Mightier-thanthe-sword

[writerswritecompany]

General Differences Between Heroes and Anti-Heroes

[clevergirlhelps]

2. The classic hero is not always a peace keeper or a conformist. In fact, heroes are always shaking up the power structure and ideologies because that’s what heroes do.

3. The antihero can have a moral compass and stand up to bad guys in addition to well-intentioned people the anti-hero thinks are pushy, uninformed, arrogant, etc.

6. There are plenty of hot anti-heroes out there (Draco in Leather Pants, anyone?). There are fewer plain-looking classic heroes, but they do exist.

7. Antiheroes can have love interests, although the love interest is more likely to move on or die (especially if the male anti-hero needs a motivation)

11. Heroes of all shades are chiefly reactive: responding to problems within their society. If anything, antiheroes are more likely to be reactive because they’re constantly trying to one-up the antagonist.

12. Antiheroes can be Fallen Angels. They can also be ginormous dicks of their own accord.

13. Swearing, drinking, taking drugs, and sleeping around is “bad boy behavior”? Nah. Almost everyone swears and drinks, and sleeping around or taking drugs doesn’t make you inherently bad.

16. Antiheroes can change. If you have an antihero protagonist, they should change because character arcs are important.

19. There is no way I would ever consider Edward Abusive Jerk Cullen as a classic hero.

[everything4writers-deactivated2]

Heroes VS Anti-heroes

[helpyoudraw-deactivated20150706]

By ArchetypeWriting.com

[111p9]

s o u r c e

[111p9]

Blubbering: Unattractive, loud crying. Characterized by mutters, truncated, erratic breathing, clinched facial expressions and hunched posture. Hyperventilate-Crying: Forceful crying causing heavy breathing, resulting in the inability to speak or produce sounds even resembling words. Scream-Crying: Violent crying accompanied with bouts of yelling or sometimes shrieking. May also include slapping, punching or other physical expressions of distress. Silent Tears: Soft, inaudible crying that does not draw attention; May manifest only in a single tear rolling down one’s cheek. Sobbing: Heavy crying with a large volume tears flowing steadily; Generally audible but not inappropriately loud.

Sniveling: Audible, but soft crying, also prone to muttering and erratic breathing; May also show signs of drool or mucus. Weeping: A gentler version of sobbing; Involves soft, steady stream of tears with some times lightly audible signs of distress. Whimpering: Soft crying usually including few or no tears at all; Often incorporates muttering and/or high-pitched sighs.

[witchhazelnut]

reblogs for writing reference*

[decorkiki]

A Visual #Fashion Guide For Women - Necklines, Skirt Types & More!

By KikiCloset.com

[tea-amat]

I know some devs who could reaaalllyyyy use this.

[the-right-writing]

In real life, pretty much everybody reacts to tragedy differently. So why is it that every author has their pet reaction to tragedy that all their characters use? Not only is it unrealistic, but it takes away the chance for the characters’ different reactions to reveal things about themselves.

...

[cherribalm-deactivated20140609]

site that you can type in the definition of a word and get the word

site for when you can only remember part of a word/its definition 

site that gives you words that rhyme with a word

site that gives you synonyms and antonyms

[bumblebeebabie]

THAT FIRST SITE IS EVERY WRITER’S DREAM DO YOU KNOW HOW MANY TIMES I’VE TRIED WRITING SOMETHING AND THOUGHT GOD DAMN IS THERE A SPECIFIC WORD FOR WHAT I’M USING TWO SENTENCES TO DESCRIBE AND JUST GETTING A BUNCH OF SHIT GOOGLE RESULTS

[mightier-thanthesword]

Words to describe someone's voice

adenoidal: if someone’s voice is adenoidal, some of the sound seems to come through their nose

appealing: an appealing look, voice etc shows that you want help, approval, or agreement

breathy: with loud breathing noises

brittle: if you speak in a brittle voice, you sound as if you are about to cry

croaky: if someone’s voice sounds croaky, they speak in a low rough voice that sounds as if they have a sore throat

dead: if someone’s eyes are dead, or if their voice is dead, they feel or show no emotion

disembodied: a disembodied voice comes from someone who you cannot see

flat: spoken in a voice that does not go up and down. This word is often used for describing the speech of people from a particular region.

fruity: a fruity voice or laugh is deep and strong in a pleasant way

grating: a grating voice, laugh, or sound is unpleasant and annoying

gravelly: a gravelly voice sounds low and rough

gruff: a gruff voice has a rough low sound

guttural: a guttural sound is deep and made at the back of your throat

high-pitched: a high-pitched voice or sound is very high

hoarse: someone who is hoarse or has a hoarse voice speaks in a low rough voice, usually because their throat is sore

honeyed: honeyed words or a honeyed voice sound very nice but you cannot trust the person who is speaking

husky: a husky voice is deep and sounds hoarse (=as if you have a sore throat), often in an attractive way

low adjective: a low voice or sound is quiet and difficult to hear

low adverb: in a deep voice, or with a deep sound

matter-of-fact: used about someone’s behaviour or voice

modulated: a modulated voice is controlled and pleasant to listen to

monotonous: a monotonous sound or voice is boring and unpleasant because it does not change in loudness or become higher or lower

nasal: someone with a nasal voice sounds as if they are speaking through their nose

orotund: an orotund voice is loud and clear

penetrating: a penetrating voice or sound is so high or loud that it makes you slightly uncomfortable

plummy: a plummy voice or way of speaking is considered to be typical of an English person of a high social class. This word shows that you dislike people who speak like this.

quietly: in a quiet voice

raucous: a raucous voice or noise is loud and sounds rough

ringing: a ringing sound or voice is very loud and clear

rough: a rough voice is not soft and is unpleasant to listen to

shrill: a shrill noise or voice is very loud, high, and unpleasant

silvery: a silvery voice or sound is clear, light, and pleasant

singsong: if you speak in a singsong voice, your voice rises and falls in a musical way

small: a small voice or sound is quiet

smoky: a smoky voice or smoky eyes are sexually attractive in a slightly mysterious way

softly spoken: someone who is softly spoken has a quiet gentle voice

sotto voce adjective, adverb: in a very quiet voice

stentorian: a stentorian voice sounds very loud and severe

strangled: a strangled sound is one that someone stops before they finish making it

strangulated: strangled

strident: a strident voice or sound is loud and unpleasant

taut: used about something such as a voice or expression that shows someone is nervous or angry

thick: if your voice is thick with an emotion, it sounds less clear than usual because of the emotion

thickly: with a low voice that comes mostly from your throat

thin: a thin voice or sound is high and unpleasant to listen to

throaty: a throaty sound is low and seems to come from deep in your throat

tight: a tight voice or expression shows that you are nervous or annoyed

toneless: a toneless voice does not express any emotion

tremulous: if something such as your voice or smile is tremulous, it is not steady, for example because you are afraid or excited

wheezy: a wheezy noise sounds as if it is made by someone who has difficulty breathing

wobbly: if your voice is wobbly, it goes up and down, usually because you are frightened, not confident, or are going to cry

[mightier-thanthesword]

Science Fiction

Basic Principles:

-Aliens

-Space/time travel

-Futuristic setting/ alternative history

-Advanced technology

-Dystopia

1. Setting

Dystopia

Set in the past, present day, future etc

Earth/other planet/s?

Space ship

2. Characters

Aliens

Humans

Robots etc

*Make sure they suit the setting-robots on a water planet= a big no-no (unless your robot is waterproof)*

3. Advanced Technology

-Do your characters have access to state of the art technology?

-If they do, what are the gadget's functions/limitations?

*A gadget that can do everything is a tad unbelievable- even the sonic screwdriver has it's limitations*

4. Does your story address any issues in our culture or society?

-Sci-fi is often the perfect vehicle for this

-It can be as vague or explicit as you want it to be (this is your chance to frustrate generations of English students, so choose well!)

5. Scientific fact

-Try to include at least some semblance of fact

[mightier-thanthesword]

Comedy

The driving force for comedy is usually a dilemma for your character

The audience laugh when they recognise something truthful

If we laugh, it's because we recognise something about ourselves.

Comedy is an outlet for rage; a way of saying something

Comedy attacks the institutions of society

Comedy usually take aspects of the 7 deadly sins

Sloth 

Wrath

Lust

Gluttony

Envy

Pride

Greed

[reshmarambles]

Girls are trained to say, ‘I wrote this, but it’s probably really stupid.’ Well, no, you wouldn’t write a novel if you thought it was really stupid. Men are much more comfortable going, ‘I wrote this book because I have a unique perspective that the world needs to hear.’ Girls are taught from the age of seven that if you get a compliment, you don’t go, ‘Thank you’, you go, ‘No, you’re insane.’

Lena Dunham, in an interview with The Guardian (via florida-sounds)

[mightier-thanthesword]

"Young writers should read books past bed time and write things down in notebooks when they are supposed to be doing something else"

Lemony Snicket

[mightier-thanthesword]

Plots and Planning:

8 Point Plan

1. Stasis: This is the world of the story, and how it normally runs

eg. In the disney version of Cinderella, Cinderella is being treated as a slave for her wealthy step-family.

2. Trigger: An event beyond the control of the main character, and is typically something that happens to the main character.

The ugly step-sisters are invited to the Royal Ball, but not Cinderella

3. The Quest: This is what the trigger has triggered. It may be a desire to return to the stasis, or to move further from it.

Cinderella and the mice attempt to make her a dress.

4. Surprise: This makes up the majority of the middle of the story. Events that happen to the character which can be good, but tend to be difficulties that must be overcome in order to achieve the goal.

The fairy God-Mother appears and produces a beautiful dress and carriage, though she must be home before midnight, or the spell will wear off.

5. Critical choice: The critical decision that your character is forced to make that will take them down a specific path. This is often critical to the reader's understanding of your character and what makes them tick.

Leave the Prince before the spell wears off, or stay and let him see who she really is?

6. Cimax: The critical choice leads to the climax. This is the moment that the entire story has been leading up to.

Cinderella loses her shoe, so the Prince decides to try every girl in the kingdom to see who it fits.

7. Reversal: This is the result of the climax. It should be seen as being an inevitable change in your character.

Despite the fact that the step-sisters try to hide Cinderella away, she tries on the shoe and it fits!

8. Resolution: This is a return to a stasis, but not necessarily the same as the one in the beginning because the story, which should now be complete, has changed them

Cinderella moves away from her step-family, and lives happily ever after with the Prince