“denied the catharsis of punishment” is an underappreciated but hugely effective narrative consequence imo
todays bird
PUT YOUR BEARD IN MY MOUTH
will byers stan first human second
d e v o n
noise dept.
Peter Solarz
Cosimo Galluzzi
he wasn't even looking at me and he found me

tannertan36

No title available
tumblr dot com
cherry valley forever
styofa doing anything
Game of Thrones Daily

❣ Chile in a Photography ❣
Claire Keane

PR's Tumblrdome
TVSTRANGERTHINGS
dirt enthusiast

Origami Around
seen from United States
seen from Türkiye
seen from United Kingdom

seen from Germany
seen from Russia
seen from Ukraine
seen from United States

seen from Türkiye

seen from United States
seen from Malaysia
seen from United States

seen from Malaysia
seen from United Kingdom
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States
seen from United States
@howtomurderpeople
“denied the catharsis of punishment” is an underappreciated but hugely effective narrative consequence imo
how does being punched in the face feel like
literally i just wanna know
It depends on where you get hit
Cheek: a round dull pain that clocks your entire head in a different direction. It’s painful and throbs but the main effect of a punch to the cheek is how jarring it is. You feel it in your mouth, your teeth. And no matter how you position that punch the knuckles will always hit the jaw and cheek bones adding a frame of sharp pain in which the redness will be painted.
Temple: getting hit on the temple pushes your head to the side rather than turning it. It’s disorienting because it leaves you very off balance. It essentially feels like a bad pressure headache, like when you have a sinus infection on a plane, but in one spot and on the outside. It’s sharp in the middle and radiates outward and even after the initial impact it pulses like an earthquake epicenter. It easily causes long lasting headaches and is the most likely of these examples to cause a concussion.
Eye: this is a weird one. The fist doesn’t fit within the eye socket so either the knuckles on the brow and cheeks bones protect the actual eye or they don’t. The former option gives a full spreading pain below the eye which results in the classic black eye look and a sharp pain on your brow similar to hitting your shin on the couch. The latter option, well bad things can happen when a hard fast object makes direct contact with your eye but for the sake of this it feels like a vacuum bc the concave shape is being covered and pressurized. The eye feels pushed back and pulled forward all at once. It doesn’t necessarily hurt that bad for that long unless the punch was meant to do damage. I’m fortunate to say I don’t know what it would feel like then.
Nose: remember that prank kids used to pull where they’d line up their hands with their nose, push them in one direction and crack a knuckle at the same time to pretend to break their nose? Yeah that’s what it looks like when someone punches you from the side in the nose, except it’s someone else’s hand and your nose makes the sound instead of their knuckle. It’s just like breaking any bone where you hear it and feel the action if it being done but that moment of shock blankets you for a split second until all the pain comes rushing back. It’s sharp and needlelike and can give you black eyes just to add insult to injury. If you get hit in the nose from the front it’s like the uncomfortableness of when you have to sneeze but can’t. Except that feeling took all the steroids and is now using your face as a punching bag to express its roid rage. It crackles outward like static electricity under your skin, your eyesight gets fuzzy and you can’t tell if it’s because you’re tearing up, it’s hard to open your eyes, or you’re momentarily stunned and blinded. Just know it’s all three. I find that this one knocks the wind out of you the most. Gotta remind yourself to breathe just don’t try to do it through your nose.
If you really want to know what this feels like I’d suggest joining a mixed martial arts because they’ll teach you correct form and power distribution and you can spar with pads and actually hit each other.
I’d also recommend learning what it feels like to punch someone in the face. It’s much more fun and pretty damn cathartic when they deserve it.
Outline I like (especially for shorter works)
Note: I learned this in film class (which is why it says "defines the movie" at the top, but I've also had success using it for non-film writing. It's basically a three-act structure, but I find for non-novels it's easier to work with than Save The Cat, for example.
Another note: Unraveling The Map is rarely a whole scene in and of itself in my personal experience - I usually use it to create an opening image that leads into the Launch Point, which I make the first scene
Unraveling The Map - Do you have an opening scene that defines the movie?
The Launch Point - Where are we, and who are we with?
The First Leg - What’s a normal day look like in this world?
Change Course - What sets our characters off on their journey from normalcy?
The Foot of the Mountain - Okay, we’re going on this journey together. (choosing the direction for solving the problem)
Climbing The Side - It starts hard, but you get used to the problems as you go.
Through The Cave - Do you have a B story? Set that story off on its own now too.
Reassess the Problem - You’re at the middle. Is there another way to get it done?
Try and Fail - Things begin to fall apart, can they handle it?
The Fall - The worst thing happens, something so bad you don’t think you can get up.
The Hidden Clue - What do your characters discover about themselves/the problem that they never saw before?
Race To the Finish - They’re up and running no matter what
The Treasure Chest - Did they get what they came for?
Where We Go From Here - Show us the world in a new light, hint what’s next.
This isnt a joke my favorite piece of writing advice that I’ve ever seen is someone that said if you were stuck with a fic and couldn’t figure out why or what was wrong, your problem is actually usually about ten sentences back. Maybe there was something wonky about the tone or the dialogue or you added something that didn’t fit but it’s usually ten sentences back. And every single time I get stuck in a fic I count back ten sentences and it’s always fucking there
If you write yourself into a corner, back out of the corner.
from last year’s workshop: Cool Writing Hacks that ripped my heart out but made my work better anyway.
-not every line of dialog needs an action attached to it. somebody doesn’t need to shrug or scratch their arm or glance at other people every two seconds of a conversation unless the motion means something. you’re not writing stage directions and you can trim this stuff down to make your dialog snappier. (this one in particular felt like a callout of me specifically, goddammit)
-if you want the audience to remember something–especially something that will be important in a climactic moment–you have to show/tell them at least twice beforehand. preferably three times. otherwise they will not remember! they simply will not!!
-the room layout isn’t usually all that important BUT if there’s going to be a fight scene you BETTER fucking figure out a way to convey that entire layout early in the scene or no one will know what the fuck is going on
-on that note, get somebody to read your fight scenes even if you are ABSOLUTELY SURE they make sense on the page. on the first pass they probably don’t. (unless you have a gift i would kill for. some do!)
-eyes cannot talk. eyes can’t talk! it’s easy to say that someone has “rage in their eyes” or “their eyes were telling me to run” but that’s all shorthand for other body language we notice subconsciously! try digging in and describing that body language instead. you will likely get something richer that way
oh i forgot all the stuff about immediacy!!
say you’re in Natasha’s POV. you can either say:
“Natasha sat on her porch with a glass of lemonade, watching the movers unload. She saw one of them stumble with what looked like a pained wince. She noticed that the other men kept their distance.”
OR:
“Natasha sat on her porch with a glass of lemonade, watching the movers unload. One of them stumbled with a pained wince. The other men kept their distance.”
we are already in Natasha’s POV, and we established in the first sentence that she was watching the movers. so we don’t need constant reminders that we’re behind Natasha’s eyes–we can just see what she sees! this puts us closer “behind her eyes,” so to speak, and lessens the distance between the reader and the scene.
Three-Act Structure in 30 Days
A Cog Special for NaNoWriMo
Hey friends! I’m unable to participate in NaNo this year, but! I thought I could share with you a “prompt list” I developed for myself. One prompt a day, this list might just help you achieve a complete book in 30 days! (Maybe.)
ACT ONE
11/01 - Develop what most inspires you. Let your world blossom, your character present themself, or your conflict begin.
11/02 - Introduce your protagonist’s day-to-day routine. Show who they are in their own element before their life spirals out of control.
11/03 - Show readers a conflict that’s been occupying your protagonist’s mind–use this as an opportunity to reveal another dimension of your world and the characters that inhabit it.
11/04 - Delve deeper into the side characters. Explore their superficial relationships with your protagonist.
11/05 - Bring in a new face. This face might belong to a new friend, a love interest, or even the villain.
11/06 - Take a moment to breathe, then destroy your protagonist’s world. Break it in such a way there’s no taping it back together. (And remember! This doesn’t have to be a bad change! Just an irreversible one.)
11/07 - Let your readers wallow in the fallout. Show how your protagonist initially responds and who they reach out to (if anyone).
Congratulations!! You’ve completed Act One! You’re well on your way to a book!! Remember to take a small breather and reward yourself. Look how much you’ve accomplished in as little as a week!
ACT TWO
11/08 - Your protagonist is on the precipice; let them jump. Encourage them. This is where the plot truly begins.
11/09 - Show your character the paths they can take. They don’t have to choose one yet, but let them know what their options are.
11/10 - Introduce conflict between your protagonist and one of the characters they thought they trusted.
11/11 - Explain away the conflict. Put your protagonist and that character back on somewhat firm ground–maybe there’s still suspicion, but it won’t break them. Yet.
11/12 - Make your character choose a path. It’s too late in the game to be all wishy-washy about what to do and how to do it.
11/13 - Show them that they’re not yet equipped to handle the primary conflict of your novel.
11/14 - Let them take a step back and re-asses. Let them consult with those that they trust and try to find how to best tackle the conflict.
11/15 - Give them a way to grow the skills they need or learn the information they need to best succeed in the main conflict.
11/16 - Renew their confidence. Little-by-little, help them remember that they can do this.
11/17 - Let your protagonist’s relationship with another character take an unexpected turn. This could be anything from them having helpful knowledge/skills to having a connection with the villain to being romantically interested in the protagonist.
11/18 - After all their hard work is paying off and your protagonist thinks they might just be able to succeed in their goal.
11/19 - The newfound skills/information/etc. your protagonist has gathered are put to the test, and they come out victorious. Delight all around!
Take a moment to think and reflect. Have a nice tea and prepare for everything to go utterly, terribly wrong, because that’s where we’re going with this.
11/20 - Your protagonist’s worst fear is confirmed and all the bravado they’ve gathered comes crashing down around them. (Hint: This is a great place to bring back the 11/10 conflict.)
11/21 - Your protagonist struggles to cope with the last blow they took, but they don’t have much time. They need to compose themself.
11/22 - Time to gear up for the grand finale. There’s no going back now, and everyone knows it. Let your protagonist and their allies gather.
Look at you go!! You’ve written the majority of a book?? You’ve made it through the hardest part and you’re in the home stretch. You can do it!!
ACT THREE
11/23 - Shove your protagonist into a room with the conflict that’s been haunting them from the beginning and let them have a moment with it.
11/24 - Bang! Pow! Climax time!
11/25 - Just when your protagonist thinks they’re winning, make it all go wrong. A fundamental piece of the puzzle is missing and we’re in disasterland now, lads.
11/26 - Let a side character prompt the protagonist’s defining moment–let them do something unexpected to prompt an even more unexpected response.
11/27 - Ideally, this will be victory time! Everything we’ve been hoping for since the beginning comes to fruition and all the protagonist’s hard work pays off. Alternatively, you could make this end real bad. It’s up to you.
11/28 - Let the results of the final conflict settle in. These could be good or bad, depending on your story, or even better: both.
11/29 - Go back to the beginning. Rewrite the first scene or develop a prologue. Now that you have a sense of the ending, you’ll have a better idea of where things should’ve started!
11/30 - Show your readers where everyone ended up–did they get a happy ending? A sad ending?
You’ve finished your book!!!!!!! YOU’VE FINISHED YOUR BOOK!!! Heck yeah.
18th Century Manners
I love Regency Romance, don’t get me wrong, it’s one of my all-time favourite genres, but I really feel like there are not enough people who appreciate the non-romance shenanigans that the rigid code of politeness in force in Approximate-Regency-Period England allows. Where are the stories about:
1. Someone accidentally wanders into the wrong social group without realizing it, Certain Things are never openly discussed, ergo two discreetly gay dudes have been effectively members of a smuggling operation for like 4 years without anyone noticing the misunderstanding. A Discreet Communication Carried For A Friend is a Discreet Communication Carried For A Friend, after all.
2. Elderly matriarch of large and successful family is discovered on her death to be the widow of the wrong Sir Henry, at no point did anyone notice because It’s Rude To Pry, entire family has been slavishly obeying the whims of a completely unrelated stranger for 30 years purely because she turned up and announced that she was Eccentric Uncle Henry’s widow.
3. Trans dude makes his first foray out in male attire, meets a bunch of Lively Young Gentlemen while out drinking, they’re friends now, his entire made-up-on-the-spot backstory is accepted without question, nobody questions him for the next 50 years because he’s Lord So-and-so’s Dear Chum and therefore is just presumed to have been vetted at some point. Once or twice a Fellow Chum finds out, is mildly shocked, and then Never Speaks Of It Again Because One Does Not.
4. Being a werewolf is HELL when it takes 2-3 hours to get dressed to socially acceptable standards and all the best parties are on full moon nights so people can see to drive home.
5. Angry ex shows up to be poisonously sweet at a party, it is Literally Unthinkable to be so rude as to tell them to leave.
6. All your friends are 100% down to help each other cover up a scandal. So far your friends-group has concealed 1 lesbian affair, 2 het affairs, smuggling, extortion, and 2 murders.
7. Being an obnoxious old lady is super fun when everyone else is too polite to Sass You Back. You eventually find a stroppy young woman who drops even sicker burns than you do and adopt her as your heir.
I’m pretty sure I’m not the only one who has trouble remembering developmental milestones. I put these together, but can’t take credit for any of the photography. Hope someone finds them helpful!
90% of writing advice can be thrown out the window for your first draft.
Show don’t tell? Ignore.
Basic grammar and punctuation? Unnecessary.
Physical descriptions of characters? Don’t need to bother.
Solid plot? That’s for later.
The words don’t come as fast when you’re thinking of the best way to put them together. It doesn’t have to be pretty, or much more than inconsistent nonsense. The point is to have it exist.
Effective storytelling is for subsequent drafts! Go write some nonsense!
As a hyper-perfectionist human, THIS is a piece of advice I wish I’d internalized a hell of a lot sooner. If I hadn’t overwhelmed myself by considering every little thing, starting over when it gets “too messy”… there’s no doubt in my mind I’d have a first draft by now.
Now, passion is the only thing I care about in my first draft.
on the one hand
what is the fucking point of flipping it you pulled it out of the sheath by the handle there’s no goddamn need for that
why even bother having a special spot easiy to reach in your black leather suit for knives if you’re just going to play with them when you take them out
but on the other hand
hnnnnnnnnnnnnnnnng
(He’s switching grips, largely because someone like Steve ain’t gonna give you an easy target for a straight thrust, especially if he’s got his shield, which makes for a lot of over and underhand stuff. But god yess hnnnnnnnnng.)
Also he LOOKS like he’s pulling it out normally, then flips it around—if you don’t have the advantage of a specific close-up you’d easily miss the little flip and think his blade was pointing toward his thumb. Then when he pulls his arm back across his body you think he’s pointing the knife over to his left, when in reality it is pointing straight at you and he’s about to slam it in your face. The arm movement to pull it out of the sheath that other way is super awkward and telegraphs the fact that your blade’s going to be reversed from the very beginning. But the Winter Soldier is a tricksy bastard. And IIRC, it works—Steve isn’t aware until his arm comes down to strike that he’s about to get hit. Otherwise he’d find a better way to block it.
</fencer>
Now with additional commentary from a fencer. My “hnnnnnnnng” is only exponentially increased.
Tl;dr knife flips are a useful, brutal, excellent tool. When the Winter Soldier is coming after you with a knife you’d better have superhuman reflexes, because he is going to attack you from every possible avenue. If I only hold my blade like a screwdriver, there are a limited number of physical movements I can make, and they are relatively predictable. If I hold it like an icepick, the repetoire changes but is likewise limited. If I can flip it around with absolutely no notice, I’ve effectively doubled how difficult I am to defend against.
Reblogging for commentary, and also because I could watch that gif all day.
All of this, and also, even if he WAS just playing with it, fucking around with a weapon is one of the ways that you get really good with it. With knives specifically, for a guy like Bucky — in both his lives — you’d pretty much have one on you at all times, and a lot of the military life (and probably the assassin life too) involves sitting around being bored as shit waiting for the death and terror to start. You end up playing with your weapons, because they’re there, and that’s one of the primary ways you really learn that weapon inside and out. You might play around, switching your grip, flipping it over and over, learning to catch it by the handle, by the point, learning to throw it, learning the exact weight and the center of its balance and all the other things that make handling it so effortless… it’s all just repetition and asking yourself “I wonder if I can….” and doing it until yes, indeed, you can stab some guy in the face before he can even see you coming.
oh wow.
#i love this weapons meta shit
^ Agreed. Weapons meta is meta i need to see more often
Archaeologists: “Uhhhh, there’s still a lot of debate about how effective leather armor really could have been on a battlefield. Alas, we shall never know.”
Punks: “Hey, fresh cut, the boneheads carry knives sometimes so make sure and lift a good leather jacket. It’ll save your life.”
Layers layers layers! Slashes won’t do shit even to most t shirts but a stab will ignore the shit outa your leathers. Layers will keep the blade from getting as deep as it otherwise would and gives more for it to snag on if it serrated.
Armour has always been about layers.
Example 1200s minor noble: linen shirt, gambeson (layered and quilted linen with wool insulation), chain mail, surcoat, arming cap, helmet, coif, bigger helmet.
Another example Alexander era Macedonian hoplite: linen tunic, greaves, 1" of tightly pressed and laminated linen, helmet (probably with some sort of arming cap/padding inside), big ass shield.
Layers save lives.
Yes! Cloth is hard work to cut with a knife. When they were trying to ban (sword) duelling in Europe, they banned people from carrying around shields/bucklers, so your defensive tool was a cloak wrapped around your non-sword fist, with plenty of loose fabric to catch your opponent’s blade. You might get your cloak torn, but you’re less likely to get your skin sliced up, and that’s the important thing.
You know what is a surprisingly amazing material for armor?
Silk.
Silk.
The Mongolians used silk vests because silk isn’t broken by an arrow, and you can use the silk to gently pull the arrow back out, even if it’s barbed. They also often used silk as the backing for leather armor.
The first bulletproof vests were made in Japan and Korea. Out of, yup, silk. Silk could stop black powder bullets, but was rendered obsolete by higher powered modern firearms. A combination of silk and metal was experimented with, but dropped because of the expense of silk.
Franz Ferdinand was wearing one such vest when he was assassinated, but it didn’t help because of where he was hit.
The US military is now looking into something called Dragon Silk, which is spider silk made by GMO silkworms, to make body armor that might be more comfortable than the current kevlar vests.
Silk, people.
You want proof about silk being able to stop an arrow? Try sewing it with the wrong machine needle in place. I have shattered – literally shattered – needles that were too thick. They just will not pass between the tightly woven fibers, even when in a machine that can go through your actual fingers. And that was just a lightweight taffeta, not something woven to be intentionally impenatrable.
It is horrible at stopping slashes, though. Whether by the blade of scissors, roller cutter, or well honed dagger or sword, it just falls to pieces like it never meant to be whole in the first place. This is, again, where your layers come in – a nice heavy leather for slash damage, a dense silk for piercing. You probably want to put something under it though, silk against sweaty skin is unpleasantly sticky. It *clings*. Eww.
//Absurdly helpful for people writing royal characters and/or characters who interact with royalty and members of the nobility.
[x]
Citizen is simpler and more beautiful~ but just in case anyone needs this.
DUDE BUT THIS IS WHAT I’VE BEEN TRYING TO TELL PEOPLE
in medieval times you ONLY addressed a king/queen with “Your Majesty”, NEVER “Your Highness”. To address a king/queen with “Your Highness” was considered an insult.
Here’s a more extensive list of titles and what you would call a person/their wife/their mother/their children
Something we might want to keep in mind for current story?
@roanoaks
It’s that typical story all over again: you are a princess. You get kidnapped, some random guy saves you, and then your father gets you married to him. No. Not this Time. You have watched a million versions of the same random guy beat a demon and become your husband even though you don’t love him, so this time, you kill the demon. You kill your father, the king. It doesn’t matter to you… After all, he’s only a program in the video game that is your life.
You will stop at nothing to break this game.
Funnily enough, it’s not the kidnapping that breaks Phaedra. Oh, it’s terrifying every time–the sound of breaking glass in the dark of her bedroom, the feeling of vulnerability as blades tear into the curtain around her bed, the terror as she’s struck and thrown and tumbled over her assailant’s shoulder–but it’s not what keeps her shivering long past the story has ended.
The attack always goes quickly. The demon screams past her guards and takes her in claws and wings and flees out the window. Her captivity sometimes goes quickly, sometimes takes a while longer, sometimes lasts forever. Sometimes the demon makes her cook and clean for him. Sometimes he tries to make her fall in love with him (as if this were that type of story). Sometimes he hurts her, badly, over and over and over again.
She’s no longer afraid of pain. She’s no longer afraid of mind tricks. She’s no longer afraid of him.
She hates being saved. She hates going home. And she’s always so afraid of the moment her father announces her hand belongs to her savior.
Keep reading
“One of the most solid pieces of writing advice I know is in fact intended for dancers – you can find it in the choreographer Martha Graham’s biography. But it relaxes me in front of my laptop the same way I imagine it might induce a young dancer to breathe deeply and wiggle their fingers and toes. Graham writes: ‘There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.’”
— Zadie Smith (via campaignagainstcliche)
I honestly always find the term ‘spinster’ as referring to an elderly, never-married woman as funny because you know what?
Wool was a huge industry in Europe in the middle ages. It was hugely in demand, particularly broadcloth, and was a valuable trade good. A great deal of wool was owned by monasteries and landed gentry who owned the land.
And, well, the only way to spin wool into yarn to make broadcloth was by hand.
This was viewed as a feminine occupation, and below the dignity of the monks and male gentry that largely ran the trade.
So what did they do?
They hired women to spin it. And, turns out, this was a stable job that paid very well. Well enough that it was one of the few viable economic options considered ‘respectable’ outside of marriage for a woman. A spinster could earn quite a tidy salary for her art, and maintain full control over her own money, no husband required.
So, naturally, women who had little interest in marriage or men? Grabbed this opportunity with both hands and ran with it. Of course, most people didn’t get this, because All Women Want Is Husbands, Right?
So when people say ‘spinster’ as in ‘spinster aunt’, they are TRYING to conjure up an image of a little old lady who is lonely and bitter.
But what I HEAR are the smiles and laughter of a million women as they earned their own money in their own homes and controlled their own fortunes and lived life on their own terms, and damn what society expected of them.
Just wanted to add that the suffix -ster was originally specifically feminine, a means of denoting a lady known by her profession. Spinster = female spinner, baxter = female baker, webster = female weaver (webber), brewster = female brewer. If one of the ladies named Alys in your village was known for selling her excellent weaving, you might call her Alys Webster (to differentiate her from, say, Alys Littel who was rather short, and Alys Bywater who lived near the pond).
This fascinates me for many reasons, but especially in the case of modern families with last names like Baxter or Webster or Brewster. What formidable and well-known ancestresses managed to pass on those very gendered names to all their descendants, when last names were changing from personal “nicknames” into indicators of lineage among the middle and lower classes? There’s a forgotten story of a fascinating woman behind every one of those family lines.
Resource for the history of the -ster suffix here.
that’s not………. how child speech works…………………………………………..
god okay in an attempt to be less of an asshole, here’s how child speech DOES work (or tend to work, at least)
kids tend to hypercorrect — this means that they tend to say things like “sleeped” instead of “slept,” “writed” instead of “wrote,” “goed” instead of “went,” etc
kids tend not to make errors such as omitting verbs (“i hungry”)
kids also tend not to make errors in the i/me, she/her department (“me am hungry”)
simplification of difficult sounds — consonant clusters especially, so things like st, sp, ps, etc., as well as f, v, th-sounds, ch-sounds, etc.
“babbling”-type utterances (“apwen” for “airplane,” using one babbly word for multiple objects, things like that) generally occur in children under the age of three and a half
say it with me: an eight-year-old child is not going to be saying “me hungwy”
do not confuse child speech with stereotypical learner english mistakes, that’s not only incorrect but also gross on the stereotypical learner english front (“me love you long time,” anybody?)
if you’re going to write kidfic please do some * research
Totally. It can be helpful to remind yourself that young children tend to speak as though the English language actually made sense. Our brains are pattern-recognising machines: children are really, really good at puzzling out the implicit rules of the English language, but they don’t necessarily know all the silly exceptions and bizarre edge cases that break those rules yet - those can only be learned through experience and rote memorisation.
Basically, when children who speak English as a first language make mistakes, it typically reflects a tendency to treat English as more grammatically, syntactically, and/or orthographically consistent than it really is. In some cases, this can be compounded by the fact that some kids will get offended at how little sense “proper” English makes, and insist upon using the more consistent forms even though they know very well that they’re technically “wrong”.
for a long young portion of my life I insisted on pronouncing Sean “SEEN” because that’s how it’s spelled.
As someone who spends a good majority of her time working with kids, it irks me to no end when I see children written as if they’re babies.
Past the age of about five or six years old, children can have deep, intellectual conversations about the most bizarre of things. I HAD A CONVERSATION LAST WEEK WITH FOUR THIRD GRADERS ABOUT THE GAS PRICES AND TAXES IN HAWAII.
Were they entirely correct in the facts they were giving? No, because it was all from what they had heard from parents or on the news. But that doesn’t take away from the fact that I was having a genuine conversation with four eight and nine year olds about taxes.
Just about the only speech problems most kids have, unless they have a speech impediment, is not being able to pronounce certain consonants (replacing ‘th’ with ‘fw,’ for example, and some letters are harder to form with your mouth than others) and doing exactly what the person above said: using the English language the way they know how, which isn’t always the way English works.
Kids aren’t stupid. Stop writing them like they are.
I was tutoring a little kid (second grade, I think). He was complaining about a worksheet. “This is hard.” I started to correct him as I knew he was more than capable of it and this bright kid, who had obviously heard the lecture before from others, interrupted me and said: “I know. I know. It’s not really difficult. It’s just time consuming.” Some kids are spooky-smart and even quite articulate.
If you need (plotwise) to emphasize that the child is specifically childish … have them tell the same joke to everyone they meet, cracking themselves up before they get to the punchline … have them ask “Why?” incessantly … have them fidgeting and possibly breaking things (”Oops.” “What?” “Nothing!” “WHAT?!”) … and if you have more than one kid, even of the same age, you don’t have to write them at the same intelligence level or emotional maturity. Some kids are messy and some are obsessively neat. Some are quiet, some loud. Some giggly, some surly. They basically come in the same range of personalities as adults.
If you don’t want to invest a lot of time writing dialog for kids, just establish that you have a quiet kid. But a kid who gives single-word answers is usually doing so because they don’t like you (or trust you) or they are focused on their own thing and you’re interrupting them. It doesn’t mean they lack the vocabulary or that they don’t understand the adult conversation going on “over their head” (the more inappropriate the conversation, the more likely the kids are paying attention).
I have jabbed the back button so many times on terrible kid fic. This is an excellent resource - kid fic, when done well, is a real treat for me.
The only children I have ever met who did say things like “me hungwy” were the ones who had figured out that if they sounded “adorable” they could wrap adults around their precious little fingers. Kids get it.
Kids also slur and mumble a lot. Especially when they’re tired. They don’t say “me hungwy”, they say “M’hungry”, or “m’hung’y” cause it just takes too much effort or time to do a proper distinct ‘r’.
Really, with kids, it’s more about how they say the words than what they say. A sleepy kid can be adorable, but they’re either cranky as hell or nearly dead on their feet. A hungry kid is going to be cranky (again) or whiney. A bored kid’s going to be fidgety and/or whiney. etc.
Generally speaking, in my experience, kids are as smart as any adult. What they lack is: * Life experience and knowledge about the world. So sometimes, things that seem silly and cliche to us are new, exciting, and profound to them. * A long term perspective. They don’t have a sense of “this too shall pass.” If something upsets them right now, it’s the end of the world. If something makes them happy, they think they’ll never be unhappy again. This hurts their judgment and can make them emotionally reactive. * Self-control. Try to get kids to sit quietly when they’re tired or hungry or angry, and you’ll see what I mean. * The ability to know what they know and verbalize it to others. Any therapist will tell you kids pick up family dynamics and detect conflict parents are trying to hide like no one’s business. They can’t usually talk directly about it, though, although they might enact the patterns they see with dolls and pretend play. * Defenses and seeing themselves through others’ eyes. I love teaching and doing research with children because their personalities are so quickly and easily visible. Their parents are another matter. Until at least 5th or 6th grade, they’re not constantly thinking about how others perceive them and constructing complicated facades. * Meta-thinking. When I ask a child who just solved a logic puzzle or answered a question correctly how they knew, they’ll often say something like “I just knew,” “because I’m smart,” “my sister taught me,” or “I don’t know.” This is related to kids rarely knowing and being able to verbalize what they know. * Basic executive functions like working memory, processing speed, and inhibition. All of these rely on the frontal lobe and develop slowly. A concrete example: on a brief IQ test like the Woodcock Johnson, I’ve seen kids get lost in the problem and forget part or all of what they were being asked, but they could solve it accurately if you kept reminding them (but did not otherwise provide help). Their standard scores with reminders were often over 120 (roughly “gifted range”), while without, they did about average. * They ask questions, but they don’t critically question what you’ve been told. In my experience with gifted kids for example, they ask so many questions it wears parents and teachers out. But until adolescence, they trust what they learn from books, parents, and teachers. They don’t ask constantly, “how do you know? How do I know?” I vividly remember beginning to ask these how-do-we-know questions at 14. I suddenly became aware of a lack of certainty of everything I knew and believed.
Kids are smart and observant, but they are not little adults. Their perspective is so different given their size, relationship to time, and dependence on the adults around them. If you want to write about kids, keep that in mind, listen to them, and observe them closely.
i’m a speech/language therapist who specializes in language development for preschool aged children (under 5). as a rule of thumb, children approximate adult language at 5 years of age. i didn’t really include speech sound development because that’s a whole lot of explanation. but, here’s what their language looks like from birth - 5 years:
Birth–3 Months
Startles to loud sounds
Quiets or smiles when spoken to
Seems to recognize caregiver’s voice and quiets if crying
Makes pleasure sounds (cooing, gooing)
Cries differently for different needs
Smiles they see caregiver
4–6 Months
Turns eyes to the direction of sounds
Responds to changes in tone of voice
Interested in music / toys that make sounds
Babbling is reduplicated repetitions of different easy to pronounce sounds, (i.e. ”papapa,” “bababa,” “mamama”)
Chuckles and laughs
Vocalizes excitement and displeasure
7 Months–1 Year
Enjoys games like peek-a-boo and pat-a-cake
Turns and looks in direction of sounds
Listens when spoken to
Recognizes words for common items like “cup”, “shoe”, “book”, or “juice”
Begins to respond to commands and requests (e.g. “Come here” or “Want more?”)
Babbling has many different sounds (”pabamima”)
Uses gestures to communicate (waving, holding arms to be picked up)
Imitates different speech sounds
Has one or two words (hi, dog, dada, mama) around first birthday, although words may not be intelligible
1-2 Years
Points to a few body parts when asked.
Follows simple commands and understands simple questions (“Roll the ball,” “Kiss the baby,” “Where’s your shoe?”).
Points to pictures in a book when named.
Vocabulary size increases every month
Child over generalizes words (i.e. every four legged animal is “doggy”)
Uses some one- or two- word questions (“Where kitty?” “Go bye-bye?” “What’s that?”).
Once vocabulary size reaches ~250 words child begins to put two words together (“more cookie,” “no juice,” “mommy book”).
2-3 Years
Understands opposites (“go-stop,” “in-on,” “big-little,” “up-down”).
Follows two-step requests (“Get the book and put it on the table”).
Should be able to listen to story books for longer periods of time
Vocab size increased to the point where they have a word for almost everything, new words every day.
Uses two- or three- words sentences.
Speech is understood by familiar listeners most of the time.
Often asks for or directs attention to objects by labeling them.
Asks “why?” but may not be able to answer (**asking questions comes far before being able to answer them!!)
May stutter on words or sounds (this is normal unless it distresses the child)
3-4 years
Will respond when called from another room.
Can talk about familiar activities that happened at school or at friends’ homes while the listener was not present. Uses about 4 sentences at a time. (Not yet a full adult-like narrative, but making progress.)
People outside of the family understand child’s speech.
Answers simple “who?”, “what?”, and “where?” questions.
Asks “when?” and “how?” questions.
Understands simple meta-linguistic structures such as rhymes (i.e. “hat-cat”)
Uses pronouns, such as I, you, me, we, or they
Uses some plural words, like toys, birds, and buses (may overgeneralize plural or past tense “
Sentences have 4 or more words.
Usually has outgrown stuttering behaviors.
4-5 years
Understands sequencing words like first, next, and last.
Understands words for time, like yesterday, today, and tomorrow.
Follows 3-4 step directions, like “Put your pajamas on, brush your teeth, and then pick out a book.”
Says all speech sounds in words. May still make mistakes on sounds that are harder to say, like l, s, r, v, z, ch, sh, th. **Mistakes on /r/ are common until 7 years of age
Uses sentences that have more than one verb.
With adult support can construct a short narrative about something the listener is not familiar with (i.e. “What happened in the movie?”)
Understands that they must change their language depending on the listener and place. May use short sentences with younger children or talk louder outside than inside.
Trying to find the perfect name for a character, but you only have a vague idea of what you want, like “he feels like a 2-syllable kind of guy” or “It need a hard consonant at the end.”
May I recommend nameberry.com? I’ve sung its praises before, but you can search for specific lists of like “three syllable girls names” or “names ending in a.” You can also input names with a similar vibe to what you want and it’ll give you suggestions.
I have been looking for this site since I first started plotting out my novel, god bless you
I also like behindthename.com there you can filter too!