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Offthewrittenpath

@tenderlyuniquepatrol

Just a pocket of the internet to improve day by day ☀️☔️🎨🎬📜
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Alabama’s Republican state senate just passed a law to ban abortion (even in cases of rape and incest). THIS IS NOT A DRILL!

P.S. AOC’s tweet mentions that abortion would become a felony under this bill. As of now, it would make it illegal for doctors to perform the procedure, and nothing has been said about making it a felony for the women patients who undergo the procedure. Doctors could face up to 99 years in prison for helping their patients terminate unwanted or unviable pregnancies.

This has nothing to fo with Fantastic Beasts or my blog. But was WAY to important not to reblog. Its barbaric.

Barbaric is right. No man in a suit should make the decision on a woman’s body!

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Helpful things for action writers to remember

  • Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 
  • Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 
  • Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 
  • Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 
  • Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 
  • ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 
  • Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.
  • Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 
  • A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 
  • If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 
  • ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)
  • If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 
  • People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 
  • Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME
  • If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

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ave-aria

How to apply Writing techniques for action scenes:

- Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap. - Same thing with words - short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere. - Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts. - Go back and cut out as many adverbs as possible. - No seriously, if there’s ever a time to use the strongest verbs in your vocabulary - Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it’s now. - Don’t forget your other senses. People might not even be sure what they saw during a fight, but they always know how they felt. - Taste: Dry mouth, salt from sweat, copper tang from blood, etc - Smell: OP nailed it - Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain. - Pain will stay with a character. Even if it’s minor. - Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack. - If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too. - Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.

Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate - no theories or what ifs.

If writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)

Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.

More for martial arts or hand-to-hand in general

What a character’s wearing will affect how they fight.  The more restricting the clothes, the harder it will be.  If they’re wearing a skirt that is loose enough to fight in, modesty will be lost in a life or death situation.

Jewelry can also be very bad.  Necklaces can be grabbed onto.  Bracelets also can be grabbed onto or inhibit movement.  Rings it can depend on the person.

Shoes also matter.  Tennis shoes are good and solid, but if you’re unused to them there’s a chance of accidentally hurting your ankle.  High heels can definitely be a problem.  However, they can also make very good weapons, especially for someone used to balancing on the balls of their feet.  Side kicks and thrusting kicks in soft areas (like the solar plexus) or the feet are good ideas.  They can also (hopefully) be taken off quickly and used as a hand weapon.  Combat boots are great but if someone relies more on speed or aren’t used to them, they can weigh a person down.  Cowboy boots can be surprisingly good.  Spin kicks (if a character is quick enough to use them) are especially nasty in these shoes.

If a character is going to fight barefoot, please keep location in mind.  Concrete can mess up your feet quick.  Lawns, yards, etc often have hidden holes and other obstacles that can mess up a fighter.  Tile floors or waxed wood can be very slippery if you’re not careful or used to them.

Likewise, if it’s outside be aware of how weather will affect the fight.  The sun’s glare can really impede a fighter’s sight.  A wet location, inside or outside, can cause a fighter to slip and fall.  Sweat on the body can cause a fighter to lose a grip on an opponent too.

Pressure points for a trained fighter are great places to aim for in a fight.  The solar plexus is another great place to aim for.  It will knock the wind out of anyone and immediately weaken your opponent. 

It your character is hit in the solar plexus and isn’t trained, they’re going down.  The first time you get hit there you are out of breath and most people double over in confusion and pain.  If a fighter is more used to it, they will stand tall and expand themselves in order to get some breath.  They will likely keep fighting, but until their breath returns to normal, they will be considerably weaker.

Do not be afraid to have your character use obstacles in their environment.  Pillars, boxes, bookshelves, doors, etc.  They put distance between you and an opponent which can allow you to catch your breath. 

Do not be afraid to have your character use objects in their environment.  Someone’s coming at you with a spear, trident, etc, then pick up a chair and get it caught in the legs or use it as a shield.  Bedsheets can make a good distraction and tangle someone up.  Someone’s invading your home and you need to defend yourself?  Throw a lamp.  Anything can be turned into a weapon.

Guns often miss their targets at longer distances, even by those who have trained heavily with them.  They can also be easier to disarm as they only shoot in one direction.  However, depending on the type, grabbing onto the top is a very very bad idea.  There is a good likelihood you WILL get hurt.

Knives are nasty weapons by someone who knows what they’re doing.  Good fighters never hold a knife the way you would when cutting food.  It is best used when held against the forearm.  In defense, this makes a block more effective and in offense, slashing movement from any direction are going to be bad.  If a character is in a fight with a knife or trying to disarm one, they will get hurt. 

Soft areas hit with hard body parts.  Hard areas hit with soft body parts.  The neck, stomach, and other soft areas are best hit with punches, side kicks, elbows, and other hard body parts.  Head and other hard parts are best hit using a knife hand, palm strike, etc.  Spin kicks will be nasty regardless of what you’re aiming for it they land.

Common misconception with round house kicks is that you’re hitting with the top of the foot.  You’re hitting with the ball.  You’re likely to break your foot when hitting with the top.

When punching, the thumb is outside of the fist.  You’ll break something if you’re hitting with the thumb inside, which a lot of inexperienced fighters do. 

Also, punching the face or jaw can hurt. 

It can be hard to grab a punch if you’re not experienced with it despite how easy movies make it seem.  It’s best to dodge or redirect it.

Hitting to the head is not always the best idea.  It can take a bit of training to be able to reach for the head with a kick because of the height.  Flexibility is very much needed.  If there are problems with their hips or they just aren’t very flexible, kicks to the head aren’t happening.

Jump kicks are a good way to hit the head, but an opponent will see it coming if it’s too slow or they are fast/experienced.

A good kick can throw an opponent back or knock them to the ground.  If the person you’ve hit has experience though, they’ll immediately be getting up again.

Even if they’ve trained for years in a martial art, if they haven’t actually hit anything before or gotten hit, it will be slightly stunning for the person.  It does not feel the way you expect it too.

Those yells in martial arts are not just for show.  If done right, they tighten your core making it easier to take a hit in that area.  Also, they can be used to intimidate an opponent.  Yelling or screaming right by their ear can startle someone.  (Generally, KHR fans look at Squalo for yelling)

Biting can also be used if someone’s grabbing you.  Spitting in someone’s eyes can’t hurt.  Also, in a chokehold or if someone is trying to grab your neck in general, PUT YOU CHIN DOWN.  This cuts off access and if they’re grabbing in the front can dig into their hand and hurt.

Wrist grabs and other grabs can be good.  Especially if it’s the first move an opponent makes and the character is trained, there are simple ways to counter that will have a person on their knees in seconds..

Use what your character has to their advantage.  If they’re smaller or have less mass, then they’ll be relying on speed, intelligence, evasion, and other similar tactics.  Larger opponents will be able to take hits better, they’re hits may be slower depending on who it is but will hurt like hell if they land, and size can be intimidating.   Taller people with longer legs will want to rely on kicking and keeping their distance since they have the advantage there.  Shorter people will want to keep the distance closer where it’s easier for them but harder for a taller opponent.  Punching is a good idea.

Using a person’s momentum against them is great.  There’s martial arts that revolve around this whole concept.  They throw a punch?  Grab it and pull them forward and around.  Their momentum will keep them going and knock them off balance. 

Leverage can used in the same way.  If used right, you can flip a person, dislocate a shoulder, throw out a knee, etc.

One note on adrenaline:  All that was said above is true about it.  But, in a fight, it can also make you more aware of what’s going on.  A fight that lasts twenty seconds can feel like a minute because time seems to almost slow down while moving extremely rapidly.  You only have so much time to think about what you’re doing.  You’re taking in information constantly and trying to adjust.  Even in the slow down adrenaline gives you, everything is moving very rapidly. 

Feelings will be your downfall even more so than adrenaline.  Adrenaline can make those feelings more intense, but a good fighter has learned not to listen to those feelings.  A good fighter may feel anger at being knocked down or in some way humiliated - their pride taken down.  Yet they will not act on the anger.  Acting on it makes a fighter more instinctive and many will charge without thinking.  Losing control of anything (adrenaline rush, emotions, technique, etc) can be a terrible thing in a fight.

Just thought I’d add in here.

YES. YES.

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Writing Resources

Since I’ve been getting a lot of questions about writing and such, I’ve deiced to put together a resource post for you guys!

General Writing Help:

Character Help: 

Dialogue/Body Language  Help: 

Setting:

Revision/Editing:

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wordsnstuff

Resources For Writing Sketchy Topics

Medicine

Writing Specific Characters

Illegal Activity

Black Market Prices & Profits

Forensics

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firemoon42

Ways to un-stick a stuck story

  • Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.
  • Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.
  • Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.
  • Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.
  • Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.
  • Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.
  • Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.
  • Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.
  • Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.
  • Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.
  • Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.
  • Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.
  • Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.
  • Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.
  • Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.
  • Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).
  • Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.
  • What if? What if the hero kills the antagonist now, gets captured, or goes insane? When you write down different questions like these, the answer to how to continue the story will present itself.
  • Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.

Sound advice! ❤️❤️

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Love Lyric Drabble List

These are just some one liners from some cute love-ish songs.

  1. “Lie down with me.”
  2. “You mean the world to me.”
  3. “Either you’re coming with me, or I’m coming with you.”
  4. “I want you forever.”
  5. “I’ll always love you.”
  6. “All I need is you.”
  7. “The world is ugly, but you’re beautiful to me.”
  8. “Not even the Gods above can separate the two of us.”
  9. “Let me kiss you.”
  10. “Baby, I’m perfect for you.”
  11. “Baby you’re perfect.”
  12. “Let me show you how a kiss should taste.”
  13. “I can’t help falling in love with you.”
  14. “I swear, I wish I could read your mind.”
  15. “I plan to love you all my life.”
  16. “I want you to stay.”
  17. “I won’t let you slip away.”
  18. “I don’t wanna fall asleep without you.”
  19. “I could never live this life without you.”
  20. “We were always gonna fall in love.”
  21. “I’ll be there, wherever you are.”
  22. “But you love me anyway.”
  23. “I knew you were special from the moment I saw you.”
  24. “It’s true, I’m in love with you.”
  25. “I was lost before I met you.”
  26. “I have you, and you me.”
  27. “You still make me nervous when you walk in the room.”
  28. “If the hold world was watching, I’d still dance with you.”
  29. “Baby let your hair down.  Let me run my fingers through it.”
  30. “You shine brighter than the stars in the sky.”
  31. “She’s everything to me.”
  32. “All along I believed I would find you.”
  33. “Shut up and dance with me.”
  34. “You’re my dream come true.”
  35. “You’re my reason for living.”
  36. “I wanna sleep next to you.”
  37. “It was always you.”
  38. “I think about you every single day.”
  39. “There’s something about you that makes me feel alive.”
  40. “I fell in love with you like bees to honey.”
  41. “Tell me again, was it love at first sight?”
  42. “Come get back in bed.”
  43. “I just can’t get enough of you.”
  44. “I have loved you since we were 18.”
  45. “You’ll never love yourself half as much as I love you.”
  46.  “I’m only one call away.”
  47. “Superman’s got nothing on me.”
  48. “You’re the one that I want at the end of the day.”
  49. “You’re my sweetest dream come true.”
  50.  “I’ll take your bad days with your good.”
  51. “You are the one I choose.”
  52. “I want to make you feel beautiful.”
  53. “You are beautiful, no matter what they say.”
  54. “Look into my eyes.”
  55. “Everything I do, I do it for you.”
  56. “You take my breath away.”
  57. “I can kiss away the pain.”
  58. “I can be your hero baby.”
  59. “I will stand by you forever.”
  60. “I just wanna hold you.”
  61. “Stay here tonight.”
  62. “I’m thinking about how people fall in love in mysterious ways.”
  63. “I fall in love with you every single day.”
  64. “When I see your face, there’s not a thing I would change.”
  65. “You’re amazing, just the way you are.”
  66. “It’s true, I can’t live without you.”
  67. “I’m yours.”
  68. “When you’re around me, everything is right.”
  69. “I’m forever yours.”
  70. “I think I’m falling for you.”
  71. “I want to spend the rest of my life with you by my side.”
  72. “I’ve been waiting for a girl like you.”
  73. “If only you could see what I see.”
  74. “The heart wants what it wants.”
  75. “This has gotta be the good life.”

Love this blogger!! ❤️❤️❤️

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Writing x Characters When You Aren’t x, A Masterlist

x: a variable used to represent something unknown.

We’ve seen an influx of questions about how to write stories based around characters of color, disability, non-binary, etc. when the author does not fall into these categories. Rather than have these posts take over the site, we’ve decided to compile a list of resources to help our fellow writers become more educated about writing what they do not immediately know. However, this list is not the end-all-be-all of knowledge; one should always try to learn from someone with first hand experience in any topic. The world is constantly growing and changing, and because of that, there will always be more to learn. The admins at Plotline Hotline want to help writers form respectful, informed, and realistic characters that broaden the narrow range we see in literature today. 

*Be wary that some of the topics listed below contain sensitive material. Reader discretion is advised.* 

As always, the links I found to be especially apt will be in bold. Topics are listed alphabetically, excepting the “other” section.

Culture

What is Cultural Appropriation? [1,2,3]

Disability

Writing Disibilities [1,2,3,4,5]

Diversity

Writing a Driverse Book [1,2,3,4,5]

Diversity, Political Correctness and The Power of Language

Gender

Illness 

Writing Chronic Illness [1,2]

The Spoon Theory - Also pertains to disibility

Neurotype (Including Mental Health)

(Avoid) Romanticizing Mental Illness [1,2]

Race

Religion

Sexuality

Writing Gay Characters [1,2,3]

Other

I hope that this list will provide topics a writer may not initially think to research when writing. If there are any resources that you think would be fitting for this list, please let us know! We want to have as many helpful sources as possible to maximize learning opportunities. 

Stay educated,

xx Sarah

Very educational!

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WRITING HELP/CHARACTER

How about some writing resources for those post-NaNoWriMo blues?

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Don't kill yourself, please.

If you’re suffering from depression and are looking for a sign to not go through with ending your life, this is it. This is the sign. We care.

If you see this on your dash, reblog it. You could save a life.

You just saved mine.

Don’t suffer in silence. Someone is there. We care - and you matter.

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fannawrites

Writing Characters With Strong Opinions

We’ve all heard the usual writing tip everybody seems to be advising: write strong characters, but what about writing characters who have strong opinions? Developing personas who are opinionated without appearing arrogant can be a difficult task. Your female protagonist is assertive and replies on whim when her tweet is mansplained but is she telling them to ‘fuck off’? Isn’t that supposed to be rude for this tad bit stronger Jane Doe? But she should be doing exactly that, right? Well, to each his own.

Opinions are often judgments that are not backed up by facts, which basically means no opinion can be either wrong or right. Some love Trump, others don’t. But no one’s right here because there aren’t any substantiated facts to support either side. If facts were used, we all know which side would win. Anyway, that’s a topic for another day. Today, I’ll be suggesting four ways to write characters with strong opinions.

Let them act on impulse.

More often than not, when one has a strong opinion, they can become so attached to that particular idea that everything else seems either absurd or offending. In order to keep supporting their part of argument, they make decisions on impulse and lead to actions that might affect both their opinions and themselves.
Plus, the more difficult a journey would be for your character, the more they grow up to the readers so why not let your babies create obstacles for themselves? Impulsive decisions will surely lead to unexpected outcomes and usually unwanted ones. So now onward, let your female protagonist slap a male character for opening a door for her…and then bawl for her hastiness because the guy was cute.

Let them think they’re right.

But here’s the catch: they aren’t. Strong opinions don’t necessarily mean they’re right. A person might be a Nazi and have a solid view regarding others but those views aren’t something they should be proud of. But have you come across a Nazi who knows they’re wrong?
Make your character more believable by letting them live in a bubble of their own. Make them feel they’re the epitome of righteousness and let someone slap the shit out of them to show how wrong they can be.

Let them be alone.

In reality, nobody stands with you if they don’t agree with you. It’s as simple as that. No matter how right your character is at some point and how clearly they’re voicing out an opinion, it isn’t realistic if each and every secondary character agrees with them just because they’re the MCs. I love ice cream but I wouldn’t want a lactose intolerant friend of mine to eat along with me just because I’ve a strong opinion regarding a sweet creamy thing.
Your main character might be signing up for a candle march to show their anger against a latest issue but it isn’t necessary for their best friend to accompany them. Maybe the best friend wants to stay at home and try raising the issue via social media. Like I already mentioned before, to each his own.

Let them learn from others.

For me, a good character learns over the story and develops into a better person. Having a strong opinion don’t always resonate with being a good human. Strong opinions can often be associated with an adamant person thereby reflecting negativity. Don’t make your character go overboard and be blinded; don’t let them constrict their minds to an extent where they aren’t willing to change their opinions about anything.
Make your characters flexible enough to respect other’s opinions because that’s what majority people should be and what better place to bring about a change than a fictional world?

That’s about it. There’s definitely no hard and fast rules or a checklist to get a personality on point but since my main WIP, Finding those Bobby Pins, revolves around a teenager with anger issues, her opinions are strong (even if wrong) and that made me think about ways to get her views across but still make the readers care about her.

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sunnydwrites

Writing Believable Romances

Anonymous said:

I wanted to ask for advice if possible, as for writing the romance between two characters, how do I make it so that it does not look like a forced couple in the story? How can I develop a good bond between them without being able to say that it is something predictable? Honestly, I do not really like how romances are handled in juvenile novels in most cases and it’s something I want to avoid (I’m sorry if my English is bad 😫)

Hey Nony, thanks so much for the ask! (And no need to worry, your English is great!)

Romance is by far one of the hardest things to write; there’s so much to take into account at once and it’s easy to worry about how natural it seems. When done correctly, a well-written romance is extremely satisfying both to write and read, so I’m going to outline a few of the most important parts of romance and try to hit each of your questions.

Opposites Don’t Attract

This phrase? Throw it in the trash. This whole “opposites attract” mentality only applies to magnets. Your the characters involved in this romance shouldn’t be opposites, but complements.

Think of it this way. Character A is creative, outgoing, and stubborn. Now we have Character B, who’s analytical, introverted, and a push-over. Character A’s exact opposite, right? So why wouldn’t they get along with each other?

If these two worked well together, they’d be the exact embodiment of this “opposites attract” idea. However: These characters are literally the exact opposite of each other, meaning they’ll constantly be challenging each other. Character A will want to be in the spotlight where B wants to stay on the outskirts. B is constantly shooting down A’s creative ideas, and A is forcing B to do all these things without any resistance.

Not only will this dynamic quickly get boring and predictable, neither of these characters would see it in their best interest to stay with each other. It’s mentally and emotionally exhausting for these characters to constantly be fighting over the smaller things, so there’s no real reason for them to be in any sort of relationship.

Enter Character C, just as A is back “on the market”. C is passionate and thoughtful, an ambivert with a hint of rebellion. Why would this relationship work better? C shares A’s love for new ideas and is fine with both a night on the town and a night spent watching Netflix. The personality traits of A and C now complement each other; they agree on some things and argue on others, but because of their dynamic it’s much easier for them to work things out.

If you want a natural relationship, start it in the character development stage. Have one character fully developed and develop their to-be partner; don’t make them an opposite, but a complement.

Love at First Sight?

This aspect of romantic relationships developing immediately has long been known to be a faulty move, but let’s take that one step further. Now that we’ve gotten this “at first sight” out of the way, a lot of characters are falling madly in love with each other the third time they spend time together. This is also a definite issue.

The key to a good romance is the relationship that comes before it. Don’t take these characters from strangers to lovers; remember there’s a friend stage first. Take this time during their relationship to establish a working dynamic between these characters so the reader gets an idea of how they work together, with or without a romance involved.

Have these characters spend time with each other so they know each other well, give them inside jokes and shared hobbies and other things that would establish the possibility to pursue a romance. When you include a previously established positive relationship, it makes more sense for a romance to bloom. Not only this—it gives the reader an idea that a romance is entirely possible, and gives them the chance to view this pairing (or group) in a positive instead of an unexpected light.

Following this path—which is probably a good idea—makes it a little difficult to make it “unpredictable”. In searching for unpredictability, you run the risk of launching your characters from strangers (or acquaintances) to lovers immediately. In this case if you want unpredictability, you should be aiming for the natural type.

Instead of launching them into a relationship prematurely, make it a bit more of a slow-burn. Get your readers used to the idea of these characters being friends, and don’t announce the start of their relationship with any sort of grandeur. By creating a natural transition from friends to lovers, maybe through an absent-minded kiss or exchanging “I love you”s and realizing it later, the whole thing is more natural. 

In taking this path, you still keep the element of surprise; the whole thing happens so naturally that while the reader may have been expecting it but not expecting it right then.

Avoiding the Juvenile

You also mentioned that you don’t like the way more juvenile romances are handled. I think I hit both of your questions, but just as an extra measure I’m going to add in a few ideas to avoid the juvenility (is that a word? it is now) that we see way too often.

  • They communicate often, and communicate well.
  • They spent a lot of time together.
  • They don’t bottle up negative (or positive) emotions.
  • Accentuate that they have each other’s back.
  • Highlight their knowledge of the details (as in remembering little conversations and schedules).
  • Mutual. Respect.
  • Show them supporting each other’s endeavors, even if it means having less time to spend together.
  • Avoid writing characters who try to change each other.
  • They also take time to themselves to collect their thoughts and just have a personal moment.
  • All boundaries are respected.

If you want to write a mature relationship, think respect. Does this aspect of the relationship lack respect? If it does, seriously consider changing it if you want this to be a long-lasting thing.

Tl;dr—A natural romance between your characters should be compromised of at least three things: Complementary characters, an established dynamic, and mutual respect.

Love this!!

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How to pitch your novel in under a minute

One of those things every author needs to learn to do at some point or other is give what’s called an “elevator pitch.” This pitch is so named, because should you be in an elevator with someone you’d like to read your book, there wouldn’t be any time for a ten-minute synopsis. You would need to pitch your idea to them in a matter of seconds, catching their interest while you still had them trapped in a small space, forced to hear you out.  

Most elevator pitches aren’t actually given in elevators. They’re given at networking events, in bookstores, to friends and family, and basically whenever anybody asks “so what is your book about?” Usually the person you’re speaking to won’t be waiting for the doors to open so they can escape, but the ability to quickly spark someone’s interest in your story is invaluable.

Your “elevator pitch” should easily answer the explicit question: “so what is your book about?” and the implicit question: “and why should I want to read it?” 

A good elevator pitch has two elements: the one-sentence description and a few comparable titles. These should work together to tell interested parties exactly what they need to know in as little time as possible.

The One-Sentence Description

The goal of the one-sentence description is to lay out a clear premise that’s able to pique a perspective reader’s interest. Which is actually two goals. You need a clear, simple premise that more or less describes your entire book. And you need to make that simple premise engaging

Some advice on crafting your sentence:

  • Start by identifying your protagonist
  • Follow only one story thread
  • Limit it to 25 words max
  • Focus on the protagonist’s central conflict

Now this sentence probably isn’t going to describe your book to a T. It shouldn’t describe your book to a T. But your book should have some central idea that you can distill all of the intricacies of the plot down to. 

To be engaging, it must contain an inherent question. Usually this is: ‘does this person succeed?’ Sometimes it’s: ‘do they get together?’ It may be: ‘but is he really the murderer?’ If a reader can’t ask a question at the sentence’s end, your summary hasn’t properly engaged them. 

Examples:

  • A boy wizard begins training and must battle for his life with the Dark Lord who murdered his parents. (Source)
  • A young English nurse searches for the way back home after time-traveling from 1945 to 1743 Scotland. (Source)
  • A young man learns that destroying his magic ring is the key to saving his world from the Dark Lord. (Source)

Come Up With Multiple One Sentence Descriptions

Sometimes you don’t have to pitch THE high concept idea of your novel. Sometimes you’ll want to tailor your pitch to a particular reader. 

War and Peace is a slow-burn love story between Natasha and Pierre. War and Peace is about the effect of the Napoleonic wars on Russian high society. War and Peace is about the search for a life of meaning and purpose set in 18th c. Russia.

A war historian won’t like War and Peace for the same reasons as a reader interested in romance, and a reader interested in romance won’t like War and Peace for the same reasons as a philosopher, but they will all like the same book.

When pitching, it’s important to pitch your story to a specific audience. Draw out certain elements of a story according to certain reader’s tastes (if you know them). Have a few one-sentence descriptions that emphasise different elements of your story for every type of reader you come across. 

When pitching your book in 25 words, you’ll need to aim the arrow straight at the heart.

The Comparisons

The dreaded “X Meets Y” pitch. Once you’ve neatly summarised your story, it’s time to compare it to something. You don’t necessarily need to follow the “X meets Y” format to a T, but you do need to mention a few comparable titles.

Your comparisons can be a short-hand for style, tone, and all the sorts of things that can’t possibly be described in a sentence, no matter how long. They also serve to show your book’s potential place in the market, suggesting the sort of readers who might be interested in your book. This means you’ll typically want to use comps that are in the same age range and genre. Try to pick books that aren’t the most popular books in their genre, but that the person you’re pitching to should be familiar with. 

Some formats you can use instead of “X Meets Y”:

  • In the vein of X and Y
  • Would appeal to fans of X and Y
  • Like X but [concept]

Put them together and memorise

The elevator pitch for my WIP is: 

A girl inherits a book of spells and tries to fix the problems of her small town with its magic. [TITLE] has the heart of Kiki’s Delivery Service and the danger of The Graveyard Book

That pitch may not interest you particularly, but a fan of the comp titles certainly would be, and that’s exactly the sort of person the pitch is aimed towards (the sort of person who would probably enjoy the book). If I keep these two sentences in my back pocket, I have everything I need to grab a likely reader’s attention. 

Even if they’re only going from Floor 1 to Floor 2. 

Sources

Awesome writing/ pitching

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Anonymous asked:

I'm writing a fantasy story where a prince is locked in a tower with a curse on him. However I don't want 'true love' to be the thing to break the spell, any ideas on how to break this cliche?

  • He must break himself out
  • True hate will break the curse: he has to find his archenemies or a cause to fight against to drive him out.
  • He can only break the curse by finding someone to take his place
  • His friends come to rescue him but he actually quite likes it there and is afraid of the outside world. They have to convince him there is something worth it outside. 
  • He must work for his freedom. But the list of demands grow longer each time (Herakles style). 
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Writing Prompt Masterlist

Pick Your Poison

The AU’s - (for reference)

Choose Your Own AU

Soulmate AU’s (Part Deux)

Soulmate AU’s (Part Tres)

Send Me A … 

The Prompts

Angst / Fluff Prompts (The MVP’s)

Kissing Prompts (Rebelcaptain Edition)

And just because we can never have enough prompts … 

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