I Am Ver And I Write Things

Formerly classy-writing-owl. Currently writing Star Wars fic (especially TCW) but eventually I’m sure I’ll be up to new shenanigans. You could check me out on Ao3 as innocent_until_proven_geeky.

[creativepromptsforwriting]

Prompt #1117

"If someone confesses their love for you, it is only polite to say it back."

[thebibliosphere]

Whgskl. Okay.

PSA to all you fantasy writers because I have just had a truly frustrating twenty minutes talking to someone about this: it’s okay to put mobility aids in your novel and have them just be ordinary.

Like. Super okay.

I don’t give a shit if it’s high fantasy, low fantasy or somewhere between the lovechild of Tolkein meets My Immortal. It’s okay to use mobility devices in your narrative. It’s okay to use the word “wheelchair”. You don’t have to remake the fucking wheel. It’s already been done for you.

And no, it doesn’t detract from the “realism” of your fictional universe in which you get to set the standard for realism. Please don’t try to use that as a reason for not using these things.

There is no reason to lock the disabled people in your narrative into towers because “that’s the way it was”, least of all in your novel about dragons and mermaids and other made up creatures. There is no historical realism here. You are in charge. You get to decide what that means.

Also:

“Depiction of Chinese philosopher Confucius in a wheelchair, dating to ca. 1680. The artist may have been thinking of methods of transport common in his own day.”

“The earliest records of wheeled furniture are an inscription found on a stone slate in China and a child’s bed depicted in a frieze on a Greek vase, both dating between the 6th and 5th century BCE.[2][3][4][5] The first records of wheeled seats being used for transporting disabled people date to three centuries later in China; the Chinese used early wheelbarrows to move people as well as heavy objects. A distinction between the two functions was not made for another several hundred years, around 525 CE, when images of wheeled chairs made specifically to carry people begin to occur in Chinese art.[5]”

“In 1655, Stephan Farffler, a 22 year old paraplegic watchmaker, built the world’s first self-propelling chair on a three-wheel chassis using a system of cranks and cogwheels.[6][3] However, the device had an appearance of a hand bike more than a wheelchair since the design included hand cranks mounted at the front wheel.[2]

The invalid carriage or Bath chair brought the technology into more common use from around 1760.[7]

In 1887, wheelchairs (“rolling chairs”) were introduced to Atlantic City so invalid tourists could rent them to enjoy the Boardwalk. Soon, many healthy tourists also rented the decorated “rolling chairs” and servants to push them as a show of decadence and treatment they could never experience at home.[8]

In 1933 Harry C. Jennings, Sr. and his disabled friend Herbert Everest, both mechanical engineers, invented the first lightweight, steel, folding, portable wheelchair.[9] Everest had previously broken his back in a mining accident. Everest and Jennings saw the business potential of the invention and went on to become the first mass-market manufacturers of wheelchairs. Their “X-brace” design is still in common use, albeit with updated materials and other improvements. The X-brace idea came to Harry from the men’s folding “camp chairs / stools”, rotated 90 degrees, that Harry and Herbert used in the outdoors and at the mines.[citation needed]

“But Joy, how do I describe this contraption in a fantasy setting that wont make it seem out of place?”

“It was a chair on wheels, which Prince FancyPants McElferson propelled forwards using his arms to direct the motion of the chair.”

“It was a chair on wheels, which Prince EvenFancierPants McElferson used to get about, pushed along by one of his companions or one of his many attending servants.”

“But it’s a high realm magical fantas—”

“It was a floating chair, the hum of magical energy keeping it off the ground casting a faint glow against the cobblestones as {CHARACTER} guided it round with expert ease, gliding back and forth.”

“But it’s a stempunk nov—”

“Unlike other wheelchairs he’d seen before, this one appeared to be self propelling, powered by the gasket of steam at the back, and directed by the use of a rudder like toggle in the front.”

Give. Disabled. Characters. In. Fantasy. Novels. Mobility. Aids.

If you can spend 60 pages telling me the history of your world in innate detail down to the formation of how magical rocks were formed, you can god damn write three lines in passing about a wheelchair.

Signed, your editor who doesn’t have time for this ableist fantasy realm shit.

[cripplecharacters]

[Image Description: Art, maybe a woodcut, of a Chinese man with a beard being pushed in a historical wheelchair. The wheelchair is like a seat with two wheels and two long handles, and the person pushing him is looking behind him and has his hair in a bun. There are three men in front of the two of them, and they seem to be heading in the same direction to a bridge. There are stylized trees and mountains in the background. End ID.]

[mysharona1987]

Writing agent Jonny Geller gives advice to young writers. 

[cy-cyborg]

Tips for writing disability: Disability is not (inherently) a character flaw

Every writer has been told to make sure your character has flaws to balance out their strengths. No one likes reading about "prefect" characters who can do no wrong and everybody likes after all. Flaws are important, but a disabilities shouldn't be on your list of flaws. Disabilities have no inherent morality, they aren't flaws, they just are.

[cy-cyborg]

Tags from @cheshire-castle-library

#okay so i get this #and i agree #but some resources (save the cat) use “flaw” as literally anything that makes the character's life difficult #so in that way #disabilities do get in people's way #and id kinda be pissed to see a character living a good life where their chronic migraines and anxiety didn't get in their way #id feel more invisible about how these affect my life #id also be pissed if as part of the story the character “solved their anxiety” or “solved their chronic migraines” #but my disabilities are not my whole personality #so like this advise is still good - do not make a character's main problem their disability #and certainly dont make them incompetent at dealing with their disability unless you want to SHOW THEM learning a positive coping method #but please don't take away the struggle that a lot of us go through with our disabilities when you represent us #otherwise you are creating more problems for us

Including the tags because they're correct and are an important clarification!

My post was not saying to take away the difficulties that come with disabilities - and I really should have specified that because folks absolutely will read it that way. It was more so addressing the folks in writing circles who use "flaw" in the more traditional sense using something more similar to the dictionary definition - basically attaching a moral judgement to the flaws. In that sense, "lazy" and "selfish" are flaws, but "is blind" or "needs a wheelchair" should not be on that same list.

Using the definition that Save the Cat uses though, I'd still argue you shouldn't just put your character's disabilities down but instead, the obstacles/challenges the disability creates because those won't be universal to everyone with that disability. For example, writing "character will struggle with rough terrain/unpaved roads due to using a wheelchair", is better than "uses a wheelchair" because not every wheelchair user struggles with that, or "has poor balance due to leg amputation" is better than "is a leg amputee" because not every leg amputee has poor balance. there are disabilities, such as chronic migraines, like they mentioned, where its a pretty safe bet some things will be fairly common among everyone with that disability, but even then it can help to write out how you plan to write that impacting your character specifically.

doing this can also help you figure out if you have any biases or pre-conceived ideas about that disability that you might not have been actively aware of that need addressing.

But yes, @cheshire-castle-library was 100% correct, disabilities, by their very nature, are disruptive and will get in the way of, or at least, change people's day-to-day life and that shouldn't be ignored when writing disabled characters!

[writingdotcoffee]

New in Writing Analytics: The Draft Library

I haven't posted much recently, and this is why. I've been working on a massive new feature for Writing Analytics. It took way longer than I expected, but it's ready now. And I'm so happy with how it turned out.

Previously, the app only had a chronological list of all your writing sessions. This works fine when you work on a single project, mostly first drafting. However, when you write a lot of stuff, it's easy to lose track of what you did when.

The thing is, people write a lot of stuff in WA. This feature was badly needed for a long time — my first sketches date back to August 2022. I'm glad I didn't build it back then because the idea wasn't fully formed yet. I found the right solution a few months ago and started working on it.

Introducing the Draft Library

One great thing about the library is that it's pretty self-explanatory. It's where your projects and drafts live. Projects behave like folders. You can drag them around to rearrange them. Click on a project to see the drafts inside.

When you open a draft, you'll see its text and some basic stats. Figures like the word count and how much time you spent working on it across all your writing sessions.

Creating new sessions has also changed. I broke the form down into a few steps. It's now way easier to select a project and join a challenge.

This brings me to my favourite new feature: colour coding! You could always set colours for projects, but this is mainly to distinguish them on your dashboard.

Now, you can colour-code drafts in the library as well. Make published drafts green and drafts that still need work red?

Or, when working on a more complex story, you could colour-code different chapters based on the PoV characters or track interweaving threads of the narrative. The possibilities there are endless!

If you'd like to give this a go, you can sign up here (it's free for two weeks).

Coming Up Next

I'm always working on new features for the app. Right now, I'm updating the version history. Every time you create a session, Writing Analytics makes a copy of your draft. You can go back in time and see all the previous versions.

I'm also working on an export feature to the docx format so you can move your work to Google Docs and send it to your editor when you finish drafting.

[erosofthepen]

LETS TALK ABOUT SPARRING

I’ve read a lot of fics, have seen many shows, and have watched many movies that are completely inaccurate when it comes to sparring. NOW, i know it’s fiction, and I greatly enjoy it nonetheless, but I would like to share a few things with you, as a person who trains in Historical European Martial Arts (HEMA). There are a few general things in this, as well as stuff more focused to a certain european weapon. (this is all Historical European stuff, obviously if you’re writing for a different region, this probably won’t apply that much.)

SPARRING

-you don’t practice with real sharp swords. Never. It’s incredibly dangerous, especially since sparring is trying to practice your killing/injuring skills. In older times, you would use wood, maybe wrapped in leather or canvas to practice. Today, you use weighted nylon swords/weapons, and you usually wear a mask while doing so. Steel is and was an option, but the blade will be completely dull, and the tip will be bent over itself.

-It’s practically impossible to knock someone off their feet while sparring, unless you are hooking your foot or weapon behind their leg. It’s hard to push back and cause someone to fall, since they can just retreat back a bit.

-YOU. DON’T. SPEND. HOURS. SPARRING. ESPECIALLY WITHOUT A BREAK. It’s exhausting, the most people usually go is 10 minutes before they have a break. During Training, you only spar for about 2-5 minutes before stopping and having a rest.

-You try your hardest never to cross your feet. It’s dangerous and it unbalances you. Your opponent can take advantage of you easily.

-Usually, you want to strike your opponent with the last ¼ of your blade, basically just the tip and a little below. That’s the sharpest point, and you get the most force behind it.

-Swords aren’t super heavy. Stop the giant, huge, I-can-barely-lift-this trope. Longswords are usually 3lbs. It’s not heavy when you pick it up. However, it gets heavy when you’re holding it up above your head for a while. Swords were not made to be heavy, especially since you would have to hold them up in battle for sometimes hours.

-It’s incredibly hard to engage in witty banter and such. You are constantly moving and trying to strike your opponent. Since it’s fiction, you can do what you want, but just know that trying to have a conversation while sparring is like trying to have one while running. It tires you out even more, and usually just comes out breathless and wheezy.

-Swords are not lightsabers. You cannot try and hurt someone with just any part of your blade. It will just annoy your opponent. Now, for sparring, you will want to focus on hitting your opponent with the edge of your blade, and you won’t really ever be trying to hit someone with the flat of your blade.

-In sparring, you will get hit. And get bruises. I count five from just 2 days ago. (Also reminder that bruises don’t form for 1-3 days.) If you happened to get a hard thrust to the ribs, they will probably fracture. It happens. I haven’t had it personally, but those who’ve trained longer have. The worst injury I’ve gotten is a bruise on my chest that didn’t fade for nearly a month.

-Grip!!! You don’t clutch your sword super tight. No. It limits movement. My instructor taught me to hold firmly with the thumb, pointer, and middle finger, and use the other two as more guiding fingers. You swing your sword with your wrist, not a big giant arm movement. That is tiring and slow. 

I will be focusing on using a one handed sword in this next bit, specifically a Scottish Regimental Broadsword. A basic sword to build off of.

-FOOTWORK. It’s not a super complicated series of perfectly planned out steps. It just isn’t. With Regimental Broadsword (which is what I will focus on, since it’s what I’ve trained with most), you have to have a good base (rear-weighted stance, front foot pointed at your opponent, back foot turned sideways), and then once you have that, you just have to move around and try not to get hit.

-Slipping. (Continuation of footwork). With a rear-weighted stance, the goal is to be able to move the front foot anywhere. You should actually be able to keep your front foot an inch off the ground without having to adjust your back foot. Slipping is when this comes in handy. If your opponent takes a swing at your front leg, you should be able to just slip it back to go next to your other foot, and swing your sword up to get your opponents head. Slipping is really important.

-Advance and Retreat (other continuation of footwork). While moving forward or back, you always want to feel the ground with a heel-toe movement, so you can tell if there are rocks or branches and such. Advancing, you want to move your front leg first. Retreating, your back leg.

-Traversing (last continuation of footwork)(maybe). Transversing is basically advancing in on your opponent in a circular motion. You’re trying to get close and personal. Reminder to not cross your feet. You will loose balance and probably end up getting whacked with a sword. Traversing is a spiral motion sort of. Your opponent can avoid getting trapped If they do it as well.

I will probably come back and add more soon, because there’s more I know, but can’t remember at the moment.

[biscuitsandspices]

Encouragment for writers that I know seems discouraging at first but I promise it’s motivational-

• Those emotional scenes you’ve planned will never be as good on page as they are in your head. To YOU. Your audience, however, is eating it up. Just because you can’t articulate the emotion of a scene to your satisfaction doesn’t mean it’s not impacting the reader. 

• Sometimes a sentence, a paragraph, or even a whole scene will not be salvagable. Either it wasn’t necessary to the story to begin with, or you can put it to the side and re-write it later, but for now it’s gotta go. It doesn’t make you a bad writer to have to trim, it makes you a good writer to know to trim.

• There are several stories just like yours. And that’s okay, there’s no story in existence of completely original concepts. What makes your story “original” is that it’s yours. No one else can write your story the way you can.

• You have writing weaknesses. Everyone does. But don’t accept your writing weaknesses as unchanging facts about yourself. Don’t be content with being crap at description, dialogue, world building, etc. Writers that are comfortable being crap at things won’t improve, and that’s not you. It’s going to burn, but work that muscle. I promise you’ll like the outcome.

[cy-cyborg-deactivated20230814]

What able bodied authors think I, an amputee and a wheelchair user, would want in a scifi setting:

Tech that can regenerate my old meat legs.

Robot legs that work just like meat legs and are functionally just meat legs but robot

Literally anything that would mean I don't have to use a wheelchair.

If I do need to use a wheelchair, make it fly or able to "walk me" upstairs

What I actually want:

Prosthetic covers that can change colour because I'm too indecisive to pick one colour/pattern for the next 5+ years.

A leg that I can turn off (seriously, my above knee prosthetic has no off switch... just... why?)

A leg that won't have to get refitted every time I gain or loose weight.

A wheelchair that I can teleport to me and legs I can teleport away when I'm too tierd to keep walking. And vice versa.

In that same vein, legs I can teleport on instead of having to fiddle around with the sockets for half an hour.

Prosthetic feet that don't require me to wear shoes. F*ck shoes.

Actually accessible architecture, which means when I do want to use my wheelchair, it's not an issue.

Prosthetic legs with dragon-claw feet instead of boring human feet or just digigrade prosthetics that are just as functional as normal human-shaped ones.

A manual wheelchair with the option to lift my seat up like those scissor-lift things so I'm not eye-level with everyone's butt on public transport/so I can reach the top shelf by myself.

A prosthetic foot that lights up when it hits the ground like those children's shoes.

[mimzy-writing-online]

hello!! I don't know if this blog is still active or not but you're the first resource I found when looking up things about writing blind characters so here i am. I have a character who's a fantasy race that naturally has a better sense of smell & hearing. This character also happens to be blind. Their blindness is not inherently why they have these advantages, but I still want to avoid coming off as cliche. Is there any way I should make this clear/anything i should alter? thx for reading !

Hi, the blog is active. If it's been a while since the last post, it's just because life hasn't given me much time to work on the blog but it has not been abandoned.

As for your question:

-Establish which race your character is early on during their introduction. You can work some world building in piece by piece and explain that they have stronger senses of hearing and smell than humans.

-In your planning/world-building you should consider how heavily that race relies on those senses for environmental awareness. Once you work out what's possible/impossible for your character to smell and hear, then you go through what you need your character to notice for the story.

Those two above should be enough to avoid cliche territory but if you have a moment where the character's ability to focus on a sense seems too special or plot-convenient, just work through whether or not it's possible for the character to identify this sound/smell and break down what the thought process was.

I have a lot of people in my life who treat my senses of sound/touch/taste/smell/etc as super human because I notice details they've never had to pay attention to before. A lot of times I respond to their awe by explaining my thought process and how I came to certain conclusions. It's mostly pattern recognition and detective work.

For example, I can smell a burger joint from two blocks away, but I have friends who won't smell it until we're walking past the door.

My friends don't need to think about the smells and what they mean because their environmental awareness begins with visual input and everything that comes after is just extra context. They'll see a sign from two blocks away, identify the logo/name/branding. If they're hungry they might focus on that sign long enough to remember the food sold there and maybe even the smells they remember. If they're not hungry, they'll move onto the next visual cue they notice.

I am getting a lot less visual info with a much shorter "warning" time, so I'll probably catch the smell of food on the wind long before I ever see a sign. For my brain, the thought process becomes: I smell food. Someone is cooking meat. Beef? There's notes of fried oil in the air. It's probably a burger place. Then I work with what I know about the area and if I remember any major restaurants.

Another example is that I used laundry room as markers for corners and apartment buildings in my neighborhood. I can connect that random rumbling sound with the smell of fresh laundry.

For most people it's just an unknown rumbling sound. For my bestie, it's a mechanical sound of a home appliance but not a refrigerator or a heating unit or something he specifically worked with in the past. For me, the process is- It's a mechanical sound but not one belonging to a car. It's also stationary and the sound is steady and repetitive, looping ever 3 seconds or less. I connect the sound with the smell of fresh laundry and I know that it's coming from a dryer. Which was actually very helpful in my old apartment building because I could tell if the washer and dryer were in use from outside the building, so I knew if it was pointless to get my laundry ready right away.

So if you have a moment that seems too super powered, just work through the thought process and adjust details until it feels right.

[bruciemilf]

Did I daydream this, or was there a website for writers with like. A ridiculous quantity of descriptive aid. Like I remember clicking on " inside a cinema " or something like that. Then, BAM. Here's a list of smell and sounds. I can't remember it for the life of me, but if someone else can, help a bitch out <3

[bruciemilf]

I FOUND IT BITCHES

[dramono]

This is going to save me so much trouble in the future.

[skribblegurl]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[heywriters]

I couldn't remember the word "doorknob" ten minutes ago.

[bumblewyn]

ok but the onelook thesaurus will save your life, i literally could not live without this website

[breelandwalker]

REBLOG TO SAVE A WRITER'S LIFE

[bruciemilf]

Did I daydream this, or was there a website for writers with like. A ridiculous quantity of descriptive aid. Like I remember clicking on " inside a cinema " or something like that. Then, BAM. Here's a list of smell and sounds. I can't remember it for the life of me, but if someone else can, help a bitch out <3

[bruciemilf]

I FOUND IT BITCHES

[dramono]

This is going to save me so much trouble in the future.

[justgottafinishthischapter]

This came across my Facebook feed, felt I’d share it.

[slayingfiction]

Questions to ask your alpha/beta readers

I thought I would put together a master list of all the questions to ask your alpha and beta reader to help you improve your story.

You can choose to ask questions every chapter, every few chapters or after the whole book. This list of questions will be more generic and all encompassing for you to tailor to your needs.

Reminder: Beta readers typically receive a completed and polished version of your story. They give feedback on any last improvements based on the reader’s perspective. Alpha readers read your story or manuscript before it’s completed, usually a rough draft. Alpha readers are best if they also have some writing experience to give reader and writer feedback.

Choose some of the following questions to ask your readers:

Start:

When did you first feel the story was truly starting?

Do you like how the story started? If not, why?

Do you find characters were introduced slow enough to learn them all?

Did you find settings, different languages, and cultural differences were introduced slowly enough to not be confusing or overwhelming?

Were there any moments you found yourself going back over old exposition just to understand what was happening?

When, if at all, did you find yourself being pulled into the book?

Did the first sentence grab your attention?

Did the first few pages draw you into the story?

Did you find the opening paragraph/page interesting enough to continue reading?

Characters:

What do you like about the MC? What don’t you like? Can you name at least one relatable trait between yourself and the MC?

How did you feel about the character(s)’s growth from the start to finish of the story? Did you find there was enough? Was it believable?

Are the MC’s motivations and goals clear and strong enough?

Did you feel the MC’s fears, hopes, excitement, passions, etc.?

Did you get confused between the characters?

Were the characters believable?

Are there any characters you wish were more interesting? Why and how?

Do you feel each supporting character had their own motivations and contributed to the plot?

Are there any characters that seem cliché, underdeveloped, or stereotypical? If so, why?

Were the character relationships believable?

Did the romantic relationships build naturally, or did it feel forced?

Are there any character names that were too difficult to read or sounded too similar to others?

Were there any parts where the characters seemed to be acting out of character?

Who was your favorite character?

Which character, if any, did you wish was more present?

Which character do you care for the least?

What are your thoughts/feelings on the MC’s character arc?

Do you feel like the antagonists and/or villain is just as fleshed out and relatable as the MC?

If you had to remove one character, who would it be, and why?

Which character would you like to meet, and why?

Did you hope or dread any character relationships?

Are there any characters you found annoying and frustrating?

What are your general thoughts and feelings about the MC or supporting characters?

Which character did you find least developed?

Plot:

Which moments in the book did you find the most suspenseful?

Were there any moments in the book you found boring, lagging, or uneventful and unnecessary?

Did you find the pacing to suit the story well? Are there any areas you found moved too fast or too slow?

Was there ever a time you felt like you weren’t excited or intrigued enough to want to continue?

Did you find any plot holes? Any discrepancies in timeline, characters, descriptions, or other details?

Were there any scenes you found did not further the plot at all?

Are there any scenes or events you found to be too long or too short?

Did you find all explanations and revelations came out naturally and at appropriate times?

What was your favourite scene in the book? Why?

What was your least favourite scene in the book? Why?

Are there any chapters you found lacked conflict?

Did the action scenes make sense as you read them? Did you understand how they came to that action scene (or did they feel random)?

Where there any moments or scenes that made you feel emotional? Happy, sad, cringy and disgusted, etc.

Do you find the plot moved logically and naturally between scenes and chapters?

Are there any moments you felt detached or pulled out of the story? When and why?

Are there any events or scenes you found confusing? Either what was happening or how the characters came to that point?

Where you surprised by the plot twist?

Settings:

Which setting in the book was the clearest for you to visualize? Which do you remember the best?

Did you find the setting interesting, with vivid and real description?

Were there any scenes you thought lacked description?

Were there any moments you thought there was too much exposition, or not enough?

Did you find there were moments you didn’t know where the characters were unless stated?

Do you find the culture and historical events are realistic and add depth to the story?

Is there any exposition you found unnecessary? Are there any moments you wish you had more exposition?

Did all technology and science, or magic, make sense or seem believable?

Was there ever too much or too little description?

Dialogue:

Did you find that each character had their own personal voice when speaking?

Are there times where you couldn’t figure out who was talking solely based on how they spoke?

Is there any dialogue that sounded unnatural?

Could you see what the characters were doing and where they were while talking?

Was there any dialogue that seemed to not fit well with the story?

Was there any dialogue that you thought had too much exposition or explanation?

Did you find the dialogue kept your interest?

Ending:

Did you find the ending to be satisfying and emotionally fulfilling?

Are there any questions you had left after the story ended? (Mostly for stand-alone)

What did you hate most about the ending?

Did you find the ending believable?

Did you feel the tension building to the climax?

Was the climax worth the read, or did it feel weak?

Do you feel the ending came on naturally, or did it feel forced or rushed?

Did the book feel too short or too long?

General:

Were there parts where you found yourself skimming?

Which parts of the story did you find it easy to put the book down?

At what moment did you decide you wanted to finish the book? (If not DNF)

What are some of your favourite lines/quotes from the book?

Do you have any predictions for what you think will come next? (Good for chapters or end of book)

Is there something you hope will happen?

Is there anything you hoped would happen and was sad when it didn’t?

Did you find the map and glossary helpful? Is there anything you think would be beneficial to add, such as terms or names?

Are there any moments or scenes you found ethically and socially problematic and unacceptable.

Were there any moments in the story that made you stop and think?

Were you able to identify the story themes? Did you find the themes well developed throughout the story?

Did you think about the story when you weren’t reading it? If so, what were your thoughts?

Were there times during the story where you felt description was told instead of shown?

Does this book make you feel the same as other books in the genre when reading?

Is there anything you really enjoy from this genre that you found lacking in this story?

Did you find the story kept your attention with enough action, conflict, intrigue, and tension?

Do you find the story or writing style like other books you have read?

Are there any moments you found confusing, irritating, annoying or frustrating?

Are there any moments in the story you thought, “this could/would never happen”?

Did you have any questions after reading the book?

What are your general thoughts and feelings about the story?

Is there anything you wish there was more or less of?

What do you think were the best/ strongest aspects of this book?

What do you think were the worst/ weakest aspects of this books?

How would you describe this book to a friend?

Would you recommend this story to someone?

How likely/ eager are you to read the next book in the series?

Chapter specific

On a scale from 1-5, how much did you enjoy this chapter?

On a scale from 1-5, how eager are you to read the next chapter?

What predictions do you have for the next chapter?

What do you hope will happen next?

Please keeping in mind: Don't let another writer tell you what to change or how they would write it. You are the writer, and any changes are your decision. This feedback is only to give you an idea on which areas to improve.

*Alpha and Beta readers should be readers in the same genre that you write. People who mostly read mystery will not be good a/b readers for a romance novelist, or any mismatch. If you write romance, find a/b readers who love to read romance. Otherwise, any advice they give may not be as valuable or useful as you hope.*

If you have other questions you think would be useful to ask your readers, message me or add them in the comments so our list is comprehensive.

Happy Writing!

[wantstoflyafraidtofall]

hey writers! OneLook Thesaurus lets you find that word you can’t think of but can describe! go check it out!

[caramelminx]

I can't convey how happy I am to learn of this resource!!!

[hayatheauthor]

How To Accurately Describe Pain In Writing 

Pain can be an interesting emotion to write about. It gives authors the liberty to merge their character’s emotions and surroundings to create beautiful metaphors and graphic descriptions that draw their readers in and convey their character’s struggles. However, if done wrongly reading your descriptions of pain can feel like a chore to your readers. Unsure how to accurately describe pain in your writing? Here are some tips to help you get started. 

Use The Five Senses 

As humans, we possess five senses that dictate our reactions to the world around us. When writing, it is important to use these five senses rather than just relying on what your character can see. Talk about the sound, the smell, the taste, and even the feeling. 

If your character just got burnt, talk about the sound of sizzling flesh and the slight numbness they feel. Mention the terrible smell of burnt flesh, and make your character feel dizzy with fear as their eyes finally land on the horrific wound. 

Internal bleeding makes people spit blood and taste iron and partially healed wounds feel itchy and irritant. 

There is so much more to pain than what you see, and simply talking about your character’s wounds isn’t nearly enough to make your readers wince in second-hand pain. In fact, they are more likely to skim your passages in boredom. 

Show your readers what your character is experiencing, and then go on to describe their reaction to this situation. 

Build It Up, Then Break It Down 

Pain doesn’t just suddenly come from nowhere. It starts with something small, blossoms, and then spreads. Your character won’t just suddenly get a third-degree burn the size of a baseball by leaning against a hot steel wall for the briefest of seconds. It starts with a light reddish-brown mark, then darkens, maybe even blisters. 

You can’t go from 0 to 100 in one sentence. You need to build it up and show your readers how your character’s pain was found. Then, break it down. 

Pain doesn’t come from nowhere, but it doesn’t suddenly disappear either. Show us how your character’s wound heals. Does the wound mark from where they hurt their knee turn into an ugly brown shade for a couple of weeks? Do their burns gradually fade from red to pink, or turn darker? 

It’s important to show your readers the aftermath of your character’s pain. A character who just had a bullet pulled out of their shoulder with a hot knife can’t suddenly just jump up and start firing at the enemy with perfect aim. 

You don’t need to overdo it and constantly mention their wounds during the healing stage, but something as simple as ‘her bandages uncomfortably scratched at her back every time she lifted her hand to eat’ or ‘his fingers subconsciously shifted to run over the remains of his burn mark even as his eyes remained trained on the blackboard’ will suffice. 

How Does This Affect Your Character? 

Physical pain aside, wounds can also have an effect on your character’s dynamics with others as well as your plot. 

It’s important to take into account how they got this wound, how the other characters might react to it, and internalised conflict caused by it. Maybe your character injured their fingers during a game of volleyball and now they’re staring at their final exam paper with tears of frustration brimming their waterline because it hurts too much to write.

Maybe your protagonist suffered a small burn while sneaking out to go to their friend’s house and their parent or mentor saw it. Or maybe your protagonist won against the antagonist but suffered a grave injury to their legs and now cannot fight during the next confrontation, resulting in a chaotic outbreak at their headquarters. 

Think about the internal as well as the external damage your character’s wounds can cause, and then use that as a plot device to further your book. 

Do Your Research 

It’s very important to accurately portray your character’s level of pain and consider whether or not they would realistically incur such injuries from such a wound. When writing about a character’s wound or pain consider doing some research about that type of wound. 

Here are some things you need to check when researching the wound type: 

How much blood would they loose with this type of wound? 

What are the side effects? 

Could this be fatal? 

How long will it take to heal? 

How long does it take for a wound to get to that extent? (for example, if you’re writing about a third-degree burn, research what it takes for a burn to be considered third-degree). 

What are the major veins, arteries, and other important body parts in that part of the character’s body? For example, if your character is supposed to be injured on their arm but it’s not supposed to be serious, you need to consider whether the wound could realistically have ruptured their radial artery, resulting in death. 

Will there be any scarring? What about any long-lasting wound marks? 

You could also take a look at historical events similar to the one you’re writing. For example, if you’re writing about an assassination attempt consider researching the most historically renowned assassination techniques. 

It’s also a good idea to ask your families and friends about their experiences with the type of wound you’re writing about (so long as it’s not a sensitive topic). Maybe you have a cousin who suffered a third-degree burn once or a classmate who has a scar from a graphic wound across their arm. 

I hope this blog on how to accurately describe pain in writing will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday. 

Want to learn more about me and my writing journey? Visit my social media pages under the handle @hayatheauthor where I post content about my WIP The Traitor’s Throne and life as a teenage author. 

[septembercfawkes]

One of the most popular approaches to scene structure comes from Dwight V. Swain, who divides the unit into 3 parts.

1. Goal: In the opening, the character should have a scene-level goal to pursue.

2. As the character moves toward the goal, he will hit obstacles, which creates conflict.

3. The conflict will end with a “disaster”: If the character gets the goal, you add a new problem. If the character doesn’t get the goal, you add another problem.