Getting inspired to write is actually really easy! All you need to do is be the busiest you've ever been in your entire life and as far away from a computer as humanly possible. Hope this helps 🥰

bitches who love both fashion and books will create an entire fictional fantasy world just because they wanna picture their OC's in their favorite ethereal couture looks and have it fit the fantasy world's society

I changed the font and spacing to reread my first draft and it’s a totally legit trick but also it’s so funny how much of writing is just playing mind games with yourself. Stuck on the blank page? Write a grocery list! Words won’t come? Switch to writing on a yellow legal pad! Having trouble working consistently? Create a daily writing ritual! Is everything just Bad? Write in Comic Sans! Set a timer! Set a weird deadline! Write 1000 words EXACTLY, no more and no less! Mess with the font colors! Get up early! Stay up late! Dress up to do your writing! Or write naked!

the writer’s brain is just a puzzle toy that we have to turn over and over in every direction to get the Creativity to fall out

bitches be like Ooh it’s November First I’m gonna write a whole fucking novel this month despite having lost control over every other aspect of my life. it’s me. i’m bitches. 

it takes a long time to learn this, I still struggle with it

Advice from an (Amateur) Archer on Writing About Archers and Archery

Admittedly, I don’t have the widest range of experience when it’s come to archery. I’ve only been shooting for a year now, and the time that I do take to shoot have long months between them. Still, I think it’s important to outline the basics for anyone who wants to write an archer in their book and wants to save themselves the embarrassment of having the archer do something that an archer would never do in a million years.

- Archers usually unstring their bow after battle. Unstringing a bow is exactly what it sounds like: removing the string from the bow’s limbs. Usually, archers then wrap the string around the now-straightened bow so they don’t lose it as easily. Archers unstring bows because everytime the limbs are bent by the string, there is a large amount of tension in the limbs. If the string is on too long and the bow has not been shot for a while, the limbs will start to wear down and lose their power, resulting in an archer needing to buy new limbs or an entirely new bow.

- Archers always retrieve their arrows after battle. Arrows are expensive and take a long time to make, so archers want to conserve as many arrows as possible. Sometimes they have a repair kit with them at the ready, in case they find an arrow with a loose arrowhead or broken fletching that can easily be repaired. 

- Training arrows are not the same as battle arrows. Training arrows have thinner shafts and usually blunted tips so they can easily be removed from targets. Thinner shafts break more easily, and the blunted tips – whilst they can pierce skin – usually won’t get very far in the flesh. They’re also easier to make. Battle arrows are thicker, and their heads are pointed at the tip and have two pointed ends at its sides. This arrowhead is designed to easily pierce through flesh, and is incredibly difficult to pull out because its two pointed ends snag onto flesh. If you want to pull it out, you’d have to tear the flesh away with it, which can lead to an even larger wound.

- Arrows are fatal, and one can incapacitate a soldier for the rest of his life. Arrows are not easily snapped off like you see in movies. The draw weight is too strong, and they can sometimes be as strong as bullets. They will pierce through bone and tendons, which do not easily heal. Furthermore, if you want to remove an arrow, you either have to go through surgery, parting the flesh away from the arrowhead so it doesn’t snag onto anything, or you have you push – not pull – it all the way through the body.

- Bows are not designed for hitting people with in close combat. The limbs are specifically made to flex. Imagine hitting someone with a flexing piece of wood. If you hit with the middle of the bow, it still does very little because there is no weight behind the bow, and so you might as well be hitting them with a pillow. It might be annoying to the opponent, but it won’t save you. Archers need a secondary blade in close combat. They cannot strike people with their bows and expect to win.

- Draw weight affects speed, range, and impact. Draw weight is measured in pounds, at least in America, and it is measured in how much weight must be pulled when you draw back the string. A high draw weight means stiffer, thicker limbs that can shoot further and hit harder. But, this is at the cost of speed. A low draw weight means thinner, more flexible limbs that can shoot smaller distances and have low impact, but can be shot faster. Before you acrobatic fanatics immediately seize the smaller bow for its speed, understand that a bow’s advantage is in its range. No one can hit an archer from 300 meters away with their spear or sword. The archer has complete dominance over the battlefield in this way, and their arrows can kill anyone who gets too close. Not hurt. Not annoy. Kill. And a higher draw weight means a better chance of piercing through specific armor, then flesh, then bone. A lower draw weight means less range and, even worse, a lower chance that the arrow would even pierce through armor if the arrow even hits its target. 

- Bows will always be outmatched in close combat against any other weapon. Bows take too long to draw and shoot, and at such close range, the opponent has an easier chance to dodge oncoming arrows. I already explained that the bows themselves cannot be used to take down a foe. 

- Bowmen on horseback are utterly terrifying. Archers usually can’t move from their spot because range is more important than mobility, and at such a long range, you usually don’t need to move from your spot anyways. Bowmen on horses, however, are closer to the battle, and worse, they are faster than almost anyone on the battlefield. Not only are they difficult to hit, you have no way of predicting where they will shoot next because they can circle around you in confusing ways. If you want an interesting archer character, I’d advise trying these guys out.

- Never underestimate armor and padding. Arrows will never be able to pierce through plate armor because its curved surface will always deflect oncoming arrows. Arrows can pierce through maille because maille is made out of metal rings that can be bent and can fall away. However, padding usually lies underneath, which is surprisingly durable and can stop an oncoming arrow, as well as absorb some of its impact. Because of this, make certain that the archer is focusing on gabs in the armor. To know this, you MUST study armor. Gabs usually lie where the joints are because soldiers need those gabs open so they can move. Typical gaps lie in the neck, the armpit, the inner-elbow, the knees, and the palm of the hand. Impact is also an archer’s friend. A war arrow shot by a hundred pound bow, hurtling at incredible speeds and gaining momentum the further it travels, can evoke serious damage. To be hit by one of these arrows will feel more like being hit by a horse than being hit by someone’s fist. 

More facts:

- Archers should never rest the tip of their bow on the ground. Dirt and dust can wear away the tip, which in turn can eat away at where the string notch is. If the string notch is worn away in any shape or form, the string can fall off or the bow not shoot correctly.

- ARCHERS SHOULD NEVER LEAN ON THEIR BOW. This is the same as keeping the bow strung when you’re not using it. Leaning on the bow causes the limbs to flex, which can be damaging when you’re not shooting anything.

- Never shoot a bow when there is no arrow notched. This is known as “dry firing,” and is incredibly damaging to the bow. Because there is no arrow to transfer the energy of the shot through, the energy instead shivers down the bow. If it is a strong enough energy, the bow can shatter.

- When any archer is shooting at a target, everyone is instructed to stand beside or behind the archer. This is common safety sense, as archers’ fingers might slip and the arrow is shot in a different direction than intended.

- It is incredibly rude, as well as dangerous, to shoot near another person simply to show one’s skill. Unless the person voluntarily agreed with the archer to stand in place and is willing to be shot, it is incredibly rude to shoot near someone to prove one’s skill. It would be the same as a gunman shooting at another person to prove he can hit a can at their elbow. The gunman, as well as the archer, would be thrown behind bars.

- Archers use an “anchor point” to aim. Archers rest either their index or middle finger at their chin or the side of their lip when drawing the bow.  This is known as their “anchor point,” and it is used to steady the hand as well as aim. If an archer does NOT use an anchor point, his shot can go wild. If you see actors holding their fingers behind their chin and hanging in the air, you’ll know that they are not an archer.

- It is both unnecessary and damaging to pull the bow’s string further than your chin. It has a higher chance of breaking or bending irreversibly than shooting further, faster, or higher by drawing the bow string further.

- You use your back muscles the most when drawing a bow. Most people assume that you’re using primarily your arm muscles. Whilst the muscles in your arms are incorporated, the back muscles are used to pull back the weight of the bow moreso than your arms.

- It is easier to swing a sword than shoot a bow. I’m certainly not talking about skill or practice. Swords and bows each have their own difficulties to overcome, but there is a common misconception that bows are lighter than swords. The weight of a sword varies, but most sit between 2 to 5 pounds and are well balanced so you don’t feel the weight of the sword pulling at your tendons. Bows, on the other hand, have a draw weight that varies from 20 to 100 pounds, sometimes more. Whilst different muscles are used to do different things, it’s clear that bows take far more strength than expected to use.

- A proper bow needs proper care. Damages are common after use, no matter what you do. The string may fray, the string’s nock locator might fall off, the arrow rest may wear down, and so on. Archers, therefore, should bring wax, which keeps the string from fraying, an extra nock locator, and perhaps a kit that can either repair the arrow rest or replace the entire thing.

- It really effing hurts when the string strikes your forearm. Because of this, bracers are a thing. Anyone who has shot a bow knows exactly what I’m talking about. Sometimes when you shoot and your forearm is angled a certain way, the string can strike the soft flesh of your forearm when you loose an arrow. Understand that it stings like fire, and does not die down until half an hour, sometimes more. To combat this, most archers wear bracers, which clasp around their forarms and protect them from the string. Experienced archers know how to angle their forearm away from the string so they are never struck.

Writers,

Writing is rewriting, always and forever.

Actually that’s the beauty of it, I think. Because it’s maleable, flows freely, and it’s just as alive as you are. And to be alive is to be in a constant state of change. And writing should change as you progress because change is good.

You should rewrite as many times as you want and need. It’s part of the process to transform, destroy and create again.

And the more you do it, the better you get at it. You learn to diferenciate what needs changing and what must simply be.

A good writer is one that has molded and kneaded their writing countless times until they have made with it the combination of words that work best. Because good writing is taking the alphabet and rearranging it many times over to get the perfect combination to tell a story and make it come a live.

Writing is rewriting, always and forever.

good writing is about consequence. and too often writers are misunderstanding "consequence" as being "either death or marriage". consequence is way more often things that are small. it's effective because it's small. part of the reason media can feel trite or unfair is because consequence shouldn't feel random, unjust, or untethered in the fiction.

"game of thrones" did consequence right at first. the red wedding scene is effective because it was following a tangible, visible series of plot events. it was a consequence. by the end of the series, consequences were actually random - we cannot track why/where/when things are happening, because they aren't related to each other with followable consequence. unfortunately, writers saw the red wedding and understood: chaos is an acceptable force in a narrative, rather than chaos needs some grounding in the real.

this is "gotcha" media's problem. it's why so many "twists" feel stupid rather than shocking - because consequences are predictable, and if they're not, they run the risk of making the writing completely asinine.

it's totally fair to have characters die or have everyone end up alone or whatever else you need to do. but it needs to make sense. and it should start on the smaller end of things. you and i are probably not people that can influence anyone on a global scale, so having someone experience a consequence personally (like your hands shaking too badly to eat) feels more real and vivid than just... some vague, huge, random world that anything can happen in. how are we supposed to buy into a fiction that doesn't even allow itself any kind of rules?

anyway. if you're a writer please include consequence. it'll help. okay love u bye

Writing advice #?: Have your characters wash the dishes while they talk.

This is one of my favorite tricks, picked up from E.M. Forester and filtered through my own domestic-homebody lens.  Forester says that you should never ever tell us how a character feels; instead, show us what those emotions are doing to a character’s posture and tone and expression.  This makes “I felt sadness” into “my shoulders hunched and I sighed heavily, staring at the ground as my eyes filled with tears.”  Those emotions-as-motions are called objective correlatives.  Honestly, fic writers have gotten the memo on objective correlatives, but sometimes struggle with how to use them.

Objective correlatives can quickly become a) repetitive or b) melodramatic.  On the repetitive end, long scenes of dialogue can quickly turn into “he sighed” and “she nodded” so many times that he starts to feel like a window fan and she like a bobblehead.  On the melodramatic end, a debate about where to eat dinner can start to feel like an episode of Jerry Springer because “he shrieked” while “she clenched her fists” and they both “ground their teeth.”  If you leave the objective correlatives out entirely, then you have what’s known as “floating” dialogue — we get the words themselves but no idea how they’re being said, and feel completely disconnected from the scene.  If you try to get meaning across by telling us the characters’ thoughts instead, this quickly drifts into purple prose.

Instead, have them wash the dishes while they talk.

To be clear: it doesn’t have to be dishes.  They could be folding laundry or sweeping the floor or cooking a meal or making a bed or changing a lightbulb.  The point is to engage your characters in some meaningless, everyday household task that does not directly relate to the subject of the conversation.

This trick gives you a whole wealth of objective correlatives.  If your character is angry, then the way they scrub a bowl will be very different from how they’ll be scrubbing while happy.  If your character is taking a moment to think, then they might splash suds around for a few seconds.  A character who is not that invested in the conversation will be looking at the sink not paying much attention.  A character moderately invested will be looking at the speaker while continuing to scrub a pot.  If the character is suddenly very invested in the conversation, you can convey this by having them set the pot down entirely and give their full attention to the speaker.

A demonstration:

See how cheaply and easily we can get across Drizella’s five different emotions about Anastasia leaving, all by telling the reader how she’s doing the dishes?  And all the while no heads were nodded, no teeth were clenched.

The reason I recommend having it be one of these boring domestic chores instead of, say, scaling a building or picking a lock, is that chores add a sense of realism and are low-stakes enough not to be distracting.  If you add a concurrent task that’s high-stakes, then potentially your readers are going to be so focused on the question of whether your characters will pick the lock in time that they don’t catch the dialogue.  But no one’s going to be on the edge of their seat wondering whether Drizella’s going to have enough clean forks for tomorrow.

And chores are a cheap-n-easy way to add a lot of realism to your story.  So much of the appeal of contemporary superhero stories comes from Spider-Man having to wash his costume in a Queens laundromat or Green Arrow cheating at darts, because those details are fun and interesting and make a story feel “real.”  Actually ask the question of what dishes or clothing or furniture your character owns and how often that stuff gets washed.  That’s how you avoid reality-breaking continuity errors like stating in Chapter 3 that all of your character’s worldly possessions fit in a single backpack and in Chapter 7 having your character find a pair of pants he forgot he owns.  You don’t have to tell the reader what dishes your character owns (please don’t; it’s already bad enough when Tolkien does it) but you should ideally know for yourself.

Anyway: objective correlatives are your friends.  They get emotion across, but for low-energy scenes can become repetitive and for high-energy scenes can become melodramatic.  The solution is to give your characters something relatively mundane to do while the conversation is going on, and domestic chores are not a bad starting place.

writing became VERY fun when i realized that i get to cater to my exact tastes and no one can stop me

I always found the 7 act structure helped me a lot more than the 3 acts.

Link right here

i used to read writing tip lists religiously and now almost every single one irritates me like i’ll read it and i’ll be like “bad advice… bad advice… context dependent… obvious advice everyone already knows… context dependent… bad advice… advice that’s fine but is woefully underexplained meaning any writers who could actually use it are going to have trouble applying it or understanding why they even should” like not that these never apply but that literally almost no advice applies universally to all writing and you’ll be much better off looking for someone giving specific, long form, well explained advice rather than a listicle that’s just gonna tell you to not overuse exclamation points

the only universally true piece of writing advice is that the more you write the better you get at writing. anyone telling you anything else about ‘universal’ rules is a knave and a fool

sorry im not done im gonna use overuse of exclamation points as an example because technically it’s fine advice. like exclamation points are a tool like everything else and certainly if you UNINTENTIONALLY overuse them it’ll lessen the impact of exclamation points generally

what i don’t like is that advice like that is sometimes boiled down to a “rule of thumb” for examples the ones i just read about exclamation points that were like “if you have to use an exclamation point in dialogue it means the dialogue isn’t strong enough” and “you never need an exclamation point in narration unless you’re writing a children’s book” BULLSHIT

the problem is not that there’s a finite number of exclamation points that you should use. the problem is that they’re being used without any intent, and that’s not actually solved by just cutting them out. sometimes the gravity of situation is best expressed by a character shouting and you using a ! at the end of their dialogue, ESPECIALLY if they rarely ever yell. in that case an exclamation point is a very valuable tool to tell your readers this is a big deal. likewise a character’s dialogue frequently including exclamation points is literally fine and not a problem at all as long as you know that it’s communicating stuff about that character. i would argue that doing that would actually make any moments where they are calm, serious, and quiet that much more impactful because holy shit, it’s so serious they aren’t even exclaiming it

likewise in your narration sure it’s rare to need an exclamation point but that really depends on what pov you’re writing in, what style you’re writing in, what genre, where you’re using it, why, etc. once again they can be MISUSED but thats almost always less about the exclamation point and way more about whether or not the writer was being intentional about their use and placement of it.

at the end of the day it’s always about just being aware of how things, even small things, are contributing to the story, and then doing it on purpose. there is no rule of thumb for that because no story is the same. something that would kill a scene in my book might be the element you desperately needed in yours. writing rules are fake and a scam use however many exclamation points you want

Imagine you're a writer, and there are people scribbling in the margins of your books, underlining their favorite passages, leaving makeshift bookmarks between the pages (subway tickets, library receipts, handwritten notes), reading excerpts out loud to their friends and lovers or to themselves just to feel the words on their tongue, memorizing quotes and then copying them in their notebooks, daydreaming about your characters and excitingly speculating about what's going to happen to them in the sequel, writing reviews in their school newspaper.

Naming a South Asian Character

“I need a name for a South Asian character”

We’re going to need a little more information than that…

Please see the following maps of South Asia:

Image description: Two maps of South Asia. The top map depicts the South Asian region, including Afghanistan with color-coding of different regions by 8 color-coded language groups. The bottom depicts the official state/ province/ languages and scripts for countries in the South Asian region, excluding Afghanistan. See end of post for detailed image description under the cut.

(Links: Top Map, Bottom Map)

That’s a lot of languages, right?

Names in South Asian cultures are primarily dictated by religion and language. While there’s some overlap between cultures, we can make an educated guess of someone’s ethnicity & religion based on their name. For example:

Behind the Name is a good place to start looking as they state the specific language the name is from. As for religion, there are more factors to consider.

Sikhs

Sikh first names are gender neutral. The 10th Sikh guru designated Singh (meaning lion, for men) and Kaur (meaning heir to the throne, for women) as Sikh surnames. These surnames were designed to be equalizers within Sikh communities. However, many Sikhs keep their Punjabi surnames (many of these surnames are now primarily associated with Sikhs) and use Singh and Kaur as a middle name (eg. Ranjit Kaur Shergill, Amrit Singh Cheema). More devout Sikhs use only Singh and Kaur or use the same format legally but do not share their surnames.

Sikh first names are derived from gurbani (Sikh holy texts), so they are often uniform across cultures. Most Sikhs who aren’t Punjabi use Singh & Kaur or cultural surnames in the same format. The latter is usually seen among Afghan & Delhiite Sikh communities. While most changed their surnames to Singh & Kaur, some families still kept the surnames they had before they converted from Islam and Hinduism (eg. Harpreet Singh Laghmani, Jasleen Kaur Kapoor).

If you’re stuck on a surname for a Sikh character, Singh for men and Kaur for women is the safest way to go regardless of ethnicity.

Good resources for Sikh names can be found here:

https://www.sikhs.org/names.htm

http://www.sikhwomen.com/SikhNames/ 

Christians

South Asian Christians naming conventions depend largely on who brought Christianity to the region and when. For example, Christianity was largely brought to Goa by Portuguese Catholics so you’ll see Portuguese surnames, while many Christians in the Seven Sister States didn’t change their names. South Asian Christians will also often have Christian first names, either in Portuguese or in English.

Hindus, Jains, castes and gotras

Hinduism is the majority religion in India and the South Asian region overall. A key thing that many newcomers overlook when writing about Hindus is that rather like feudal Europe, a person’s last name can also tell you what their family used to do because of the caste system. Both Hindus and Jains employ gotras (or lineage systems) designed to keep people from the same patrilineal line from marrying each other. Thus, if your Hindu character is a Vaishya (tradesman/ merchant class), but you have chosen a last name for them related to farming, or if your Kshatriya (warrior) character has a last name that means bureaucrat, you’ve made a mistake. Most Hindus and Jains will have last names derived from Sanskrit, or a language with Sanskrit roots.

A note on middle names: in South India, Hindus will often use the father’s first name for the child’s middle name.

For what it is worth, South Asia is hardly the only region to have these particular features. Japanese society until the end of the Edo era was heavily segregated by caste, and to this day, many families with samurai last names occupy relative positions of privilege compared to other castes, even though the Japanese caste system ended with the Meiji Restoration. 

A note of caution: Baby name websites tend to be inaccurate for Hindu names, often confusing Farsi and Arabic-derived Urdu names with the more traditional Sanskrit-derived names. Behind the Name is by far the most accurate website, but it doesn’t hurt to check multiple sources. For Hindu and Jain surnames associated with different castes, regions and gotras, Wikipedia is surprisingly thorough.

Muslims

Islam is the majority religion in Pakistan and Bangladesh as well as the second largest religion in India, but the differing ethnicities and arrival periods of Muslims in South Asia over the course of history can have a significant impact on a character’s name. For example,  think of when your character’s family will have arrived in South Asia or converted to Islam:

All of these will impact what their name might reasonably be. As a general rule, Muslims will have last names that are in Farsi/ Persian, Urdu, Arabic and Bengali. Bangladeshi Muslims may have Hindu names (both first and last) as well.

Buddhists

When discussing Buddhists in South Asia, we are primarily talking about Nepal and Sri Lanka. The majority languages in these countries are Nepali and Sinhala, respectively. Both languages are part of the Indo-Aryan language family, and like many Indo-Aryan languages, show heavy Sanskrit influence.

Others

Don’t forget that India also has a large number of lesser known minority religions, including Judaism, Zoroastrianism, Tibetan Buddhism and a host of indigenous religions. 

In Conclusion

An in-depth coverage of name etymology in South Asia would probably be the size of an encyclopaedia. The above is hardly exhaustive; we haven’t scratched the surface of the ethnic and linguistic variations in any of the South Asian countries displayed on the maps above. We hope, however, that it motivates you to research carefully and appreciate the cultural diversity South Asia has to offer. Just like in any setting where issues of lineage are plainly displayed by a person’s name, names in South Asia tell stories about where a person is from, what language they speak, and what their ancestors might have done, even if this has little bearing on the character themselves. It may seem a little elaborate to try and imagine the ancestors of your character before you even decide who your character is, but the reality is that most South Asians know these things instinctively, and whether or not you do your due diligence will be part of how we judge your work. 

Name a thing to fight over, and South Asians have probably fought over it at one point or another, whether it be religion, ethnicity, language, or caste. However, one thing many South Asians have in common is pride in our individual origins. Respecting this love of identity will be invaluable as you plan your story.

At the end of the day, there is no substitute for actually talking to people who share your character’s background. We will always recommend having someone from the community you’re writing about check your naming.

Keep reading

REBLOG