All of the Romantics could not have prepared me for this kind of wild beauty.
No title available
Cosmic Funnies
Doug Jones

pixel skylines
Cookie Run:Kingdom Official!
d e v o n
Today's Document
Phantogram Three
Sweet Seals For You, Always
The Bowery Presents
almost home
ojovivo
KIROKAZE

PR's Tumblrdome
occasionally subtle

Product Placement

shark vs the universe
Fieri Frames
Color Me Curious
Mike Driver

seen from Pakistan
seen from Türkiye

seen from Germany
seen from Canada
seen from Türkiye

seen from Ecuador
seen from Türkiye

seen from Italy

seen from United States

seen from United States
seen from Türkiye

seen from Türkiye
seen from France
seen from France
seen from Italy
seen from Malaysia

seen from United States
seen from United States

seen from Netherlands

seen from Switzerland
@writersdemonsandhowtodefeatthem
All of the Romantics could not have prepared me for this kind of wild beauty.
I want my writing to be smart.
Here’s what I mean: I want to write something you can understand on the first go, no problem. But then, the more you think about it, the more little things you realize. Are those little things essential to grasping the plot? No, but they enhance it. Most importantly, you feel smart for pointing them out, and I feel smart for writing them.
This is a very specific mood but I’ll be damned if I don’t also want this
I want people to read my work again and again, and each time they spot something and go “HOW DID I MISS THAT?!”
^ yes this
Cheat Sheet for Writing Emotion
Anger:
Grinding teeth
Narrowing eyes
Yelling
A burning feeling in the chest
Heavy breathing
Unjustified or justified accusations towards other characters
Jerky movements
Glaring
Violence
Stomping
Face reddening
Snapping at people
Sadness:
Lack of motivation
Messy appearance
Quiet
Slow movements
Crying
Inability to sleep
Frowning
Red eyes
Isolating oneself
Fatigue
Not concentrating
Ouch.
Coming Up With Scene Ideas
This is also available on wordsnstuffblog.com!
– A lot of authors and writers commonly struggle with coming up with ideas for scenes that convey all the things needed to portray your story effectively to the reader. I’ve made a list of things to think about when you’re coming up with ideas for scenes in your story for use whenever you’re lost or stuck. Happy writing!
Patreon || Ko-Fi || Masterlists || Work In Progress || Studyblr || Studygram
Things To Consider When Brainstorming
What do you want to convey in this scene?
Character growth or regression? Plot progression or subplot significance? Figure out the technical purpose of the scene before coming up with what it’s going to be, because if you focus solely on what happens in it, you’ll end up having to cut a lot of it to make way for the stuff that makes the story stronger, rather than more dramatic.
Who should be included in this scene?
Every scene needs a cast, so after you’ve figured out what you want to convey to the reader through the scene, you need to decide what combination of characters will do that efficiently. What characters’ interactions could be used to get the information from your brain to the reader’s, and in the most engaging way?
How much page time can you dedicate to this scene?
Word counts and page limits don’t really matter much in the scheme of things because you can always go back later and cut out some stuff or add some things to make sure the page time dedicated to each subject is efficient and effective. However, it’s really helpful to have an idea of how much page time this subject is worth, and this of course goes back to the main idea you’re trying to convey. If you’re trying to illustrate an important aspect of two characters’ relationship, it probably constitutes a bit more time and attention to detail than writing a short argument between two characters that only acts as a set up for a future scene.
How does this scene contribute to the story progression?
This scene, like every other, needs to do at least two things. The first (and most imperative) is contribute to the progression of the plot, whether that be the building up the conflict or moving toward the resolution. It should convey important information to the reader that pushes the plot forward in some way. This also includes subplots.The second can be any one or combination of the following two options: A) develop the characters and show how they are growing/regressing, or B) develop the world the characters are in, and convey important information that will contribute to the reader’s understanding of the story. This is also a good place to start thinking about foreshadowing and the consequences of events in the scene on the future of the characters and the conflict overall.
Support Wordsnstuff!
FIND MORE ON WORDSNSTUFFBLOG.COM
If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon.
Request Resources, Tips, Playlists, or Prompt Lists
Instagram // Twitter //Facebook //#wordsnstuff
FAQ //monthly writing challenges // Masterlist
MY CURRENT WORK IN PROGRESS (Check it out, it’s pretty cool. At least I think it is.)
Studyblr || Studygram
Check out my YouTube Channel!
Requires Fantasy Novel Things (feel free to add more)
- Title contains the words “Wolf/Rose/Sword/Dark/Crown/Throne” - Unexplained white haired girl - Evil Queen that is definitely a red head - The one black haired guy that dresses in all black but his eyes are blue and beautiful - Special Eyes™ - Someone turns into an animal and exactly one (1) person might question it - The Blacksmith - The mysterious hooded woman in the woods (bonus points if she has a fancy stick) - Barn sex - The fastest horse in the land that gets shot by an arrow on page 215 - The one soft spoken healer that gives life changing advice and then is never mentioned again - A truly excessive amount of dead parents - Everyone is British except for one inexplicable Irish guy
-traveling unreasonable distances by magic and still not having time travel to save aforementioned dead parents
-that one person who calls magic stupid and believes surgery is the next step for man
-dragons in general
-at least one character or place with a Y in the name -The Village Festival is the biggest event of the year -the word “lithe” -the nice innkeeper with their mean spouse -a character unused to hygiene who freaks out about having to wash
- long and arduous road trip to the Place of the Specific Adjective and/or Noun - the Castle Ball where the heroine wears The Dress which is described in great detail - medieval weaponry 101 - the three drinks of fantasy: ale, wine, and fairy wine - there’s always someone with a Napoleon complex - the Moon cycle and the Solstices
- Orphans raised by orphans until the orphans raising the orphans die tragically leaving orphaned orphans.
- Dark Lord of the Evil Darkness. Wears black, hell bent on destroying the world but is really just misunderstood. Often is either strikingly beautiful or has pronounced physical feature such as missing nose, body burnt by lava, pink eye.
- Gambler/Drunkard character with foul mouth but loveable sense of humour. Kind of like that one weird uncle every one has but usually less creepy.
- Hard to acquire mystical artifact, MC must go through trial similar to battling for 50 inch flat screen on Black Friday.
- The orphans grow to adulthood, fall in love, have children of their own. Their children become orphans.
- Ancient prophecy. Must be vague enough to be misinterpreted.
- Cryptic signalling of end times. Fish dying, wolves grow bolder, moon turns blood red, comet in the sky, tv shows that should not be cancelled, are.
- Quiet, brooding guy, has hidden endearing talent such as: knows how to repair vintage horse carriages or plays the lute.
- Sean Bean dies.
How to tape up your hands before a fight
Useful reference?
Let’s go beat someone up! But no seriously, does this prevent pain or something ? What do these bandages actually serve ?
It keeps your bones aligned to prevent injury, compresses soft tissue to make the fist more rigid, and pads the knuckles. Skull bones are sturdier than hand bones, and even if you know what you’re doing there’s a high risk of damaging your metacarpals if you punch someone barehanded. It’s why they recommend if you find yourself in a fight unprepared to bunt their nose with the butt of your palm, because if the other person tucks their head and you end up hitting their forehead instead it’ll do a lot less damage to your palm than your knuckles.
Tumblr teach’n you how to fucks someone’s shit up.
@warriormale @imfemalewarrior
For any followers that might need to know how to do this! There are also Youtube tutorials you can watch if you find the above diagram confusing!
Good luck in your training!
-FemaleWarrior
Quick Tips for Writing Interesting Villains
Give them relationships with other characters. Being a villain doesn’t mean they’re isolated
Give them their own set of morals
Give them something to care about
Consider the reasons why they want to hurt the protagonist
Remember that they are human
Don’t make them evil for the sake of being evil
Keep in mind that a villain doesn’t have to do every horrible thing imaginable
Not every villain was abused. Someone who was spoiled is just as, if not more, likely to lack empathy than someone who was abused
Consider how they rationalize their behavior (blame their victims, make excuses, believe that what they’re doing is right) if you need a reference for this kind of behavior, look at how Trump defends the horrible things he does
Give them a life outside of being a villain. Maybe your protagonist is going shopping and they run into their villain and the villain isn’t interested or up for a fight that day. This really depends on the story, though
Give them a past, present, or future relationship with the protagonist. Again, this depends on the story
Consider making your villain likable
Give the reader a reason to sympathize with them
I will reblog this every time it crosses my dash.
People who don’t get this infuriate me
@pompadorkery
Same energy
one time i texted my fireman dad saying something was “lit” and he responded “please dont say that”
HAPPY SUNSHINE CHILD In a suit >u<
Enjoy this meme I made instead of writing
Reblog this meme instead of writing.
I’m reblogging this meme instead of writing.
But you just wrote.
How to avoid informed traits
You know those characters that are constantly referred to so smart or so capable or so sensitive (etc. etc.) by other characters or in the narration? And every time it comes up you find yourself shaking your head or rolling your eyes because the character in question either is as bland as boiled potatoes or constantly acts in ways that contradict those claims without explanation?
That’s what is commonly called an “informed trait”. You’re told the character is a certain way (or has a certain ability), but there is more or less nothing in the text to back that up.
It goes the other way around, too, with informed flaws that are supposed to make a character more relatable or interesting - think almost every romantic comedy leading lady who is supposedly “shy” and “clumsy”, but in a cute, endearing way that only ever comes up when the plot asks for it.
It’s frustrating, distracting, incredibly dull and at times downright insulting to the reader to encounter a story where one or more characters have a bad case of this, but unfortunately, it’s a pretty common weakness even in otherwise strong, well-written stories with interesting and complex character concepts.
Since characters and how the reader feels about them (whether they are supposed to relate to them, look up to them or feel repulsed by them) can really make or break a story, informed traits are an easy trap to fall into and many a writer’s Achilles heel.
So, how to avoid them?
This is where the trusty old “Show, don’t tell” comes in. You have most likely been told before that it’s usually better to go for subtlety and leave something to the reader’s imagination than to spell it out, and that is true.
It’s challenging to imply something without outright saying it. You have to get creative with the details you want to put into your story to get a point across by relying on your audience’s ability to read between the lines, and while it’s absolutely worth it to go the extra mile, you also run the risk of making your narrative too stilted and contrived instead.
However, there is a fairly simple trick to make your characterization feel more natural and insert it into the story smoothly:
Stop thinking of your characters as possessing certain traits and start thinking of their personalities as a collection of habits, preferences and specific abilities.
It might not sound like that big of a difference, but it will make translating your character traits into text much, much easier and save you a lot of trouble while editing.
Some examples:
A “smart” character This can mean a lot of things. You could have a character who is booksmart, learns quickly, reads a lot, can retain information easily and access it when needed, but has trouble applying theoretical knowledge in real life, someone who entertains their friends by telling them about weird facts and trivia, someone who can still recite poems they had to learn by heart when they were ten, someone with a tendency to talk in such complex run-on sentences they frequently forget what they were talking about half-way through. Or you could have a character who is good at problem-solving instead, who likes puzzles and riddles, who gleefully obsesses over odd problems to find even odder solutions, but thinks so far out of the box in order to remain engaged in their current task they often miss the forest for the trees.
A “brave” character Try to instead make a character who can never resist a challenge, who is a thrill-seeker and went bungee jumping about a dozen times already, who enjoys dragging their friends on the most dangerous looking rides in an amusement park and endlessly teases them about how pale they went afterwards. Make someone who simply cannot stand by when they see someone else get bullied, someone with a collection of scars they wear proudly and a story to tell about each one.
A “shy” character Forget about characters who blush prettily when spoken to and that’s it. Instead, write about a character who can’t make eye contact without forcing themselves to, who stumbles over their own words when talking to strangers, who is afraid of wearing bright colours because it might draw attention to them, someone who is humble and polite, but distant and comes across as cold or uncaring because they have tendency to hide their insecurity by retreating into themselves, even though seeming rude is the last thing on their mind.
Insert these habits into the story wherever they fit best. Be consistent in the portrayal of your character’s behaviour, even as character development kicks in. Adjust deliberately, but reasonably. After all, old habits die hard, so having your character break with one, however minor, can be a powerful moment with just as much emotional resonance as a flashy, dramatic scene meant to convey the same sentiment, and any “big” scenes will likely feel more organic if the reader has already seen traces of the necessary character changes before.
How to Finish
I drew this poster for Jon Acuff and his FINISH book tour. Big thanks to Jon for this collaboration, his book has some great ideas about how to complete creative and life goals.
Love this, but reblogging it specifically for “Get rid of secret rules.” That’s one of the most amazing illustrations—and points—I’ve ever seen.
A handy list of poisons for writing reference, provided to you by me, Bella
Poisoning is one of the oldest murder tactics in the books. It was the old equalizer, and while it’s often associated with women, historically men are no less likely to poison you. This is not a guide on how to poison people, you banana bunches, it’s a guide on writing about poisons in fiction so you don’t end up on a watch list while researching them. I’ve taken that hit for you. You’re welcome. These are just a few of the more classic ones.
Hemlock: Hemlock (conium maculatum) is one of the more famous ones, used in ancient times most notably in Socrates’ forced suicide execution. So it goes. The plant has bunches of small, white flowers, and can grow up to ten feet tall. It’s a rather panicky way to die, although it wouldn’t show: hemlock is a paralytic, so the cause of death is most often asphyxiation due to respiratory paralysis, although the mind remains unaffected and aware.
Belladonna: Atropa belladonna is also called deadly nightshade. It has pretty, trumpet-shaped purple flowers and dark, shiny berries that actually look really delicious which is ironic since it’s the most toxic part of the plant. The entire plant is poisonous, mind you, but the berries are the most. One of the most potent poisons in its hemisphere, it was used as a beauty treatment, so the story says, and rubbed into the eyes to make the eyes dilate and the cheeks flush. Hench the name beautiful lady. The death is more lethargic than hemlock, although its symptoms are worse: dilated pupils, sensitivity to light, blurred vision, tachycardia, loss of balance, staggering, headache, rash, flushing, severely dry mouth and throat, slurred speech, urinary retention, constipation, confusion, hallucinations, delirium, and convulsions. It’s toxic to animals, but cattle and rabbits can eat it just fine, for some reason.
Arsenic: Arsenic comes from a metalloid and not a plant, unlike the others here, but it’s easily the most famous and is still used today. Instead of being distilled from a plant, chunks of arsenic are dug up or mined. It was once used as a treatment for STDs, and also for pest control and blacksmithing, which was how many poisoners got access to it. It was popular in the middle ages because it looked like a cholera death, due to acute symptoms including stomach cramps, diarrhea, confusion, convulsions, vomiting, and death. Slow poisoning looked more like a heart attack. The Italians famously claimed that a little arsenic improved the taste of wine.
Strychnine: Strychnine (strick-nine) is made from the seed of strychnos nux vomica and causes poisoning which results in muscular convulsions and eventually death through asphyxia. Convulsions appear after inhalation or injection—very quickly, within minutes—and take somewhat longer to manifest after ingestion, around approximately 15 minutes. With a very high dose, brain death can occur in 15 to 30 minutes. If a lower dose is ingested, other symptoms begin to develop, including seizures, cramping, stiffness, hypervigilance, and agitation. Seizures caused by strychnine poisoning can start as early as 15 minutes after exposure and last 12 – 24 hours. They are often triggered by sights, sounds, or touch and can cause other adverse symptoms, including overheating, kidney failure, metabolic and respiratory acidosis. During seizures, abnormal dilation, protrusion of the eyes, and involuntary eye movements may occur. It is also slightly hallucinogenic and is sometimes used to cut narcotics. It also notably has no antidote. In low doses, some use it as a performance enhancer.
Curare: Chondrodendron tomentosum is lesser known than its famous cousins, but kills in a very similar way to hemlock. It is slow and terrible, as the victim is aware and the heart may beat for many minutes after the rest of the body is paralyzed. If artificial respiration is given until the poison subsides, the victim will survive.
Wolfsbane: Aconitum has several names; Monkshood, aconite, Queen of Poisons, women’s bane, devil’s helmet) and is a pretty, purple plant with gourd-shaped flowers. The root is the most potent for distillation. Marked symptoms may appear almost immediately, usually not later than one hour, and with large doses death is near instantaneous. Death usually occurs within two to six hours in fatal poisoning. The initial signs are gastrointestinal including nausea, vomiting, and diarrhea. This is followed by a sensation of burning, tingling, and numbness in the mouth and face, and of burning in the abdomen. In severe poisonings pronounced motor weakness occurs and sensations of tingling and numbness spread to the limbs. The plant should be handled with gloves, as the poison can seep into the skin.
Foxglove: Digitalis is large with trumpet-shaped flowers that can be many colors, but usually a pinkish shade. It may have from the term foxes-glew, which translated to fairy music. Intoxication causes nausea, vomiting and diarrhea, as well as sometimes resulting in xanthopsia (jaundiced or yellow vision) and the appearance of blurred outlines (halos), drooling, abnormal heart rate, cardiac arrhythmias, weakness, collapse, dilated pupils, tremors, seizures, and even death. Slowed heartbeat also occurs. Because a frequent side effect of digitalis is reduction of appetite and the mortality rate is low, some individuals have used the drug as a weight-loss aid. It looks a bit like comfrey, which is an aid for inflammation. Make sure not to confuse the two.
@eve-daniels