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stargatelov3r

I love characters that think they can't allow themselves to love or be loved

just to have someone stride into their life to turn that concept upside down

stargatelov3r

@thebuni EXACTLY

feathernotes

if you're writing your story and you think 'hm, this might be too weird' Wrong. Make it weirder

luna-azzurra

Ways to hit your readers in the gut

When it comes to writing, there's a profound and mesmerizing way to touch your readers deep within their souls. It's about crafting moments that hit them in the gut, stirring up intense emotions and forging an everlasting connection. Here are some techniques to help you achieve this:

1. Unexpected Loss: Introduce a character who captures hearts, only to snatch them away suddenly. Think of J.K. Rowling's "Harry Potter" series, where the abrupt departure of beloved characters like Sirius Black and Fred Weasley leaves readers shattered, their grief a testament to the power of storytelling.

2. Sacrifice for a Cause: Show a character willingly sacrificing their own happiness or even their life for a greater purpose. Suzanne Collins' "The Hunger Games" portrays Katniss Everdeen's selflessness, volunteering as a tribute to save her sister, evoking empathy and admiration.

3. Unrequited Love: Explore the agony of unrequited love, where hearts ache and souls yearn. Charlotte Brontë's "Jane Eyre" delves into the bittersweet and heart-wrenching tale of Jane's unfulfilled affection for Mr. Rochester, resonating with readers who have experienced the profound depths of unrequited longing.

4. Betrayal by a Loved One: Peel back the layers of trust to reveal the sting of betrayal. George R.R. Martin's "A Song of Ice and Fire" series delivers shocking betrayals that shatter readers' expectations, leaving them stunned and heartbroken alongside the characters.

5. Overcoming Personal Demons: Illuminate the struggle against internal conflicts, be it addiction, guilt, or haunting trauma. Anthony Doerr's "All the Light We Cannot See" explores Werner's moral compass during wartime, captivating readers as they witness his battle for redemption and personal growth.

6. Injustice and Oppression: Shed light on the injustices characters endure, igniting empathy and inspiring change. Harper Lee's "To Kill a Mockingbird" reveals the racial prejudice faced by Tom Robinson, awakening readers to the urgent need for justice and equality.

7. Parent-Child Relationships: Navigate the intricate tapestry of emotions between parents and children. Khaled Hosseini's "The Kite Runner" unearths the complexities of the father-son bond, evoking a myriad of feelings, from longing and regret to hope for reconciliation.

8. Final Farewells: Craft poignant scenes where characters bid farewell, whether due to death or separation. Markus Zusak's "The Book Thief" gifts readers with heartbreaking partings amidst the backdrop of World War II, leaving an indelible mark of loss and the fragile beauty of human connections.

9. Personal Transformation: Illuminate characters' growth through adversity, offering a beacon of hope and inspiration. Charles Dickens' "A Christmas Carol" narrates Ebenezer Scrooge's extraordinary journey from a bitter miser to a beacon of compassion, reminding readers that redemption and personal change are within reach.

10. Existential Questions: Delve into existential themes that provoke deep introspection. Albert Camus' "The Stranger" challenges readers to ponder the meaning of life through Meursault's detached and nihilistic worldview, prompting them to question their own existence.

With these techniques, you have the power to touch your readers' souls, leaving an indelible impression. Remember to weave these moments seamlessly into your narrative, allowing them to enrich your characters and themes. Let your words resonate and ignite emotions, for that is the essence of impactful storytelling.

mikkeneko

PSA to fan creators who don't have a lot of regular contact with children: They are almost always bigger than you think. A 1-year-old baby may already be walking. A toddler is likely already hip-high. A 10-year-old may already be taller than at least one of their parents. A 14/15 year old may already have reached their adult height.

amarguerite

Via @watertightvines

wildjuniperjones

Here's the link. It was actually not immediately easy to find, so I thought this might help.

transman-pheonixwright

Okay but this is what I mean when I say that nobody is going to be liberated until people stop being so possessive over the bodies of trans men and transmasc+ people.

spacelazarwolf

te/rfs are literally just incels but with added feminism

vaspider

Transmasc. Bodies. Don't. Belong. To. You.

gayahithwen

Also, like... consider the fact that this is the exact rhetoric used against "beautiful lesbian women". Consider how many assholes complain that they used to find a girl pretty, but ever since she cut her hair or started dressing a little butch or whatever? This same fucking entitlement is nothing new. Just a new coat. Which, like... if it breaks your heart to see someone being true to themselves, then you value your personal aesthetics over other people's well-being, and you're not valid. You can be disappointed all you want that someone is no longer personally attractive to you. But the moment you try to make that their problem, you are just as fucking obnoxious as any man who ever told a woman she'd be prettier if she smiled.

screnarchive-deactivated2022042

good morning. claim the energy

dearwriters

What story structure do you guys prefer?

3 Act Structure

Dan Harmon Story Circle

7-point story structure

Heroes Journey

another option I will explain in the notes

You guys are using structures?!

Voting ended onFeb 12, 2023

dearwriters

Since this poll is finished, let's review a bit, shall we? As you can see, the last option is clearly the winner and in the notes people discussed a lot of reasons why that is:

1. Structures are too "rigid"

Some feel a certain structure is too rigid for their creative process. They are what a lot of people call discovery writers, a completely valid way to write. Although I personally would argue, that a structure is only as rigid as you make it. I think the difference between a discovery writer and a plotter is not so much a difference rather than a spectrum and how much planning or structure you need depends on how your specific brain works.

But I can't help but think that in some cases the rejection of story structure may stem from a certain perception that opposes structure with creativity often to the point of insinuating that true creativity can only exist outside of structure. There seems to be a misconception that using a specific story structure means you have to rigidly adheare to it and can't change things up as they suit you. Which is very much untrue, since most writers who use structures (as you can also see in the notes) start out with a structure as a basic framwork and build upon it in whatever way they choose. They use what they need and leave what isn't helpful to them. I think it is all about individuality and how a personal creative process works. That's why many people argue that they use different methods or structures (or even combine different structural elements to build their own individual structure) depending on the project they are working on, which is actually very common! So however you write, if you use structures or you don't, if the way you write is true to the way you think about your writing, then it is legitimate!

2. My stories "accidentally" fit a certain structure

A lot of people mentioned that their stories "accidentaly" fit certain structures without them trying to build the plot according to said structure and I just wanted to say: congratulations to you A+ pattern recognition! A lot of writers, even those who don't have that much experience can emulate certain features of the craft by instinct just by the virtue of them consuming a lot of stories. Some people are great at structuring, or building characters or worldbuilding just because they know how the kind of story they like to read works. This is why a common piece of writing advice is "read read read". As humans, we learn how stories intrinsically work, just because we have been consuming stories since childhood. There is a lot written about how there are only a finite number of stories told over and over again and originality is just in the way they are told and equipped. We know how a fairy tale works, we know how a crime story works or a romance or a quest and so on. That's the reason discovery writing can work so well: We already know what makes a good story, so we sometimes instinctually know where a story needs to go.

3. Structures are not "realistic"

Some people argued that to structure a novel is unrealistic, since real life is not structured. I struggle most with this argument, since we are talking about fiction. To paraphrase an argument made in the notes: "real life often is unsatifying". When we pick up a fiction book, we are prepared not to read a depiction of real life. That's where the whole "suspension of disbelief" thing comes from. A novel needs to have inherent logic to feel "realistic" in a sense, but actual depiction of reality is not necessarily the goal. Stories are inherently artificial in nature, just by the virtue of being written and/or told. Other than structures, there are several things like stylistic devices, character wants/needs, etc. that are part of this artificiality. As a human, I don't have a character arc, I don't have one set goal with a clear motivation, I don't have a specific lesson to learn on a specific journey. Humans are way more compley than that. But a character would have these things, that's what makes them a character, artificial. They are imagined so they are only as realistic as an image can be. Which can be very realistic! But never real. And I think that's where this argument falls apart from me: trying to emulate reality in fiction isn't productive, because you can only ever depict. You can aim for "realistic" but never for "real".

writergeekrhw

25 THINGS I’VE LEARNED IN 25 YEARS IN TV WRITING

Well, it’s actually been 30 years now, but here’s a spew I did 5 years ago on the bird app to commemorate my 25 years as a TV writer.

I’ve edited it a bit for clarity. Hopefully some of you will find it useful.

1. In TV writing (and writing in general) there is only one unbreakable rule: Thou shalt not be boring.

2. Write characters people want to hang out with for an hour or so once a week for years to come. Even if they’re bad people, make them interesting, engaging bad people.

3. If your lead is a bad person, make them funny and/or sexy. Direct most of their bad behavior toward other bad people or themselves. Make them well motivated. Maintain rooting interest.

4. What makes a character special should be intertwined with what makes them struggle. Perfect people are boring.

5. Characters should complement/conflict with each other. No two characters should serve the same purpose/have the same backstory/have the same voice.

6. Cast the best actor, adjust the character to suit.

7. Give your leads the best lines/moments. No one is tuning in to watch the funny guest star. Like Garry Marshall said back on HAPPY DAYS, “I’m paying Henry Winkler $25,000 an episode. Give the Fonz the jokes.”

8. Your characters, good & bad, should reflect the reality of our wonderful, diverse world. White male shouldn’t be the default.

9. Avoid stereotypes. Stereotypes are boring.

10. If all your POV characters know some secret, the audience should know it too.

11. If your show hinges on a big mystery, know more or less what the truth is from the beginning. You can change it later if you need to, but write to a specific.

12. If your story doesn’t test your characters mentally, physically, psychologically, emotionally, or spiritually, you don’t have a story.

13. You can start by figuring out the Beginning, the Middle, or the End, but you don’t have an episode until you have all three.

14. Big suspenseful act outs (the last moments before the commercials) aren’t just a gimmick. They’re a good way to structure an hour of entertainment to make sure the audience is invested and your pacing is solid.

15. Every scene should be a consequence of the previous scene or a refutation of it.

16. A scene also needs a Beginning, Middle, and End. The end should propel the characters and/or audience into the next scene.

17. Every scene is a negotiation/confrontation between two or more characters who want different things or have different ideas on how to solve the same problem.

18. A good action scene is still a character scene. With punching. (This applies to sex scenes too, but you know, with sex.)

19. A crap page is better than a blank one.

20. It’s easier to cut than to add.

21. Good things rarely happen in the Writers Room after dinner. Go home, get some rest, write pages at home if you have to, start fresh in the morning. Writers who have a life outside the writing room are better writers. Beware the showrunner who doesn’t want to go home to their family. That said…

22. Script by day one of Pre-Production. No matter what.

23. You’re a writer first. Almost nothing happening on set or in post is more important than the writing. Delegate when possible.

24. Make an extra effort to surround yourself with writers who are different from you (background, race, gender, orientation, etc). Listen to their perspectives, especially on experiences alien to you.

25. And in the end the love you take is equal to the love you make. In TV writing and life in general.

nikasholistic

Trust me, the mere word ‘said’ is enough. Your characters don’t have to hiss, gurgle, growl, chuckle, or stammer their words. And they don't have to say things loudly, annoyingly, shyly, etc, etc. Sometimes simple means better.

sariah-smith

"Said" is so short, standard, and familiar that it's invisible! The reader's eye skips right over it, which helps the flow of your dialogue.

gailynovelry

And as a result, the other speech signifiers are best used when you want the reader to pay attention to how the dialogue is being delivered.

ceejoules

not writing, not not writing, but a secret third thing

jennamoreci-deactivated20260404

10 Best Tips for Writing a Climax

projecttreehouse

how to write convincing dialogue

did you know that show, not tell applies to dialogue, too? while dialogue can be used to further your narrative, it can also be used to showcase your characters. here’s how:

-what is your character hiding? most people don’t say things at face value. they hide what they mean within their words and tone, but in writing, you can’t verbally hear the character’s tone. ways to convey non-verbal tone include: contradictions between words and actions, context behind the words (ie. the scenario, character’s actions and feelings), syntax (ie. fragments, repetition, awkward phrasing). also consider who the character is hiding information from: is it the reader? the characters? both?

-favorite words or phrases. does your character use a certain phrase or word a lot? do they often put their prepositions at the beginning or the end of the sentence? these are questions to ask when you’re arranging the syntax of the dialogue. everyone has a specific way of talking. make sure you give each character a distinguishable voice.

-personality. this is how you can create a distinguishable voice. is your character confident? are they shy or hesitant? do they repeat the phases of others because they have nothing to add to the conversation? are they confrontational or do they beat around the bush? ask questions like these. if your character is confident, they may make bold statements and appear sure of themselves unlike shy characters who use words such as “maybe” or “should” or “think.” to boil it down, think active wordage versus passive.

-observe others. don’t look solely at television or other books. sit at your local coffee shop and listen in on conversations, then try and break it down. are they hiding anything? do they frequently use any words or phrases? how would you describe their personality? the better you get at breaking down conversations, the better you can create convincing ones, whether shallow, deep, or as a narrative device, because even if you use your dialogue to move your narrative along, it should still be compulsively convincing.

one way to tell if you’ve ticked all these boxes is if you can tell who is speaking without any tags.

happy writing! if you have any questions about how to implement any of these tips, our ask box is always open.

detectivehole

some of you are miserable because you're mean. like you're just mean to people and things

detectivehole

"why don't i have any friends" because you are mean

detectivehole

this can be fixed at least in part very easily though! just stop being mean. i believe in all of you 👍

eeriedeer-deactivated20240803

clairelutra

re-reblogging this with actual advice because sometimes it really isn't that self-evident how to Not Be Mean

celebrate other people's good news (tell them that what happened was great, they earned/deserve it, you're happy for them, elaborate on how it's a good thing and why they deserve to be happy about it)

sympathize with other people's troubles (tell them what they're going through sucks, they did their best, point out that not all is lost (use examples of what they still have going for them) but it can still fucking suck)

react and ask questions related to what people say to you (ask for elaborations or explanations, ask about future plans, ask how things went before, relate the things they've said now to things they've said in the past, use their name sometimes, add your own (positive or neutral) perspective on the events, share related experiences)

if someone is instigating a fight or pissing you off, just walk away -- or, if it's all online, block them (it'll make you look better, i promise)

ask about their day/state and pay attention to what they say, and apply the first three as needed

snark or make jokes/puns, if you have them, and be willing to laugh at other people's jokes/snark/puns

share good events, interesting things, and the things that make you happy/excited (try not to 'qualify' these, i.e. add on reasons why you should be sad about the news, or why the news wasn't actually that great -- it's not the end of the world if you do, but it does defeat the purpose a bit)

share bad events or things you're unhappy about (it's important to open up, and it's unreasonable to expect yourself to be happy all the time; just make sure it's balanced out by the positives as well)

remember that nobody does things that are senseless, and the sooner you can figure out why someone is doing what they're doing, the easier it'll be to deal with and negotiate (common reasons for baffling or harmful actions are: distress, self-interest, misguided altruism, unquestioned biases, peer pressure, thoughtlessness)

keep in mind that everyone (including you) is doing their best at any given time, and sometimes that 'best' just isn't that good

TRY NOT TO

be harsh about or insult yourself (keeping in mind that that is taking side swipes at other people who have those traits, regardless of how you mean it)

point out why people should feel bad about the things they're happy about

ignore all the specifics of what the person you're speaking with is saying

spend a significant amount of time mocking other people (we all need to vent and we all have our moments; the operative word here is significant -- don't make it your personality)

put down to malice what can adequately be explained by stupidity (don't assume someone is being cruel when they could just as well be doing it because they're dumb/oblivious)

dismiss or belittle other people's distress (it's not a competition, and their distress is real regardless)

dismiss or belittle other people's happiness or interest (it's not a competition, and their happiness is something you want in order to Not Be Mean)

(this is both non-exhaustive and not ironclad, simply a list of general things to aim for and skills to practice)

basically, 'people will largely stick by you through pretty dark shit if you make their lives brighter the rest of the time' is super legit and something to lean into