it is that deep

I'm back on my FFVII bullshit temporarily | Fanfic, meta, character analysis, whatever | In this house we respect all characters even if we don't love them

[5oliloquizing]

My biggest inspiration is that if I don't write, then I will forget.

[valtsv]

i LOVE the idea of "i can't win, but you can lose" in fictional confrontations it is SO fucking tasty. the human nature to self destruct and the human nature to survive by any means necessary combined at its finest.

[whumpy-bi]

Character who immediately shows gentleness and care for the person they’re rescuing, even while covered in the blood of their captors.

The complete separation of the violence they committed to reach their companion and how they actually treat them.

The switch from total violence to soft touches and “You’re alright, I gotcha. It’s all okay, I’m here.”

[rhinco]

i love you semicolon. no one look at my 80 word sentence

[midwinterhunt]

Hot Writers Don't Gatekeep

the writers REALLY liked my artist resource post, so I thought i'd give y'all my dragon hoard of things i use for writing

Reverse Dictionary, you type in the meaning of a word, and it gives you a bunch of words that mean that. (MY MOST IMPORTANT OFFERING IN THIS LIST)

Slang Dictionary, what it says on the tin.

Anglish Translator, Anglish is if English evolved without borrowing from other languages and it really itches my brain (Anglish is if english grown without borrowing from other languages and it truly itches my brain)

Incorrect Quotes Generator, Put character names in, and incorrect quotes come out. Really fun way to goof around with your characters' dynamics.

Handspeak, an ASL dictionary

Library of Babel, Odds are, the finished version of your wip is in here somewhere

The best fantasy map maker i have ever used

Glitch Text Generator is one I use A Lot, does ť̷̨̢͓̤͔̤̤̝̺̯̄̔̄̌̄͗͒͋͂͋͝ḩ̵̼̜͍͚͕̏̓͊̈̉̆̄͐́͗͒̈̃̊̚͜i̵̻̐̇̎̏̀̋̌̃̇̿͘̚s̴̮̔̂̇͒͑͝͝ͅ to your text

Totally not bootleg microsoft office

Emotions Thesaurus a guide for writing emotions and their associated body language

Mythcreants, has a whole bunch of stuff you can read to learn more about the technical aspects of writing

A decent article talking about what to think about when creating a language

Trope Talks, particularly good for beginner and younger writers or people who have a hard time reading. Honestly this whole channel is a fantastic format to get information into my adhd rattled brain.

FOR MY AO3 BESTIES! Postimages will host your image forever so you can embed it into your work

Ambient Chaos, sometimes the only thing in the world that can kick your brain into writing mode is nuclear sirens and lofi beats

Radioooooo, play a station from any place and year. Particularly helpful for period pieces.

[midwinterhunt]

Food timeline, when foods were invented

[promptcalender]

How to show loneliness in a character rather than tell it:

lots of internal monologue and even dialogue with oneself

social awkwardness

despite longing for connection, avoiding it because they are not used to it

or: seeking connection anywhere they can, even in the tiny interactions with employees and strangers

making their home a very comforting space since they spend so much time in it

not feeling invited to activities unless explicitly told they are, and even then doubting it

not even considering the possibility of talking to someone

feeling warmth in their chest after a good talk with someone, only for it to twist into dread and doubt later on

[Prompt Calender: June 13th, Loneliness Awareness Week]

[literallymechanical]

Lots of writing advice on tumblr. It's been years since I've written fiction in a serious way, but I did write a couple of (bad) novels in my early 20's, a bunch of short stories, and also a few hundred thousand words of LARP writing, and I do have a bacherlor's of science in creative writing (lol).

From what I can tell, there are only three universally applicable pieces of writing advice:

Read a lot (mandatory)

Show your writing to people (mandatory)

Have something wrong with you in a way that is impossible to articulate except by writing a novel (optional)

[mslanna]

I think this one is also important:

4. write

[bananonbinary]

weird take about fiction: sometimes, actions that would be abusive in real life, hit different in a story. and sometimes i see people react very very strongly to those actions, and i totally get it, because like, that can be extremely triggering and ymmv on whether its handled well or not, but it always makes me a bit. hm.

like, i think the most obvious one is slapping/hitting. in real life, there is basically no situation where that is acceptable, unless you're actively defending yourself/someone else. but fiction is inherently larger than life, its about how it feels, subjectively, over what actually happens, literally. sometimes a character who has never before been violent will hit someone, and it's intended as like, an indicator of how fucked up everything is. that shit is going down. or, a character will trash a room, throwing things and destroying everything in their path. and then its never mentioned again, everything just continues as if they HADNT destroyed their own and other people's property in a frankly terrifying display, because it was just a cathartic moment to represent the storm of emotions the person was feeling. and when i see people like 'this character is an abuser, the story needs to address this,' i think maybe its actually okay for fictional characters to do shitty things and not have it framed as shitty, by the story itself or even on any sort of meta level, with the intended audience reaction. sometimes the point is just to resonate with your emotions, not to dissect the literal sequence of events.

[bananonbinary]

like obviously ive been on the 'you can portray whatever you want in fiction, its all a pretend game' train forever. but i think the important thing to me here is that, you can also defend bad things in fiction. not just 'they did everything wrong and i love that,' but even 'they were 100% justified when they did [thing that would be extremely bad irl].' cause its like, ok, they did do that, but like it was the only way to tell the story well. dont worry about it.

[kestalsblog]

Not every story is about seeing yourself in it. Sometimes it’s about learning to see other people too.

[doesnotloveyou]

@tearyeyedcat this was beautifully written, thank you for adding it!

[charlesoberonn]

Another excuse for me to post Head Writer of ATLA Aaron Ehasz’s great characters board:

[earthquakening]

It's always funny when a character feels an emotion and goes "what is this? What the fuck? Am I sick or ill or something?

[quietwingsinthesky]

one more thing. if a character ascends to godhood/divinity/some form of power that makes them practically omnipotent and no longer human. and they had a partner before that who didn’t rise with them. you are legally required to make that situation as terrifying as it would rightly be. it’s bad enough to get the attention of a god. it is ruinous to be loved by one. that is not the person you knew anymore. that is something that never has to let you leave, or have secrets, or disobey it. it will fix every problem you so much as glance at, and it will shower you in grace and gifts until you drown, and it will make you a holy artifact in its own story. you have to understand, it doesn’t remember how horrible death is, so it strikes you to cinders like a snide comment and brings you back with an apology it needs you to accept. that is how it’s going to love you forever, because it might not be inclined to let you die.

[tossawary]

One piece of acting advice that has stayed with me for years in regards to both writing and drawing as well is: "Don't use the body to act what the character is saying. Act what the character is THINKING."

Like, as a very, very basic example: a character is apologizing by saying, "I'm sorry." But that line is going to look and sound different depending on what the character is thinking. Crossed arms and a sullen tone can mean that a character is actually thinking: "I don't mean it and also I hate you." A pleading tone and reaching out to take the other character's arm can mean: "Please don't leave me." A tired voice and slumped shoulders within context could mean: "I did what I had to do."

This is one way to begin to do "Show, Don't Tell" in storytelling. It is trusting your audience to see the depth and to catch on to the things you leave unsaid. It's fun to let the audience be observant and clever. It is also reflective of real life, where people are often scared of being vulnerable, or don't necessarily even understand their own emotions, or can't articulate their own thoughts, or have difficulty identifying the true feelings of the people around them, and so don't say very much.

There are exceptions to this advice, of course. In writing especially, rather than in a visual medium, some POV characters are very good at reading emotions from body language and others are not, and their observations in the narration may reflect this skill. Some characters will assume everyone around them is always angry with them or simply not pay attention to other people's moods at all, personalities which can also be subtly communicated to the audience and later used in the story in some interesting way.

Some characters have excellent control over their body language and tone of voice, because they are on-guard, highly trained in some fashion, or a very good liar. They will not easily communicate their true thoughts through their body language or their actions. Their lie can be so good that it can be slipped past the audience as nothing important to the plot until it comes back to bite. Their oddly perfect control over their body in a tense situation can instead maybe be used to indicate to the POV character and/or the audience: "Oh, there's something up with this person."

Body language will also change by culture and class and disability and so on. This clash can cause communication problems between characters, as a character's affectionate pat on the shoulder of another might be intended as casual comfort, but be received as overly intimate condescension. Different cultures / people can even have very different opinions on what level of eye contact and overlapping speech is rude.

This advice was originally given to me in the context of illustration and animation, in which it is very common for inexperienced artists to act out the words that the character is saying in mime-like gesture. In media for young children, we might choose to keep things very simple, as toddlers struggle to learn what it looks like and feels like to be angry or happy. But past that? People don't really behave this way. What we say and what we really mean are not always synchronized, and we can use the body to communicate this.

[creativepromptsforwriting]

How to show emotions

Part X

How to show pleasure

dilated pupils

mouth half opened

increased heart rate

increased breath rate

increased blood flow

heightened sensitivity

body parts turning warm and flushed

body parts becoming engorged or wet

tension in the entire body

trembling

involuntary contractions

hard to speak, but incapable to be quiet

How to show tenderness

sincere, warm, and open smile

slow and soft movements

leaning in towards what they feel tender about

listening carefully, head held towards them

gentle tone of voice

softening of facial expressions

relaxed eyebrows

soft and relaxed eyes

a hint of a tear appearing

relaxed mouth with a little smile

gently touching or stroking who or what they feel tender about

calm breathing, not too shallow, not too deep

How to show guilt

avoiding eye contact or looking down

tightness in the shoulders, neck, and jaw

being hunched over, slumped shoulders, making themself small

turning their body away from who they feel guilty towards

sweaty palms

trembling hands

heart racing

fidgeting with their entire body

crossing and uncrossing one’s legs

shifting from one foot to the other

pacing around

knot in the stomache, not being able to eat or eating too much to compensate

a feeling of heaviness in their body

How to show curiosity

open, dilated eyes

holding eye contact

raised eyebrows

tilting of the head

leaning towards what they find curious

mouth slightly open

uncrossed arms

actively listening

holding still, so they don't miss anything

More: How to write emotions Masterpost

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[fullest-circlest]

If you're writing 18th century dialogue, this website lets you search words and phrases to double-check whether they were in use & meant what you intend. It doesn't include every period-accurate use of a word/phrase, but it certainly helped me separate genuine 18th century grammar from the vague tangle of 💬old-fashioned fancy-speak💬 I've internalized from TV and video games.

[my-deer-friend]

Other websites that let you do this:

Johnson's Dictionary Online (thanks @yellowbelliedtoad!) – 1755 and 1773

Green's Dictionary of Slang – 1300s to today

A Classical Dictionary of the Vulgar Tongue – 1788

Feraud's Dictionaire critique de la langue française – 1778

[zisurru]

A dictionary of the English and Italian languages by Giuseppe Baretti is a bilingual dictionary from 1790!

[bethanydelleman]

(when I write Jane Austen fan fiction, I only use words she used, which doesn't restrict me very much because she had a massive vocabulary)

[snowstories]

My biggest tip for fanfic writers is this: if you get a character's mannerisms and speech pattern down, you can make them do pretty much whatever you want and it'll feel in character.

Logic: Characters, just like real people, are mallable. There is typically very little that's so truly, heinously out of character that you absolutely cannot make it work under any circumstance. In addition, most fans are also willing to accept characterization stretches if it makes the fic work. Yeah, we all know the villain and the hero wouldn't cuddle for warmth in canon. But if they did do that, how would they do it?

What counts is often not so much 'would the character do this?' and more 'if the character did do this, how would they do it?' If you get 'how' part right, your readers will probably be willing to buy the rest, because it will still feel like their favourite character. But if it doesn't feel like the character anymore, why are they even reading the fic?

Worry less about whether a character would do something, and more about how they'd sound while doing it.

[mossbear-minese]

I don't remember where I saw this piece of advice so I can't credit it, unfortunately

But it was along the lines of "instead of asking whether something is out of character, ask 'what would it take for this character to do this'"

Which I think fits really nicely with this advice of making the actual action itself also feel in character

[elle-thereafter]

These are important things I have learned about writing fiction. I know these things, but sometimes I need a reminder. So I am writing them here, both as a reminder for myself, and as a reminder for all those who, like me, sometimes forget.

Characters must make choices.

Characters should often make bad choices before they make good choices.

Character choices should drive the vast majority of the plot. Characters reacting to having random stuff thrown at them is far less interesting than characters reacting to the stuff they've thrown after it's ricocheted around and comes bouncing back toward them.

If a character refuses to make a choice, there better be consequences for that too, and you better have a damn clear way of showing those consequences to the reader and the character.

Nearly every time I'm struggling with writing something, taking a step back and thinking about these 4 things usually helps get me unstuck.

[spiribia]

as a writer you will have a specific deck of vocab words you like using a lot and when you read other peoples' work you will see a very clear spread of different vocab words on their end. this is why you need to read, to collect other writers' words like it's a card game