Untitled

[trans-ralsei]

[trans-ralsei]

[caughtthedarkness93]

I love my job, but reblogging employment jelly for someone else I love.

[literaryvein-reblogs]

Do you have any good words to use instead of exclaim?

Thank you, I love this blog so much!

So glad to hear this. Thank you! <3 I love making these writing references as well.

Exclaim - to cry out, speak, or utter in a strong or sudden burst of emotion

Assert - to state or declare positively and often forcefully or aggressively

Aver - to allege or assert in pleading

Babble - to talk enthusiastically or excessively

Bellow - to make the loud deep hollow sound

Bewail - to express deep sorrow for usually by wailing and lamentation

Blabber - to talk foolishly or excessively

Blat - to declare positively; to utter loudly or foolishly

Blunder - to utter stupidly, confusedly, or thoughtlessly

Blurt (out) - to utter abruptly and impulsively

Bray - to utter or play loudly or harshly

Burst out - to say (something) suddenly

Caterwaul - to make a harsh cry

Chirp - to utter (something) with a cheerful liveliness; to make sharply critical, complaining, or taunting remarks

Clamor - to utter or proclaim insistently and noisily

Crow - to utter a sound expressive of pleasure

Gab - to talk in a rapid or thoughtless manner

Gabble - to say with incoherent rapidity

Gush - to make an effusive display of affection or enthusiasm

Hoot - to shout or laugh usually derisively

Howl - to cry out loudly and without restraint under strong impulse (such as pain, grief, or amusement)

Inveigh - to protest or complain bitterly or vehemently

Orate - to speak in an elevated and often pompous manner

Perorate - to deliver a long or grandiloquent oration

Repine - to feel or express dejection or discontent

Roar - to utter or emit a full loud prolonged sound

Screech - a high shrill piercing cry usually expressing pain or terror

Shout - to utter a sudden loud cry

Shriek - to utter a sharp shrill sound

Shrill - to utter or emit an acute piercing sound

Snarl - to give vent to anger in surly language

Spout - to speak or utter readily, volubly, and at length

Squall - to utter in a strident voice

Squawk - to utter a harsh abrupt scream

Squeal - to cause to make a loud shrill noise

Vociferate - to utter or cry out loudly

Wail - to express a prolonged cry or sound expressing grief or pain; loud lamentation

Whine - to utter a high-pitched plaintive or distressed cry

Yammer - to utter repeated cries of distress or sorrow; to utter persistent complaints; to talk persistently or volubly and often loudly

Yawp - (or yaup) to make a raucous noise

Yowl - to utter a loud long cry of grief, pain, or distress

Hope this helps. If it inspires your writing in any way, please tag me, or leave a link in the replies. I would love to read your work!

[linestorm]

200 words that describe light

[linestorm]

sometimes i find some of the resources i made reposted on tumblr or other sites (w or w/o credit), and sometimes i report it, but usually i just think well i hope someone’s using it for something useful… but u know this one in particular is funny because it’s in 2 parts (it’s 2 separate images) but it tells u how many words there should be (200), but more often than you’d think, only one of the 2 images gets reposted, like it was too much trouble to notice you haven’t saved the whole thing, and it’s obvi not 200, but nobody seems to notice – not the poster, not the commentors, etc. and it’s just… are these just bots/ai living in their own little world, or have we humans become so automated? fucks me up, it does

[questionprompts]

1. Which OC employs Bait-and-Switch techniques to get what they want?

1a. How successful are they, and how often do they they try it?

1b. Is there an OC who never falls for it?

2. Which OC is generally blunt about what they want?

2a. What responses do they usually get?

2b. Is there an OC who is numb/accustomed to their straightforwardness?

3. Which OC almost never outright asks for things or expresses their desire for something, even if they really want it?

3a. What is their reason behind this, and how often do they end up getting what they want?

3b. Do they give any [subtle or not] hints about their feelings, or do they remain fully passive?

3b. Is there a scenario in which they would decide to speak up?

4. What do your OCs consider 'rude,' 'unpleasant,' or 'polite' behavior? Is there overlap? How do those opinions vary between them?

4a. Do 'polite' and 'pleasant' mean the same thing to them? If not, how do these definitions differ?

5. If someone wanted a favor from your OC, what would be the best way to ask them?

5a. If this OC is the type to only do favors for select people, what is their reason for that, and which characters would they actually try to help out?

5b. Conversely, are there characters they would refuse to help? Who are they, and what is their relationship to this OC?

[callese]

refseek.com

www.worldcat.org/

link.springer.com

http://bioline.org.br/

repec.org

science.gov

pdfdrive.com

[carolinecrane]

PDFDrive stopped working a couple months ago, but you can try oceanofpdf.com instead.

[perpetual-stories]

Starting Strong Scenes in Your Writing

Scenes are the fundamental building blocks of novels and short stories, and each one should propel a story toward the climax.

Generally speaking, your scene structure should mirror the story structure. In other words, take a novel-writing approach to a scene, crafting a beginning, middle, and end. Like a story, the beginning of a scene should have a strong entry hook that pulls the reader in.

Start with the setting. Often a new scene signifies a change in time and location. Establishing the setting at the top of a scene helps your readers get oriented. It also sets the tone and mood of what will unfold in the coming pages. A setting can serve as much more than a backdrop in literature. Have your scene take place somewhere that builds tension and hinders your protagonist. If you’re writing a thriller, describe a dark and foreboding place where the worst might happen. Be descriptive and use sensory details to make your setting come alive before you jump into the action.

Use visual imagery. In screenwriting, writers have to think in pictures. What images will excite an audience at the top of a scene? Your approach should be the same when writing any kind of fiction. As you write the opening of a scene, use descriptive language to engage a reader through detailed imagery. Think like a screenwriter as you’re writing scenes.

Drop the reader into the middle of the action. Hit the ground running by starting a great scene in media res. It doesn’t have to be a fight scene or a car chase, but physical movement creates momentum and builds tension in a story. It’s also a way to instantly engage a reader. Be sure you begin the scene before the high points of the action so you build up to the scene’s climax.

Write a character-driven scene opener. A good scene starts by giving characters a goal. Start by putting your protagonist in a situation that creates an obstacle or opportunity for both the scene and the overarching storyline. Try starting with dialogue, like an intense conversation between your POV character and a mystery character whose identity is revealed later in the scene. If you’re writing from an omniscient third-person point of view, consider starting a scene with a secondary character, even the antagonist, and use it as a chance for deeper character development.

Summarize past events. You might choose to use the beginning of the scene to do a quick recap of what’s brought your main character to this place and moment in time. A summary is especially helpful if you’re writing in third-person and a new scene switches to a different character. Take the opportunity to remind the reader where we left off. Instead of a straight-forward update, get creative. Go into deep POV and let a character’s thoughts provide the summary instead of the narrator. Be sure to keep this summary brief—just a line or two—so you can get back into the action.

Introduce a plot twist. The start of a new scene is a chance to pivot and take your story in a new direction. Start a new scene at a turning point in your story. Dive into a flashback or character’s backstory, revealing critical information that changes the course of the story going forward.

Keep the purpose of the scene in mind. Effective scenes are clear about what they set out to accomplish and how they contribute to the overall plot. They might include plot points or reveal important information needed to move a story forward. Establish your scene’s intention from the very first word and keep the rest of the scene on point.

Rewrite until you’ve found the perfect scene opening. When you’ve finished the first draft of a scene, go back and read it through. If your scene needs something, but you can’t figure out what, it might be how the scene starts. The best way to know if your opening works is by reading how it plays with the rest of the scene. Review the last paragraph and see if it ties back to your beginning. If the intro feels weak, rewrite it. Maybe your real opener is hidden in plain sight somewhere else in the body of the scene.

Make sure your opening scene is your strongest. While your entire book should be filled with compelling scenes that start strong, the very first scene of your book needs to lead the pack. This is the reader’s introduction to your story and where you’re revealing the characters, the setting, and kicking off the plotline with the inciting incident. This first scene has to hook the reader from the first line so they keep turning the pages.

Read a lot of books. If this is your first novel and you need some inspiration and ideas to help you start off your scenes, start by reading other books. Choose a book by a bestselling writer like Dan Brown or Margaret Atwood. Study the different ways they approach every scene. Reading other authors is a great way to hone your scene-writing skills.

Follow like and reblog if you find these helpful!

[perpetual-stories]

How to Write a Believable World: A Guide to Worldbuilding

Let’s just get to it!

What Is Worldbuilding?

Worldbuilding is the part of the writing process that sets up where your story takes place

When you build a world, you include the landscape that your characters will inhabit, the tone of your story, its major preoccupations and themes, as well as the nature of its morality

Worldbuilding lays the groundwork for your characters to develop, providing the stage for where your creations will perform.

It’s okay if you can’t answer every question there is about your world, but setting down the basics will help you start writing and building.

What Is the Purpose of Worldbuilding?

The purpose of worldbuilding for writers is to give their story structure and somewhere real to live.

starting point should be to establish the rules and boundaries of your imaginary world and how everything exists within it

8 Tips to Guide Your Worldbuilding Process

Decide where to start. Whether it’s the language spoken by the inhabitants or the apocalyptic landscape, pick the aspect of the world you’re most excited about exploring and start there.

List the rules and laws. The inhabitants who live in this world you’ve created will have their own independent existence. What is their governing system? Who is in charge? Do they use magic in this world? If so, who can use it, and how powerful is it? Setting up boundaries helps create a more realistic world that functions like a real one.

Establish the type of world you want. Pick a genre. Is this a dystopian or fantasy novel (or both)? Does it take place in our Earth or is it an alternate earth? Knowing this will help figure out the tone and mood of your world.

Describe the environment. What’s the weather like? How does it affect the world or planet? Are there natural disasters? Are there extreme temperatures? What natural resources exist in this location? How do people use the land? Establishing the environment and how it impacts the life within it can be a useful detail in the creation of your world.

Define the culture. What do the inhabitants of this universe believe in? Is there religion? Is there a God? Do they have any sacred customs? What do they celebrate? Breathe life into the characters who populate this location by giving them a meaningful existence.

Define the language. How do the inhabitants communicate? Is there a common tongue? Are there any ‘bad words’ that are off-limits? Knowing what can and can not be said in your world can be an apt source for conflict.

Identify the history. What is the history of this place you’ve created? Have there been any world wars? Do the countries within your world have enemies? Are there rival races? Is there a sole antagonist? Providing the backstory for your world can give it an added dimension and make it feel more tangible.8. Use existing works to inspire. Revisit the works of successful authors to get inspiration. Never steal ideas, but review the work of other fiction writers to see how they answer the same worldbuilding questions within their own novel writing.

Use existing works to inspire. Revisit the works of successful authors to get inspiration. Never steal ideas, but review the work of other fiction writers to see how they answer the same worldbuilding questions within their own novel writing.

Somethings to Consider:

Diversity exists everywhere or maybe not

Magic and powers have limit, what are they?

Figure out the technology and it’s availability to the characters and environment

What’s the government system like? Or if there isn’t one — why?

How strict are the rules?

Are people treated equally?

Where do people get their food / water from?

Are there basic commodities: schools, hospitals, etc

Are there jobs? Can anyone work?

What’s transportation like? How isolated is your world?

These are just somethings to consider of course there are many but it’s up to you to decide how detailed you want it!

Please like, follow and reblog if you find these useful!

[projecttreehouse]

how to write relatable characters

writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:

- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:

what skills do they lack? what do they struggle with?

can their strengths be turned against them as a weakness?

what makes them react emotionally or impulsively?

are they aware of their flaws? if so, do they want to improve them or change them?

- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:

how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?

what skills do they have that hardly anyone else has?

what obscure thing are they obsessed with?

do they have a unique outlook on life compared to their peers?

- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:

how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?

what, if anything, will change or shatter their values?

are their actual values misaligned with their believed values?

- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:

how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?

why does the overarching stake matter to my character? why do they care?

how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?

- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:

what does connection mean to my character? how do they show how they value their connections or relationships?

how does my character’s behavior change when around different connections?

what connections define my character and their reality? how will these connections influence my character and/or the plot?

how will removing or challenging a connection change, influence, or motivate my character?

a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.

you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.

happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.

[callitgoodwriting-deactivated20]

adding characterization to a story you've already written

How? + What?

These are the questions to take with you when going through a draft to add characterization.

Your character will already be doing and saying things in a set situation. You got the most arduous part of writing down-- the story is there.

So now you're going to take that and ask WHAT? or HOW? with certain details. An interrogation of the story to dig more out when a scene might feel empty or the characterization feels off.

Let's say you want a scene where the character cries in a car.

Anyone can cry in a car.

But only YOUR character is going to cry in the parking lot of their old high school, so angry about their '96 Toyota's heater being broken that they slam their fist against the vents.

HOW? is about defining present behavior.

Take the situation your character is put in.

How do they react, how do they make decisions, how do they set and complete goals, how do they approach emerging emotions, how do they think about or observe the situation?

How do they deal with something like this based on personality, values, and their current life?

All of these things are informed by larger, earlier forces but "how?" is about the state of things that fluctuate.

With the car, present behavior is their anger at the broken heater and the decision to physically lash out. The fluctuation of personality, values, and current life converge in a way that is unique to this moment and this reaction.

WHAT? is about specificity with already-established reality.

Look at every variable in the scene, like the car or the location. They are established. The character had the car before the passage began. This was their old high school before the passage began. Making these variables specific tells us about the character's world outside this scene. What car? What significance of the location? Those are exclusive to the character and existed before the scene. At this point, they are out of the control of the character and therefore do not fluctuate.

An old Toyota with a broken heater and the parking lot of their former high school give us background information.

The main idea of this technique is to push yourself as a writer. Specificity, definition, and characterization enrich the narrative and add authentic complexity to your world.

As always, take what you found useful and forget the rest! Happy writing.

[call it good] writing

[ahopelessnecromantic]

Okay, hey, since this post took off, let me share some other action beats you can use to punctuate the silence when writing a conversation, that isn't sighing.

They… Grimaced. Shrugged. Frowned. Scrunched their nose. Yawned. Fiddled with a loose thread on their sleeve. Ran a hand through their hair. Worried/bit/licked their lips. Hummed. Replied with a rather rude hand gesture. Picked at a hangnail. Gingerly grazed a finger down the length of so-and-so's arm, avoiding their gaze like it would burn. Farted. Kicked a stone. Twirled a lock of hair. Twirled somebody else's lock of hair. Twirled a lock of hair on the disembodied head they'd just plopped onto the dinner table. Stuffed their hands into their pockets. Stuffed their hands into the open cavity at the neck of this dang disembodied head on the table. Feigned interest in their phone. Flipped a page. Flipped the table. Flipped the script and escaped the pages. I repeat, the character has escaped and is in the real world. God have mercy on us all. Pissed themselves.

Their… Shoulders sagged. Brows knit/furrowed. Muscles tensed, tightening and locking up like a key twisting in a rusty lock. (Did you just repeat lock twice in the same sentence? Ew). Muscles relaxed, tension spilling from their skin and pooling like blood at their feet. Stomach dropped. Heart beat slower and slower until it ceased to beat at all, which, frankly, is going to be an issue if they hoped to carry on this conversation. Heart beat faster and faster and faster and faster and faster and wouldn't slow down, aw, shit, please, just slow the fuck down…

And lastly: nothing! Don't write anything. Don't say the character does anything. Not blinking, not sighing, not grimacing, or shrugging. Frankly, you'd be surprised at how little of these small reactions you really do need to write. Allow your readers' imagination to fill in the gaps. Isn't that also part of the fun of reading?

Anywho feel free to add.

[jellogram]

HELLO WRITERS AND POETS OF TUMBLR! DO YOU WANT TO GET PUBLISHED IN A LITERARY JOURNAL?

For years I've been submitting to literary journals and gotten fed up with the process, so I've decided to start my own! It's called Goosewax! There is NO submission fee and NO long waiting period! Already published your work to Tumblr, Wattpad, Substack, etc? Not a problem. I have no issues with accepting previously published work!

Obviously this journal is brand new, so I can't claim any kind of prestige, but it is an official literary journal and your work would be considered published! This means that in all your cover letters from now on, you could list publication in a journal. You'd also be helping an independent journal get its feet off the ground.

There are very few rules to submit, but be sure to read them on the Submissions page linked below. Basically I accept short stories, creative nonfiction, and poetry all with a maximum of 5k words (no fanfiction please, only works that don't require knowledge of particular media). Since I don't have a backlog to get through right now, turnaround time will be lightning fast and if you choose to provide an email (optional) you'll hear back about your submission in a day or two. Here's the submission page:

Goosewax Submissions

Goosewax is an independent online journal that is currently accepting submissions from any and all writers, with an emphasis on unrecognized

You can also email me at [email protected] with your submission attached, if you prefer. If you have trouble with either of these, feel free to DM me on Tumblr. You can also remain entirely anonymous if you'd like, or be published under a username. It's up to you! If you don't wish to submit, reblogs are GREATLY appreciated as I try to get this thing going. I am super excited about this project and I can't wait to read your submissions!

[lyralit]

show, don't tell:

anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking

frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping

sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps

happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking

boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails

fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands

disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm

tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile

confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions

[cedar-west-deactivated20230408]

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

[theglitchywriterboi]

I hope every writer who sees this writes LOADS the next few months. Like freetime opens up, no writers block, the ability to focus, etc etc you're able to write loads & make lots of progress <3

[kosmo-mckogane]

rereading my own writing is just a constant fluctuation between "damn, girl, you wrote this? (affectionate)" and "damn, girl, you wrote this? (derogatory)"

[aurevoirblog-deactivated2023082]

I am also “damn, girl, you wrote this? (forgetful)”

[iloveyou-writers]

important writing reminders

execution matters more than something being cliché or overdone

it is also ok to write something that is utterly cliché or overdone

having a bad day of writing does not make you a bad writer

writing in your second or third language isn’t easy, you’re doing great. hell, writing in your first language is hard sometimes!

writing advice = tools. not rules. you are not meant to follow every rule or tip you read about. know the rules so you know which ones to break

every writer is capable of writing a captivating story, but your story might not be everyone’s cup of tea. and that’s ok. you will find your people

you don't have to excel at every genre. you can write something because you think it’s fun, or fascinating. it doesn't always have to be a matter of writing something only because you’re good at it. it's ok to explore different things (the world is your oyster, as they say)

— D

[avelera]

The Causal Chain And Why Your Story Needs It

The most obnoxious thing my writing teacher taught me every story needed, that I absolutely loathed studying in the moment and that only later, after months of resisting and fighting realized she was right, was something called the causal chain.

Simply put, the causal chain is the linked cause-and-effect that must logically connect every event, reaction, and beat that takes place in your story to the ones before and after.

The Causal Chain is exhausting to go through. It is infuriating when someone points out that an event or a character beat comes out of nowhere, unmoored from events around it.

It is profoundly necessary to learn and include because a cause-and-effect chain is what allows readers to follow your story logically which means they can start anticipating what happens next, which is what is required for a writer to be able to build suspense and cognitively engage the audience, to surprise them, and to not infuriate them with random coincidences that hurt or help the characters in order to clumsily advance the author's goals.

By all means, write your story as you want to write it in the first draft, and don't worry about this principle too much. This is an editing tool, not a first draft tool. But one of the first things you should do when retroactively begin preparing your story to be read by others is going step by step through each event and confirming that a previous event leads to it and that subsequent events are impacted by it on the page.

[elidyce]

When your character is standing knee-deep in literal or metaphorical shit with a weapon in one hand and their last hope of surviving evaporating around them, and they’re wondering how their simple smuggling job/adulthood ritual/simple morning in an ordinary village led to ALL OF THIS, both they and the reader need to be able to backtrack through every single choice, mishap, attempt at fixing earlier problems and panicky flight or fib led them unerringly to this moment. That chain cannot have breaks in it, or you lose the whole impact.