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Hartwin Trash

@violentwhistles / violentwhistles.tumblr.com

Kingsman 2 left me so shook I came out of fanfic writing retirement.
Mostly Kingsman, Star Trek, and CMBYN.
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reblogged

Shwerthunk

read it on the AO3 at https://ift.tt/3mQ85FM

by violentwhistles

Which means that Sidney’s soulmate is hockey. Or maybe it’s goal-scoring, or pucks, or something equally ridiculous. The point is that he knows now it isn’t a person, and… well.

Words: 2247, Chapters: 1/1, Language: English

read it on the AO3 at https://ift.tt/3mQ85FM

I finally finished a WIP that I’ve had laying around for almost 2 years? Merry Christmas!!!🎄

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Have an Arthur/Eames ficlet in 2018, because why the hell not?

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Eames looks back up at Arthur and asks, incredulously, "Your last name is Cole?"

Arthur is midway thru fastening his cufflinks when he stops, squinting in a way that reminds him far too much of Cobb. "Are you- what? No. My first name is Cole."

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tlbodine

Writing Tip: Don’t Be Afraid of Mixing Dialogue and Action

So I’ve been reading a lot of amateur writing lately, and I’ve noticed what seems to be a common problem: dialogue. 

Tell me if this looks familiar. You start writing a conversation, only to look down and realize it reads like: 

“I’m talking now,” he said. 
“Yes, I noticed,” she said. 
“I have nothing much to add to this conversation,” the third person said. 

And it grates on your ears. So much ‘said.’ It looks awful! It sounds repetitive. So, naturally, you try to shake it up a bit: 

“Is this any better?” He inquired. 
“I’m not sure,” she mused. 
“I definitely think so!” that other guy roared. 

This is not an improvement. This is worse. 

Now your dialogue is just as disjointed as it was before, but you have the added problem of a bunch of distracting dialogue verbs that can have an unintentionally comedic effect. 

So here’s how you avoid it: You mix up the dialogue with description. 

“Isn’t this better?” he asked, leaning forward in his seat. “Don’t you feel like we’re more grounded in reality?” 
She nodded, looking down at her freshly manicured nails. “I don’t feel like a talking head anymore.” 
“Right!” that annoying third guy added. “And now you can get some characterization crammed into the dialogue!” 

The rules of dialogue punctuation are as follows: 

  • Each speaker gets his/her own paragraph - when the speaker changes, you start a new paragraph. 
  • Within the speaker’s own paragraph, you can include action, interior thoughts, description, etc. 
  • You can interrupt dialogue in the middle to put in a “said” tag, and then write more dialogue from that same speaker. 
  • You can put the “said” tag at the beginning or end of the sentence. 
  • Once you’ve established which characters are talking, you don’t need a “said” tag every time they speak. 
  • ETA: use a comma instead of a period at the end of a sentence of dialogue, and keep the ‘said’ tag in lower caps. If you end on a ? or !, the ‘said’ tag is still in lower case. (thanks, commenters who pointed this out!) 

Some more examples: 

“If you’re writing an incomplete thought,” he said, “you put a comma, then the quote mark, then the dialogue tag.” 
“If the sentence ends, you put in a period.” She pointed at the previous sentence. “See? Complete sentences.” 
“You can also replace the dialogue tag with action.” Extra guy yawned. “When you do, you use a period instead of a comma.”

So what do you do with this newfound power? I’m glad you asked. 

  • You can provide description of the character and their surroundings in order to orient them in time and space while talking. 
  • You can reveal characterization through body language and other nonverbal cues that will add more dimension to your dialogue. 
  • You can add interior thoughts for your POV character between lines of dialogue - especially helpful when they’re not saying quite what they mean. 
  • You can control pacing. Lines of dialogue interrupted by descriptions convey a slower-paced conversation. Lines delivered with just a “said” tag, or with no dialogue tag at all, convey a more rapid-fire conversation. 

For example: 

“We’ve been talking about dialogue for a while,” he said, shifting in his seat as though uncomfortable with sitting still. 
“We sure have,” she agreed. She rose from her chair, stretching. “Shall we go, then?” 
“I think we should.” 
“Great. Let’s get out of here.” 

By controlling the pacing, you can establish mood and help guide your reader along to understanding what it is that you’re doing. 

I hope this helps you write better dialogue! If you have questions, don’t hesitate to drop me an ask :)

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jenroses

This is goddamned exactly right and exactly how I strive to write.

Not only that, but when I first write something, often it’s “said” all the way down, and then relatively late in the process, I go back and fluff it up with action and intonation. It’s okay to let it be simple the first time around, and then add in the complexity where it is warranted. This lets me work faster, so that I’m not shifting gears between dialogue and description constantly.

This is some of the most nuanced dialogue advice I’ve seen on Tumblr, and all writers should read it. 

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Anonymous asked:

Just read the cmbyn fic, and gosh, i really wanted to avoid venturing into real person territory, but- damn, you did good.

Ah! Thank you so much. I normally avoid writing rpf, but something about the idea just came to me and I had to. I feel like as long as we all know its just for our entertainment and 100% make-believe (and for the love of god please never show it to either actor ever) then we’re a-okay!

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aiwa-sensei

30 day AU challenge: Bonus round 10

Day 1 - Bonus round 9 - Bonus round 11?

“First-timer?”

“Yeah”

“Well then, let’s pop that cherry, shall we?”

Tattoo artist AU …I have neither an excuse nor shame. Also, Harry shaves his temples coz he’s a vein af and started going grey”

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