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the-ellia-west · 3 days

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I'm bored, so how about this

20 notes and I'll go on a big walk and take a bunch of pretty spring pictures

50 notes and I'll show you my Cat

100 notes and I'll make a schedule for myself

200 notes and I'll Post an audio of me saying "Hello Governor, fine day it is outside isn't it. Care for a cup of tea?" In a shitty British accent

400 notes and I'll Start writing Lifesaver from the beginning

500 Notes and I'll write 3 new J&R scenes

700 Notes and I'll organize my papers

800 Notes and I'll do smash or pass with houses on Zillow

1000 Notes and I'll Start outlining an actual plot for J&R

1300 Notes, and I'll make a few(2-6) pages of Marril's Journal for you

1500 Notes and I'll clean my room

2000 Notes and I will make a fully improvised fake nature Documentary about Flowers with zero research

PLEASE don't spam too hard?

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allthingswhumpyandangsty · 3 days

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the way I have heard so many talented fanfic writers say they started writing because they read someone else's fanfics that are so good they inspired them into becoming writers too? just proved my point that your writing is never 'in vain', even if you dislike it and think it could've been better, it's still good enough for someone out there that it becomes their source of inspiration and perhaps happiness. you'll never know.

but don't ever, ever belittle your own works. just because you don't like them, doesn't mean other people dislike them too. again, you'll never know. there could be someone out there who reread your works every day because those fics you wrote helped them escape reality for a while, they could be reading your works as a way to help get them through a hard time in their life. you'll never know.

your writing may have saved someone's life.

your writing may have inspired someone into pursuing their career and changing their life for the better.

several best selling authors started as fanfic writers, and the majority of fanfic writers started writing because they were inspired by someone's fanfics. you do the math.

your "silly fics" have permanent impact on this world, even if you think they're not good (they actually are good, I promise you, don't let your mind lie to you).

I mean ***I*** personally started writing my first fanfic about 7 years ago, and have been writing ever since, because I was inspired by my favorite fanfic writers. I still remember all the lines I like from those fics I read 7-8 years ago, I still think about those fics I read from 7-8 years ago and still remember the stories very well in my heart. I started writing because of them.

this blog would never have been created at all, if it weren't because of those fanfic writers whose works I read 7-8 years ago.

I wouldn't have so far written about 130,000 words this year alone, if it weren't because of those fanfic writers whose works I read 7-8 years ago.

to all the fanfic writers out there; your works inspired someone, your writing made a difference to someone's life.

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writers-potion · 2 days

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Writing Male Fighters

Body Language

Before they start fighting, they will communicate a lot through body language, either conscious or subconscious.

Standing with legs apart, elbows out to the side, shoulders aquared, chin thrust forward and up, hcest inflated and turned full front to his opponent, piercing stare. These cures are intended to make him bigger.

He may hook his hands into his belt, framing his genitals.

Subtly stretching his neck or spine.

Stepping close up to the other, invading the other person's personal space. The one who steps back will "lose" - when this happens, we know that fists will be flying soon.

Skills

When writing a scene from a male point of view, don't make the mistake of writing a detail about basic fighting skills (like landing a fist in the opponent's jaw). For a man (on average) who probably learnt to box in his playground days - it would be better to let the moves come naturally.

For fancier skills (like weapons handling or martial arts), you may explain in fuller detail so that your readers can follow what's happening.

Weapons

Men often have a special relationship with their weapon: very personal, almost intimate. The weapon may serve as a symbol of his power, masculinity and reflect his self-image, even.

The hero may be seen cleaning, repairing, oiling his weapon, bragging about it or comparing it with others'.

Men Against Women

Most men are reluctant to hurt a woman. This instinct is often hard-wired into them, even in martial arts school that pride themselves on gender equality.

While there is no biological reason for sparing a a female fighter - only the sense of good old chivalry - you can show your villain hesitate for a second or hit less hard when a see a woman coming for him.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

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bodhrancomedy · 14 hours

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#deaf #queer #poll #writer #writing #fantasy

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silken-moonlight · 2 days

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Some days as a writer are hard, since my head always spins stories and some stories even hurt me. It is strange to think about something, a story involving in your head which is bittersweet and does not have a happy ending. My most recent little idea was the following:

Imagine you promise your vampiric lover to return to him. Both of you swore eternal love. But you died in his arms before you could be turned. You promised to find him in your next life.

To your own surprise, you wake up 200 years later and even find your lover. But you learn about his new partner; your lover turned them. They swore eternal love and are happy. You suddenly feel worthless, unloved, a faded memory. How cruel would it be to interrupt their luck? How selfish would it be to make him choose? And even if you were to make him choose, who says he will actually choose you and not his new love? So, what do you do now? What is your purpose anymore?

#vampire smut #vampires #vampire x reader #vampire #monster boyfriend #monster lover #monster romance #monsterlover #monster bf #writer #mdni

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isalisewrites · 1 day

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A Deep Dive into JKR's Terrible, Amateur Writing - Part Two

Welcome to my ballsy series where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say ‘poor writer,’ I’m talking about her prose, her sentence structure, and her scenes. I am not going to discuss anything about the HP world nor the overall plot of the books.

This is all about the nitty gritty in the craft of writing itself.

Part One Link.

Disclaimer for all readers of this series:

I’m going to sound very confident in my posts where I work under the assumption I’m a better writer than JKR; because I am. My apologies if this rubs you the wrong way. You’re simply witnessing the culmination of over two and half decades of experience with the intensity from a neurodivergent who is hyperfocused on her special interest. I didn’t just learn how to create stories; I learned the craft of writing to a minutia of details.

I’m not a perfect writer. No one is. I’m not a talented writer either. I’m experienced and skilled through years of study and practice.

I don’t care about J.K. Rowling. At all.

If you’re triggered by the concept and fact that JKR is a terrible crafter of writing, then you might want to take a step back and self reflect on that personal issue.

I still very much love and adore Harry Potter; you’re still allowed to love Harry Potter.

This is not a series to bitch or bash. This isn’t a shitpost. This isn’t an attack on JKR, no matter the disgusting bullshit she spews forth on Twitter. However, my hope is people awaken to the fact that JKR isn’t the goddess of writing we’ve all been led to believe.

This is a place of study and learning, where the purpose is to help students gain critical thinking skills and writing analysis tools to become better in their craft.

And, sorry, one more disclaimer for this specific post:

Fanfiction is written for fun and is posted for free. I put most of my effort into my main fanfic, Terrible, But Great. (Yes, I intend to update Moon Rite soon, too) However, I also have two fanfics that are cowritten with another author; thus, the style of Shall I Stay and Badger Prey are understandably different. I spend three to four times the hours to edit a chapter versus drafting it. My process for fanfiction: I draft. I do one expansion edit. I do one proofread edit. I post.

However, if I were to publish a novel where people are expected to drop money on said book, my work flow would be vastly more extensive. To be clear, I’d do all of the following myself. I would not outsource. My process for published novels: I would draft. I would do three to four expansion edits. I would do two to three cutting edits. I would do three proofread edits.

See the difference?

Because I don’t go through a cutting edit for my fanfiction, I’ll often come back later and see things I think are weak. I’m constantly seeing where I can tighten my work. There’s always room for improvement.

Remember: Harry Potter and the Order of the Phoenix is a paperback book that costs $10. My fanfics are free. If I, someone who writes for free and puts what she considers the bare minimum of effort into them, have a higher standard in the quality of my writing than a paid traditionally published novelist, there’s a problem here.

All right, with that nonsense out of the way, buckle up, my writing friends. Grab a snack. Hydrate. Remember to take what resonates and leave what doesn’t. Let’s begin.

Class is in session.

In this post, we’re going to discuss these five pages from HP5 and dissect one paragraph and a line from page 731. All dialogue is highlighted in blue.

(My favorite book in the series, btw. I fucking love fifth year the most. JKR did a damn good job with Umbridge.)

Since a certain anon lacked the skill to comprehend the difference between too much dialogue and stories driven by a high saturation of dialogue, let's go into further depth about dialogue.

What did I mean last week when I said: "Too much fucking dialogue!"

Today’s lesson will focus on the overall issue in JKR’s dialogue and in the prose surrounding those dialogue lines.

And since, apparently, I “lack the self awareness” to know most of my fics are “oversaturated with dialogue,” I’m going to use weaker examples of my own writing. Chapter 24 of TBG is heavily driven by dialogue with twenty-one named characters to juggle, something that's very difficult for me to manage. Though the chapter is lovely, I do feel it's some of my weaker work. In the end, I just didn’t have the energy to edit it a second time nor go through cutting edit.

Here are three different pages (some connected, some not) from Chapter 24 of Terrible, But Great. All dialogue is highlighted in blue.

You can already see the difference, I'm sure.

So, what’s the difference between a scene that has 'too much fucking dialogue' versus a scene that is highly saturated with dialogue?

Because there is one.

Let's set the scene for HP5. In the middle of an OWL exam, Harry received a vision from Voldemort, showing him that Sirius has been captured. He's being tortured to get something from a shelf, but Sirius refuses. Harry believes the vision is real. He tells Ron and Hermione, then asks for their advice on how to rescue Sirius. Ron and Hermione are both like, pardon, wtf, sir? (As they should be.)

We have five pages of this fight between them. These five pages are mostly dialogue with very little else surrounding it.

Also, note the final page where it has the worst sins of adverb usage. That page is what triggered me to begin writing this series in the first place, btw.

There's too much dialogue here. There's no description. I'm being told stuff, but I'm not being shown anything. There are no emotional anchors to Harry either. The more I reread this scene, the more I realized what was wrong.

There’s an emotional disconnect from Harry in the prose.

Do not misunderstand me: it is NOT to say that Harry isn’t emotional here. It's that the prose doesn’t grip me, the reader, by the chest and twist my heart with his overwhelming emotions. The prose doesn't prove anything, doesn't show me anything. This is an intense, terrifying moment for Harry. It should feel visceral. It should feel tangible. I should be able to taste his fear.

We also don’t get too much information about the emotional states of Ron and Hermione. We have hints, of course. But we can’t feel them. The emotions of the scene are dampened, muffled, dull even.

With an untrained eye, you might disagree. It's okay. You'll see what I mean soon.

Page 731 exact quote:

"I dunno how," said Harry. "But I know exactly where. There's a room in the Department of Mysteries full of shelves covered in these little glass balls, and they're at the end of row ninety-seven...He's trying to use Sirius to get whatever it is he wants from in there....He's torturing him....Says he'll end by killing him..." Harry found his voice shaking, as were his knees. He moved over to a desk and sat down on it, trying to master himself.

(Btw, punctuation issue: you do not use an ellipsis and a period together and there should be a space after the ellipsis.)

This is the only instance in the five pages where we get any information about Harry's physical state.

And it's written in such a weak 'telling' instead of 'showing' way, too.

How and where was his voice shaking? How are his knees shaking? Are they knocking together in a weird way that's kind of physically improbable? Or was it actually his legs were shaking? Isn't he leaning against the door? If his weight was resting against the door, then there'd be less shaking in his knees or legs because his knees would be locked to brace his body against the door. His arms and hands would be shaking, though.

How does Harry master himself? What does that look like? Slow breaths? Running a hand through his hair? Rubbing his face and eyes? How is Harry mastering himself? Is it mentally? Then, where are those mastering thoughts? What are they and why do those thoughts in particular help Harry 'master' himself?

What's Harry's tone as he talking about Voldemort threatening to kill Sirius? How is Harry feeling about this? Give me MORE!

The dialogue is presented to the reader in a bland, empty fashion. Harry is relating something to Ron and Hermione. I could switch the dialogue out with anything and it'd still make sense.

There is little surrounding the dialogue to anchor it.

So, let's rewrite this, shall we?

"I dunno how," said Harry, letting out a shaky breath. His hands clenched into fists against the door of the classroom. "But I know where—they're in a room in the Department of Mysteries that's filled with rows of shelves holding these... weird little glass balls. They're in row ninety-seven. Voldemort, he's—" Harry's voice broke. His breath caught in his throat. The memory of the vision returned full force into his mind, the image of Sirius on the floor at Voldemort's feet stark in his mind. He ducked his chin; his chest inhaled in a desperate breath and the edges of his eyes burned. He's torturing Sirius—I can't just wait around. I can't lose him. Harry looked up at Ron, whose face had grown pale, while Hermione stared at him with wide, terrified eyes. The strength in Harry's legs weakened. "He needs Sirius to get whatever it is he wants and he's—" Harry sucked in a gasp, his voice trembling like an autumn leaf in a thunderstorm. "—he's torturing Sirius... says he'll kill him in the end." His knees buckled. Harry stumbled to the nearest desk; Ron reached out with a steadying hand on Harry's upper arm and silent gratitude filled Harry's heart. With shaky arms, Harry lifted himself onto the desk to sit and twisted around to face Ron and Hermione. He licked his dry lips, rubbed his eyes with a hand, and took slow, deep breaths to master his fraying emotions.

The original canon text has 57 words of dialogue with a total of 83 words.

My rewritten version uses 56 words of dialogue with a total of 247 words.

I'm going to drill this concept into your heads, my lovely students: this is what I mean when I keep saying JKR's writing is both bloated and underwritten.

I only rewrote a single paragraph and its following line. The five pages I've provided are filled with this kind of empty dialogue.

So, what have I done here? Can you see the difference? Can you feel the difference?

Let's analyze what I focused on in this scene to show Harry's body language and his thoughts. I upped the physical effects on Harry's body. His fear causes his voice to break in the middle of explaining what's going on. He's terrified of losing Sirius, the only father figure he's ever known. Voldemort might take another parental figure from him.

And now the prose reflects these feelings, not just in his thoughts, but also in how he speaks and reacts to what is around him. He is not just speaking at the reader.

Harry exists in his world.

And you can feel it.

When he stumbles to the desk, Ron is there for him. Hermione reacting could also be added here. There is a lot that can be added to this scene, if one wanted to expand this further.

Yes, what I've done has increased the word count, yet it strengthens this short moment—and I'd do this for the entire scene.

What I did to the scene is merely one version of its potential. It could be rewritten in a multitude of ways and go in various directions. I spent 10mins to 20mins on it. I haven't edited it or refined it.

Can you finally see what I mean now?

If you compare the highlighted pages of HP5 to the highlighted pages of Chp 24 of TBG, you can visually see the difference in the density of the dialogue. JKR is the one whose writing is oversaturated with dialogue. My writing will always be highly saturated with dialogue because my stories are character driven. I prefer stories like that. But I also need the dialogue to be interesting and engaging, where the character feels alive in their world.

When I say there's too much dialogue, this scene is such a good example of this because Harry, Ron, and Hermione are all over the place in their interactions with each other. Yes, you want your characters to sound realistic, but you're also the author curating an experience for the reader.

There's a balancing tightrope act between having realistic dialogue and unnecessary dialogue.

There's a thin line between showing too much and telling too little.

Lastly, if I were to improve the overall scene, I would center the focus on Harry's desperation to rescue Sirius. As Ron and Hermione try to talk him out of it, where Hermione delivers that iconic line of 'you have a people saving thing,' I'd have Harry explode with something like this:

"You don't know what's it like! You both have your parents—I-I don't... You'd feel the same as me if it were either of your parents being tortured by Voldemort, yeah? I can't lose him—I can't lose Sirius."

I'm not bothering with description around it right now. I just wanted to give the baseline dialogue to show you the theme I'd carry through this scene. It's all about Sirius. It's all about the fear of losing him. It's about showing the emotion of the character and making the reader feel that deeply.

And that's what matters the most.

All right then.

We have come to an end of Part Two in this series. We have discussed fives pages in JKR's Harry Potter and the Order of the Phoenix. The pages in question are 731 - 735 should you wish to look it up and study the scene yourself.

And so, please do the world the greatest of favors and write better than J.K. Rowling. I promise, it's not that hard once you see the differences.

Until next time.

Isa

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vavandeveresfan · 3 days

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How I feel when I finish writing a chapter.

How I feel when I finish the entire first draft.

#writblr #writers on tumblr #writing community #writers of tumblr #writers on ao3 #writing #WIP #writer #writers #am writing #writerscommunity #writing meme #writing memes #queue

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novlr · 18 hours

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Not all consequences in storytelling must be negative

A consequence is simply something that happens because of an action or event.

So long as an action or event means something within the story, then there is no reason a consequence can’t be something good for your characters. As much as it can be tempting, we don't always need to torture them.

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allthingswhumpyandangsty · 1 day

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WRITING RESOURCES

LIST OF INJURIES SOMEONE COULD OBTAIN IF THEY WERE SEXUALLY ASSAULTED

(trigger warning is applied.)

fractured pelvis (if their body was bent against a desk, a car, or something with hard surfaces)

ligature marks around their neck

bruises on their arms, thighs, legs

abrasions on their cheek (if their face was pressed against concrete floor)

urinary tract infection

blood in stool, blood in urine

lacerations around and/or inside the genitalia

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writers-potion · 1 day

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Writing Group vs. Group & One vs. Many Fight Scenes

Group vs. Group

To win the readers' sympathies, make sure there are more (and stronger) bad guys than good guys.

Portray a strong "them versus us" mindset. Sometimes, this is a microcosm of a larger religious, social, racial conflict.

Visual clues are often used to emphasize the divide between the two groups: black coats versus white suits, jeans against shorts, etc. They'll have different weapons, use different languages or speech patterns.

Each group will have a leader who spearheads strategies and motivates the rest. This can be an established leader like the eldet sibling, the head girl of the school, etc. Or someone who has the respect of the others and takes charge spontaneously when the situation rises.

The Point of View

Group fights are easiest to write in omniscient PoV

Otherwise, choose a PoV character who is invovled in most action, and restrict yourself to their line of vision. You can take short breaks (like two seconds after he kills his immediate opponent) to account for how his comrads are doing.

One vs. Group

1 vs. many fights where the single person comes up triumphant are fun, but hardly plausible. The key is to provide an illusion of reality.

Keep the number of opponents realistic: three, not thirty.

He would be more highly trained/have special powers than all of his opponents.

He is positioned in such as way that all of his opponents come at him from only one direction (like having his back to a wall), or he stands in a higher terrains from where he can keep an eye on all of them.

She identifies the group's leader and takes him out first.

She creates a situation which forces the group to spread out, or hits when they are already dispersed rather than tightly knit together.

He uses a weapon which can take out several opponents at once. The most effective one for this would be a machine gun, or the hero holding two swords, one in each hand.

If you want the bad guys to come at the hero one by one, some ideas:

The hero has aken p position in a place where only one villain can squeeze through at one time

The attackers don't arrive simultaneously. They come running, and each attacks as soon as they reach the hero.

The gang has a code of honor which demands 1:1 fights.

The fight is an initiation requirment where the newbie must prove themselves in 1:1 combat with all of the established members.

Some tips:

If a hero with superior arms taking on many who are unarmed will make the readers see him as a butcher, and their sympathies will be lost for good.

If he take out too many opponents at once, the readers wouldn't feel like he has really put up a fight. If your hero has a superpower that allows him to do this, establish the boundaries of this power and push the hero to the limit.

If the novel has too many 1:many scenes, it will lose its dramatic effect, and worse, seem unrealistic as you move along.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

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you-need-not-apply · 2 days

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I honestly think the reason so many books sound and read the same these days is because of those “how to write books”. They’re just the same regurgitated 3-10 ‘rules’ over and over again…

Some are alright, like marketing your book, or character design to make them realistic, but some make me want to tear my hair out.

“This sells well therefore its a rule of writing” no no shut up no it’s not its just the trend for this year okay this plot will be boring after three books in slightly different font are published okay?

That’s not to discredit anyone’s writing, I mean you wrote a whole ass book and that’s amazing!! Good for you!! I’m genuinely so proud of you <3

But, I honestly don’t know if this is just me, but books all read the same now. I know when the reveal will happen, I know when the plot twist will be and I usually know what, I know exactly what the foreshadowing is 8/10 times and I know when itll be realised.

And I fully blame those “how to write books”, as almost every single one is the same 3-10 steps on how to write, when to write, what to write and how to write it.

Where’s the spark?

#writing #tumblr #please #writers #writer #writers on tumblr #books #book #bookblr #booktok

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