Writing Promts

[shutyourmoustache]

Shout out to all the childless whores that be fucking up them pretzel lines at disney world. Y’all are the worst and some random mom out there hates you.

[shutyourmoustache]

Update: The Post also thinks you’re a weird childless whore.

[drinkyourjuiceshelby]

Proud to be a pretzel-buying, childless whore

[erikaofrp]

Stop using the word "Walk". We don't want that word to die together with "Said".

Here are a few words you can replace walk with.

AMBLE: WALK EASILY AND/OR AIMLESSLY

BOUNCE: WALK ENERGETICALLY

CAREEN: PITCH DANGEROUSLY TO ONE SIDE WHILE WALKING OR RUNNING

CLUMP: WALK HEAVILY AND/OR CLUMSILY

FALTER: WALK UNSTEADILY

FLOUNDER: WALK WITH GREAT DIFFICULTY

FOOT IT: (SLANG) DEPART OR SET OFF BY WALKING

FOOTSLOG: WALK HEAVILY AND FIRMLY, AS WHEN WEARY, OR THROUGH MUD

GIMP: LIMP; HOBBLE

HIKE: TAKE A LONG WALK, ESPECIALLY IN A PARK OR A WILDERNESS AREA

HOBBLE: WALK UNSTEADILY OR WITH DIFFICULTY; SEE ALSO LIMP

HOOF IT: (SLANG) WALK; SEE FOOT IT

LEG IT: (SLANG) SEE FOOT IT

LIMP: WALK UNSTEADILY BECAUSE OF INJURY, ESPECIALLY FAVORING ONE LEG; SEE ALSO FALTER

LUMBER: WALK SLOWLY AND HEAVILY

LURCH: WALK SLOWLY BUT WITH SUDDEN MOVEMENTS, OR FURTIVELY

MARCH: WALK RHYTHMICALLY ALONE OR IN A GROUP, ESPECIALLY ACCORDING TO A SPECIFIED PROCEDURE

MEANDER: WALK OR MOVE AIMLESSLY AND IDLY WITHOUT FIXED DIRECTION

MINCE: WALK DELICATELY

MOSEY: SEE AMBLE; ALSO, USED COLLOQUIALLY IN THE PHRASE “MOSEY ALONG”

NIP: WALK BRISKLY OR LIGHTLY; ALSO USED COLLOQUIALLY IN THE PHRASE “NIP (ON) OVER” TO REFER TO A BRIEF WALK TO A CERTAIN DESTINATION, AS IF ON AN ERRAND

PACE: WALK PRECISELY TO MARK OFF A DISTANCE, OR WALK INTENTLY OR NERVOUSLY, ESPECIALLY BACK AND FORTH

PAD: WALK WITH STEADY STEPS MAKING A SOFT DULL SOUND

PARADE: WALK OSTENTATIOUSLY, AS IF TO SHOW OFF

PERAMBULATE: SEE STROLL; TRAVEL ON FOOT, OR WALK TO INSPECT OR MEASURE A BOUNDARY

PEREGRINATE: WALK, ESPECIALLY TO TRAVEL

PLOD: WALK SLOWLY AND HEAVILY, AS IF RELUCTANT OR WEARY

POUND: WALK OR GO WITH HEAVY STEPS; MOVE ALONG WITH FORCE OR VIGOR; SEE LUMBER

POWER WALK: WALK BRISKLY FOR FITNESS

PRANCE: WALK JOYFULLY, AS IF DANCING OR SKIPPING

PROMENADE: GO ON A LEISURELY WALK, ESPECIALLY IN A PUBLIC PLACE AS A SOCIAL ACTIVITY; SEEPARADE

PROWL: WALK NOISELESSLY AND CAREFULLY IN A PREDATORY MANNER

PUSSYFOOT: WALK STEALTHILY OR WARILY

RAMBLE: WALK OR TRAVEL AIMLESSLY

ROAM: GO WITHOUT FIXED DIRECTION AND WITHOUT ANY PARTICULAR DESTINATION, OFTEN FOR PLEASURE; SEE RAMBLE

ROVE: TRAVEL CONSTANTLY OVER A RELATIVELY LENGTHY TIME PERIOD WITHOUT A FIXED DESTINATION; WANDER

SASHAY: GLIDE, MOVE, OR PROCEED EASILY OR NONCHALANTLY; SEE PARADE

SAUNTER: WALK ABOUT EASILY

SCUFF: WALK WITHOUT LIFTING ONE’S FEET

SHAMBLE: WALK OR GO AWKWARDLY; SHUFFLE; SEE SCUFF

SHUFFLE: WALK WITHOUT LIFTING THE FEET OR WITH CLUMSY STEPS AND A SHAMBLING GAIT; SEESCUFF

SKULK: MOVE IN A STEALTHY OR FURTIVE MANNER

SOMNAMBULATE: WALK IN ONE’S SLEEP

STAGGER: WALK UNSTEADILY

STALK: WALK STEALTHILY, AS IN PURSUIT

STEP: WALK, OR PLACE ONE’S FOOT OR FEET IN A NEW POSITION

STOMP: WALK HEAVILY, AS IF IN ANGER

STRIDE: WALK PURPOSEFULLY, WITH LONG STEPS

STROLL: WALK IN A LEISURELY WAY; SEE SAUNTER

STRUT: WALK WITH A STIFF, ERECT, AND APPARENTLY ARROGANT OR CONCEITED GAIT; SEE PARADE

STUMBLE: WALK CLUMSILY OR UNSTEADILY, OR TRIP

STUMP: WALK HEAVILY, AS WITH A LIMP; SEE LUMBER

SWAGGER: WALK WITH AGGRESSIVE SELF-CONFIDENCE

TIPTOE: WALK CAREFULLY ON THE TOES OR ON THE BALLS OF THE FOOT, AS IF IN STEALTH

TODDLE: MOVE WITH SHORT, UNSTEADY STEPS, AS A YOUNG CHILD; SEE SAUNTER AND STAGGER

TOTTER: WALK OR GO WITH FALTERING STEPS, AS IF FROM EXTREME WEAKNESS; SEE STAGGER(ALSO, SWAY OR BECOME UNSTABLE)

TRAIPSE: WALK LIGHTLY AND/OR AIMLESSLY

TRAMP: WALK HEAVILY OR NOISILY; SEE LUMBER AND HIKE

TRAMPLE: WALK SO AS TO CRUSH SOMETHING UNDERFOOT

TRAVERSE: WALK ACROSS OR OVER A DISTANCE

TREAD: WALK SLOWLY AND STEADILY

TRIP: WALK LIGHTLY; SEE ALSO STUMBLE

TROMP: TREAD HEAVILY, ESPECIALLY TO CRUSH UNDERFOOT; SEE LUMBER

TROOP: WALK IN UNISON, OR COLLECTIVELY

TROT: PROCEED AT A PACE FASTER THAN A WALK; SEE NIP

TRUDGE: WALK SLOWLY AND WITH HEAVY STEPS, TYPICALLY BECAUSE OF EXHAUSTION OR HARSH CONDITIONS; SEE PLOD

WADDLE: WALK CLUMSILY OR AS IF BURDENED, SWINGING THE BODY

WADE: WALK THROUGH WATER OR WITH DIFFICULTY, AS IF IMPEDED

WANDER: TO MOVE FROM PLACE TO PLACE WITHOUT A FIXED ROUTE; SEE RAMBLE

RESOURCES: (X) (X) (X) (X) (X)

[cloud-illusions]

I mean, yeah, don’t use “walk” or “said” in every single sentence so that your writing gets repetitive, but good writing is knowing what to use and when to use it.  There are some instances where your writing could be made better with a more descriptive word, like “waddle” or “whispered”–just as there are some instances where using simpler terms better fits what you’re trying to communicate. At the end of the day, everything in moderation and just remember that there’s nothing inherently wrong with the words “walk” or “said”.

[pinespittinink]

I know I was just talking the other day in worldbuilding crew server about how I personally try not to use “moved” or “went” when describing movement, but if I read “perambulate” in anyone’s wip I’m going to come into your house and beat you with a stick.

[thatwritergirlsblog]

Acing pacing in your writing

I’ve read too many books and watched too many shows where pacing has ruined a good story. So, here are some of my tips for getting pacing right:

1. Don’t take too long to get to the inciting incident

Look, showing the ordinary life of your protagonist might be interesting if there’s something strange about their life, but readers want stuff to happen.

At least with genre fiction, you shouldn’t take too long to get to the action - the event that gets the story going.

If you can do it well and have readers invested from the start, you can start with the inciting incident. However, for most works I would recommend having it in the second chapter.

Your readers want to know what the story is about, not what the character thinks of his English teacher

2. Keep it moving, but don’t rush

Action is important. It drives the story and it’s interesting. You should make sure to put enough action in your work. Things should be happening.

BUT a novel is not a play or a movie or a comic. What makes reading a full-length novel so entertaining is the detail. The in-depth characterisation and description. The emotion and thought processes.

So, keep it moving, but don’t sacrifice the juicy details. Don’t skip from one action or dialogue scene to the next without taking your readers deeper into the intricacies of the story and characters.

It’s a delicate balance that can only truly be found by reading a lot and practicing.

3. Avoid a sagging middle

Your beginning is solid. Your end is exciting. But the middle is a chaotic mess that bores the reader. Trust me, it happens more than you might believe.

Sagging middle syndrome is a thing, and the only way to avoid it is to plan.

Look, I like pantsing, but planning the middle of your novel will help your pacing exponentially.

Make a rough outline of what needs to happen to get your characters to the climax. Add a few lighter/character-driven scenes where there are too many action scenes in the sequence. Remove events which are unnecessary. And make sure that everything makes sense!

This counts for second books in series as well. It should be good on its own, not just as a filler.

4. Don’t fast forward to the end

I’m looking at you, Game of Thrones.

If you’ve built up the story and set up everything for the final big bang, you have to deliver.

Keep the pacing somewhat similar to that of the rest of the story. Your readers have gotten used to it. And if they’re still reading at that point, they probably like that pace. Don’t write a relatively slow book and then have the climax be over in three pages.

I know you want the climax to be exciting. So, yes, make it a little more fast-paced than the middle. But not massively different.

5. Trust your characters

As with every aspect of creative writing, character is most important.

Is your character experiencing the scene quickly and choppily? Or are they slowing down and taking in everything?

If you stick with what your characters are feeling, you will get it right.

Look, exams have fried my brain. So, this isn’t the most well-formulated post I’ve made. But I hope that it can be helpful.

Reblog if you found these tips useful. Comment with your own pacing tips. Follow me for similar content.

[bookishdiplodocus]

Reblog the writers’ fortune cookie for luck!

[redeadepression]

Guys I reblogged this and then wrote an 8000 word story I didn’t even have a solid plan for. Reblog this shit.

[biggest-gaudiest-poltergeist]

if someone stabs you, you get to keep the knife

[biggest-gaudiest-poltergeist]

and that’s how you start a collection!

[fartedandcantgetup]

If someone stabs you and you don’t bleed out in 15 minutes you are legally allowed to leave

[mccallandjackal]

If someone throws a knife at you and you catch it, they’re out.

[biggest-gaudiest-poltergeist]

technically you don’t even have to catch it with your hands

[its-gremlin-time]

If you lick the knife it’s yours

[tanzderwhat]

If you drop the knife on the ground, and pick it up within the next five seconds, you get to eat it.

[tlbodine]

Writing Exercises for Stretching Your Style Muscles

There’s a lot of writing advice on the internet, and a lot of writing prompts, but something I see relatively little of is an idea of how to actually practice. 

The thing about learning a skill is that it requires practice – but practicing will only get you so far if you’re just doing the same thing over and over. you might get better at doing that specific thing, but it can seem really difficult to get over a specific hurdle to accomplish some new thing you’ve never tried. I think a really common frustration is wanting to do a thing, and knowing what your end goal looks like, but not knowing actually how to accomplish it. 

So that’s where practicing specific skills can really help you to feel more comfortable with your abilities. 

Here are some skills exercises I recommend experimenting with to gain proficiency and comfort in writing things. 

—–

Write the Same Scene from Multiple POVs 

Write a scene in 3rd person POV. Then go back and rewrite it from scratch in 1st person. Repeat for a 3rd person omniscient. Go deeper than just swapping out pronouns. Think: How does this scene change if I’m writing through the eyes of a single character vs over their shoulder? How does this scene change if I’m narrating the events through Character B instead of Character A? 

—-

Write a Scene in Present Tense

Present tense bumps up the immediacy level of whatever you’re writing. I think it also helps to break you from more passive sentence constructions. Try taking a scene you’ve written and rewrite it in present tense. Combine it with the above – try switching a 3rd person past to 1st person present, or even try writing in 2nd person. 

—–

Try Mimicking Another Writer’s Style 

Sit down with a piece of writing from an author you enjoy, and pay attention to the writing itself. Ignore the plot and characters and story elements – look at just the nuts and bolts of vocabulary choices and sentence construction. Try to pick it apart. Is there a specific way the author tends to use commas? Certain words, or types of words, that they use more often? Longer sentences or shorter ones? Longer paragraphs or short? How is white space handled? 

Study that and make yourself a little cheat sheet if that’s helpful to you. Then try writing a short piece – just a couple paragraphs, even – in their writing style. 

—-

Describe an Entire Scene Without Using Visual Description 

Imagine you’re writing a blind character, if it helps, or someone who’s been blindfolded. Describe a whole scene built entirely around the way things sound, smell, taste, feel. Try to make it clear what’s happening through description alone. 

—–

Eliminate All Words like “Thought” or “Felt” 

Write in deep-3rd or 1st person without any filter words. Make a character’s opinions and emotions obvious through the way things are being described without explicitly saying what they’re thinking or feeling. If you struggle with this, it might be easier to start in first person – write as a diary entry or even a Tumblr post from that person’s perspective – and then try it in 3rd person after you’ve had a bit of practice. 

——-

Set Yourself a Specific Goal, and Write a Drabble to Achieve it 

When I wrote “Happy Ending,” my entire goal was to write something that was highly descriptive in the most viscerally gross way possible. When I wrote “Mothman,” it was an exercise in writing something sexualized without explicitly being sexual, in the most disturbing way possible. 

This is an exercise in word choice. It’s an excuse to bust out your thesaurus, not to sound fancy, but to nail a specific meaning. It’s also an exercise in choosing what details to focus on and which to exclude. 

One way to approach this exercise is to describe something common and mundane that you’ve experienced, and write it in several different ways. Let’s say, eating a sandwich. How can you make eating a sandwich sound sexy? How can you make it sound disgusting? Which details do you focus on, and which do you omit? What words do you use to evoke the meaning you’re looking for? 

—————————————————————

I hope these writing exercises give you some inspiration on things to try out to flex your creative wings a bit! 

[writing-prompt-s]

It’s been 20 years since you worked there. And yet next to nobody knows that Walmart is actually a front for a major drug operation. After many attempts by the local police, You finally decide to take things into your own hands…

[writing-prompt-s]

You press a small stone gargoyle into the child’s hands and say, “This protected me in the dark all my life; now, I give its protection to you.” The next day, you’re dead.

[thawtewrites]

“But Unca John was fine yesterday mommy, what happen!?”

“Well honey, sometimes people just forget to look both ways, and bad things happen. This is why we must always look both ways before crossing.”

As the adults continued talking in the kitchen the child plopped onto the ground, sad they’d never see their favorite relative again. With a quick look, they glance over and see the adults are deep in conversation, not at all paying attention.

Instantly their hand is down their pocket, sliding past the dirty coins and crayons, and wrapping their fingers around something. Sliding it out and standing up on the table a little stone gargoyle looked back at the child.

Softly, a cracking sound echoed from the toy as its face chipped off stone like a baby chick breaking out of its shell. The kid, waiting patiently, already seemed to know what was happening.

“What happened to Unca John? I thought you protected people?”

A slow, small voice answered back, metered and steady. “He made sure I was protecting you first. And when those I protect willingly pass me on, I have to do as they ask.”

“But he’s gone now!”

“He is likely not ‘gone’, just hidden. The world you can now see is more dangerous than you think. Unicorns, vampires, liches, werewolves, like your uncle, your eyes allow you to see through the fog. But because of that, they can almost smell you. That’s where I come in-”

Solid thumps reverberated on the ground. The kid could immediately tell it was the footsteps of something large. “Guess it’s time to show you what I’m made of, kid.”

[writing-in-the-grave]

ATTENTION WRITERS

Google BetaBooks. Do it now. It’s the best damn thing EVER.

You just upload your manuscript, write out some questions for your beta readers to answer in each chapter, and invite readers to check out your book!

It’s SO easy!

You can even track your readers! It tells you when they last read, and what chapter they read!

Your beta readers can even highlight and react to the text!!!

There’s also this thing where you can search the website for available readers best suited for YOUR book!

Seriously guys, BetaBooks is the most useful website in the whole world when it comes to beta reading, and… IT’S FREE.

[shinningstarz]

HEY! BECAUSE OF OP, THEY CREATED A SPECIAL WELCOME IF YOUR FOUND THEM THRU A TUMBLR WELCOME, ITS A YOUTUBE VIDEO.

[writing-in-the-grave]

They also sent me this; which was super cool

[writingonjupiter]

*slams reblog button*

[cianmars]

@findingtallahassee holy shit! This is cool!

[lalalandlala123-deactivated2021]

“Authors retain all rights to works posted on BetaBooks, and can add or remove content at their discretion. BetaBooks makes no claim to any of the work posted on the site.”

Incase anyone was wondering

[tane-p]

@judiops

[arisa-nightingale]

*AGGRESSIVELY HITS THE REBLOG BUTTON*

He said he didnt know how to advertise and said thank you. Idk about you guys but that was the purest thank you letter ever

[writing-in-the-grave]

Yeah it was pretty freaking cool when that showed up in my inbox

[promptsforthestrugglingauthor]

Writing Prompt #675

I’d always been distraught that my powers had never manifested, but as the years went by, I realized that it might have just been less obvious. Things seemed to end up far too convenient for me; like the time I had found a lost dog with a $2000 reward right after being mugged, or when I’d been lost in the snow with a stranger who happened to have fire-based powers.

[strawberryspaceship]

If you would want to read it, someone else will too. If you would want to read it, someone else will too.

[sanctuarytrin]

When you’re super excited about all those cool scenes in your head but then you realize you’re gonna have to write them.

[love-me-a-good-prompt]

RANDOM DIALOGUE IDEAS #4

Feel free to use any of these dialogue ideas in your writing. Be creative with the context! 

“It’s going to be okay”

“I can’t tell you”

“I did not see that coming”

“that’s enough”

“I’m glad you’re here”

“I have faith in you”

“it wasn’t like this before”

“we probably shouldn’t be doing this”

“this is the worst day ever”

“don’t ask me again”

“this isn’t going to be easy”

“I never said that”

“stay out of my way”

“don’t scare me like that!”

“look at me”

“it happens all the time”

“promise me you’ll try”

“tell me more”

“you can’t ignore me forever”

“I won’t, I swear”

[wordsnstuff]

Guide To Writing Enemies To Lovers

– I decided to format this article like its accompanying post, Guide to Writing Friends to Lovers, which you all seemed to really like. I hope this is as helpful as that, and thank you to everyone who responded to the poll that contributed the questions I answered in the “common struggles” section. I have a feeling I’ll be reaching our for direct topic-specific questions through polls more often, so keep an eye out. Happy writing!

Patreon // Ko-Fi || Masterlists || Work In Progress || Studyblr || Studygram

Take The Time To Make It Believable

There is a certain amount of care required in the depiction of these stories because they can be really touchy and very easily lead awry. It needs to be handled with care when you tell the reader that this character is going to forgive the other one for doing this, and why. Show the thought process, show the growth, show the reason, and give the story time to make that change reasonable in the reader’s head.

Roll In The Tension

Let the tension build, thicken, and sit in the reader’s tummy. That’s the most delicious part of reading this trope, and the most fun part to write, so enjoy it, and don’t ask yourself if it’s “too intense” or if you need to speed up the pace. Let it simmer, and let the reader stew in it. The longer you draw it out, the yummier the resolution will be. 

Give Up Pride, Not Values

Your characters should not end the story by forfeiting what they feel and believe in order to win the other over. That’s not how life works, and that’s not a good way to depict love and forgiveness. Forgiveness is the main theme of enemies-to-lovers stories, after all, and if you’re writing romance, you should imprint a healthy romantic story into your reader’s memory, even if it’s bumpy, tense, and dramatic for the majority of the actual events. 

Make The Relationship Improve Them Both

Romances usually hold a meaning or message about romance that the reader will take away from the story at hand. Your message should, ultimately, be that these two people, despite their differences and shortcomings, grew to forgive each other for their mutual mistakes, found common ground, and even fell in love. The end of a romance should be positive, or at least transformative to the reader in a positive way. The couple you depict, if they are meant to be a good couple in the context of the story, should improve each other, and make each others’ lives better. 

Abuse vs. Rivalry

There is a poignant difference between two people who are abusing each other and two people who don’t like one another. Abuse can be heavily romanticized or forgiven when this trope is approached with inadequate care and attention. If one or both of the members of the couple actively bring each other down, truly, in an emotional, mental, or physical way, it’s abuse, not enemy-ship, and if that’s intentional, you shouldn’t call your story a romance. Abuse is not romantic, and it never should be depicted to be so.

Common Struggles

~ Where do you draw the line between hurtful and unforgivable?… That depends on your characters’s values, and you need to think long and hard about your characters’ individual boundaries before you even start writing. Your reader will get to know your character. If your character forgives something your reader knows they would never forgive, that will destroy their personal understanding of them.

~ How do you solve the difference between them without making one change for the other?… Explain their thought processes, I recommend by choosing a flexible point of view to write the story from, and show where that understanding comes from. You need to set those boundaries within your characters that make sense for them, and you need to hold to those. The point they should be at by the end of the story isn’t in total agreement, it’s at a compromise where they meet halfway. They should learn by the end to love each other wholly, not when they change for one another. 

~ Going from actual dislike of each other to attraction without saying they liked each other the whole time… It’s simple; give them legitimate reasons for not liking each other in the first place. Don’t make their rivalry based on something like a third grade spelling bee misunderstanding with a little “he’s cute though” sprinkled on top. Show a real misunderstanding, or real clash in values, and explore its implications for the reader to understand.

~ How do you show the forgive part between them without including the forgetting?… Let the reader know by the end of the story that the characters have acknowledged the hurt they’ve caused each other,  totally and openly through an honest conversation about everything that caused their mutual dislike of each other. Show them confronting the problem, and admitting that it will always be a prominent part of their past, but that they’re willing to try in spite of it.

~ How do you show forgiveness between two people who physically fought without making it romanticize abuse?… Give legitimate evidence that a) nobody was/is a victim of actual abuse and b) they both know that the physical fighting was wrong, painful to the other, and that it can/will never happen again. Ever. In the action or more violent sort of genres, this is way more flexible, because there are more grey-area situations, but as long as you make it very clear that there is no possibility of them hurting each other, in any abusive context, during the relationship or afterward, then you shouldn’t have a problem.

~ How do you establish the growth in trust between the two characters?… Make it occur naturally and at their own individual paces.They’ll grow toward one another at different rates, and you need to pay attention to letting it grow on its own rather than fitting that growth into whatever parameters you’ve set for your story structure. Also, show the little things that make that trust bloom, along with the big ones. Make them noticeable, but simple and ultimately built upon one another.

~ How do you make two characters with completely different morals grow to love each other?… Compromise and honesty. Communication and understanding. Those are the four foundations of any relationship, and especially these ones. Make your lovers listen to each other, and make them see the other side. That doesn’t mean agree, and that doesn’t mean conform, it just means you have to make them see where the other is coming from and empathize with their process of validation. 

~ How do you write the characters’ friends growing to support the relationship?… This can be tricky, but it depends on the friends’ individual relationships with that character and their lover. With this subject, if you keep to the manner in which you’ve developed them, they should grow to understand (or not understand) their relationship in a way that makes sense to the reader and enhances the story. If there’s tension, let it lay, and if it makes sense, let it pass.

~ How do you pace the evolution of their opinions/feelings about one another correctly?… There’s a few stages to telling an enemies-to-lovers story: 1. they dislike each other 2. that dislike becomes a problem for them 3. they begin to see the other’s point of view 4. they understand the other’s perspective 5. they don’t dislike each other anymore 5. they grow feelings for each other 6. they get together. The first stage should be established and explained really well. The second should be simple but important, and very impactful to both of the characters. The third stage should be slow burning and very uncomfortable, but transformative to both of them. The fourth should happen as the result of events building on one another, not one single event. The last two should be clearly separate, and the fifth should be a slow burn on its own. This pacing strategy should allow for a lot of tension, build up, and a very satisfying ending.

Resources

Enemies Turned Lovers Prompts

Skinny Love Prompts

Angst Prompts

How To Make A Scene More Heartfelt

20 Mistakes To Avoid When Writing Young Adult Fiction/Romance

Tips On Writing Skinny Love

A Guide To Tension & Suspense In Your Writing

Writing Arguments Between Characters

Pros and Cons of Different Points Of View

Tips On Writing Intense Scenes

Resources For Romance Writers

Useful Writing Resources

Useful Writing Resources II

Resources For Describing Emotions

Giving Characters Bad Traits

Relationships Between Characters With No Connection

Relationships Between Polar Opposites

The Terror Behind Your Beauty Playlist Listen On Spotify

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[shesnake]

Set It Up (2018) dir. Claire Scanlon

[ampervadasz]

[writing-prompt-s]

You can see someone’s date of death just by looking at them. The date manifests itself above the person’s head. One day, you walk past your neighbour. Their death date was yesterday.