that gravity draws blood towards heart. Scalp wounds also bleed a lot but tend to be superficial. If it’s dirty, risk infection. If it hits the digestive system and you don’t die immediately, infection’ll probably kill you. Don’t forget the possibility of tetanus! If a wound is positioned such that movement would cause the wound to gape open (i.e. horizontally across the knee) it’s harder to keep it closed and may take longer for it to heal.

  Broken bones

Types of fractures

Setting a broken bone when no doctor is available

Healing time of common fractures

Broken wrists

Broken ankles/feet

Fractured vertebrae: Neck (1, 2), back

Types of casts

Splints

Fracture complications

Broken noses

Broken digits: Fingers and toes

General notes: If it’s a compound fracture (bone poking through) good luck fixing it on your own. If the bone is in multiple pieces, surgery is necessary to fix it–probably can’t reduce (“set”) it from the outside. Older people heal more slowly. It’s possible for bones to “heal” crooked and cause long-term problems and joint pain. Consider damage to nearby nerves, muscle, and blood vessels.

  Concussions

General overview

Types of concussions 1, 2

Concussion complications

Mild Brain Injuries: The next step up from most severe type of concussion, Grade 3

Post-concussion syndrome

Second impact syndrome: When a second blow delivered before recovering from the initial concussion has catastrophic effects. Apparently rare.

Recovering from a concussion

Symptoms: Scroll about halfway down the page for the most severe symptoms

Whiplash

General notes: If you pass out, even for a few seconds, it’s serious. If you have multiple concussions over a lifetime, they will be progressively more serious. Symptoms can linger for a long time.

Character reaction:

Shock (general)

Physical shock: 1, 2

Fight-or-flight response: 1, 2

Long-term emotional trauma: 1 (Includes symptoms), 2

First aid for emotional trauma

  Treatment (drugs)

WebMD painkiller guide

  Treatment (herbs)

1, 2, 3, 4

  Miscellany

Snake bites: No, you don’t suck the venom out or apply tourniquettes

Frostbite

Frostbite treatment

Severe frostbite treatment

When frostbite sets in: A handy chart for how long your characters have outside at various temperatures and wind speeds before they get frostbitten

First aid myths: 1, 2, 3, 4, 5 Includes the ones about buttering burns and putting snow on frostbite.

Poisons: Why inducing vomiting is a bad idea

Poisonous plants

Dislocations: Symptoms 1, 2; treatment. General notes: Repeated dislocations of same joint may lead to permanent tissue damage and may cause or be symptomatic of weakened ligaments. Docs recommend against trying to reduce (put back) dislocated joint on your own, though information about how to do it is easily found online.

Muscular strains

Joint sprain

Resuscitation after near-drowning: 1, 2

Current CPR practices: We don’t do mouth-to-mouth anymore.

The DSM IV, for all your mental illness needs.

  Electrical shock

Human response to electrical shock: Includes handy-dandy voltage chart

Length of contact needed at different voltages to cause injury

Evaluation protocol for electric shock injury

Neurological complications

Electrical and lightning injury

Cardiac complications

Delayed effects and a good general summary

Acquired savant syndrome: Brain injuries (including a lightning strike) triggering development of amazing artistic and other abilities

  Please don’t repost! You can find the original document (also created by me) here.

[bookgeekconfessions]

I wanted to double check that “The Cherry on Top” was a short novel or novella and I found this on uphillwriting.org. I think it’s very informative and hopefully you guys will find it useful!

[oliviapaigewrites-deactivated20]

THIS IS AN IMPORTANT ONE! Don’t ignore this in your writing!