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@writtenbyanz
Me every time I write
creative writing: pros and cons
pros: - you get to make stuff up
cons: - you have to make stuff up
*Watches scenes from my WIP like a tv show on repeat in my head instead of ever writing them down*
if you're a writer i wish u a very plot/story/character epiphany
good news!! holding knives to someone’s throat is a love language now
People should do more “meet ugly” and less “meet cute”. For example.
“I broke your nose at a mosh pit” AU
“I hit you with my car and was the only one to visit you in the hospital” AU
“You were chased by the cops, got in my car and just yelled ‘Drive!’” AU
“You punched me in the face while gesticulating wildly to a friend” AU
“You laughed in a restaurant but you have an ugly laugh and I thought you were choking, so I spent the last three minutes awkwardly humping you while performing the Heimlich maneuver” AU
“We met each other on a Sunday morning, both doing our walk of shame” AU
“I get really sick on roller-coasters and you had the misfortune of sitting in front of me so, uh… sorry…” AU
“You’re the bastard who keeps parking right in front of my house so I retaliated by keying your car and you caught me” AU
“I work at a department store and if you take out and unfold a shirt and then leave it one more time I’m going to stuff it down your throat” AU
“You broke into my apartment drunk thinking it was your friend’s house and I should call the cops but my cat kinda likes you so we’re good” AU
“My new dealer has friended me on Facebook and I’m unsure of how to react to that” AU
“You saw me reading the same book you did and we got into a heated discussion on how much it sucks” AU
“This is a five-hour-long plane ride, we’re sitting together and you’re deathly afraid of flying” AU
The ideas are ✨flowing✨
I recently started working in hospitality, and I’ll tell you guys right now, the trope of “there was only one bed” is not as rare as you’d think in real life. A few times a week, at least, I have guys come in who are working together on projects in town or passing through who have to literally book the last room I have available for the night and lo and behold — there is only one bed, and guess what, they give each other a side-eyed look and begrudgingly take it. So write it up, it happens all the time!!!
Never let your There Was Only One Bed dreams die. I was secretly in love with my best friend for over a year when she graduated and moved to Oklahoma (like 1000 miles away) for grad school. Between that travel restrictions, we were so scared we’d never see eachother again.
At the end of summer, when Covid numbers were at a lower point, I took the risk to visit her in her new apartment and I quickly realized that, unlike when I’d spent the night at her house before, the couch wasn’t made up like a bed. She explained that since her new couch was so fancy and pink, I couldn’t possibly sleep on it, and so I needed to sleep in the bed with her. You know, out of necessity. I woke up with her snuggled around me in the middle of the night.
We’re dating now, and I genuinely think I’m going to marry her. Just the other day, though, I mentioned that if she hadn’t been weird about her fancy couch, I probably never would have like confessed my feelings. AND THEN she stood up, took the cushions off the fancy couch, UNFOLDED IT INTO A HIDE-A-BED, and said “I KNOW.”
THIS GIRL. ORCHESTRATED. BED SCARCITY. JUST SO SHE COULD MAKE THE “ONLY ONE BED” EXCUSE. Y’all when I said I just about lost my goddamn mind, I just about lost my goddamn mind. I love this sneaky bitch so much and the moral of this story is BE THE ONE BED YOU WANT TO SEE IN THE WORLD.
Fanfic imitates life, and life imitates fanfic. It’s full circle really.
I worked in a hotel in Paris and the policy of the hotel was to ask if two people with the same gender wanted to share a bed or have twin beds. So this girl comes and she had a reservation with another girl and I ask the question.
“What did she book?” she asks. “She didn’t specify”. “And what do we have?” she asks again, coily. “One big bed”.
AND THAT LITTLE FOX, avoiding eye contact and all blushing SAID: “Oh… well… If that’s what she got… You can leave it like that…”
Next time I saw her, she and her ladyfriend with whom she shared a bed in Paris but probably just gals being pals, right, were walking out of the hotel with a silly smile on their faces.
I've done the research, but I don't think the results I've found have answered my question. My WIP stars a trio of teens who are 14 - 15. And since this story centers around change, firsts, and coming into one's own, I wanted to feature a romance between two of the three MCs. I know more subtle signs of romance include shared looks, unspoken communication, hand holding, shoulder bumps, gentle headbutts, and going out of your way for the person your care for. But is that everything?
The Subtle Signs of Romantic Interest and Love
Whether affection is just beginning to develop or two people are in the early stages of a relationship, there are lots of subtle signs to indicate romantic interest and love. In no particular order…
External Signs
- stolen glances- lingering looks- intense eye contact- sharing a knowing look- eyes meeting- looking away bashfully after eyes meet- feeling nervous/tongue-tied when trying to talk to the other person- voice cracks when trying to speak to the other person- flirting- straying from normal attitude or behavior with other person- denying interest in other person when pressed by friends (in early stages)- communicating feelings through the eyes (worry, pain, pride, love, etc.)- awkwardness after accidental touching- shared laughter after accidental touching- an “electric” feeling when touching the other person- speaking at the same time (a little cliché, but it can happen)- tentative touching- finding ways to touch when intimate touch is restricted- open, affectionate touching (holding hands, hugging, nuzzling, etc.)- brushing a lock of hair behind the ear- gently stroking jaw line, chin, or cheek- kissing forehead, temple, or top of head- rubbing nose tips together- displaying flirtatious tics like biting lip, twirling hair, running hand through hair- talking excitedly or affectionately about the other person to friends- constantly talking about the other person to friends- blushing when teased by friends about the other person- giving the other person meaningful gifts- keeping mementos as reminders of the other person- making excuses to be near the other person- making excuses to spend time with the other person- wanting to get to know the other person’s friends and family- good mood/always smiling from being with or thinking about other person- giving each other nicknames or using pet names/terms of endearment- being reminded of other person when listening to love songs- sharing possessions, letting each other borrow meaningful possessions- willing to make sacrifices to be with the other person or to make them happy- sharing secrets, or things not often shared, with the other person- speaking softly or whispering in the person’s ear- cheeks/neck/chest becoming flushed- moving quickly toward the other person to close the distance- sighing, either out of happiness or missing the other person- losing track of time when with the other person- feeling like the rest of the world melts away when with the other person
Internal Signs
- thinking fondly of the other person- thinking about them constantly- recalling fond memories- seeing constant reminders of the other person- worrying about the other person- daydreaming about future activities with the other person- daydreaming about sharing a future with the other person- analyzing a previous interaction- dreaming about the person- feeling “weak in the knees” around the other person- remembering moments containing looking/touching moments- wanting to know everything there is to know about the other person- wanting to spend every waking second with the other person- orchestrating meetings that seem to be happenstance- feeling joy/racing heartbeat/butterflies upon seeing other person- craving the person’s touch, or being able to touch them- constant feeling of being “on cloud nine”- often distracted due to thinking about other person- wanting to impress the other person or make them proud- when not with the other person, noticing things they would appreciate- unable to see anything but positives where the other person is concerned- feeling suddenly warm- feeling breathless- noticing (and loving) little details (moles, scars, birthmarks, unusual traits)- wanting to improve self to impress or benefit other person- eyes constantly seek the other person out- inability to stop looking at the person, difficulty not staring at them- thinking you see the other person in a crowd when they’re not there- difficulty sleeping/loss of sleep- feeling a deep desire to kiss the personIf you need an extra boost, watch a few romantic comedies or love stories. Watch the way the characters behave as their interest in one another is building and as they begin to explore a relationship. :)
showing characters are in love without actually saying it
looks that last just a little longer than they should
constantly thinking about each other
they stand next to each other without even thinking about it
jealousy
lovers’ quarrel (they fight, get angsty, and then both make up after, yknow the usual)
always worried about each other
lingering touches
both subtly act a bit different when the other is around
protectiveness
they both know exactly how to comfort each other in the best way
smiles that last long after what’s been said (“why are you still smiling?” “hmm? what? what smile?”)
small touches
✨writeblr introduction✨
Hey crew! I know existing on the internet is basically just shouting into the void, but you know what? I kind of like shouting into the void!
My name is Di & I am a writer.
I pretty much love writing in all genres and forms. Jack of all trades, master of none—that kind of thing.
I’m currently writing a new adult novel that I lovingly call Following the Stars! (yes, including the exclamation point!). I’ve been writing this novel for almost exactly two years & I’m working on the third draft. The story follows Symphony Cables, ex child actress, and Penny Addison, newly emerging pop star, as they fall in love.
I also write short stories. My current favorite story is called Holy Ground, which is about two girls at summer camp who, you guessed it, fall in love. (Are you beginning to see a pattern?)
I also write poetry. I particularly like this small poem I wrote called Vellichor.
FINALLY, lol, I write fanfiction! I’m quite proud of a Harry Potter fic I wrote called the brave at heart and a Check, Please! fic called put my shoes on and run away (you still show up in a dream).
I just wanted to talk about my writing life because I keep so much of it private. If you write new adult or wlw fiction please let me know! I’d love to chat with you and support each other in our writing journeys!
your writing has improved and will continue to improve for your entire lifetime. there is no skill ceiling; only infinite space and sky.
Tips on Writing Cold & Distant Characters
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Backstory Is The Key
When you’re writing a character who is cold and detached, you’re most likely writing a character who is not an antagonist, but a secondary character with an arc, and this means that you’ll have to fit backstory into the plot. This is easy to do with a B-story, or a subplot, and it’s important that while this backstory should be concise, it should also be impactful. Make the reader understand why the character is so determined to remain unbothered, and do that by showing them how.
What Are They Attached To?
Every Spock is going to have a crack somewhere. A “weakness”. You need to make that chink in their armor clearer and clearer to the reader as the conflict moves forward. It could be the main character, platonically or romantically, it could be someone who means a lot to both the cold character and the main character, or it could be a connection between their self image and the conflict at hand. Everyone has a boundary.
What Breaks Them?
Where in the story is this boundary crossed? It’s important that when you enlist a cold and distant character in your story, you understand that you’re promising a reader a payoff, and that is usually them getting to see that character’s mask come off at some point. The easiest way to do this is to identify that tiny point that chips away that them, and then smashing it with a hammer. It can also be a great plot point in the story and help build up to the climax for the main character.
Rationale
When someone decides they’re not going to be emotionally invested in their principles or other people, they choose to latch onto their personal goals. Everyone wants something, and when a cold and detached character is free of obligation of emotional attachment, they are able to focus 100% of their time and effort on whatever they want. You as the writer, need to observe your character and build their actions around the pursuit of their goals. Even if at some point in your story, they divert their attention to whatever is poking at their weakness, they will act out of instinct to serve their own self-interest.
Do You Want Them To Be Likable?
This is the big one. Are they a small bad, or a “smol bean”? Do you want the reader to ultimately forgive the character for their shortcomings in the wake of learning why they are the way they are, as well as seeing them grow through assisting the protagonist? Or, do your want the reader to see the character as a hinderance to the positive resolution and a small obstacle that deserves little empathy because of the harm their (arguably) selfish attitude has caused? That’s up to you.
Also, I want to take the time to specify that when I’ve written about “cold” and “distant” and “detached”, I do not mean awkward, introverted or solitary. Those are not selfish or harmful traits, and I recognize that someone in real life who embodies these characteristics could have an underlying reason like trauma, anxiety, or depression. Coldness and self interest are choices, and if one decides they should behave in that way all the time, the impact of their actions is a consequence they must take responsibility for. This perspective is in regards to fictional characters in fictional conflicts.
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We all know the
‘Get shoved in a small closet together for seven minutes in heaven’
but have you considered
‘Getting dared to sit on their lap during truth or dare till the games over and did you just wrap your arms around my waist?’
‘We’re playing hide and seek and you rammed into my spot at the last second and now it’s too late for either of us to move and we’re both too stubborn to lose’
‘Why are we the only two people relatively good at strip poker here damn it guess I gotta lose on purpose to get this rollin huh’
Alternatively ‘Wow we both really suck at strip poker why did I sit next to you you keep cracking jokes but I know if I look over at you it’s over’
‘We’re at this party and I walked outside for a break and you scared the shit out of me why are you on the roof exactly?’
‘I found a relatively isolated corner next to the couch to charge my phone in and shoved myself in here and accidentally scare the crap out of you when you lean over to plug your phone in the other outlet’
‘I don’t know how to play poker anyone want to come sit over here and play Uno with me instead’
‘We’re all playing Mario kart and the losers have to switch out and everyone’s screaming but you look over and realize I’ve been silently winning the whole time and I give you a wink’
‘Hey do you want some cupcakes I just stole all of them and I need to hide the evidence before the host realizes’
‘We’re all playing karaoke and you keep passing off your turn to someone else time to raise the stakes so I can get you to sing and once it works wow you need to stop making eye contact with me while you sing’
‘We’re doing challenges and making bets on the results and you’re the only one betting on me? Well shit guess I really gotta win now huh’
‘Hey you look uncomfortable/stressed do you want to come hide under the food table with me I brought my switch’
Let's Talk About: Minor Character Development
“Creating one interesting character is hard enough — but when it comes to writing a whole novel or series of books, you have to create dozens of them. How can you keep your supporting cast from seeming like cookie-cutter people? There’s no easy answer, but a few tricks might help you create minor characters who don’t feel too minor.” [x]
10 Secrets to Creating Unforgettable Supporting Characters
Give them at lease one defining characteristic. "…lots of people have one or two habits that you notice the first time you meet them, that stand out in your mind even after you learn more about them.“
Give them an origin story. ”…Your main character doesn’t necessarily need an origin story, because you’ve got the whole book to explain who he/she is and what he/she is about. But a supporting character? You get a paragraph or five, to explain the formative experience that made her become the person she is, and possibly how she got whatever skills or powers she possesses.“
Make sure they talk in a distinctive fashion. ”…you still have to make sure your characters don’t all talk the same. Some of them talk in nothing but short sentences, others in nothing but long, rolling statements full of subordinate clauses and random digressions. Or you might have a character who always follows one long sentence with three short ones.“ ”…One dirty shortcut is to hear the voice of a particular actor or famous person in your head, as one character talks.“
Avoid making them paragons of virtue, or authorial stand-ins. ”…People who have no flaws are automatically boring, and thus forgettable.“ ”…Any character who has foibles, or bad habits, or destructive urges, will always stand out more than one who is pure and wonderful in all ways. And nobody will believe that you’ve chosen to identify yourself, as the author, with someone who’s so messed up. (Because of course, you are a perfect human being, with no flaws of your own.)“
Anchor them to a particular place. ”…A huge part of making a supporting character “pop” is placing her somewhere. Give her a haunt — some place she hangs out a lot. A tavern, a bar, an engine room, a barracks, a dog track, wherever. It works both ways — by anchoring a character in a particular location, you make both the character and the location feel more real.“
Introduce them twice — the first time in the background, the second in the foreground. ”…You mention a character in passing: “And Crazy Harriet was there too, chewing on her catweed like always.” And you say more about them. And then later, the next time we see that character, you give more information or detail, like where she scores her catweed from. The reader will barely remember that you mentioned the character the first time — but it’s in the back of the reader’s mind, and there’s a little “ping” of identification.“
Focus on what they mean to your protagonists ”…What does this minor character mean to your hero? What role does he fulfill? What does your hero want or need from Randolph the Grifter? If you know what your hero finds memorable about Randolph, then you’re a long ways towards finding what your readers will remember, too.“
Give them an arc — or the illusion of one. ”… You can create the appearance of an arc by establishing that a character feels a particular way — and then, a couple hundred pages later, you mention that now the character feels a different way.“ ”…A minor character who changes in some way is automatically more interesting than one who remains constant…“
The more minor the character, the more caricature-like they may have to be. ”…This one is debatable — you may be a deft enough author that you can create a hundred characters, all of whom are fully fleshed out, well-rounded human beings with full inner lives.“ ”…some writing styles simply can’t support or abide cartoony minor characters. But for your third ensign, who appears for a grand total of two pages, on page 147 and page 398, you may have to go for cartoony if you want him to live in the reader’s mind as anything other than a piece of scenery.“
Decide which supporting characters you’ll allow to be forgettable after all. ”…And this is probably inevitable. You only have so much energy, and your readers only have so much mental space. Plus, if 100 supporting characters are all vivid and colorful and people your readers want to go bowling with, then your story runs the risk of seeming overwritten and garish.Sometimes you need to resign yourself to the notion that some characters are going to be extras, or that they’re literally going to fulfill a plot function without having any personality to speak of. It’s a major sacrifice they’re making, subsuming their personality for the sake of the major players’ glory.“
Keep reading
trying to get your story together like:
Explaining your story to a willing ear:
“I really like your story! is there more?”
“I like this character, is there more about them?”
“This character deserves better,” I say, making things even worse for them.