How to write European characters for Americans (and for everyone else, but especially for Americans):
Rule number one: Europe is a continent, not a country. No, European countries are not like American states. They are all totally autonomous and may be massively different even when they are neighbours. So everything I tell you might not be the case in every country in Europe or not in all parts of all countries!
-not everyone owns a car and many people prefer public transport or bicycles over driving, especially in north western Europe. Places that cannot be reached by foot exist, but are rare.
- Euros are the currency in most countries, but not in all. Im countries poorer than the EU average, Euros might be accepted, too, in richer countries they will not be. Cents and 1€ & 2€ are coins, the rest are notes. The notes don't all have the same sizes! Cash payment is favored in some parts of Europe, card in others. Debit cards are way more common than credit cards!
- Eastern European countries are way poorer than Western European ones. You see a lot of people moving west for work. People from Western Europe hardly ever move to an Eastern European country.
- In Northern and Central Europe, pretty much everyone younger than let's say 70 speaks at least a decent English. Millennials and Zoomers often also speak French or Spanish. In Southern Europe, the younger generations usually speak English, but elderly people are usually monolingual. In Eastern Europe, German and Russian are common second languages, often even more common than English.
- in an elevator, people usually lean against the walls and look into the middle. Standing in the middle and facing the door is uncommon. Unlike in America, you keep your fork always in the same hand and do not move it to the other hand during the meal.
- Northern and Western European countries have got a lot of foreign citizens. South Asians, Africans, Caribbeans and other Europeans are typical in the UK, Arabs and Africans in France, Arabs and Latinos in Spain, Africans in Italy, Turks, Poles, Arabs and Russians in Germany, Arabs and South Asians in the Nordics. Eastern European countries are way whiter and their foreign population mostly consists of people from neighbouring countries.
- some countries prefer their local cuisine, others prefer international food. If a country has got a world-famous cuisine, it probably belongs in the first category, if not in the second.
- With the exception of a few countries (Ireland, Finland and the Baltics), football is the number one sport. Every country has got a national professional league, but especially people from smaller countries often support a team from another country, usually from England or Spain. Women's football is way smaller than in the US and is often ignored or forgotten. Even though each of these has got at least a small fan base in Europe, you cannot expect people to know anything about NBA, NFL, NHL or MLB. Other notable team sports are handball, basketball, ice hockey and rugby, but this depends very much on the country.
- in most countries, sports clubs play a huge role, and school and especially university sports teams hardly exist.
- colleges don't really exist in most countries. If you're going for an academic degree, you'll go to a university, for other careers you'll usually get trained by your company and acquire some kind of diploma. I actually never really understood the difference between a college and a university and so do probably most people here. Studying is not free in every country, but public universities are usually very cheap and under 1000€ per year. Applications for universities are way easier than in the US and usually free. Many people go to university in their hometown. It is not common to move out from home before your early twenties, especially in Southern and Eastern Europe, unless you go studying in a different city. Students live with their parents, in a flat share, with their partner, very rarely alone or in a student's residence. They do NOT share their bedroom with anyone and fraternities or soririties in an American sense do not exist in any country I know.
- Windows can and will be opened frequently. Air conditioning is common only in the Mediterranean and is used to cool down the room, not to let fresh air in. For that purpose, we open the window.
- for distances of a few hours, Europeans either take the car or the train. You can reach every major European city by train, but this doesn't mean the train service is always good. For longer distances, flights are common.
- Germany is always less modern and the Baltics are always more modern than you expect.
- Europeans are just as political as Americans, but every country has got a great variety of different political parties, even though usually 1-3 of them dominate the political landscape. "Liberal" means "center-right" in Europe. Leftists would define themselves as socialists, social-democrats, communists or anarchists. Most countries have at least one conservative AND one extreme right party.
- You can't just fire someone for no reason in most European countries. You'll often have to pay them at least a few monthly salaries as compensation. Every country has got universal health care, though it isn't always good or accessible, and it does NOT depend on your employment. The number of sick days is not limited and even though some countries work even more hours than America, people usually can't be contacted by their employer in their free time.
- the EU is often criticised, but mostly viewed as positive. National laws may not break European law and you see EU flags on many public buildings.
- if someone owns a gun, they are a hunter, a cop, a soldier or a gangster.
- parties start and end way later than in the US. In most countries, no club will close before 3am and you don't arrive at the club before midnight. Sometimes you can party until 8 or even 10 am.
- it is common to cross an international border for shopping if products are cheaper in the other country.
- people are less religious than in America. Even in the most hardcore Catholic or Orthodox regions, you don't see shit like in the US. People there might be frantically kissing some Saint's painting, but they don't believe Jesus died for their right to own a gun or stuff.
We often think of dialogue as something that’s just about what characters say, but let’s talk about what they don’t say. Silence can be one of the most powerful tools in your writing toolbox. Here’s why:
1. The Unspoken Tension
When characters leave things unsaid, it adds layers to their interactions. Silence can create a tension that’s so thick you could cut it with a knife. It shows things are happening beneath the surface—the real conversation is happening in what’s left unspoken.
Example:
“So, you’re leaving, huh?” He didn’t look up from the table, his fingers tracing the rim of his glass, slow and deliberate. “Yeah.”
“Guess I should’ve expected this.”
(Silence.)
“You’re not mad?”
“I’m not mad,” she said, but the way her voice broke was louder than anything she'd said all night.
2. Building Anticipation or Drama
Sometimes silence can heighten the drama, creating a pause where the reader feels like something big is about to happen. You don’t always need words to convey that sense of dread or anticipation.
Example:
They stood there, side by side, staring at the door that had just closed behind him. “You should’ve stopped him.”
She didn’t answer.
“You should’ve said something.”
The room felt colder.
“I couldn’t.”
(Silence.)
3. Creating Emotional Impact
Sometimes, saying nothing can have the biggest emotional punch. Silence gives the reader a chance to interpret the scene, to sit with the feelings that aren’t being voiced.
Example:
He opened the letter and read it. And then, without saying a word, he folded it back up and placed it in the drawer. His fingers lingered on the wood for a long time before he closed it slowly, too slowly. “Are you okay?”
He didn’t answer.
TL;DR
Silence isn’t just a pause between dialogue—it’s a powerful tool for deepening emotional tension, building anticipation, and revealing character. Next time you write a scene, ask yourself: what isn’t being said? And how can that silence say more than the words ever could?
i often see writers sharing a sentiment of struggling with writing kiss scenes which honestly bleeds into other portrayals of physical intimacy. i see it a lot in modernized styles of writing popularized by the recent trend in publishing to encourage short, choppy sentences and few adverbs, even less descriptive language. this makes intimacy come across awkward, like someone writing a script or clumsy recounting of events rather than a beautiful paragraph of human connection.
or just plane horniness. but hey, horny doesn't have to be mutually exclusive with poetic or sensual.
shallow example: they kissed desperately, tongues swirling and she moaned. it made her feel warm inside.
in depth example: she reached for the other woman slowly and with a small measure of uncertainty. the moment her fingers brushed the sharp, soft jaw of her companion, eliza's hesitance slid away. the first kiss was gentle when she finally closed the distance between them. she pressed her lips lightly to gabriella's in silent exploration. a tender question. gabriella answered by meeting her kiss with a firmer one of her own. eliza felt the woman's fingers curling into her umber hair, fingernails scraping along her scalp. everything inside eliza relaxed and the nervousness uncoiled from her gut. a warm buzz of energy sunk through her flesh down to the very core of her soul. this was right. this was always where she needed to be.
the first complaint i see regards discomfort in writing a kiss, feeling like one is intruding on the characters. the only way to get around this is to practice. anything that makes you uncomfortable in writing is something you should explore. writing is at its best when we are pushing the envelope of our own comfort zones. if it feels cringy, if it feels too intimate, too weird, too intrusive, good. do it anyway! try different styles, practice it, think about which parts of it make you balk the most and then explore that, dissect it and dive into getting comfortable with the portrayal of human connection.
of course the biggest part comes to not knowing what to say other than "they kissed" or, of course, the tried and true "their lips crashed and their tongues battled for dominance" 😐. so this is my best advice: think beyond the mouth. okay, we know their mouths are mashing. but what are their hands doing? are they touching one another's hair? are they scratching or gripping desperately at one another? are they gliding their hands along each other's body or are they wrapping their arms tightly to hold each other close? do they sigh? do they groan? do they relax? do they tense? are they comfortable with each other or giddy and uncertain? is it a relief, or is it bringing more questions? is it building tension or finally breaking it?
get descriptive with the emotions. how is it making the main character/pov holder feel? how are they carrying those emotions in their body? how do they feel the desire in their body? desire is not just felt below the belt. it's in the gut, it's in the chest, it's in the flushing of cheeks, the chills beneath the skin, the goosebumps over the surface of the flesh. everyone has different pleasure zones. a kiss might not always lead desire for overtly sexual touches. a kiss might lead to the desire for an embrace. a kiss might lead to the impulse to bite or lick at other areas. a kiss could awaken desire to be caressed or caress the neck, the shoulder, the back, the arms etc. describe that desire, show those impulses of pleasure and affection.
of course there is the tactile. what does the love interest taste like? what do they smell like? how do they kiss? rough and greedy? slow and sensual? explorative and hesitant? expertly or clumsily? how does it feel to be kissed by them? how does it feel to kiss them?
i.e. examine who these individuals are, what their motives and feelings are within that moment, who they are together, what it looks like when these two individuals come together. a kiss is not about the mouth. it's about opening the door to vulnerability and desire in one's entire body and soul.
A person's eyes can reveal a wide range of emotions. A simple gaze, a blank stare, or a narrow squint can all convey deep meaning. The expressive power of human eyes makes them the perfect literary tool for character development in fiction writing.
Tips for Describing Characters' Eyes in Your Story
In literature, a character’s eyes are a powerful resource writers can employ to engage readers in a scene. A character’s eyes can serve as a window into their soul. Here are 8 tips for describing eyes in your writing:
Describe eye color in different ways. Providing visual information about a character allows readers to visualize imagery in their mind. Eye color, along with hair color, is one of the first things people mention when describing someone’s appearance. Include it when sketching your characters, but be sure to do it in a descriptive way. Think of related words to describe eye color—blue eyes can be baby blue, light brown eyes might be described as amber, and green eyes can be referred to as emerald. Give a mysterious character black eyes that are described as obsidian—black, shiny, impenetrable. If you get stuck, use a thesaurus and come up with word lists for ways to describe eyes in your story, or use Google to find how other writers have described eyes to give you ideas.
Think about the entire eye. When describing eyes, think of the orbs in their entirety—from eyebrows to lids to lashes. What can they reveal about a character? Describe their shape. Sloe eyes are almond-shaped eyes, monolids are eyelids that don’t have a crease, hooded lids droop somewhat over the eyes. You can also describe how eyes appear in relation to the whole face. Are they close-set or deep-set? Is your character wall-eyed or goggle-eyed? Eyes can be sunken into their sockets. Zoom into details like the eyeball or the dilated irises of a character. The condition of eyes can also be a revealing tool. Dark circles under the eyes represent exhaustion. Puffy eyes mean a character has been crying. If a character has crows feet, that can be the author’s way of signifying middle age.
Use eyes to signify character traits. Writers can use eye descriptions to highlight character traits. An innocent child or naive character is often referred to as doe-eyed. A bad guy might have gunmetal eyes. Beady eyes conjure images of a rat. Rheumy eyes signify an elderly person. Steely eyes translate to determination. A twinkle in the eye is the hallmark of a jovial character. Eyes can be warm and inviting.
Describe eyes in ways that reveal intentions. Eyes gather information for a character, and they also reveal information about a character’s intentions or feelings towards a subject. When talking about a character’s body language, start with the eyes. A raised eyebrow casts doubt. Eyes suspiciously look over the top of eyeglasses. A character flirtatiously bats their eyelashes.
Use eye movement to forecast plot points. Eyes can be an active subject in a story and can help push the plot forward. Eyes can gaze, stare, glare, sparkle, pierce, roll, flicker, lock in, narrow, close, open wide, and shoot daggers. The movement of eyes can represent a character’s reaction to events or hint at plot points. A character might lower their eyebrows as they grow suspicious of another character—a writer’s way of foreshadowing who the killer might be.
Use eyes to heighten conflict. If a strong protagonist is wearing contact lenses, glasses, or even a monocle, a writer might use their poor vision as an obstacle that hinders them in moments of conflict. If a character blinks a lot, it might be a sign of insecurity or nervous energy. A writer can take a character’s sight away to strengthen their other attributes.
Recognize that eyes can betray a character. Eyes can be a tool used for contrast. While a character says one thing, their eyes might say another. For example, if a character comes home late with bloodshot eyes, it lets the reader know they were not working late like they said and gives the character away.
Use props to amplify the expressiveness of a character’s eyes. People often accessorize their eyes. Think of people you know and the different ways they hide or show off their eyes. A teenage character might have an eyebrow piercing. A character might paint their eyelids in colorful eye shadow or make their lashes stiff with mascara. A mysterious man, perhaps a law enforcement officer, might walk through a door wearing aviator sunglasses, pulling them off to reveal who he really is.
Identify and fix macro problems relating to plot, character development, narrative arc, and theme.
THEME & IDEA
Is a compelling dramatic question present throughout the book?
Is there a clear theme? Is it well-developed and engaging?
Can you recap your story or argument in this single sentence? “[Character] must [do something] to achieve [goal] or [reason why the audience should care]”
Is there a clear central conflict? Is it resolved by the end of the book?
STRUCTURE Fiction & Memoir; Nonfiction
Fiction & Memoir
Is there a strong beginning, middle, end?
Does your exposition effectively set the story? Introduce the cast of characters? Impart backstory?
Is your rising action triggered by a compelling inciting incident? Does it escalate the conflict and raise the tension?
Is the pace of each act in the narrative arc appropriate?
Does the plot maintain forward movement in each chapter? Do subplots support that momentum?
Are all major plot threads and subplots resolved by the denouement?
Do the plot points sync with the narrative arc and theme that you want to convey?
Do the plot twists make sense? Are there plot holes in the story?
Nonfiction
Does the first chapter of your book introduce your central question and explain why it’s important to answer?
Does your exposition adequately introduce readers to your topic? Does it provide enough context for them to understand your main argument?
Does each chapter or section build on the information that comes beforehand?
Is the length and pace of each chapter appropriate?
Does each chapter contain an appropriate mixture of fact and anecdote?
Is your structure engaging and easy to follow?
Does your book contain any extra information that distracts or detracts from the main argument?
Does the protagonist have strengths and weaknesses? Do these interact with the story appropriately?
Does the protagonist grow and change?
Does the protagonist have defining mannerisms? Clear character traits?
Does the protagonist have external and internal goals? Are they visible throughout the story?
Does the protagonist act believably in each scene? Is the protagonist’s behavior consistent? Chart the protagonist’s character arc over the course of the story. Is it clearly and compellingly conveyed in the story?
Antagonist
Does the antagonist have story motivation?
Does the antagonist have a believable backstory?
Is the relationship between the protagonist and the antagonist clearly defined?
Supporting Cast
Is the supporting cast fleshed out?
Do the secondary characters have a reason to be there? Do they:
Reveal key details?
Advance the plot?
Motivate the protagonist?
Help define the setting?
Are interactions between the secondary character and the protagonist believable and well-placed?
Do the secondary characters have distinguishing characteristics or mannerisms?
Setting
Does the setting make sense for the purposes of the story? Does it matter to the plot?
Are descriptions of the setting rendered effectively and appropriately?
Does each scene convey a clear sense of place and time?
Is the worldbuilding fully realized? Logically consistent?
Fact-check each scene in relation to the setting. Are objects, props, mannerisms, and behaviors native to the time and place of the story?
PART 2: The "Scene" Level
Strengthen specific elements within individual scenes
SCENES & CHAPTERS
Is the opening scene effective?
Does it start in the right place?
Does it have a hook? Is the hook immediately gripping?
Are the scenes appropriately paced to grab the readers’ attention? Are the chapter lengths effective?
Does each scene serve a purpose in the story?
Is each scene oriented in terms of time and place?
Are scene transitions smooth?
DIALOGUE
Does the dialogue serve a purpose in each scene? Does it:
Provide information?
Advance the plot?
Help the pace?
Does each character have a distinct voice?
Is the dialogue believable for the time and place of the story? Is the word choice reflective of the time period?
Does the dialogue use action beats to control the pace of the scene?
COMPOSITION Voice & Point of View; Prose
Voice & Point of View
Is the narrator’s voice consistent?
Is the voice appropriate given the context of the book and its story or argument?
Is foreshadowing used effectively, if applicable? Metaphors? Similes?
Is the viewpoint character always clear? Is it consistent between scenes?
Is the point of view suitable for each scene? Is there a better alternative for a viewpoint character in any given scene?
Prose
Is the backstory of the world or characters efficiently woven into the story?
Does each sentence contribute something to the story?
Do you “show, don’t tell” with your dialogue, characters, and setting?
QUOTES & REFERENCES
Are quotes and references used to support the argument?
Are all of your sources reliable?
Do quotes help aid the narrative progression, or do they interrupt it?
Have you paraphrased where possible?
Are there appropriate transitions before and after references?
Are all quotations accurate?
Have you chosen a citation style?
Have you cited all references according to that style?
PART 3: The "Line" Edit
Ensure the text is objectively correct. This covers everything from typos and grammar to continuity and syntax.
PUNCTUATION & DIALOGUE
Limit the use of adverbs in your dialogue tags. (Show, don’t tell!)
✗ “Why did you eat my turkey sandwich?” said Harry angrily.
✓ Harry upended the table. “Why did you eat my turkey sandwich?”
Check for the use of other dialogue tags and replace them with “said” and “asked,” unless other emphasis is absolutely necessary.
✗ “Did you just stab me with this thimble?” queried Amber.
✓ “Did you just stab me with this thimble?” asked Amber.
Check that all of the dialogue is formatted correctly.
✗ “I love you.” Said Pam.
✓ “I love you,” said Pam.
VOICE
Limit the use of weak verbs and adverbs in general.
✗ Leonard ran quickly to school.
✓ Leonard sprinted to school.
Replace all “hidden” verbs.
✗ Offer an explanation
✓ Explain
Check for the use of passive voice and replace with active voice, whenever appropriate.
✗ The ball was kicked.
✓ She kicked the ball.
Use “telling” words such as “felt,” “saw,” “knew,” and “seemed” sparingly.
Need some creative ways to give your characters a real fight for survival? Here are 10 ideas:
1. Punctured Artery
A puncture to major arteries like the femoral artery (thigh), the carotid artery (neck), or radial artery (arm) can cause rapid blood loss. It starts off with a sharp pain, weakness, lightheadedness and eventually can lead to hypovolemic shock. Requires urgent medical attention.
2. Punctured Eye Socket
A punctured eye socket will cause blood vessel damage leading to internal bleeding. I would use this for non-combat characters trying to get away. The eyes are an easy weak spot + you don’t need much strength to cause a critical injury/puncture. Also good for a protag's tragic backstory.
3. Torn Achilles Tendon
A torn Achilles tendon can result in severe bleeding if nearby arteries or veins are damaged. Your character will be forced to hobble away as pain causes their foot to swell and bruise. Plus, you can easily adjust the pain levels per your scene, from swift cuts to explosive jumps.
4. Neck Hyperextension (Hangman’s Fracture)
This injury will fracture the C2 vertebra and can lead to spinal cord damage, paralysis or sudden death. This isn’t a light injury your character can come back from, so I would suggest using it only when you’re aiming for death.
5. Pierced Lung
A punctured lung will lead to a pneumothorax where air escapes into the chest cavity, collapsing the lung. Characters with this injury may have difficulty breathing, chest pain, and a cough that produces frothy blood (all the dramatics you need).
6. Severe Concussion
A severe concussion will lead to confusion, vomiting, immobility and memory loss. More dangerously, brain swelling, internal bleeding and damaged brain tissue. Plus, it has a long recovery period.
7. Shattered Pelvis
If you need something severe that restricts mobility but also causes severe pain then this is perfect! Involves signs of shock, internal bleeding, numbness, swelling—really a lot of things. Can occur if OC falls from a high place, hit repeatedly, car accident, etc.
8. Internal Bleeding from Blunt Force Trauma
I like using this when you need something subtle since it doesn't show immediate symptoms. Over time, they will feel weak, cold, nauseous, and intense pain. Perfect if you want that 'everyone made it out then suddenly someone collapses' moment.
9. Intestinal Perforation
A sharp blow or penetrating wound can cause a tear in the intestines, leaking bacteria into the body cavity, then peritonitis. It can go from small stomach pain to near death pretty quickly. Without prompt medical care, sepsis can set in, causing organ failure and death.
10. Cut to the Jugular
If you need something more visibly dramatic then go with the classic cut to the jugular. A warm rush of blood will pour out, and blood would spurt with every heartbeat. Causes panic, choking, and internal bleeding too. All the blood and gore you need.
This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. Remember the worse the injury the more likely your character is to die (so be realistic folks). Happy writing! :)
Looking For More Writing Tips And Tricks?
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
10 Non-Lethal Injuries to Add Pain to Your Writing
New Part: 10 Lethal Injury Ideas
If you need a simple way to make your characters feel pain, here are some ideas:
1. Sprained Ankle
A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.
2. Rib Contusion
A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.
3. Concussions
This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.
I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.
4. Fractured Finger
A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.
5. Road Rash
Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.
6. Shoulder Dislocation
This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.
7. Deep Laceration
A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.
This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.
8. Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.
If you want to explore writing burns, read here.
9. Pulled Muscle
This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.
10. Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.
This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)
Looking For More Writing Tips And Tricks?
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
psychological concepts as reference for your poem/story (pt. 1)
Acute stress - Results from the sudden onset of demands or events that seem to be beyond the control of the individual. This type of stress is often experienced as tension headaches, emotional upsets, gastrointestinal disturbances, and feelings of agitation and pressure.
Barnum statements - Generalities or statements that could apply to anyone. A good example is the astrology column published in daily newspapers.
Core conditions - According to Carl Rogers, in client-centered therapy, 3 core conditions must be present in order for progress to occur: (a) an atmosphere of genuine acceptance on the part of the therapist; (b) the therapist must express unconditional positive regard for the client; and (c) the client must feel that the therapist understands him or her (empathic understanding).
Daily hassles - The major sources of stress in most people’s lives. Although minor, daily hassles can be chronic and repetitive, such as having too much to do all the time, having to fight the crowds while shopping, or having to worry over money. Such daily hassles can be chronically irritating though they do not initiate the same general adaptation syndrome evoked by some major life events.
Eye-blink startle method - People typically blink their eyes when they are startled by a loud noise. Moreover, a person who is in an anxious or fearful state will blink faster and harder when startled than a person in a normal emotional state. This means that eyeblink speed when startled may be an objective physiological measure of how anxious or fearful a person is feeling. The eye-blink startle method may allow researchers to measure how anxious persons are without actually having to ask them.
Frustration - The high-arousal unpleasant subjective feeling that comes when a person is blocked from attaining an important goal. For example, a thirsty person who just lost his last bit of money in a malfunctioning soda machine would most likely feel frustration.
Global self-esteem - By far the most frequently measured component of selfesteem; defined as “the level of global regard that one has for the self as a person” (Harter, 1993, p. 88). Global self-esteem can range from highly positive to highly negative, and reflects an overall evaluation of the self at the broadest level (Kling et al., 1999). Global self-esteem is linked with many aspects of functioning and is commonly thought to be central to mental health.
Hostile forces of nature - What Darwin called any event that impedes survival. This includes food shortages, diseases, parasites, predators, and extremes of weather.
Identity foreclosure - A person does not emerge from a crisis with a firm sense of commitment to values, relationships, or career but forms an identity without exploring alternatives. An example would be young people who accept the values of their parents or their cultural or religious group without question.
Inhibitory control - Ability to control inappropriate responses or behaviors.
Source ⚜ More: On Psychology ⚜ Word Lists ⚜ Notes & References
okay, this is complicated, but I'm trying to write a scene that features two characters that have the same gender but neither of their names are revealed yet. so it's getting really weird. do you have any advice on how to possibly do this?
There are definitely ways to describe unrevealed characters (or a character without the use of their names). You’ll find it among classic literature, poetry, and even shorter fiction–all dependent on the author.
What makes your character notable?
When thinking about how to describe and/or narrate your character without using their name, ask yourself what makes them stand out the most. This isn’t just asking “who” your character is; this is asking what makes them who they are. And there are multiple ways to do this.
Personality
To start, maybe your character has a very distinctive personality. Are they extra grumpy or happy? Usually, that’s one of the first things we notice when interacting with other people. We notice first if our family member seems grouchy one particular morning or if a friend looks like they’re about to share the best news of the world during lunch hour.
When telling a story, narrating about a woman being mean to another can be as simple as dubbing her “the mean woman” or “the mean lady.” That’s just as we would start describing someone in real life without knowing who they are. The same can be said about “a nice man” who enters the story and tries to calmly interact with the mean woman who’s making a fuss.
Narrate a character without using their name, but use their personality, mannerisms, or even mood. And this works with using different pronouns, genders, and/or identities; as well as whether the POV of your character (or narrator) knows the other character in question or not.
Appearance
Something else we notice as people while first interacting with others is their appearance. And this involves more than simply what they’re wearing. Again, it must be notable enough as a feature.
Rather than writing a laundry list of what a character is wearing in prose, focus on what pieces of their attire make them stand out in a scene or situation. Take, for example, someone wearing winter layers in the middle of summer and vice versa. Or someone with neon pink hair. Or a really tall person among the crowd.
If you have two characters speaking with each other, such as two women, it can be as simple as a difference in hair color. “The blonde spoke to the brunette.” Yet there are ways to be more creative with your descriptors. Maybe one of them is “the lady in pink” (or “pink lady” for easier word flow) because their entire outfit is pink from head to toe. Sit down and truly consider all attributes of your character(s).
Utilizing appearance and personality to form monikers also works in a setting where all characters dress the same. In The Red Badge of Courage by Stephen Crane, the story takes place during the U.S. Civil War and follows the main character on his journey of being a soldier. Therefore, he and the other characters are all in uniform. Per Crane’s writing style, their names are only utilized in dialogue.
Henry, the main character, is dubbed as “the youth.” Then, other characters are further named as the tall soldier, the loud soldier, the blatant soldier, the sergeant, and even the fat soldier.
Profession/Activity
Consider what your character does, or is currently doing, in your scene. Addressing them as part of their profession is another option for creating a moniker.
Here's an example for a more realistic setting: You have a character walking inside a big corporate building for a job interview–maybe the CEO themself. If the CEO’s name isn’t revealed yet for any reason, or you prefer not to use their name in narrative at a particular moment, referring to the person as “the CEO” is still a way to give them a moniker in narrative.
Or, perhaps you have a character meeting an artist, such as a painter, to collect a piece for their home. In this case, “the painter” or “the artist” also works in prose.
Use other senses
You may have noticed that we discussed a lot of visual attributes of a character that would make great monikers in narration. But don’t forget about the other senses! It is just as efficient to come across a smelly boy or a loud girl and dub them as such. For touch, perhaps a character emerged from a sewer covered in grime, and they feel extra slimy!
Once again, think about how you notice and interact with others during day-to-day life. We may first notice things about other people like “messy hair,” “dressed formally,” or “weirdest outfit ever,” but all your senses are put to work when you are present in any situation. A girl sings off-key in the distance, or the new date your character meets smells like they haven’t showered in a week. These are all great descriptors to use in creating monikers!
Consider point of view and narrator
By now, you should have ideas on how to tackle narrating your characters without using their names, but I do want to add a final note! Keep in mind your character’s POV (or narrator) when writing about another character. Does your character/narrator know this person? Monikers like “the stranger” work just as well in prose, and even add some mystery or tension to the mix!
First person can make it simple with prose like, “I stared at the tall stranger. I never met him before, but this is now the second time he’s shown up. Just who is he? Will I ever find out?”
Third person could be, “The figure standing before the boy turned to face him, a complete stranger. Yet the boy did notice the colors on the figure’s uniform–a captain. He stiffened to attention.”
This accomplishes a fun way to introduce characters, where the reader is meeting a new character at the same time the character POV/narrator is. This also allows you to control the pace of bringing in new characters to your story too, versus dumping a list of names and descriptions all at once to overwhelm your reader. From a total stranger in one chapter to realizing a military uniform in another, and eventually learning the new character’s name via dialogue later.
You can read the full post with additional examples at the link below!
Not every character's name may be mentioned immediately in your story. So how do you describe them if readers don't know their names?
Worldbuilding. You either love it and spend all your time dreaming up rules rather than writing, or you hate it and try your best to avoid it despite writing fantasy or scifi.
Or you are in the middle, which is where you should be. You have a healthy appreciation for what makes worldbuilding so special, but you also don't obsess over it.
Worldbuilding does not need to be complicated to be effective, as I've harped on a few different times now. So how do you strike the right balance? Let's take a look.
As always, this is just my opinion based on my own efforts creating The Eirenic Verses. You can disagree and that is fine. However, I hope you'll consider thinking about what I offer here as you craft your own world.
A lot of what people focus on when worldbuilding is not what the audience cares about.
Very few people like to read a book littered with random terms they have to keep track of. We want to build a unique world, but we also don't want to throw such an extreme amount of lore at our readers that they tune out.
When worldbuilding, we want to consider the cognitive load on our audience. This is how much information the reader needs to remember throughout your story so that they can follow along.
Cognitive load includes things like:
Character names and appearances
Relationships between characters
Place names, such as cities and countries
Unique mythological creature or fauna
Backstory, including mythology and folklore
Language names
The general plot (who is the protag, who is the enemy, etc)
Magic usage (who has the power, how they acquire it, any conditions it comes with, etc)
Power dynamics between characters, countries, and so on
Political systems, if included
Even in the most barebones fantasy story, this is a lot to remember. As such, we need to consider what is most important for our readers to generally understand the plot and emphasize this, letting the rest serve as background information that is not quite as essential. The more emphasis we put on something, the more we direct a reader's attention.
At the same time, we want to create a world that feels lived-in and interesting so that readers want to know more. How do we do this?
Consider what you think about foreign countries in our world.
Most of us will have a general concept of a country but only will think about the specifics if it is currently relevant.
Let's take Japan for an example. (I'm a bit of a weeabo, okay?) Here is what I personally think about when I imagine Japan, in order of what I consider important.
Japanese cuisine (sushi, ramen, ochazuke, sake, lots of rice dishes, seafood)
What the people are like according to my own stereotypes/cultural perceptions (polite, quiet, respectful, hardworking, punctual)
Climate and geography (temperate, island country, volcanos, mountains, beaches)
Any festivals I might know of (cherry blossom festivals, moon viewings, Obon)
Your own list may have these in a slightly different order, but it's probably what you most think about.
Notice that you will likely not think about these things:
Political system
Specifics of the language
Interpersonal hierarchies
International relations
Specific landmarks
Specific historical events
Famous figures
So why do we think like this? Because in real life, we also have a cognitive load that we must balance with things that are more relevant to our everyday lives.
If I tried to memorize specific details of every country in the world, I would go insane. I have better things to do, so I create a general image of a country based on pictures I've seen, people I've met, food I've eaten, and so on. You do the same thing.
To be realistic, you do not need to be specific. You need to approach worldbuilding the same way people generate their world knowledge: basic concepts and visual imagery.
What to emphasize in worldbuilding
So let's break this down on what you want to think about when creating a world.
Food is one of the most accessible elements of a culture.
Food is how many people learn about different cultures for a simple reason: if you have the ingredients, you can cook food from anywhere. You don't need to be introduced to it by a native of that culture.
Plus, humans tend to like food. We kind of need it to exist.
Think about these things when considering national cuisines and eating habits of your fantasy world:
Do they have spicy food? Bland food? Heavy hearty dishes?
Is most food served hot or cold?
What kind of spices and vegetables do they use? Root vegetables, beans, cinnamon? Salt?
What type of meat do people eat (if any)? Seafood, poultry, beef, pork?
How is bread prepared? What is it made of? (Look, nearly every culture has some sort of bread, we love carbs)
What about pasta? Does that exist here?
Are desserts important? What are they made of?
What kinds of drinks do they have? Coffee, tea, milk, lemon water?
Is alcohol a thing? What kind of alcohol? How often do people drink? Are there bars?
How often do people eat, and when? Do they have the typical three square meals, or do people eat kinda whenever they feel like it?
Do people prepare food at home or are there restaurants?
Are communal dinners common?
Cultural stereotypes provide tension and can help craft your characters.
Are people in your culture known for their boldness? Their cunning? Their resilience? Their standoffishness? Their fiery tongues, or their passive-aggressive jabs?
You can play with a lot of this, either confirming or denying the assumptions through your characters.
Landscape gives us an idea of where we are and what to expect.
Landscapes are some of my favorite aspects of worldbuilding rather than intricate magic systems and political concepts. Readers get a good sense of environment when you focus in on landscape and how it impacts the characters. You can also build a culture off your landscape, such as how certain geographic features may influence peoples' attitudes and lifestyles.
For example, a coastal landscape will have beautiful views of the ocean, sparkling beaches, and maybe tall cliffs. Being a fisherman may be seen as an honorable but dangerous profession. People might cliff dive for fun.
Mountainous areas may produce cultural enclaves, especially in a fantasy setting where everyone is more isolated. One mountain town may have a completely different vibe than the town over.
Flat, wide-open plains mean people can spread out, but since moving from one place to another is easier, there may be a more cohesive culture.
An area with caves will have a sense of mystery and fear; there may be a lot of superstitions about the caves.
A swampy area can also be very mysterious as there are so many places to hide out and a lot of dangerous animals.
Climate influences how people behave.
Hot climates make people need to conserve energy, so they may take afternoon naps in the worst of the heat. They might value relaxation and calm over industry and productivity because bro, have you ever tried to even walk outside in the Florida heat? Shut up and get me air conditioning.
Cold climates make people need to stay active to stay warm, but they can also produce a sense of isolation. Think about how outdoorsy the Finnish are but how they looove their personal space.
Temperate climates are probably a bit more even-tempered, but as weather changes get more extreme, people will vary their behaviors based on the seasons: spending more time outdoors during summer but holing up during winter. The culture may emphasize hospitality because people need to rely on one another to survive, and they have time to meet their neighbors during the summer.
I am very partial to temperate climates, being from the American Midwest. We're known for being nice and hardy people. You should come visit.
Flora and fauna help the world feel real.
When I worldbuild, I often base my cultures on a real place and what kinds of animals or plants are there. For example, Breme is based on Mongolia so I have herbivores, big raptors, and a lot of grasses.
A warm climate will have lots of reptiles. Sea life will be important in a coastal area. Swamps might have big predators. Mountains will have hardy creatures that can climb. A savannah area will have huge herbivores and fast, hungry predators.
General cityscapes or villages are great for providing a sense of place.
Do people build low spread-out cities or tall rickety homes? What kinds of building materials do they use? Are there lots of markets, bars, apocetharies, temples or churches? What do homes look like here? What are any unique architectural features?
This gives a sense that we are in a different but specific world that has a rich culture.
Clothing tells us what people prioritize.
Cold places will have lots of layers. Hot places will have soft draping outfits or very skimpy outfits. Natural materials that are easily available will make up the majority of the clothing in a fantasy setting. You wouldn't have people wearing cotton in a place that doesn't grow cotton. If there are lots of sheep, people will wear wool. If there's lots of cattle, people will wear leather.
You can also think about adornment. Is jewelry common? What type? Why is it important? Is it a status symbol, a way to keep wealth, or perhaps ways to honor ancestors?
Cultural icons demonstrate what the society values.
A warlike culture will prioritize weaponry. A pacifist culture will think about art and music. A nomadic culture may have a rich oral tradition. An agrarian society will emphasize farming rituals.
Think of a few things that symbolize your society, whether that's musical instruments, weaponry, textiles, statues, or jewelry. Consider how those traditions could have come about and why.
Folklore and mythology offer an offbeat but important sense of history.
Folklore is often tied up with many other factors of a society, such as their religion, landscape, history, and overall values.
For example, the Japanese believe items survive for over a century gain a kami, or spiritual essence. This shows that the Japanese cherish their long history and their material culture, and it also infuses their Shinto belief into folklore.
You can also think about cryptids or ghost stories. Isolated and difficult terrain often makes people think of monsters lurking in the woods. Areas with lots of caves will have myths about what is down there. Coastal areas develop myths about ghost ships.
Idioms, turns of phrase, and gestural quirks tell us more about the culture without overwhelming readers.
This one can be more challenging (I haven't done much with it) but if you can manage it, you'll have a very rewarding story.
I'm not talking about making a whole new language here, but rather about idioms and turns of phrase. Think about all the fun idioms that English has, like "beating around the bush" or "break a leg." Without cultural context, you can't understand them, so you'll have to incorporate an explanation without actually stating it.
For example, you can have a character say "the horses are running fast" as they look out the window to see a sheet of rain. We can guess from this that the idiom is rain = horses, so lots of rain = fast horses. We'll understand from this that this culture probably loves horses; maybe they're a formerly nomadic race.
Gestures, like whether people give thumbs-up, point with their index, or bow with their hands to their chest all give us a feeling of the culture without being overwhelming.
What not to emphasize
Now that we've gone through some things to focus on, let's talk about what you don't need to make up for your world.
A whole-cloth language
Please, you don't need to create brand new words for things that exist in our world. You can reference a language, but do not make people memorize nouns they don't need.
Don't even make up the language at all. Say there's a language and then write the rest of it in English.
Made-up languages are irritating for readers because they want to focus on the characters and plot, not mysterious words they need to translate.
It's possible to make languages interesting without going into specifics. For example, the Bas-Lag trilogy by China Mieville has a species that communicates in clicks but the species can also learn human languages if necessary. There's a language called Salt that's basically the common tongue blended from everything else.
Do we need to know how Salt works? No. Doesn't matter. We're told someone is talking in Salt, or they're learning it, or they switch to it when meeting someone from a different culture. That's plenty.
Specifics of a magic system
You're not going to instantly summon up all the rules of magical realms when you visit a new country; you might not even know them. And your readers won't be too interested in them either.
For example, in The Eirenic Verses, I have High Poetry. Readers will come to know that this was a magical system where certain people given the power can recite a poem and whatever they speak comes true. Every poem can only be used once.
It was given by the goddess Poesy to a specific woman, Saint Luridalr. It was so successful that the goddess started giving it to more women and a whole religious system arose.
I don't need to explain exactly how it works because no one cares. Someone makes things happen by coming up with a poem: that's about it. We don't need to question whether certain rhyme schemes or meter or punctuation impacts anything. That's too technical.
If you've got pages and pages of notes on all the intricacies of the magical system, you have too much. Pare it down.
Political systems
Unless you're writing a fantasy where politics are absolutely critical to the plot, you can just reference the political system in passing and maybe elucidate a few key elements, like who the leader is, how power is transferred, etc. You don't need to go into all the specifics because most people are not going to care.
Hierarchies
Please don't lay out the entirety of an army's ranking system or how someone is promoted. Make up something consistent and stick with it, but don't go into exhaustive detail. People aren't going to sit and question whether a captain is above a lieutenant or how long it takes to become a general.
We'll know that a general is a big deal if the characters make it a big deal. We'll know who the head of the army is but we don't need to know how they got to that position.
Exact city layouts
You do not need to tell us where everything is in relation to one another. Tell us characters are moving from one landmark to another. You could say "this is across a bridge, this is up in the mountains, these buildings are right next to one another, these two buildings are in opposite ends of the city." That's plenty.
If somewhere is very far away, just show them travelling there and how long it takes. You don't need to measure it in miles or leagues or whatever. We will guess that if it takes them a week to walk there, it's pretty distant.
Economic systems
We just need the basics here: mercantile, capitalist, bartering, etc. We don't need to know if the coinage is pegged to a certain precious metal or if people invest their money or how people are paid. That's boring.
In my world, I have two currencies: quillim for Breme and barnals for Sina. What's the exchange rate? I don't know and don't care. How much is one quillim worth? One quillim is not a lot but 2,500 quillim is. How much is the average person paid? Doesn't matter. Do people keep lots of coins on them? No one is asking that. It's not important.
Transit systems
Tells us if the roads are cramped, spread out, nonexistent, poorly maintained. Tell us if there are road blocks or toll booths. Tell us if there are roving bandits. The more physical and sensory you can get, the more real it feels.
Few people care about the specifics of even their own transportation system. I know highways are fast, I know tollroads are expensive, I know parkways are pretty, I know some cities have weird turnabouts and dead ends. That's exactly what I need and what I care about.
That's what I've got for you today. If you liked this, maybe you'll consider checking out The Eirenic Verses series, which follows most of these principles.
I've been told that my fantasy writing is very approachable, even for those who don't usually like fantasy, specifically because I don't get too insane with my worldbuilding. So maybe you'll enjoy it too!
