Wordweaving Hut

Speak Words

[luna-azzurra]

Ways to write Slow Burn Romance!!

┈୨୧┈ Give them reasons they CAN'T be together that aren't just manufactured drama. Not miscommunication. Not love triangles. Not arbitrary "I push people away" trauma with no real exploration. Give them REAL obstacles: they're on opposite sides of a conflict, timing is wrong, there are actual consequences to being together, they have incompatible life goals, there's a power imbalance they need to resolve first. The obstacles should be meaningful and require actual character growth to overcome, not just a conversation.

┈୨୧┈ Make the friendship foundation SO STRONG that readers ship them before the romance even starts. They should genuinely LIKE each other. They should have inside jokes. They should seek each other out just to hang out. They should trust each other. They should have fun together. When the romantic feelings start developing, it should feel like "oh no, I don't want to ruin this friendship" because the friendship is genuinely valuable. Readers should be able to believe they'd still choose to be in each other's lives even if romance never happened.

┈୨୧┈ Let the tension BUILD in layers over time. First they notice each other. Then they start seeking excuses to be near each other. Then they start getting jealous. Then they start having Moments. Then they start thinking about each other constantly. Then comes the almost-kisses. Then the accidental intimacy. Then the barely-hidden feelings. Each phase should have time to breathe before moving to the next level. Slow burn means SLOW - readers should be desperate for them to get together LONG before they actually do.

┈୨୧┈ Show how they change each other gradually. He starts smiling more because of her. She becomes braver because he believes in her. They adopt each other's habits and phrases. They start to see the world differently because of the other person's influence. Slow burn is about showing two people gradually becoming essential to each other's lives. They should be woven into each other's character development, not separate from it.

┈୨୧┈ Make the payoff WORTH the wait. After chapters or books of tension, the moment they finally get together should be EARNED and SATISFYING. A CONVERSATION where they're finally honest. A moment where they choose each other despite the obstacles. A confession that feels like a dam breaking. The first kiss should feel like the conclusion of a long journey and the beginning of something new. Readers have been waiting for this, so make it count. Make it feel like YES, THIS WAS WORTH IT.

[bucketofdeltav]

So my beta reader for the Big Fics is an astrophysicist, right. Who is currently also writing a hard sci-fi novel about the exploration of Phobos (more power to them, I cannot with the physics required for that, best I can do is soft sci-fi/fantasy and that reminds me I should finish that story).

Anyway I was bitching about how hard it is to come up with feasible planets in Star Wars because sometimes you need a new planet from scratch and sometimes you need to know more about a planet than the 'has jungles, is probably a moon technically' than Wookieepedia will give you, and they're like 'oh yeah I can do something about that'.

So they've written (in Matlab but they swear it will run as a .exe as well and I may be conscripted to embed it as a web tool at some point) a star system generator.

You input what you know about the planet (ecosystem, population, sun colour, does it have liquid water, does it have a moon or moons, is it a moon or moons, temperature averages, atmosphere, you get me) and it will give you the... everything else about the star system, in obedience to real-universe physics. And if you input nothing you get a randomly generated star system.

And I’m like oh I know people who will be into this with a vengeance, and they're not on Tumblr, so this is me seeing who exactly would be keen on, and I cannot stress this enough, a real-physics comprehensive star system generator.

It's still in the debugging phase (last error fixed: every planet wants to have a population of exactly 5000 regardless of other factors, turned out to be a missing equals sign somewhere), but I'm psyched for this and trying to gauge interest for how high a priority 'make this an accessible web tool' needs to be.

[melyzard]

[elodieunderglass]

@bucketofdeltav says the URL is here: http://tumblr.com/star-system-generator

okay it has its own blog now (@star-system-generator) on Tumblr

Follow @star-system-generator and get more of the good stuff by joining Tumblr today. Dive in!

[tinyghosts]

“I want you to do this with me for one month. One month. Write 10 observations a week and by the end of four weeks, you will have an answer. Because when someone writes about the rustic gutter and the water pouring through it onto the muddy grass, the real pours into the room. And it’s thrilling. We’re all enlivened by it. We don’t have to find more than the rustic gutter and the muddy grass and the pouring cold water.”

— Marie Howe, Boston University’s 2016 Theopoetics Conference  (via mothersofmyheart)

[artemis-howl]

Marie Howe:

I ask my students every week to write 10 observations of the actual world. It’s very hard for them.

Ms. Tippett:

Really?

Ms. Howe:

They really find it hard.

Ms. Tippett:

What do you mean? What is the assignment? 10 observations of their actual world?

Ms. Howe:

Just tell me what you saw this morning like in two lines. I saw a water glass on a brown tablecloth, and the light came through it in three places. No metaphor. And to resist metaphor is very difficult because you have to actually endure the thing itself, which hurts us for some reason.

Ms. Tippett:

It does.

Ms. Howe:

It hurts us.

Ms. Tippett:

You naming something.

Ms. Howe:

We want to say, “It was like this; it was like that.” We want to look away. And to be with a glass of water or to be with anything — and then they say, “Well, there’s nothing important enough.” And that’s whole thing. It’s the point.

Ms. Howe:

It’s the this, right?

Ms. Howe:

Right, the this, whatever. And then they say, “Oh, I saw a lot of people who really want” — and, “No, no, no. No abstractions, no interpretations.” But then this amazing thing happens, Krista. The fourth week or so, they come in and clinkety, clank, clank, clank, onto the table pours all this stuff. And it so thrilling. I mean, it is thrilling. Everybody can feel it. Everyone is just like, “Wow.” The slice of apple, and then that gleam of the knife, and the sound of the trashcan closing, and the maple tree outside, and the blue jay. I mean, it almost comes clanking into the room. And it’s just amazing.

Ms. Tippett:

In some basic level, what they’ve done is just engage with their senses.

Ms. Howe:

Yeah, and have been present out of their minds and just noticing what’s around them, which is — we don’t do. And again, not to compare it to anything. They’re not allowed. And that’s very hard for them. And then on the fifth or sixth week, I say, “OK, use metaphors.” And they don’t want to. They don’t know how. They’re like, “Why would I? Why would I compare that to anything when it’s itself?” Exactly. Good question.

So then you think, why the necessity of a metaphor? Why do you have to use a metaphor now? Not just to do it to avoid it, but to do it to make it more there. And it’s very interesting.

Marie Howe — The Power of Words to Save Us | The On Being Project

The words and silences we live by. The rituals that sustain us. The poetry of ordinary time.

[jeaniefranklins]

Sex scene as character study is so good. What is your relationship to your body? What is your relationship to your partner? What lessons have you absorbed from the culture about yourself as a sexual being? How much do you have to trust someone before being comfortable with intimacy? What fears and insecurities come to the fore for you when you take your clothes off? It's so good.

[headspace-hotel]

How do they communicate? How do they expect others to communicate? How well do they understand their body and their own capacity for pleasure? What do they tend to do to make their partner feel comfortable? How comfortable are they showing emotion in front of others? How much insight do they have into what their own emotions mean and are connected to? What are they focused on during the encounter? How conscious are they of exchanges of power and vulnerability? very very very good

[jurispotence]

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

[sevensmallgummies]

Sphinx employee slash bodega cat that blocks the door and asks riddles, the owner has the answer of the day on a paper taped to the door.

it never notices.

[godlessondheimite]

i would kill for the confidence of novelists who write genius-poet characters and then actually write samples of the “genius” poetry in the book. if i were a novelist writing a genius-poet i’d just be like “trust me, the poetry’s real good.”

[elbiotipo]

👀

[elbiotipo]

👀👀👀

[sapphirebluephoenix]

[Image Transcripts]

"People in the imperial core don't realize how much of the products in our lives are directly there because of colonialism. so they recreate that and then you have the weird implications of fantasy colonialism. You can say 'why does it matter for my fantasy Europe to have coffee' because you don't know why your real life Europe has coffee. And that these facts do actually have a death toll to them."

"The coffee example in particular its very interesting. Bc it'd be quite easy to justify having coffee in a fantasy story that's set in a tropical region. Or in a kingdom that trades with a tropical region or whatever. But then you realize that never happens because. sff writers NEVER set their stories in tropical weathers. I can count on one hand the fantasy worlds where there are prosperous kingdoms in tropical regions. And that opens the can of worms of: why is the default fantasy setting a temperate forest of pine and oak trees. Or a snowy mountainous landscape. While deserts and jungles are always dangerous exotic foreign lands."

[End Transcripts]

[shininginspace]

I’m genuinely confused, do you mean having large amounts of coffee present? Coffee comes from Ethiopia, and was domesticated in Yemen. It spread from Yemen to Europe by way of trade and cultural exchange at the end of the late Middle Ages/beginning of the early modern period.

I am not an expert by any means, so please chime in to expand on this if you know more, but what I’ve read indicates coffee was originally a normal trade item, not a product of conquest. So just having coffee present isn’t a sign of European colonialism from a historical perspective. Having large amounts available is a completely different story, however.

History of coffee - Wikipedia

History of coffee - Wikipedia

Approximately 200 years after coffee reached Europe, Europeans took coffee and forced enslaved and colonized peoples in the Caribbean to cultivate it. They then began to do the same in other tropical colonies. Coffee is grown in most tropical locations due to colonialism, and historically was available in Europe from existing trade networks with Yemen.

So to recap, coffee was historically cultivated by Yemen, who traded it with Ethiopians and people living it Saudi Arabia. It spread from Saudi Arabia to the Levant and Turkey. Turkey was a part of the Ottoman Empire, which covered south Eastern Europe so coffee was available there too. Venetian traders then spread it to more western regions and it became popular throughout Europe.

Thinking about it, this post was referencing Europeans forcing colonized people to cultivate coffee in tropical plantations. Which took place in the last 2.5 centuries so Europeans could have large amounts of profit and coffee available. As coffee isn’t native to the vast majority of tropical areas, people writing stories set in tropical settings should consider if they want to include coffee as a product of colonization, or to deliberately include or exclude it as a naturally occurring plant.

If writing from a historical perspective, there should be coffee available in a very late Medieval European setting, as a (relatively costly) trade good. If someone is making a historical story set in a tropical area in prior to the mid 1700s there shouldn’t be coffee present unless it’s Ethiopia or Yemen. As an aside, it is a very similar story with sugar and I highly encourage everyone to look up about that too.

[elbiotipo]

It's not necessarily "if there's coffee, there must be colonialism". You are quite right that Italians in early modern times did drink coffee without invading and colonizing Ethiopia or Arabia. Current coffee production is a product of imperialism and colonialism, but that also could have gone in different ways.

It's about the fact that Ethiopia and Arabia EXIST. That coffee does not grow in Europe, but comes from elsewhere. Same with chocolate, same with the foodstuffs of the Americas like potatoes, tomatoes and maize. Those things come from a different cultural context, and when they appear in a pseudo-medieval pseudo-european fantasy setting without explanation, it implies that the places and peoples associated to those things don't exist. Which is poor worldbuilding because it results in a more boring, stale story, but it also reflects eurocentric biases in how people see the world.

They want the princess to eat chocolate and wear silk, but they don't want to talk about where the chocolate comes from and why silk was such a luxury item (because you had to bring it all the way from China). It results in a narrower, poorer setting, and paying attention to this stuff also helps you pay attention to things in real life.

[the-wordweaver]

What I believe to be my personal best writing is a very short piece I did for my creative writing class in my senior year of high school and I want to post it but somehow at the same time I don't want to because it feels like I'll never be able to top it.

[the-wordweaver]

Oh just kidding I reread it and now the reason I won't ever post it is because it's traaaaaash

[luna-azzurra]

Tips for Writing Injuries

✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.

✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.

✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.

✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.

✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.

✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.

✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.

✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.

✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.

✧ Scars tell stories. Some fade, some don’t. Some stay sensitive forever. Don’t forget the aftermath when the wound becomes part of the character.

[starpains]

on “the blond,” “the older man,” and other crimes against third-person limited

You know that thing where a story is written in tight third person limited — we’re meant to be inside someone’s head, seeing the world through their thoughts — and then suddenly the narration says “the blond frowned” or “the shorter woman sighed” about a person the POV character knows really well?

That’s called antonomasia — using a descriptive label instead of a name. And it’s fine when we’re talking about strangers: “the cashier handed her the receipt,” “the tall guy blocked the door.” The POV character doesn’t know their names, and we just need a quick way to tell people apart.

But the moment it’s used for someone the POV character already knows, it breaks immersion. Because that’s not how our minds work. We don’t think “the older man smiled at me.” We think “Mark smiled.” Or maybe “my boss” if that relationship matters in the moment.

Third person limited means the narration sits inside someone’s perception. Their inner monologue is the story’s voice. So when you switch from “Mark smiled” to “the blond smiled,” you’ve pulled the camera away from their mind and turned it into an outside shot.

If you want to create distance or irritation, you can do it on purpose —

“The idiot from accounting emailed again.”

That’s character voice. That’s judgment. That works.

But otherwise?

As soon as your POV character knows someone’s name, use it. While we do tend to worry about repetitions, names rarely register as such to the readers.

If you need variety for rhythm, use relational or emotional identifiers that make sense in their head: her friend, his partner, their teacher, the person they loved.

Because inside someone’s thoughts, there are no “blonds” or “brunettes.”

There are only people they know.

[natequarter]

we have to make more women suffer in fiction but crucially not in a man pain way. we have to let women suffer in fiction the way men are always allowed to suffer in fiction. we need women who grieve their male love interests always dying horribly at the hands of the villain of the week the way male action heroes always do. we need women who suffer in ways other than "dying in childbirth" and "abusive male relative". we need women with interiority and depth of character having the worst time of their fucking lives.

[concerningwolves]

A piece of writing advice that i will always kick and scream about because it's annoying but it works is: if you ever feel like you're stuck with your writing, go back to the absolute basics. Like, middle school English creative writing exercises for people who have never done a creative writing in their life. do a character creation exercise. list things you're experiencing with your senses. analyse a bit of someone else's writing that you like. write ten first lines off the top of your head. hell, even if you're not feeling stuck with your writing, going back to the fundamentals is very good for you! it really does remind you about the nuts and bolts of the craft. gets the brain unstuck. you can be a bitch about it and groan and wail if you like while you do it, but unfortunately it is very good advice

[concerningwolves]

Another writing tip that makes me unspeakably angry because it's infuriating but it works is that sometimes wordcount limits are Good, Actually. Sure they make you want to commit atrocities but they teach you how to improve readability by trimming excess words & improving clarity, which in turn makes you think hard about the construction of your sentences/phrases. this is an absolutely invaluable skill and i will continue to be mad about it forever probably

[twilightdomain]

do you have a character who wears plate armor... are you making sure to take advantage of the opportunities, necessity even, for human intimacy that come with how deeply impractical and difficult it is to equip without help. who's dressing your warriors??🎤🫵

[eightfifteen]

Crazy how many people want characters in fiction to speak and act like they’ve had 20 hours of intensive therapy. Could NOT be me I want these bitches fucked up insane

[plutojester]

[doingthewritethings]

my friend briar and i lovingly call this one ‘therapy speak joker’ and it almost caused her to drop biological samples one time

[flowermist7432]

This is why shit like THIS is important.

Characters, like us, often have "filters" that they speak information even IF they are a little more self aware than the average guy. Therapy speak only works if the character has been shown to speak like that, (which is rare) but this is what "Show Dont Tell" and "Subtext" has been trying to teach you.

[octoswan]

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

[that-gay-jedi]

"All monsters must die bloody, and by a hero's hands, and soon," he says over brunch.

He doesn't think it's a rude thing to say in front of a monster. There are no rude things to say to monsters, only rude things monsters say.

"Don't worry," she says between bites, "You're one of the good ones."

"But I am still a monster," I do not say. I do not say that I love my claws and teeth, my prehensile shadow and my glowing eyes. That I cannot imagine giving them up even for survival, that to hide my shadow and trim my claws for them makes me feel diminished. In public I cannot say that I do not wish to be human.

They're progressives, this bunch, even if he carries a hero's banner with its proud history and none of them ask him to put it away. They know there are good monsters, monsters who can speak eloquently and hold the fork right, monsters you can be seen with in public. Some of their best friends are monsters.

They do not know the monster who is invited to brunch knows solidarity with the monster who is not. Believes and understands the monster who is not invited more than the human who does the inviting.

"Isn't that a little harsh?" says a third human, and I have not forgotten I am outnumbered. "We have ways of killing monsters without blood now, painlessly. And, of course, a monster should be allowed to live if it never growls."

He has never seen me growl. Yet how loudly and endlessly I will, when I'm out of earshot. He's talking about killing monsters who cannot stoop to civility, about mother and brother and lover who were never able to mute themselves like me, and does he not know how small a child who can only growl is?

"To growl is not to kill," I say, and all heads turn toward me. It is one of those rude things monsters say.